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BETWEEN RIVERS: AUTUMN 2024 ‘GRESFORD: THE ANATOMY OF A DISASTER’ BY STANLEY WILLIAMSON – ALAN HORNE

BETWEEN RIVERS is a quarterly series edited by Alan Horne. It is focused on the area bounded by the rivers Alun, Dee and Gowy, on the border between England and Wales in Flintshire, Denbighshire and Cheshire. You can read about the background to Between Rivers in the Introduction.

In this edition we look at Gresford: The Anatomy of a Disaster by Stanley Williamson, published in 1999 by Liverpool University Press.

Stanley Williamson (1921-2010) was a BBC journalist who worked in the north-west of England during the period following the Second World War, mainly as a producer of radio programmes. He covered the Munich plane crash, in which a number of Manchester United footballers died, and wrote a book, The Munich Air Disaster: Captain Thrain’s Ordeal, in defence of the pilot. In retirement he wrote two historical studies. One was The Vaccination Controversy (2007), about the brief post-war vogue for compulsory vaccination. The other was Gresford. This is a remarkable work of near-contemporary historiography,

At about two o’clock in the morning on Saturday 22nd September 1934 a massive explosion destroyed the Dennis Section of Gresford colliery, near the village of that name, which lies on the outskirts of Wrexham in Denbighshire, close to the border with Cheshire and England. 256 men and boys who had been working underground were killed. More died during a poorly organised rescue attempt, and after an explosion on the surface.

Despite the high death toll, the Gresford explosion was only the 6th most lethal mining disaster in Britain between 1850 and 1950: the worst, at Senghenydd in South Wales in 1913, killed 439 people. Yet the disaster, and the acrimonious inquiry that followed it, marked a significant turning point in the safety of coal mining. In later years, only the disaster at the William Pit in Cumberland, where 104 men lost their lives in 1947, was of a comparable magnitude.

One of Williamson’s successes is his evocation of the working mine. He provides a two-dimensional map of the pit (below), with its obscure nomenclature, the coal faces known by numbers which appear to follow no system, so that one might travel via 20s District and 61s District to get to 109s. The map also shows the downcast shaft, down which air was drawn – a vital issue, as we shall see – and the upcast shaft, through which it returned. But Williamson makes it clear that this does no justice to the intricate three dimensional underground maze of the real pit, with the coal faces continually moving, following the seams of coal, the exhausted workings being abandoned or filled in, other passageways opened or adapted for ventilation or drainage, and mysterious little-visited parts of the mine of which a few colliers might have a vague memory. This world was roughly half a mile below the surface and extended for about two miles.

Plan of underground workings: the Main seam of the Dennis Section at Gresford Colliery, 21 September 1934.

In what is perhaps a high-risk strategy, Williamson puts the explosion itself right at the start of his book, and we get a vivid picture of the situation some of the colliers found themselves in just outside the Dennis Section:

The blast and the gust of air had been felt at the pit bottom. Edward Williams, the attendant of the haulage engine for the Dennis Section, who had just left his cabin to try to discover why the haulage had stopped for longer than usual, heard a distant rumbling: “It came nearer until it was like thunder, and a big bang, and then the place was all black – you couldn’t see anything”.

Some way along the haulage road Isaac Williams, a young lad, was ‘minding slaughters’ –  watching for derailed tubs. As the deafening bang from the depths of the pit reached the refuge hole where he was sitting a whirlwind lifted dense clouds of dust that obscured both of his lamps. A few minutes later it began to subside and he reached for his scarf, poured water over it and wrapped it round his face to prevent himself from suffocating.

Henry Tomlinson, a rope-splicer, had been signing reports in a cabin. Rushing out at the sound of the explosion he found several men apparently amused by the state of their faces and clothing and did his best, with some success, to wipe their smiles away. Telephoning the Dennis Section and getting no reply he crossed over by way of some ventilating doors to collect stretchers from the return airway. It was filled with thick fumes and dust.

The night overman thought at first that the noise had been caused by one of the cages dropping out of control. As soon as the dust had subsided he telephoned the surface with an urgent message to the manager and under manager: “Something’s happened down the Dennis – I think it’s fired”…

Miners inside the Dennis Section who had not been immediately affected by the blast discussed what to do. The risk of carbon monoxide poisoning meant that they had to get out quickly. A collier recalled a little-used route with ventilation doors which might be viable. Six men set off on this route and called to the others to follow closely, but when they looked back, they could see no-one. They pressed on:

Between the men and their objective there was a series of faults forming steps to a height of 20 feet, which had to be negotiated by a set of ladders. The party had three lamps which had not been extinguished but the road was long, and narrow in places, and they had not travelled it before. The journey was later described by John Samuel:

We put the deputy, David Jones, down on his hands and knees and Fisher took the lead. We kept wafting these bits of rag and our caps and things around our faces. It was very hot, and a lot of gas there. We carried on until we came to a slight bend in the road, and David Jones said something about being done, but I said ‘stick it’, and we kept carrying on until we came to the bottom of the ladders. The going had been heavy and it was hot, and David Jones again said he was done. Fisher and Challoner had started up the ladder by this time, and I said to my brother “take your time, don’t be in a hurry. We won’t leave Dai here”. We got him to the foot of the ladder, and he got his hands on the rungs, and I got my shoulder underneath him and pushed him up. As we were going up the ladder he seemed to revive and the air was clearer.

On reaching the top of the ladder they were able to make better progress although one or two of the weaker men fell behind from time to time and Samuel had to stop and help them. At last, as they were approaching a junction there came “a big gust of wind”.

I said, “thank God, they’ve reversed the wind. We’re all right now”. We continued out against the wind along this junction road, and we came to a man who was dead, and then we carried on a bit further and I heard my brother shout, “we’re by the Clutch”. So I was alright then, I knew where I was.

