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enclosures

APPLES AND PEARS

For Alison and Georgia Robson

 

‘If I have seen further it is by standing on the shoulders of Giants.’ Isaac Newton

 

The ancient pear tree next door has not been pruned,

I would guess, for at least seventy years,

long before our time here, or the neighbours’.

It is now as large as a medium-sized oak,

with the remains of a magpie’s nest.

Its fruit, in these last days of summer, glow

a ruddy green; are plentiful, bountiful;

inedible, unusable even

for perry cider. The tree does what flora

is meant to do untrammelled – make seeds.

 

My occasional naps, lulled by the bees

in the ivy, beside our olive tree –

with its rare fruit the size of sheep droppings –

are interrupted randomly by the sounds

of falling pears: the slithering rush through leaves

to thud on the lawn, to thump on the summerhouse,

to gerthwang on something metallic.

Nevertheless our neighbours practise yoga

on the grass under the bombardment, dodging

the erratic proofs of Newton’s physics.

 

Isaac was born the year the Civil War began.

Soon after he graduated, Cambridge closed

for two years because of the plague. At home,

on the family’s Lincolnshire farmstead,

he split light into its spectrum colours,

developed differential calculus,

and one day noted the apple falling –

while the flocks of sheep grazed on enclosed fields.

 

My angels are busy on Jacob’s Ladder –

like apples and pears displayed on a barrow –

up the steps from the cellar to the hall,

up the stairs to the long window, from there

to the landing, and the stars. The blind giant

Orion had his servant Cedalion

stand on his shoulders, to guide him eastwards

to the vast healing sun.

 

 

 

 

 

THE BUZZARD IN THE SUN

As we leave the slip road and join the flow
north of cosmopolitan wagons,
discounted coaches, fleet cars and the rare,
pre-twenty-first-century vehicle
like ours, we see a buzzard, on a fence post,
still as a cast in the emollient
winter sun. We have travelled this road
a quarter of a century, know
the remains – a single track railway;
sparse English elms in rigor mortis –
stilled sentinels of clearance and enclosure;
ridges and furrows made by feudal
open fields; a gothic hunting tower…

Later, as always, we see Mow Cop Castle –
a Georgian folly, on a hill to the east –
lit briefly by the sunset’s splendour
and hope we are no more than an hour
from home. Turning west, there are purple skies
brimming with hail. When it falls, we slow.
As the pellets shatter on the roof,
we talk loudly of that bird on a post
in a southerly shire.

 

 

 

DEDHAM VALE REVISITED

David Selzer By David Selzer2 Comments1 min read2.1K views
Dedham Vale, John Constable, 1802

 

 

Dedham Vale, John Constable, 1828

 

 

September touches the Vale like a sigh,

a mellow, fruitful suspiration

edging from green to lemon, agitating

gently the skieyest leaves. The Stour

meanders to a sea of clouds vanishing

over an unimaginable Europe.

Dedham Church, a testament to wool,

focuses an especial scene: Saxon names,

corn marigolds, skylarks and enclosures.

 

After Napoleon, Peterloo and his wife’s

slow death, another canvas shows the same

landscape. New buildings exploit the river

and the church tower is luminous yet

vulnerable, not focal, to a whorl

of cumulus billowing from beyond

the horizon over dark, distressed elms.

Crouched under the overgrown bank of a lane,

the last you see of the painting, with her tent

and her cooking pot, a tramp woman

nurses a child under the tumbling sky.[1]



[1] The poem was first published in the Anglo-Welsh Review, has previously been published on this site and is one of the most visited.