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Alfred Edward Housman
200px
A.E. Housman photographed by E.O. Hoppe.
Born 26 March 1859 (1859-03-26)
Bromsgrove, Worcestershire
Died 30 April 1936 (1936-05-01) (aged 77)
Cambridge
Pen name A.E. Housman
Nationality British
Alma mater St John's College, Oxford
Genres Lyric Poetry

Alfred Edward Housman (pronounced /ˈhaʊsmən/; 26 March 1859 – 30 April 1936), usually known as A. E. Housman, was an English classical scholar and poet, best known for his cycle of poems A Shropshire Lad. Lyrical and almost epigrammatic in form, the poems were mostly written before 1900. Their wistful evocation of doomed youth in the English countryside, in spare language and distinctive imagery, appealed strongly to late Victorian and Edwardian taste, and to many early twentieth century English composers (beginning with Arthur Somervell) both before and after the First World War. Through its song-setting the poetry became closely associated with that era, and with Shropshire itself.

Housman was counted one of the foremost classicists of his age, and has been ranked as one of the greatest scholars of all time.[1] He established his reputation publishing as a private scholar and, on the strength and quality of his work, was appointed Professor of Latin at University College London and later, at Cambridge. His editions of Juvenal, Manilius and Lucan are still considered authoritative.

Contents

Life

Housman was born in Fockbury, a hamlet on the outskirts of Bromsgrove in Worcestershire, the eldest of seven children of a country solicitor. His mother died on his twelfth birthday, and subsequently her place was taken by his stepmother Lucy, an elder cousin of his father's whom he later married in 1873. His brother Laurence Housman and sister Clemence Housman also became writers.

Housman was educated first at King Edward's School, Birmingham, then Bromsgrove School, where he acquired a strong academic grounding and won prizes for his poetry. In 1877 he won an open scholarship to St John's College, Oxford, where he studied classics. Although by nature rather withdrawn, Housman formed strong friendships with two roommates, Moses Jackson and A. W. Pollard. Jackson became the great love of Housman's life, though the latter's feelings were not reciprocated, as Jackson was heterosexual.[2] Housman obtained a first class in classical Moderations in 1879, but his immersion in textual analysis, particularly with Propertius, led him to neglect ancient history and philosophy, which formed part of the Greats curriculum, and thus he failed to obtain even a pass degree. Though some explain Housman's unexpected failure in his final exams as due to Jackson's rejection,[3] most biographers adduce a variety of reasons, indifference to philosophy, overconfidence in his praeternatural gifts, a contempt for inexact learning, and enjoyment of idling away his time with Jackson, conjoined with news of his father's desperate illness as the more immediate and germane causes.[4][5][6] The failure left him with a deep sense of humiliation, and a determination to vindicate his genius.

After Oxford, Jackson got a job as a clerk in the Patent Office in London and arranged a job there for Housman as well. They shared a flat with Jackson's brother Adalbert until 1885 when Housman moved to lodgings of his own. Moses Jackson moved to India in 1887. When Jackson returned briefly to England in 1889 to marry, Housman not only was not invited to the wedding but knew nothing about it until the couple had left the country. Adalbert Jackson died in 1892. Housman continued pursuing classical studies independently and published scholarly articles on such authors as Horace, Propertius, Ovid, Aeschylus, Euripides and Sophocles. He gradually acquired such a high reputation that in 1892 he was offered the professorship of Latin at University College London, which he accepted. Many years later, the UCL Academic Staff Common Room was dedicated to his memory as the Housman Room.

Housman's grave at St. Laurence's Church in Ludlow. Note the cherry tree planted in his memory (see A Shropshire Lad, II).