These six were the only men to come out of the Dennis Section alive.

 

Rescue teams assembled. Miscommunication resulted in one team going into an area full of carbon monoxide – what the miners called ‘afterdamp’ – produced by the explosion:

There was a high concentration of gas which killed a canary at once but they pressed on, Williams, the captain, first and the others following at 20 yard intervals. After about 120 yards they found that the roof of the airway, which was supposed to be a route for men to travel, had sagged and the walls had caved in, leaving a space which the captain estimated at 3 feet high by three feet wide. Soon afterwards, crawling on hands and knees, he saw that further progress was out of the question; it was equally impossible to turn round in the confined space with his apparatus on so he worked his way backwards to the wider section. Gathering his men together and risking a dose of lethal gas he pulled aside the mouthpiece of his breathing apparatus and told them what the conditions were like and that they must retire.

But the breathing apparatus turned out to be faulty, and only one of these men survived the return journey.

Later, firefighting teams entered the pit:

When the Llay Main team [from a neighbouring colliery] reported for duty again at 5:00 AM on Sunday they found the main fire fighting force nearing the entrance to 29s junction which was blocked by one huge fall, with the fire still smouldering under it. After an hour’s work the entrance was revealed.

What a sight! The whole of the level is just one mass of flame, the coal sides of the roadway burning in one white mass, and the more stones we moved to one side, the more air we put on the flames, and the fire roaring away.

Soon, firefighters and rescue teams were withdrawn due to a fear of further explosion. This was well advised.

The immediate need was to cut off the supply of air from above that was feeding the flames. On Sunday evening, before the rescue parties were finally withdrawn, discussion took place on the advisability of trying to seal off the main roadways underground, but apart from the risk to the men who would have to do the work, analyses of the atmosphere in the main airway revealed as much as six-and-a-half per cent of gas and it was thought doubtful that seals of sufficient strength could be built underground to withstand further explosions. A decision was therefore taken to seal the shafts at the pit top and this work was completed during the early hours of Monday. On Tuesday the worst fears expressed about conditions in the pit were realised when, at about 1.30 p.m., violent explosions blew the seal off the Dennis shaft, sending out volumes of dense smoke and scattering debris which killed a surface worker some distance away. After yet another explosion at midnight more effective seals were built.

It became clear that no further survivors would emerge from the pit, and that even attempts to retrieve the dead might be long delayed.

Having described the terrible events of that night, Williamson goes back to survey the state of the pit and the industry at that time. How might the explosion have come about? There is less drama here, but it is an absorbing story. By the 1930s the British coal industry faced declining demand, notably after most shipping moved onto oil-fired engines. The usual response was to push for increased production, flooding an already declining market. In the drive for production, safety could easily be neglected. Officials known as firemen had for many years been responsible for safety, but now they were also put in charge of output, a clear conflict. Mechanization meant that the coal, previously cut by hand, was brought down by firing ‘shots’ – explosive charges – and precautions against igniting flammable gases when shot-firing were often ignored. In addition, the coalfield in North Wales still retained the butty or chartermaster system, whereby a subcontractor – the chartermaster – would agree to get the coal out for a set sum, and would hire miners to do the work: chartermasters had a reputation as bullies, with scant regard for safety.

This coalfield was also especially prone to explosions. Williamson explains the issue:

Coal gives off gas, known to miners as ‘firedamp’. Firedamp consists chiefly of carburetted hydrogen, also commonly known as methane, or marsh gas. When mixed with pure air in the proportion of not less than 5 per cent and not more than about 14 per cent it is explosive, the most dangerous level being about 10 per cent. Some coal seams produced more firedamp than others, and generally speaking the deeper the mine the greater will be the quantity of firedamp, which may be given off at great pressure. R.L. Galloway, the analyst of the coal industry, tells of a newly-sunk pit in North Wales which he does not identify in which ‘the noise made by the gas issuing from… the coal was so loud as to prevent men hearing each other speak’.

The mines of North-East Wales were especially prone to firedamp. (‘Damp’ in this context does not connote moisture but relates to the German word for vapour: Dampf.) Good ventilation was essential, and the later inquiry dwelt on a poorly-ventilated area of the mine known as 14s, the most likely seat of the explosion. But there was something else:

Once an explosive mixture had been ignited at any point, …the flame would spread in all directions through the explosive gas, gathering strength as it went, and raising a cloud of dust because of the strong wind it made. Coal dust in a pile is difficult to ignite because there is not enough air in it, ‘but if it is blown into a cloud so that it mixes with air, then it can be made to explode like a gas’. The explosion, begun in the gas by some cause or other, now has another explosive substance to feed on, becoming infinitely more violent, reaching more parts of the mine, setting fire to anything that will burn, and releasing great quantities of carbon monoxide, or afterdamp, which kills almost instantly anything left alive by the explosion.

Here was the explanation of the calamities which had struck so many mines with such grievous loss of life in the last quarter of the nineteenth century. Not all mines produce equal quantities of firedamp – in some coal fields it does not occur at all – but even a moderately ‘fiery’ mine, in the official phrase, could be turned into a raging furnace by coal dust, which would be manufactured in larger and larger amounts as machines took over from hands the job of prizing loose and transporting the coal.

Spreading inert stone dust came to be the standard method of combatting this risk, and the inquiry also questioned whether this had been correctly done at Gresford.

