A Reminiscence of Cricket

W.G. Grace, photographed in 1902

Not a lot of people know that Sir Arthur Conan Doyle, the creator of Sherlock Holmes, was a keen amateur cricketer who played ten first-class matches (for the MCC). He was an occasional bowler who only took one wicket in a first-class game, that of W.G. Grace, which was such a momentous event for him that he wrote this poem about it:

Once in my heyday of cricket,
One day I shall ever recall!
I captured that glorious wicket,
The greatest, the grandest of all.

Before me he stands like a vision,
Bearded and burly and brown,
A smile of good humoured derision
As he waits for the first to come down.

A statue from Thebes or from Knossos,
A Hercules shrouded in white,
Assyrian bull-like colossus,
He stands in his might.

With the beard of a Goth or a Vandal,
His bat hanging ready and free,
His great hairy hands on the handle,
And his menacing eyes upon me.

And I – I had tricks for the rabbits,
The feeble of mind or eye,
I could see all the duffer’s bad habits
And where his ruin might lie.

The capture of such might elate one,
But it seemed like one horrible jest
That I should serve tosh to the great one,
Who had broken the hearts of the best.

Well, here goes! Good Lord, what a rotter!
Such a sitter as never was dreamt;
It was clay in the hands of the potter,
But he tapped it with quiet contempt.

The second was better – a leetle;
It was low, but was nearly long-hop;
As the housemaid comes down on the beetle
So down came the bat with a chop.

He was sizing me up with some wonder,
My broken-kneed action and ways;
I could see the grim menace from under
The striped peak that shaded his gaze.

The third was a gift or it looked it-
A foot off the wicket or so;
His huge figure swooped as he hooked it,
His great body swung to the blow.

Still when my dreams are night-marish,
I picture that terrible smite,
It was meant for a neighboring parish,
Or any place out of sight.

But – yes, there’s a but to the story –
The blade swished a trifle too low;
Oh wonder, and vision of glory!
It was up like a shaft from a bow.

Up, up like a towering game bird,
Up, up to a speck in the blue,
And then coming down like the same bird,
Dead straight on the line that it flew.

Good Lord, it was mine! Such a soarer
Would call for a safe pair of hands;
None safer than Derbyshire Storer,
And there, face uplifted, he stands

Wicket keep Storer, the knowing,
Wary and steady of nerve,
Watching it falling and growing
Marking the pace and curve.

I stood with my two eyes fixed on it,
Paralysed, helpless, inert;
There was ‘plunk’ as the gloves shut upon it,
And he cuddled it up to his shirt.

Out – beyond question or wrangle!
Homeward he lurched to his lunch!
His bat was tucked up at an angle,
His great shoulders curved to a hunch.

Walking he rumbled and grumbled,
Scolding himself and not me;
One glove was off, and he fumbled,
Twisting the other hand free

Did I give Storer the credit
The thanks he so splendidly earned?
It was mere empty talk if I said it,
For Grace had already returned.

by Sir Arthur Conan Doyle (1859-1930).

 

 

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Sonnet No. 76

Why is my verse so barren of new pride,

So far from variation or quick change?

Why with the time do I not glance aside

To new-found methods, and to compounds strange?

Why write I still all one, ever the same,

And keep invention in a noted weed,

That every word doth almost tell my name,

Showing their birth, and where they did proceed?

O know, sweet love, I always write of you,

And you and love are still my argument,

So all my best is dressing old words new,

Spending again what is already spent:

   For as the sun is daily new and old,

   So is my love still telling what is told

 

by William Shakespeare (1564-1616)

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The Second Coming

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.

Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?

by William Butler Yeats (1865-1939): this poem was written in 1919.

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The Multiverse – Andrew Wynn Owen

The Multiverse is Andrew Wynn Owen‘s first book of poems. It was published last year by Carcanet Press, but I only found out about it a week or two ago, from a review in a recent edition of the Times Literary Supplement. I had £10 in book tokens left over from a crossword prize so decided to spend them on this exuberant and diverse collection (which cost £9.99).

There are two particularly interesting things about this book. One is its thematic range, which is centred on science and philosophy but spreads out very widely across many fields. It’s actually not unusual for poets to be interested in science, though perhaps it is rather rarer for scientists to be interested in poetry…

The other particularly interesting aspect of these poems is their stylistic range. All of them are written in very precise forms, including the various types of sonnet, each with a strict metre but differing radically in structure from one to the other. As you might expect there are clear echoes of poetry from other eras, including nods in the direction of the metaphysical poets such as George Herbert.

You might infer from what I’ve said that these poems are merely imitative of other works, but that’s not the case. Although they are often very witty, these poems are not just parodies. I think the poet’s intention was to demonstrate how much can still be said that’s relevant to the modern world using established forms. I think he succeeds brilliantly, and he shows such mastery of so many different styles that it’s hard to believe this is a debut collection.

The title The Multiverse plays both on the aspects I described above, the scientific and philosophical themes, and the plurality of verse forms contained in this collection. As a physicist, though I’m not a proponent of the ‘scientific’ Multiverse, I recommend the poetic version very highly!

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Patterns – by Amy Lowell

I walk down the garden paths,
And all the daffodils
Are blowing, and the bright blue squills.
I walk down the patterned garden-paths
In my stiff, brocaded gown.
With my powdered hair and jewelled fan,
I too am a rare
Pattern. As I wander down
The garden paths.

