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Saxon

THE HEREDITARY PRINCIPLE

Hugh d’Avranches, one of the Conqueror’s henchmen,

with him at Hastings, got the Saxon earldom

of Chester and the palatine of Cheshire,

with its forests of deer and boar, as reward.

His nicknames were ‘Lupus’ and ‘Gros Veneur’

because he ravened the Welsh like a wolf

and he was a hunter and a glutton.

 

His descendant, Gerald Grosvenor, His Grace,

the late, sad 6th Duke of Westminster – holder

of twenty eight appointments, decorations,

medals, orders and titles, many bestowed

by the Queen; landlord of much of London’s

Belgravia and Mayfair, where dwell

Arab despots, Russian oligarchs

and celebrities from showbiz and fashion;

his motto being ‘Virtus Non Stemma’,

‘Virtue Not Pedigree’ – had riches

greater than the combined wealth of six

million of his poorest, fellow subjects.

And we are all, everyone of us, subjects

of Her Majesty. What a great leveller

our constitutional monarchy is!

 

 

 

THE EDGE OF HISTORY

From the holiday cottage near the top

of Allt Goch Bach – Little Red Hill – west

and south is ancient woodland of ash, oak,

beech and holly. North, down the steep incline,

is Beaumaris – with its redundant castle,

gaol and quays, its narrow streets and low,

thick walled houses. East are the Menai Straits,

the A55 and the Carnedd range.

 

Some say the ‘red’ was the blood of the last

of the Druids – or the Royalists.  Now

the hill is covered with spacious ‘80s

bespoke bungalows for wealthy pensioners.

From here, there is a landscape of invasion:

Roman, Saxon, Viking, Plantagenet

(Norse, of course, by any other name) –

and, last, the so-called ‘English’ (residents

and tourists), accidental imperialists.

Inland, Welsh thrives. Here, it is seldom heard.

 

On Sundays, stray notes and chords from the town’s

brass band drift up – Italian opera,

a Methodist hymn. I cherish this place:

the hill; the town; the changing beauty,

shapes and colours of the tidal straits

and treeless mountains; the sense of being

always on the edge of history.

Where I live, over the mountains, far away,

is now a disunited kingdom – violent,

corrupt, gangrenous with injustice and greed.

 

 

 

 


DEDHAM VALE REVISITED

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.

 

 

 

WHICH PASSETH UNDERSTANDING

David Selzer By David Selzer0 Comments1 min read273 views

With wind soughing in the churchyard yews,

lichen marking the gravestones of labourer

and landowner, Saxon foundations,

mediaeval tower, sunlight fitful

through worthy Victorian stained glass,

a brass plaque for ‘those who gave their lives’,

the wheezy organ, the orotund Order

for the Burial of the Dead, ‘I am the

resurrection and the life…’ the vicar’s

gentle eulogy of the deceased,

one is almost tempted to wish God

were in his heaven where ‘we shall all

be changed…in the twinkling of an eye’

but common sense prevails.

 

 

 

DEDHAM VALE REVISITED

Dedham Vale, John Constable, 1802
Dedham Vale, John Constable, 1802
Dedham Vale, John Constable, 1828
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.