Although Housman's early work and his sphere of responsibilities as professor included both Latin and Greek, he began to focus his energy on Latin poetry. When asked later why he had stopped writing about Greek poetry, he responded, "I found that I could not attain to excellence in both."[7] In 1911 he took the Kennedy Professorship of Latin at Trinity College, Cambridge, where he remained for the rest of his life. During 1903–1930, he published his critical edition of Manilius's Astronomicon in five volumes. He also edited works of Juvenal (1905) and Lucan (1926). Many colleagues were unnerved by his scathing critical attacks on those whom he found guilty of shoddy scholarship. His younger colleague A. S. F. Gow quotes examples of these attacks, noting that they "were often savage in the extreme."[8] Gow also relates how Housman intimidated his students, sometimes reducing them to tears. According to Gow, Housman could never remember his students' names, maintaining that "had he burdened his memory by the distinction between Miss Jones and Miss Robinson, he might have forgotten that between the second and fourth declension."[9] However, quite contrary to his usual outward appearance, he allowed himself several hedonistic pleasures: he enjoyed gastronomy and flying in airplanes and frequently visited France,[10] where he read "books which were banned in Britain as pornographic".[11] A fellow don described him as being "descended from a long line of maiden aunts".[12]

Housman found his true vocation in classical studies and treated poetry as a secondary activity. He never spoke about his poetry in public until 1933 when he gave a lecture, The Name and Nature of Poetry, in which he argued that poetry should appeal to emotions rather than to the intellect. He died three years later, aged 77, in Cambridge. His ashes are buried near St Laurence's Church, Ludlow, Shropshire.[13]

Poetry

A Shropshire Lad

During his years in London, A E Housman completed his cycle of 63 poems, A Shropshire Lad. After several publishers had turned it down, he published it at his own expense in 1896. The volume surprised both his colleagues and students. At first selling slowly, it rapidly became a lasting success, and its appeal to English musicians (see below) had helped to make it widely known before World War I, when its themes struck a powerful chord with English readers. A Shropshire Lad has been in print continuously since May 1896.[12]

The poems are pervaded by deep pessimism and preoccupation with death, without religious consolation. Housman wrote most of them while living in Highgate, London, before ever visiting that part of Shropshire (about thirty miles from his home), which he presented in an idealised pastoral light, as his 'land of lost content'.[14] Housman himself acknowledged the influence of the songs of William Shakespeare, the Scottish Border Ballads and Heinrich Heine, but specifically denied any influence of Greek and Latin classics in his poetry.[citation needed]

Later collections

In the early 1920s, when Moses Jackson was dying in Canada, Housman wanted to assemble his best unpublished poems so that Jackson could read them before his death. These later poems, mostly written before 1910, show a greater variety of subject and form than those in A Shropshire Lad but lack the consistency of his previously published work. He published them as Last Poems (1922) because he felt his inspiration was exhausted and that he should not publish more in his lifetime. This proved true.

After his death Housman's brother, Laurence, published further poems which appeared in More Poems (1936) and Collected Poems (1939). Housman also wrote a parodic Fragment of a Greek Tragedy, in English, and humorous poems published posthumously under the title Unkind to Unicorns.

John Sparrow[15] found statements in a letter written late in Housman's life which describe how his poems came into existence:

Poetry was for him ...'a morbid secretion', as the pearl is for the oyster. The desire, or the need, did not come upon him often, and it came usually when he was feeling ill or depressed; then whole lines and stanzas would present themselves to him without any effort, or any consciousness of composition on his part. Sometimes they wanted a little alteration, sometimes none; sometimes the lines needed in order to make a complete poem would come later, spontaneously or with 'a little coaxing'; sometimes he had to sit down and finish the poem with his head. That .... was a long and laborious process ...

Sparrow himself adds, "How difficult it is to achieve a satisfactory analysis may be judged by considering the last poem in A Shropshire Lad. Of its four stanzas, Housman tells us that two were 'given' him ready made; one was coaxed forth from his subconsciousness an hour or two later; the remaining one took months of conscious composition. No one can tell for certain which was which."