Williamson devotes the later chapters of the book to the inquiry carried out by the Inspectorate of Mines and chaired by the Chief Inspector, Sir Henry Walker. It opened just over a month after the disaster, and the final reports were discussed in Parliament in 1937, a very long time it was thought then, although to us it might seem rather speedy. The inquiry was extremely acrimonious, partly because the miners blamed the Inspectorate itself for failing to enforce safety standards. The North Wales Miners’ Association engaged their own counsel, separate from the national Miners’ Federation, and this was Sir Stafford Cripps, the barrister and Labour M.P. Cripps was well on his way to being expelled by the party because of his advocacy of a ‘Popular Front’ with the Communists; despite this he later held senior posts during Churchill’s wartime government, including ambassador to the U.S.S.R., and following readmission to the Labour Party he became Chancellor of the Exchequer in Atlee’s postwar administration. Cripps was a brilliant and extremely combative advocate. Throughout the inquiry he constantly returned to the theme that private ownership of the mines forced the owners to pursue profit at the expense of safety, and Williamson sees him as establishing at Gresford a key part of the argument which led to the coal industry being taken into public ownership in 1947.

The manager of the colliery, William Bonsall, appears as a pathetic, even tragic figure in the inquiry, the fall guy in a system where the owners could appoint a manager and leave to him the responsibility for any mishap:

The early stages of his examination were pure frustration for everyone. He seemed incapable of grasping what was said to him or giving a coherent answer to a question or even reading a plan of his own pit which was put in front of him so that he could identify significant features.

It is likely that real control of the mine lay elsewhere:

It was commonly said in Wrexham that Gresford was controlled not by the manager but by the owners, especially Henry Dyke Dennis, described by one who had dealings with him as ‘a very powerful man’. It was alleged that when a deputation from Hafod Colliery, by no means a timorous band of men, needed to see him they would take a minister of religion with them.

At the time of the inquiry, Dyke Dennis presented himself to the Press as ‘an old man, leaning on a walking stick’. He largely escaped scrutiny.

There was little agreement about the conclusions of the inquiry. The Chief Inspector of Mines was supposed to have two ‘assessors’, one representing the owners and one the miners. When the Chief Inspector published his report, both assessors produced rival reports, reflecting the interests they represented. Assorted charges were levelled and dropped. In the end, the manager and the company were fined a total of £140, with £350 costs, for failing to keep correct records. This was the only legal action taken to hold anyone responsible for the disaster.

For the local community, the issue at first was not only the loss of life but also the penury into which many were suddenly thrust: there were said to be 200 women widowed and 800 children who lost their father. Extremely generous and spontaneous donations were collected nationwide – this outpouring of concern and perhaps collective guilt was a repeated occurrence after mining disasters – but this led to much ill-feeling: money often given with express instruction that it go straight to the families of the dead was doled out with a pernickety insistence that no-one should be financially better off as a result of their bereavement. The mine was also closed for a long period, throwing out of work the colliers who had not been on shift that night. Williamson lists the communities from which the dead came. They were spread over a surprising distance along the local railway network, as far as Ruabon and Acrefair, about ten miles away.

But as the inquiry progressed, attention in the local community moved from the immediate personal and economic crises to the question of recovering the dead:

‘In its way… formal burial was as important to the inhabitants of a colliery village as to the Greeks of the Iliad.’ Bereavement caused by the Gresford disaster spread far beyond the confines of a single colliery village, but the response to it was no less strong and with the passage of time and the decline of hope, was intensified rather than diminished… Petitions bearing thousands of signatures expressed the general sense of outrage and resentment. ‘We, the undersigned Widows and Relatives of the entombed at the above Colliery,’ a typical one read, ‘Feel very strongly that every Possible effort should be made to recover the Bodies, Before Proceeding to Produce Coal at the Above Colliery.’

There was a public appeal for volunteers to enter the pit, and teams were assembled:

Proceeding by carefully worked out stages the rescue teams constructed an airlock of the top of the Martin shaft, then, wearing breathing apparatus, opened the seal which had been placed over the shaft shortly after the explosion, and finally ventured to the bottom… What they found there was later described to the miners’ annual conference at Rhyl by Joe Hall… The effects of the first explosion had stopped short some distance from the shaft bottom. The second explosion, following the withdrawal of the rescue workers, had produced, in Hall’s words, ‘for three hundred yards from the pit bottom… a state of things… no man could ever have seen. It was indescribable. Iron girders weighing many hundredweights were blown many yards, even heavy cutting machines were removed.’ The water, estimated at 20 to 25 million gallons, which had been pouring unchecked into the workings, was reckoned by the management to have submerged the whole area affected by the first explosion, although this was disputed by the miners.

Gradually, the affected communities began to realise that the bodies of the dead were probably beyond recovery. Certainly, they would not be recovered.

The unaffected part of Gresford colliery, the Slant Section, resumed production and continued until the 1970s. By then it was proving increasingly uneconomical, particularly because of geological faults that made it difficult to reach the remaining coal. Williamson provides a suitable epitaph:

Coal winding at Gresford ceased on 23 October 1973 and the colliery closed on 10 November. Some months were spent in bringing out of the pit everything worth salvaging. One set of pit head winding gear was left standing as a memorial to the mine and the disaster. Then, far below the farmland of Cheshire and Clwyd and the streets of Wrexham, the relentless pressures of the earth were left to destroy the Slant District, as they must long ago have crushed the deep recesses of the Dennis Section, the roads and conveyors, the scourings and headings, of 20s and 61s, 109s and 95s, 14s and 29s; leaving the men who died there on 22nd September 1934 to lie in the most impregnable of tombs.

To this there is a small coda, perhaps an emblem of fragile memory:

To accommodate the reconstruction of the main road from Wrexham to Chester, now carried on a flyover, the pit-head gear, which stood in the way, was dismantled, and a smaller memorial, consisting of a single wheel resting on plinth, was erected to one side on an unobtrusive site screened by trees.

This memorial is still in place and can be visited, beside a large road junction, close to Gresford Slag Heap or Wilderness Tip, the colliery spoil heap, now landscaped, a local viewpoint popular with trail bikers.