My dress is richly figured,
And the train
Makes a pink and silver stain
On the gravel, and the thrift
Of the borders.
Just a plate of current fashion,
Tripping by in high-heeled, ribboned shoes.
Not a softness anywhere about me,
Only whalebone and brocade.
And I sink on a seat in the shade
Of a lime tree.For my passion
Wars against the stiff brocade.
The daffodils and squills
Flutter in the breeze
As they please.
And I weep;
For the lime-tree is in blossom
And one small flower has dropped upon my bosom.

And the plashing of waterdrops
In the marble fountain
Comes down the garden-paths.
The dripping never stops.
Underneath my stiffened gown
Is the softness of a woman bathing in a marble basin,
A basin in the midst of hedges grown
So thick, she cannot see her lover hiding,
But she guesses he is near,
And the sliding of the water
Seems the stroking of a dear
Hand upon her.
What is Summer in a fine brocaded gown!
I should like to see it lying in a heap upon the ground.
All the pink and silver crumpled up on the ground.

I would be the pink and silver as I ran along the paths,
And he would stumble after,
Bewildered by my laughter.
I should see the sun flashing from his sword-hilt and the buckles
on his shoes.
I would choose
To lead him in a maze along the patterned paths,
A bright and laughing maze for my heavy-booted lover,
Till he caught me in the shade,
And the buttons of his waistcoat bruised my body as he clasped me,
Aching, melting, unafraid.
With the shadows of the leaves and the sundrops,
And the plopping of the waterdrops,
All about us in the open afternoon —
I am very like to swoon
With the weight of this brocade,
For the sun sifts through the shade.

Underneath the fallen blossom
In my bosom,
Is a letter I have hid.
It was brought to me this morning by a rider from the Duke.
“Madam, we regret to inform you that Lord Hartwell
Died in action Thursday se’nnight.”
As I read it in the white, morning sunlight,
The letters squirmed like snakes.
“Any answer, Madam,” said my footman.
“No,” I told him.
“See that the messenger takes some refreshment.
No, no answer.”
And I walked into the garden,
Up and down the patterned paths,
In my stiff, correct brocade.
The blue and yellow flowers stood up proudly in the sun,
Each one.
I stood upright too,
Held rigid to the pattern
By the stiffness of my gown.
Up and down I walked,
Up and down.

In a month he would have been my husband.
In a month, here, underneath this lime,
We would have broke the pattern;
He for me, and I for him,
He as Colonel, I as Lady,
On this shady seat.
He had a whim
That sunlight carried blessing.
And I answered, “It shall be as you have said.”
Now he is dead.

In Summer and in Winter I shall walk
Up and down
The patterned garden-paths
In my stiff, brocaded gown.
The squills and daffodils
Will give place to pillared roses, and to asters, and to snow.
I shall go
Up and down,
In my gown.
Gorgeously arrayed,
Boned and stayed.
And the softness of my body will be guarded from embrace
By each button, hook, and lace.
For the man who should loose me is dead,
Fighting with the Duke in Flanders,
In a pattern called a war.
Christ! What are patterns for?

by Amy Lowell (1874-1925)

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The Most Ancient Heavens

So here I am, in that London, getting ready for the start of a two-day conference at the Royal Astronomical Society on cosmology, large-scale structure, and weak gravitational lensing, to celebrate the work of Professor Alan Heavens, on (or near) the occasion of his 60th birthday. Yes, it is a great name for an astronomer.

I was honoured to be invited to give a talk at this meeting, though my immediate reaction when I was told about was `But he can’t be sixty! He’s only a few years older than me…oh.’ I gather I’m supposed to say something funny after the conference dinner tomorrow night too.

Courtesy of alphabetical order it looks like I’m top of the bill!

Anyway, I’ve known Alan since I was a research student, i.e. over thirty years, and we’re co-authors on 13 papers (all of them since 2011). I’m looking forward to the HeavensFest not only for the scientific programme (which looks excellent) but also for the purpose of celebrating an old friend and colleague.

Just to clear up a couple of artistic points.

First, the title of the meeting, The Most Ancient Heavens, is taken from Ode to Duty by William Wordsworth.

Second, the image on the conference programme shown above is a pastiche of The Creation of Alan Adam which is part of the ceiling of the Sistine Chapel painted by Michelangelo di Lodovico Buonarroti Simoni, known to his friends as Michelangelo. Apparently he worked flat out painting this enormous fresco. It was agony but the ecstasy kept him going. I’ve often wondered (a) who did the floor of the Sistine Chapel and (b) how could Michelangelo create such great art when it was so clearly extremely cold? Anyway, I think that is a picture of Alan at high redshift on the far right, next to the man with beard who at least had the good sense to wear a nightie to spare his embarrassment.

Anyway, that’s all for now. I must be going. Time for a stroll down to Piccadilly.

Update: you can find a bunch of pictures of this conference here.

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They – by R.S. Thomas

The new explorers don’t go
anywhere and what they discover
we can’t see. But they change our lives.

They interpret absence
as presence, measuring it by the movement
of its neighbours. Their world is

an immense place: deep down is as distant
as far out, but is arrived at
in no time. These are the new

linguists, exchanging acrosss closed
borders the currency of their symbols.
Have I been too long on my knees

worrying over the obscurity
of a message? These have their way, too,
other than a prayer of breaking that abstruse code.

by R.S. Thomas (1913-2000)

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