De Amicitia (about friendship)

In 1942 Laurence Housman also deposited an essay entitled "A. E. Housman's 'De Amicitia'" in the British Library, with the proviso that it was not to be published for 25 years. The essay discussed A. E. Housman's homosexuality and his love for Jackson.[16] Despite the conservative nature of the times, Housman, as distinct from the prudence of his public life, was quite open in his poetry, and especially his A Shropshire Lad, about his deeper sympathies. Poem 30 of that sequence, for instance, speaks of how 'Fear contended with desire':

Others, I am not the first
have willed more mischief than they durst

In More Poems, he buries his love for Moses Jackson in the very act of commemorating it, as his feelings of love break his friendship, and must be carried silently to the grave:[17]

Because I liked you better
Than suits a man to say
It irked you, and I promised
To throw the thought away.
To put the world between us
We parted, stiff and dry;
Goodbye, said you, forget me.
I will, no fear, said I
If here, where clover whitens
The dead man's knoll, you pass,
And no tall flower to meet you
Starts in the trefoiled grass,
Halt by the headstone naming
The heart no longer stirred,
And say the lad that loved you
Was one that kept his word.[18]

His poem, "Oh who is that young sinner with the handcuffs on his wrists?", written after the trial of Oscar Wilde, addressed more general social injustice towards homosexuality.[19] In the poem the prisoner is suffering "for the colour of his hair", a natural, given attribute which, in a clearly coded reference to homosexuality, is reviled as "nameless and abominable" (recalling the legal phrase peccatum horribile, inter christianos non nominandum, "the horrible sin, not to be named amongst Christians").

Housman in other art forms

Music and art song

Housman's poetry, especially A Shropshire Lad, provided texts for a significant number of British - and in particular English - composers in the first half of the 20th century. The national, pastoral and traditional elements of his style resonated with similar trends in English music. The first was probably the cycle A Shropshire Lad set by Arthur Somervell in 1904, who had begun to develop the concept of the English song-cycle in his version of Tennyson's Maud a little previously. Ralph Vaughan Williams produced his most famous settings of six songs, the cycle On Wenlock Edge, for string quartet, tenor and piano (dedicated to Gervase Elwes) in 1909,[20] and it became very popular after Elwes recorded it with the London String Quartet and Frederick B. Kiddle in 1917. Between 1909 and 1911 George Butterworth produced settings in two collections or cycles, as Six Songs from A Shropshire Lad, and Bredon Hill and other songs. He also wrote an orchestral tone poem on A Shropshire Lad (first performed at Leeds Festival under Arthur Nikisch in 1912).[21]

Butterworth's death on the Somme in 1916 was considered a great loss to English music; Ivor Gurney, another most important setter of Housman (Ludlow and Teme, a work for voice and string quartet, and a song-cycle on Housman works, both of which won the Carnegie Award[22]) experienced emotional breakdowns which were popularly (but wrongly) believed to have arisen from shell-shock. Hence the fatalistic strain of the poems, and the earlier settings, foreshadowed responses to the universal bereavement of the First World War and became assimilated into them. This was reinforced when their foremost interpreter and performer, Gervase Elwes (who had initiated the music festivals at Brigg in Lincolnshire at which Percy Grainger and others had developed their collections of country music[23]) died in a horrific accident in 1921. Elwes had been closely identified with English wartime morale, having given six benefit performances of The Dream of Gerontius on consecutive nights in 1916, and many concerts in France in 1917 for British soldiers.[24]

Among other composers who set Housman songs were John Ireland (song cycle, Land of Lost Content), Michael Head (e.g. 'Ludlow Fair'), Graham Peel (a famous version of 'In Summertime on Bredon'), Ian Venables (Songs of Eternity and Sorrow), and the American Samuel Barber (e.g. 'With rue my heart is laden'). Gerald Finzi repeatedly began settings, though never finished any. Even composers not directly associated with the 'pastoral' tradition, such as Arnold Bax, Lennox Berkeley and Arthur Bliss, were attracted to Housman's poetry. A 1976 catalogue listed 400 musical settings of Housman's poems.[25] Housman's poetry influenced British music in a way comparable to that of Walt Whitman in the music of Delius, Vaughan Williams and others: Housman's works provided song texts, Whitman's the texts for larger choral works.