 

OTHER PEOPLE’S FLOWERS: FOUR POEMS – ALAN HORNE    

Thank you to David Selzer for inviting me to present some more of my poems in the OTHER PEOPLE’S FLOWERS series on his website.

 

This selection begins with a translation of a poem by Anna Akhmatova (1889-1966) which I started in a remarkable workshop with the poet and translator Sasha Dugdale at the Whitworth Art Gallery, Manchester, held on 21 September 2019.  It would not have been possible without Sasha Dugdale’s knowledge of the Russian language and of Akhmatova’s poetry. It amazed me that, with no knowledge of Russian myself, it was possible to produce what, for all its faults, is an original translation. Dugdale’s poetry collection, Joy, also made me pay proper attention to William and Catherine Blake. So thank you, Sasha.

 

There then follow three original poems definitely written by me, all addressed to someone no longer living; despite which, one of them answers back. The first is to Akhmatova, written when I was reading a lot by and about her and was struck by the way in which the story of her life often seemed to obscure her prodigious poetic gift and extensive body of work. The second is to an unnamed dead person, and took its origin from the funeral of a onetime work colleague which was beautifully done. It also picks up an idea I came across in The Guardian’s series of podcasts on the newspaper’s links to slavery, about the importance of being a good ancestor, or, at least, not a bad one. Finally, readers of David’s site may be familiar with the eighteenth-century Welsh poet Jane Brereton from the item about her in Between Rivers , and the last poem in this selection is an encounter and dialogue with her. She is a minor poet, but I have spent a good deal of time thinking about her. I was always very impressed by the title poem in Seamus Heaney’s Station Island, which imagines encounters with various people caught up in the conflict in Northern Ireland, and this is one influence on the poem to Brereton.

 

 

Here all is the same… by Anna Akhmatova (1912)

(Translated from the Russian.)

 

Here all is the same, the same as before,

Here dreams have lost their fight.

In a house by a road that’s a road no more

I must bar the shutters though still it’s light

 

My quiet house, bare and brusque,

Looks out at the wood through one pane.

Here they pulled a dead one out of a noose

And damned him now and again.

 

Whether in sadness or secret joy

For him only death was the big affair

His flickering shadow sometimes plays

On the rubbed-out plush of the chairs.

 

And the cuckoo-clock gladdens as night arrives,

Its regular chat is all the more clear

Into the slit I look.  Horse-thieves

Over the hills are lighting a bonfire.

 

And, in omen of bad weather near,

Low, low the smoke blows abroad.

I’m not afraid.  For luck I bear

A silk navy cord.

 

 

To Anna Akhmatova, in a Cheshire Coffee Shop 

 

Leaves of cake display themselves in the drawers,

and the wine-rack’s glassy grin bares dark red molars.

A hundred years, a thousand miles, the wars:

 

yet, dear Hooknose, you’ll find all this familiar.

As for the rest – famine, prison, shootings –

thus far, these we avoid; unlike you.

 

They say Modigliani drew you nude,

and, plainly, you were a bit of a one.

But me, I ask your photo for a clue:

 

how did you write it all, legend

and love-charm and lament? Now all’s complete,

Old Woman of Kitezh, young woman

 

of the horse thieves’ bonfire, will you not eat

this slice of Bakewell tart? It’s surely yours,

full of your raspberry sun; and none too sweet.

 

 

Ancestor

 

We’ll never get to heaven, that’s for sure,

but from here see something like,

the planets glittering beyond the lurid

 

floodlights at the sea-lock.

These hills our ancestors ploughed

over for refinery or saltworks,

 

and you’re one of them now,

buried by cow-parsley heath and oil dock

where the old ferry once put out.

 

It’s water country: pools and slimy rocks;

do not fall in. The loved ones

praised you so, that, for a moment, in the box

 

went all our petty, half-lived lives along

with yours. After all, you had the knack;

and now the evening cows make a mournful song:

 

they snort, and bend their backs

to see you slip away by sleight of hand,

leave them like painted boulders in the grass;

 

for in the casket’s just the candle-end,

but here’s a place where what you gave to others

can be dreamt on. Walks drop through pine-needle land

 

to the thistly fields, and on past concrete coffers

for reactor waste from subs. It’s top security.

I’ll tell them we saw nothing.

 

 

To Jane Brereton 

(born Mold, Flintshire 1685, died Wrexham, Denbighshire 1740)

 

My mind is a black slate fence, and on the lade

are shims of yellow leaf, but water clatters

over limestone, and here you are, with your maid

 

to carry the books and the old culture.

You make demure greeting. I do too;

then it all spills out. Your face is unclear

 

– there is no known likeness – but the wit is yours:

None can read me now! Surely my verse  

made home for beetles, crumbled long ago? 

 

How to explain? We have it in a moment, anywhere.

You gaze at the blocks of stone and rolls of hessian

tree-guards by the ride: a truck reverses.

 

So this is true. And all through Mr Newton’s 

subtle spirit hid within gross bodies’.

Now tell me this: is Humankind perfected under Reason?

 

Reason has done great good, I say, and equal bad.

You nod. And when I was a babe, women 

were hung for witchcraft through an abundance  

 

of religion, of a too officious faith.  

I say I love your letters, the clarity of argument.

And Mr Law, he is still read today.

 

But you are grave: I fear for controverting him. 

A devout and learned man. Noticing your dress,

the practical economy, the embroidered margins,

 

I recall the church under which your bones are lost:

my son and I searched it all out, peered

into alcoves, found no memorial. You are impressed:

 

Now that is fair defence against the sin of pride! 

Somewhere a hopper empties. What, you ask, of Britain,

of the Female Race, of Cambria, and bards?

 

My question: our lives, do they feel the same?

You smile.

I see that men still delvie in the rocks. 

I do not doubt we suffered the more pain,   

 

the iron cold, many young lives lost. 

And truly was my sex ruled by the rod. 

