Writing in the manner of TSE's Ariel Poems

Sometimes, at the edge of feeling, there is fear -
Sometimes a turbulence appears
And there is madness,
Madness manifested in monstrous and fearful ways
 - Swansea Dec 1973

At the Verge

Sometimes, at the edge of feeling, there is fear—
Not the child's fright at darkened halls,
Nor the candle's twitch at unseen breath—
But the quiet fear that wakes at four,
Where silence hangs like wet linen in alleys of the soul.

The hour is neither dream nor waking,
But the bell between two bells—
A waiting, a weight, a windless turning
Where no angel guards the lintel.

Sometimes a turbulence appears—
Not of the sky, nor sea, nor the city’s restless thrum,
But beneath the ribcage:
A ripple, a grinding, a storm that will not pass—
Madness.

Madness not in flame or thunder,
But in the order of things unhinged—
The tea poured into a shoe,
The child answering the empty chair,
The mother forgetting her child’s name
As if it were never spoken.

And so madness manifested in monstrous and fearful ways:
The eyes that gleam too bright in crowds,
The voice too calm in confession,
The laugh that echoes where laughter does not belong.

Sometimes the world turns inside out—
And we, gentle bearers of reason,
Are no more than cracked vases on the altar,
Spilling the dust of meaning into the wind.

Yet still, the bird sings at the chimney pot,
The clock ticks its futile benediction,
And the bread rises.

So we go, between verse and void,
With pocket-watches and whispered prayers,
Hoping the threshold holds.

DB June 2025

This poem was produced using AI, feeding Co-Pilot with the seed lines from an old poem of mine, and a request to deliver something in the style of TSE.

Here is the original poem, with a critique and illustration by Gemini AI (Click/Tap to view)

A Poem in the Manner of EP

 

The ages fade daily from memory,
but an instant calls to mind,

times thought lost through dull decay.

-- Tours: Nov 1971

Palimpsest

An ink-smudge on papyrus—
ghost-hand of Charax in the margin,
"νοῦς ἀνθρώπου—" and the reed bends.

Clamour of looms in Nineveh,
threads humming patterns
no eye remains to read.

Rust eats the bronze mirror
at the base of the Acropolis;
I see my face in it,
fractured—
half Helen, half the boy from Tyre
whose sandals wore a path to the salt market.

A gull cries.
Concrete breaks its own silence.

Words come in fragments:
"– et in Arcadia…"
"—ye towers of Ilium…"
They lie like bone shards
in the posthole of a vanished hut.

No elegy is whole.

Yet, in a metro tunnel,
fluorescent and wet with transit hum,
I glimpse her—
an eyelash curve,
a gesture from an older grammar.

Time uncoils.
Memory is not kind,
but sudden.

- Oxon: May 2025

Footnotes

1. νοῦς ἀνθρώπου (nous anthrōpou) — Greek for "the mind of man." This phrase reflects classical philosophical thought, especially in Plato and Aristotle, where nous denotes the highest faculty of intellect or reason. The attribution to “Charax” may allude to Charax of Pergamon, a semi-legendary chronicler, here imagined as a marginal commentator in an ancient manuscript. The smudged ink emphasizes textual decay and the ghostliness of ancient knowledge.

2. Nineveh — The capital of the Neo-Assyrian Empire, famed for its architecture, gardens, and textile production. The "clamour of looms" references the lost industry and domestic life of ancient cities, preserved now only through archaeology and legend.

3. Bronze mirror / Acropolis — Mirrors in classical antiquity were often made from polished bronze. The Acropolis, Athens’s ancient citadel, becomes a stage for cultural erosion, the bronze mirror symbolizing faded self-knowledge and the inevitable corrosion of civilization's reflective capacities.

4. Helen / boy from Tyre — Helen of Troy embodies mythic beauty and destructive desire. The "boy from Tyre" may allude to mythological figures such as Cadmus or Europa's brother, or symbolically to young Phoenician traders, invoking early Mediterranean commerce and cultural diaspora. The juxtaposition suggests fragmented identity across time and myth.

5. Concrete breaks its own silence — A motif where inanimate materials gain agency. Concrete, emblem of modern civilization, is personified as it fractures—both literally and metaphorically—under the weight of history and memory.

6. "Et in Arcadia…" — Latin: "Even in Arcadia, there am I," traditionally interpreted as death’s reminder of its presence even in idealized realms. Associated with Poussin’s paintings and Baroque vanitas themes.

7. "Ye towers of Ilium…" — A line echoing Christopher Marlowe’s Doctor Faustus, referencing the mythical city of Troy (Ilium). Symbolizes fallen civilizations, often used in literature as shorthand for the tragic arc of empire.

8. Bone shards / posthole of a vanished hut — An archaeological metaphor: postholes are traces left by decayed wooden structures; bone shards suggest fragmentary remains of life and culture. This image mirrors a preoccupation with cultural excavation and lost origins.

9. Metro tunnel / gesture from an older grammar — An allusion to Ezra Pound’s "In a Station of the Metro" ("The apparition of these faces in the crowd..."). The “older grammar” evokes pre-verbal or ancient systems of expression—bodily, symbolic, or mythic—still surfacing in the modern world.

10. Time uncoils / Memory is not kind, but sudden — A nod to involuntary memory (e.g., Proustian recall), where memory erupts unexpectedly. “Time uncoils” may also suggest a serpent or scroll—symbols of both danger and revelation.

This poem and the notes were produced using AI, feeding Co-Pilot with the seed lines from an old poem of mine, and a request to deliver something in the style of Ezra Pound

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The Village of Pusey

 

From the "Life of Edward Bouverie Pusey"

"Pusey and its estate had considerable effect upon the young Edward Bouverie-Pusey. Geoffrey Faber in his Oxford Apostles wrote of the Georgian house ''. . . standing where manor house had followed manor-house for a thousand years, looking over water and trees and the miles of Pusey land to the unchanging outline of the downs, house and church and tiny village keeping company together as they had done for centuries - all this spoke to the boy of a permanent, immutable yet gracious and living order, the soul of which was the living mystery of a religion once and for ever revealed. Pusey today, perhaps even more, exudes this feeling''. 

See also in the : Life of Edward Bouverie Pusey by Henry Parry Liddon, http://anglicanhistory.org/pusey/liddon/1.1.html

"There was not much society at Pusey...... Of this limited society, however, the children naturally saw little in their early years: they made their first acquaintance with the world when they went to school".

All Saints Church, Pusey

Pusey Gardens 

Pusey Estate: View Towards the Downs

Home Farm House, Pusey. Betterton Family Lived Here 1956-1970

"We shall not cease from exploration

And the end of all our exploring

Will be to arrive where we started

And know the place for the first time."

                     T.S.Eliot - Little Gidding