The impact in music of Housman's poetry has not been limited in time, place or style. The contemporary New Zealand composer David Downes includes a setting of "March" on his CD The Rusted Wheel of Things.

Singer/songwriters (such as Warwick Lobban who melodifies Housman's XIV 'The farms of home lie lost in even..') have also drawn much from the great poet's work.

Literature

References to and quotations from Housman are frequent in English language literature.

  • Housman is the main character in the 1997 Tom Stoppard play The Invention of Love.
  • A Shropshire Lad is mentioned in E.M. Forster's A Room with a View: one of the characters, Reverend Beebe, picks up the book from a stack whilst visiting the Emerson home, and remarks, "Never heard of it", perhaps lamenting the son's "unconventional" - if not sacrilegious - literary taste.
  • There is a reference to Housman in Ian McEwan's novel Atonement, when Robbie, an English literature graduate from Cambridge, glances at his copy of Poems and A Shropshire Lad.
  • Housman's poetry ("There's this to say for life and breath, it gives a man a taste for death") supplies the title and is quoted in Peter O'Donnell's 1969 Modesty Blaise thriller, A Taste for Death.
  • The same phrase is used by P.D. James in her 1986 crime novel, A Taste for Death, the seventh in her Adam Dalgliesh series.
  • The last words of the poem "On Wenlock Edge" is used by Audrey R. Langer for the title of the 1989 Ashes Under Uricon.
  • The Nobel Prize winning novelist Patrick White named his 1955 novel "The Tree Of Man" after a line in A Shropshire Lad.
  • Housman's poem "From far, from eve and morning" (Shropshire Lad XXXII) is included and heavily referenced in Roger Zelazny's short story "For a breath I tarry" in The Last Defender of Camelot collection.
  • Housman is mentioned and quoted several times by Diana Gabaldon in her popular historical fiction series, starting with Outlander.
  • In The Secret History by Donna Tartt, "With Rue My Heart Is Laden" is recited by Henry during the burial ceremony of Bunny.
  • In Drover's Road by New Zealand writer Joyce West, "With Rue my Heart is Laden" is quoted by the narrator, Gay.
  • In Chinua Achebe's novel No Longer At Ease the main character Obi frequently refers to Housman's poetry, particularly "Easter Hymn".
  • In John Dos Passos' novel Three Soldiers, A Shropshire Lad is quoted by the educated Andrews in part four, chapter one, "mocking" Andrews as it jingles through his head.
  • Patrick O'Brian has a minor character quote from one of Housman's poems (Poem AP IX "When the bells justle in the tower") in his novel The Thirteen Gun Salute.[26]
  • On the first chapter of Alan Watts´s Tao of Philosophy (1995), The Myth and I, he quotes one of Housman's poems.
  • There are several references to Housman in Alan Bennett's The History Boys. One character quotes A Shropshire Lad: "The loveliest of trees, the cherry now...."; Hector also laments, "the tree of man was never quiet, then 'twas the Roman, now 'tis I", from the poem "On Wenlock Edge".
  • Denise McCluggage, a noted automotive journalist and pioneer sports car racer in the 1950s and 1960s, used a line from A Shropshire Lad ("With Rue My Heart Is Laden . . .") as the title for a collection of her columns ("By Brooks Too Broad for Leaping")
  • In Wallace Stegner's novel "Crossing to Safety" (1987), Sid reads "Easter Hymn" at a dinner party, and poses the question "Does it satisfy you? Is it good Housman?" Sid eventually remarks "You know what I think? I think (he) printed the stanzas in the wrong order. Wouldn't it be more Housman if they were reversed? If it ended 'Sleep well and see no morning, son of man'?"
  • The title of Arthur C. Clarke's first novel, Against the Fall of Night, is quoted from More Poems. Clarke also begins Part V of the book "3001: The Final Odyssey" (the concluding book in the series begun with "2001: A Space Odyssey") with a quote- its location and name unspecified- from "More Poems": "The toil of all that be / Heals not the primal fault; / It rains into the sea, / And still the sea is salt."
  • The comic book series Howard the Duck has the tagline: "Trapped in a world he never made" which is reference to Housman's line "I, a stranger and afraid In a world I never made" from "The Laws of God, The Laws of Man" in his "Last Poems"
  • In the novel Spin by Robert Charles Wilson, the main character describes humanity's insignificance in a larger universe by repeatedly quoting Housman's poem: "The grizzly bear is huge and wild / he has devoured the infant child./ The infant child is not aware / he has been eaten by the bear." Spin won the Hugo Award for Best Novel in 2006.
  • The 2009 novel Blood's a Rover by James Ellroy takes its title from Housman's poem 'Reveille'.[27]