But correspondence, natural philosophy, 

 

the news of stars and nations: all Creation beckoned. 

The maid interjects in Welsh.  What she has said?

She asks of that most important point: what of God? 

 

Ah, I say. There we fail. A klaxon sounds

in the quarry. You raise gloved fingers I cannot touch.

The maid bobs. Into the frith you recede.

 

At the last, as you cross the ditch with its skin of dust,

I remember, have to shout: In Ruthin. I read your actual

letters. In the record office. I mean, what you posted.

 

In your hand.

 

 

BETWEEN RIVERS SUMMER 2023: ANNE DOUGLAS, POET & ARTIST – ALAN HORNE

BETWEEN RIVERS is a quarterly series edited by Alan Horne. It is focused on the area bounded by the rivers Alyn, Dee and Gowy, on the border between England and Wales in Flintshire and Cheshire. You can read about the background to Between Rivers in the Introduction.

In this August 2023 edition, we feature works by the contemporary Wrexham-based poet and artist Anne Douglas. She is a member of Cross Border Poets, based at Gladstone’s Library in Hawarden in Flintshire.

Most of her poems are meditations on natural features. We start with her poem The Alyn, about one of the defining streams of the Between Rivers project. The accompanying illustration, Morning Glory, is a drawing by the poet of convolvulus, often found on the banks of the river.

The Alyn

Ambling down Rossett’s Manor Lane
Passing the River Alyn,
Part of which traverses our road
We pass trees, hedgerows and tall trees
At the side of the fence.
We hear the dulcet, lyrical sounds
Of the blackcap,
The goldfinches flitting down
Between seed head weeds.
Later, we pass woodland and pastures
On which friendly cattle graze,
Through a country garden the Alyn
flows.
We cannot follow the meandering Alyn to its end
because it disappears through
neighbouring fields,
But we meet with the Alyn later as it snakes through kingfisher country:
they fly low, skimming over water.
We stop here and listen to the sound
of the river
Eventually the river becomes one of the tributaries of the River Dee
Or the Holy Dee.

 

Part of the interest of Anne Douglas’ poems is that they often appear at first to be transparent and simple, but then give a sense of something else happening just out of view. In Rose Wall or The Close of the Day this is almost literally the case, as the world of the poem is divided by a wall. It is accompanied by the poet’s drawing Rose Hips.

Rose Wall or The Close of the Day

Near a shady wall
A rose once blossomed
Fair and tall she grew
And through a gap
Her tendril crept
To dream
Of what might lie
On the other side
She breathed out
Her fragrance more and more
It was no different
On the other side
Still she grew there
Near the shady wall
Just as she would
Scattering her fragrance
Forever and a day
Until her life ebbed away
The evening sun
At the close of  day

 

Although born in Cheshire and being a long-time resident of north-east Wales, Anne Douglas was brought up in the Far East and has travelled extensively. This is reflected in many of her poems, which are sometimes almost haunted by the memory of a distant land. Here is The Bees Must Have A Name For It.

 

The Bees Must Have A Name For It.

With the cries of the birds
Perhaps the honey-guide bird
I come across a flounce of red flowers
In a pearlescent dusk
The bees must have a name for it
Lazy-blowing fragrance
Of the carnation border
Or of the bean blossom
They must have a name for it too
In bee language
Honey flowers
Here and there
More and more
As the branch
Peeps over the garden wall
Until at length
With a final kiss from the sun
Tiny fragranced flowers close
And night has come

 

If you would like to read more of Anne Douglas’ poetry, you will find her poems in the Love Wrexham online magazine and on the Cross Border Poets site.

 

BETWEEN RIVERS AUTUMN 2022: JANE BRERETON – ALAN HORNE

BETWEEN RIVERS is a quarterly series – https://davidselzer.com/2022/05/between-rivers-introduction/  – focused on the area bounded by the rivers Alyn, Dee and Gowy, on the border between England and Wales in Flintshire and Cheshire.

For Autumn 2022 we have a special edition devoted to a selection of the work of Jane Brereton (1685-1740), a Welsh poet writing in English:

Melissa to Sylvanus Urban: from the Gentleman’s Magazine, October 1735 (excerpt);

To Cynthio. In imitation of the thirty third Ode of the first Book of Horace;

Letter to Miss ****, In answer to hers of December 2, 1739;

An Account of the Life of Mrs BRERETON (excerpt).

 

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Jane Brereton

Jane Hughes was born in Mold in 1685. She was the only surviving child of her parents, and her father took pains with her education. She soon began writing her own poetry, and went on to live the life of an educated gentlewoman of modest means. In 1711 she married Thomas Brereton, and they moved to London to pursue their common interest in literature at a time when women poets were beginning to emerge into publication. Unfortunately, the marriage did not go well. Thomas was prone to fits of temper and failed with both money and work. In 1721 Jane separated from him and returned with their children to Mold. Thomas soon obtained a post not far away, with the Customs in Parkgate on the Wirral, and the couple’s relationship may have been cordial; but he died in an accident the following year. After that, Jane Brereton moved to Wrexham, joining the literary circle around Mary Myddelton of Croesnewydd. She lived in Wrexham until her death in 1740.

We know of Brereton for two reasons. The first is that during the 1730s she was a regular contributor of poetry, under the pen-name Melissa, to the Gentleman’s Magazine, published in London by Edward Cave: the magazine has received some attention in more recent times. The second is that, on her death, friends and supporters subscribed to a volume of her work, the splendidly titled Poems on Several Occasions: with letters to her friends and an account of her life. Copies of this, placed in the National Library of Wales and British Library, might have mouldered down the centuries but for the growth of interest in the ‘Atlantic Archipelago’ as a curative to British history focused on London or England. Thanks to the British Library’s programme of digitization, the complete work is now available for you to read online here and a facsimile paperback edition is available. Brereton features in Sarah Prescott’s Eighteenth-Century Writing From Wales: Bards and Britons, published in 2008 by the University of Wales Press.

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Four selections from Poems on Several Occasions are given here: an excerpt from the verse correspondence in the Gentleman’s Magazine; the short poem To Cynthio, an example of her more serious work; a letter to an anonymous correspondent; and an excerpt from the account of her life, which tells of her relationship with her husband, and his untimely death. Some eighteenth-century typesetting conventions are replaced for ease of reading; otherwise, the text is as in the original.

Melissa to Sylvanus Urban: from the Gentleman’s Magazine, October 1735 (excerpt).

In an era when the ability to write correspondence in verse was an educated accomplishment and a means of clarifying one’s thought, Brereton wrote a number of letter-poems, and came to public attention through those published under her pen-name Melissa in the Gentleman’s Magazine, especially in ‘the Controversy with Fidelia, Fido &c. which so agreeably entertained the Public in the Years 1734 and 1735.’ Melissa to Sylvanus Urban is one of her contributions to that controversy.

A prize of £50 had been offered for ‘the best POEM by May next on five Subjects, viz. Life, Death, Judgement, Heaven and Hell.’ Another woman correspondent, Fidelia (possibly Kezia Wesley, youngest sister of John Wesley), responded in verses declaring that an extra zero should be added to the prize for such a task; or that an alternative prize for women could be marriage to Jonathan Swift, whose splenetic poem  The Furniture of a Woman’s Mind, had been published in the magazine. Others replied with their own displays of wit, including Melissa (Brereton), who suggested – incorrectly, it would seem – that Fidelia’s verses were really written by the editor. Brereton discussed this and further submissions with Thomas Beach, one of her friends in Wrexham. Without her knowledge, at least at first, Beach joined in the correspondence, using the name Captain Fido and posing as Fidelia’s admirer.  There was then a rather flirtatious war of wit between Melissa, Fidelia, and Captain Fido, who eventually signed off with some disparaging remarks about women writers. But Beach then wrote again, with a new persona, Mrs Prudence Manage (who has a daughter: Miss Manage). Brereton, perhaps catching on, carried out her own switch of gender: her final verses were in the name of clerical heart-throb Parson Lovemore. Our preconceptions as to what women might write about in the 1730s are set right: there is much poking of fun, discussion of who admires whom, and a joke about farting. In this excerpt, Melissa has put Captain Fido in his place, and turns her attention to Fidelia. She is responding to witticisms about her own supposedly devastating beauty. Urban is Edward Cave, who used the name Sylvanus Urban in his role as editor.

But, now, for Fidelia’s Epistle profound,-

(Which she hobbles about, like a Lancashire Round)

That her Vein is most easy, by Fido’s decreed;

But I’m greatly concern’d, now, I find she can’t read:

But to those that can, I appeal for this Truth,

That I neither pretended to Beauty, or Youth.

Whoe’er will my Lines condescend to revise,

Will find I make free with my own hollow Eyes.

‘Twas Fido, the Head of your triple Alliance,

First sent the poor Things (and my Pen) a defiance;

The innocent Peepers, he attack’d with much spight,

Abandon’d Fidelia, wou’d veil them from Light.

Yet longs for to see of my Face every Feature;

Good Urban! convey my kind Thanks to the Creature.

I hope she’ll be satisfy’d, when she is told,

Melissa declares herself – ugly and old.

And surely the Publick, will grant this Confession,

From a Woman’s own Hand, is an ample Concession!

But if Fidy persists, – I’ll here lay before ye,

For her Consid’ration, a very short Story.

A Monarch more famous for Wit, than for Grace,

Once pluck’t off a Mask, from a Lady’s foul Face;

But finding her vext, that her Face had been shewn,

He appeas’d her, by shewing a worse of his own.

My Meaning, as plain as a Pikestaff, I’ll make,

For I find dear Fidelia is apt to mistake.

‘Tis rude to expose my poor Phiz to disgrace,

Unless, like the Monarch, she’ll shew a worse Face.

As Fido to Sylvius; – so now, I declare,

If Fidy replies not; – here ends all the War.

Her Champion is gone; – and with her, I’ve done;

Who stood out a Blunderbuss, scorns a Pot-gun.

 

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To Cynthio. In imitation of the thirty third Ode of the first Book of Horace.

Away from the freedom of her informal epistolatory verse, Brereton’s serious poetry can seem rather conventional to the twenty-first century reader. This is not a matter of the rhyming couplets, peopled by Jove, Phœbus & Co., but of seemingly conventional sentiments of piety, pro-Hanoverian patriotism and Enlightenment virtues. The sketch of her life in Poems on Several Occasions says that she worried that her displays of wit might be prideful, and perhaps these were curbed in the poems. But some of the concerns which seem conventional to us were not to her. The Hanoverian settlement and the Enlightenment were battles being fought during her lifetime. The Stuart rising of 1715, which attempted to place James Edward Stuart (the Old Pretender) on the throne, took place when she was thirty; and the last burning of a woman for witchcraft in Britain was in 1727: one of Brereton’s verses refers to the Witchcraft Act of 1735, which abolished the offence. In a way Brereton was a political poet, with a new perspective as a Welsh woman. Only our distance from the events of those days causes these poems to seem conventional at first sight.

Some of the poems are more personal. An example is To Cynthio, with its wry reflections on love which, in the last verse, are suddenly turned back against the ‘I’ of the poem.

Cease, gen’rous Cynthio, cease to mourn!

And let the proud Eliza’s Scorn

No more thy Anger move:

No more in soft Complaints declare,

The giddy injudicious Fair

Prefers a meaner Love.

 

The beauteous Cloe Damon loves;

But he Corinna more approves,

Though stock’d with much Ill-nature,

While she regardless of his Sighs,

As he from Cloe, from him flies

T’embrace another Creature.