Visual art

A wall hanging of A Shropshire Lad was created and now hangs prominently in the St Laurence Church, Ludlow, England. A plaque honouring the poet is also installed on the church grounds.

Film and television

Nicolas Roeg's 1971 film Walkabout concludes with lines from A Shropshire Lad, spoken by a narrator.

John Irvin's (1981) film The Dogs of War ends with Epitaph for an Army of Mercenaries being sung over the end titles.

Meryl Streep, portraying Karen Blixen, quotes "To an Athlete Dying Young" at the gravesite of Denys Finch Hatton in Out of Africa (1985). Toward the end of the film, she accepts a drink from the exclusive all men's club in Nairobi, and toasts "rose-lipped maidens, lightfoot lads" -- an allusion to Housman's "With Rue My Heart Is Laden".

A line from Housman's poem XVI "How Clear, How Lovely Bright", was used for the title of the last book The Remorseful Day from the Inspector Morse series by Colin Dexter, and the subsequent episode of the television series. Morse also quotes the last stanza of the poem 27 minutes into the episode.

Blue Remembered Hills, a television play by Dennis Potter, takes its title from "Into My Heart an Air That Kills" from A Shropshire Lad[28] and features Potter reading part of the poem.

A fragment of his poem is quoted in The History Boys by Hector.

The James Bond film Die Another Day takes its title from Housman's line (from A Shropshire Lad ) "But since the man that runs away / Lives to die another day".[citation needed] This was an attempt by the filmmakers, running out of literary titles, to emulate Ian Fleming's style – he took the title From a View to a Kill from the 18th-century poem / song D'ye Ken John Peel

In Episode 193, Season 9 of The Simpsons, "The Last Temptation of Krust", Krusty calls a press conference to announce his retirement, and quotes from "To an Athlete Dying Young".

The 2002 sci fi miniseries "Firestarter 2: Rekindled" (based on a Stephen King novel), the villain Rainbird recites the second and third stanzas of "Others, I'm not the first" as the protagonist, Charlie, destroys a town with her pyrokinetic abilities. The lines "Ice and Fire, fear contended with desire" are used by Rainbird to describe the relationship between Charlie and himself.

In Episode 11, Season 02 of the sci fi television program "Terminator: the Sarah Connor Chronicles", cancer-survivor/graduate student/librarian Eric has a conversation with cyborg Cameron in which he muses about what it would be like to freeze time and retain the peak of youth, followed by the line "Don't let me get all A.E. Houseman on you."