 

Thus cruel Love maintains his Sway!

The Rich, the Mean, the Rude, the Gay,

Unequal he insnares:

In vain or Sense or Merit pleads,

In vain sincerest Truth persuades;

He laughs at all our Cares!

 

E’en I this mad Caprice have prov’d,

When gentle Youths admir’d and lov’d,

And did my Grace implore:

Ill-natured Cymon I receive,

Rough as the wild Hibernian Wave,

That beats our Cambrian Shore!

 

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Letter to Miss ****, In answer to hers of December 2, 1739.

In addition to the letter-poems, five of Brereton’s prose letters are included in Poems on Several Occasions. They are discussions with friends (all anonymized by the editor) about faith, philosophy and society. They show that Brereton’s Christian belief was carefully thought through. All the letters are vivid and direct: arguably her most striking work. Brereton generally moves between protesting her lack of wit and contradicting the opinion of some established authority: in this case William Law, for whose devotional works she expressed a great, but by no means uncritical, liking despite his Jacobite loyalties. Here she takes issue with his fictional character Miranda, a model of the frugal gentlewoman. The Downs, mentioned at the end of the letter, is an anchorage off Deal in Kent, at the junction of the North Sea and the English Channel.

I grant you, Madam, that Pride is an insinuating and predominant Passion; but that there is the least Appearance, or Symptom of it, in your Letter, is what I can by no means admit. Nothing can be more just than your Sentiments of that Passion; and nothing less so, than your Application of it to yourself. There is certainly a Pleasure in the giving, or receiving a just disinterested Approbation; but I cannot believe, that a Pleasure of this Nature is either a Cause or a Consequence of Pride: On the contrary, I apprehend it to be, the pure Joy, and Satisfaction, which a benevolent Mind receives from whatever is Praise-worthy.

It must be confess’d that Pride is a sort of a Proteus; it can vary its Form, to gratify its own Vanity, or to elude Discovery: It is sometimes imperceptible, where it bears the greatest Sway; and, on the other Hand, it is often suspected to be where it really is not. As, for Instance, in the Article of Dress: A fashionable Garb, put on in a genteel Manner, is, in the Opinion of some rigid People, an infallible Indication of Pride. But if, as some have thought, (and if my Memory deceives me not, Mr Ray says) the improving and beautifying the Earth, with Plantations, Gardens &c. ought to be considered as a religious Duty; why is it not laudable in the Chief of the Creation to adorn themselves with all the Elegance of Dress, suitable to their Age and Condition, and conformable to the Mode of the Country they live in?

Some Divines have taught, that the Consideration of the richest Garments being chiefly made of the Bowels of an ugly Worm, should humble the Wearer. -True;- But may not this be an Argument for wearing that, which affords an humbling Consideration?

Mr Law, in his character of Miranda (in his Call to a devout and holy Life) says, she dresses meanly, that she may be able to support indigent Families. There are Calamities and Circumstances, which ought to be particularly considered. But, in the general, is there not greater Charity in employing the Industrious, and, consequently, preventing them from being reduc’d to Poverty, than in relieving them when they are so? There may be, I am persuaded, as much Pride in the Contempt of Dress, as in too great a Fondness of it. Who doubts, but that Diogenes was prouder in his Tub than Plato on his Carpet? The Remark which that polite Philosopher made on seeing the Cynic up to the Chin in Water was certainly very just. – But where am I rambling! – I know not how far I might have expatiated on this Topic, which you threw in my Way; had not the shocking Thought of the Situation, the mad Cynic was in, joyn’d with the severe coldness of the Weather, set me a shuddering, tho’ by a good Fire, and, happily for you, put a stop to my Speculations.

I should be glad to know the Name of the Ship, which your Friend goes in, that I may rejoyce with you, tho’ at the Distance of two hundred Miles, when I read the News, that she is safely arriv’d in the Downs, with a rich Prize.

I have made a long Paper-Visit; but as I have not been able to say any thing entertaining, I think the most obliging Thing I can do, is to take my Leave: So shall only stay to assure you, that I am,

Dear Madam!

Jan. 18, 1740                                         Yours, &c.

J.B.

 

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An Account of the Life of Mrs BRERETON (excerpt).

We might think of Brereton today as a neglected poet, but at her death more than a hundred friends and supporters subscribed so that Poems on Several Occasions might be published by Edward Cave. In addition to the poems and letters, this includes an Advertisement, possibly written by Cave, and an account of Brereton’s life. The latter tends to dwell on Brereton’s virtues rather than her acts. But the following excerpt, about her relationship with her husband and the circumstances of his death, fills out Brereton’s hints, in verses and letters, at a difficult family life; and the anonymous author’s high-mindedness combines with the folly surrounding her husband’s death to give us an absurd tragedy. In this passage there is, in addition to Brereton’s husband, another Thomas Brereton, a relative and a member of Parliament for Liverpool; Mrs Hughes is Jane Brereton prior to her marriage.

When Major Brereton died, he left his Son a considerable Fortune in Money; but being too young, and in the Management of Guardians, and his Mother marrying Captain Brown, there was not the Care taken of his Education that ought to have been: Mr Brereton was so much a fine Gentleman that he soon ran out most of his Fortune. He went over for a short Time to Paris; and, at his Return, the Earl of Stair, then Ambassador there, was pleased to recommend him, in the strongest Manner, to the Duke of Marlborough, as the Son of his old Soldier Major Brereton, and his Grace seem’d determined to provide for him if his ill State of Health had not prevented it. Some time after this, Mrs Brereton was advised, by all who had any Regard for her, to separate from her Husband: But tho’ all the Reason in the World pleaded for it, yet she express’d great Reluctance at it, especially unless she could have her Children with her; and that being at last brought about, she left London about the Year 1721, and retired to her native Country Wales, where she led a solitary Life, seeing little Company, except some intimate Friends, Persons of great Merit; well knowing what a critical Case it is to behave without the Censure of the World, when separated from an Husband. Soon after this Mr Brereton had a Post given him by the late Earl of Sunderland, belonging to the Customs at Park-Gate, near Chester. This brought him down from London. That Nobleman had promised also to advance him on the first proper Vacancy; but he liv’d not to claim it; for on the [number missing] Day of February 1722, he was unfortunately drown’d in adventurously crossing the Water of Saltney, when the Tide was coming in. His Body was afterwards found, and decently interred in Shotwick Chapel belonging to Thomas Brereton Esq; one of the Representatives in Parliament for Liverpoole, his intimate Friend and Relation, and in whose Service he lost his Life; for this Gentleman being at that Time concern’d in an Election, with a very powerful Antagonist, Mr Brereton, out of his great Zeal for his Friend, wrote a sort of Libel against the Gentleman, and in it he gave himself such a Loose as to come within the Power of the Law; upon which Mr Brereton advised him to abscond to avoid Prosecution (tho’ he highly lik’d the Piece which was written by his Instigation,) and so, by making too much Haste to get beyond the Knowledge of his Persuers, rush’d into Eternity. He was an unhappy Proof of the Prejudice of an indulgent Education. He used to say himself, that he never in his Life remembered being contradicted. His Parts were naturally very good; but entirely neglected. He was very positive and passionate; but could upon Occasion command himself surprisingly; so that while he made his Addresses to Mrs Hughes, she took him for a person of a sweet calm Temper: And his first Fit of Passion, after their Marriage, was like a Thunder-clap to her; yet he would sometimes, in a handsome Manner, acknowledge his Fault, and seem so sensible, that any, who did not know him too well, would have imagined him secure against a Relapse. He was generous to a Fault; a very indulgent Father; used frequently to admire his Wife’s Oeconomy; and confess that his Fortune must have been spent long before it was, had it not been for her surprizing Management. He was remarkable for his skill in swimming, beyond most Men, on which he relied too much, at the Time of his Death; and he was entreated by people on the Shore, not to quit his Horse, which he would do, and so perished about the two and thirtieth Year of his Age. He frequently saw his Children, while he was in that Neighbourhood, and had that Satisfaction the very Night before he was lost. So sudden a Death was an inexpressible Grief to his Wife; she could hardly support herself under the Shock; she fell into violent Faintings, when a Clergyman of great Piety, and a Lady, her intimate Friend, acquainted her with the News, tho’ she was perfectly free from any Kind of Fits, till this unhappy Accident.

THE MINER’S WELFARE INSTITUTE, LLAY

Taking a wrong turn, as per usual,

out of Wrexham, I found myself driving

to Llay* up that gradual gradient,

looking for signposts to places I knew

to set me right but reached the colliery houses –

built in the ’20s with indoor toilet,

bath and the electric at nine pence a week –

on First Avenue, Second Avenue

and so forth to the Ninth as if the owner

could not be arsed to find proper, local  names.

Llay Main was the deepest pit in Britain.

The seams were worked out by ’66

so the village missed the Scargill/Thatcher show.

 

I saw the sign for Rossett and knew my way –

but then, on the brow of the rise, saw

the white neo-Edwardian Baroque

of the Miner’s Welfare Institute –

the large lettered name picked out in gold

like a movie palace or a music hall –

built with dues paid by each miner (hence

the apostrophe) for books and billiards,

cricket and pantomimes, talks and meetings.

 

I slowed, moved by its pristine survival:

a community venue for quizzes

and sports, for carnivals and weddings.

As I drove down towards Rossett, I could see

the distant refineries at Stanlow

on the far edge of the Cheshire Plain

and thought how we are close to forgetting

our history, of acting as if coal

leapt ready hewn from the earth or turned itself

into gas to make the world too warm.

 

Once, within a radius of fifteen miles

of Llay, among the hills, meadows, rivers,

woods, were two steel works and sixty pits.

It was lethal work in the stuffy dark

under the crushing heat of rock and earth,

uncared for and unregarded work.

 

In Gresford pit, fewer than two miles from Llay

two hundred and sixty six men and boys

were killed in one explosion – all but eleven

entombed in the abandoned galleries.

Among the thwarted rescuers were teams

of miners from Llay.  The words ‘whited

sepulchre’ come unbidden – hiding

exploitation, pain, loss.

 

 

*Llay rhymes with ‘die’ and ‘lie’.

 

 

 

INNER MARSH FARM HIDE, BURTON MERE WETLANDS

David Selzer By David Selzer1 Comment1 min read1.4K views

We have made the longish walk from the car park

on the decking through the marsh marigolds.

Before us is a teeming shallow lagoon.

Beyond are mixed woods, pastoral farmland

and a white house on the ridge of what was

the coast of the estuary before

the river silted and the marsh grew.

Behind the hide is a railway embankment –

the thrum of the odd diesel from Neston

to Wrexham and back baffled by the noise

of the cacophonous colony

of black headed gulls nesting on a islet.

Unaided we spotted those – and a shelduck

with its fancy red stripe and two shovellers

with their iridescent heads but are helped

with avocet, black tailed godwits and ruff.

 

We are the OCD species. Each member

of this ‘parlement of foules’ has at least

two names and a full biography

in many languages. How self-absorbed

they are! A solitary, silent coot

seems oblivious of the flock of gulls.

 

Here are serious folk with serious gear –

some of it camouflaged – who speak in subdued

encyclopaedic tones: strangers, kindly

in this companionable wooden hut –

which is a testament to human

vision, diligence and engineering –

unafraid to talk to strangers in this

always now fearful, riven land with its

taxonomies of hate.