Works

Poetry

  • A Shropshire Lad (1896)
  • Last Poems (1922)
  • More Poems (1936)
  • Collected Poems (1939); the poems included in this volume but not the three above are known as Additional Poems. The Penguin Edition of 1956 includes an Introduction by John Sparrow.
  • Manuscript Poems: Eight Hundred Lines of Hitherto Un-collected Verse from the Author's Notebooks, ed. Tom Burns Haber (1955)
  • Is My Team Plowing"
  • Unkind to Unicorns: Selected Comic Verse, ed. J. Roy Birch (1995; 2nd ed. 1999)
  • The Poems of A. E. Housman, ed. Archie Burnett (1997)

Classical scholarship

  • M. Manilii Astronomica (1903-1930; 2nd ed. 1937; 5 vols.)
  • D. Iunii Iuuenalis Saturae: editorum in usum edidit (1905; 2nd ed. 1931)
  • M. Annaei Lucani, Belli Ciuilis, Libri Decem: editorum in usum edidit (1926; 2nd ed. 1927)
  • The Classical Papers of A. E. Housman, ed. J. Diggle and F. R. D. Goodyear (1972; 3 vols.)
  • William White, "Housman's Latin Inscriptions", CJ (1955) 159 - 166, reports also a Latin elegiac poem, dedicating Manilius to M. J. Jackson, a Latin address to the University of Sydney signed by "The President of University College, London", and "Hendecasyllables", a translation of John Dryden's "King Arthur", printed in the Bromsgrovian (1882) over the signature "A. E. H." White's article includes the text of eight Latin inscriptions written by Housman for various memorial brasses.

Published lectures

These lectures are listed by date of delivery, with date of first publication given separately if different.

  • Introductory Lecture (1892)
  • "Swinburne" (1910; published 1969)
  • Cambridge Inaugural Lecture (1911; published 1969 as "The Confines of Criticism")
  • "The Application of Thought to Textual Criticism" (1921; published 1922)
  • "The Name and Nature of Poetry" (1933)

Letters

  • The Letters of A.E. Housman, ed. Henry Maas (1971)
  • The Letters of A.E. Housman, ed. Archie Burnett (2007)

Other information

The University of Worcester has acknowledged Housman's local connection by naming a new building after him.

Footnotes

  1. ^ 'a man who turned out to be not only the great English classical scholar of his time but also one of the few real and great scholars anywhere at any time'. Charles Oscar Brink, English Classical Scholarship: Historical reflections on Bentley, Porson and Housman, James Clarke & Co, Oxford, Oxford University Press, New York, 1986 p.149
  2. ^ Summers 1995, p.371; Page 2004.
  3. ^ Cunningham 2000, p.981.
  4. ^ Norman Page, Macmillan, London 1983 pp.A.E. Housman: A Critical Biographypp.43-46
  5. ^ Richard Perceval Graves, A.E. Housman: The Scholar-Poet Charles Scribners, New York, 1979 pp.52-55
  6. ^ Charles Oscar Brink, English Classical Scholarship, ibid.pp.152f.
  7. ^ Gow, p. 15
  8. ^ Gow, p. 24
  9. ^ Gow, p. 18
  10. ^ Page 2004.
  11. ^ Graves 1979, 155.
  12. ^ a b Critchley 1988.
  13. ^ [1]
  14. ^ A.E.Housman, A Shropshire Lad, XL
  15. ^ Collected Poems (Penguin, Harmondsworth 1956), preface by John Sparrow.
  16. ^ Summers ed. 1995, 371.
  17. ^ Summers ed. 1995,372.
  18. ^ A.E.Housman, More Poems, Jonathan Cape, London 1936 p.48
  19. ^ Housman 1937, 213.
  20. ^ W. and R. Elwes, Gervase Elwes - The Story of his Life (Grayson and Grayson, London 1935), 195-97.
  21. ^ A. Eaglefield-Hull, A Dictionary of Modern Music and Musicians (Dent, London 1924), 73.
  22. ^ Eaglefield-Hull 1924, 205.
  23. ^ W. and R. Elwes 1935, 156-166.
  24. ^ W. & R. Elwes 1935, 244-55.
  25. ^ Palmer and Banfield 2001.
  26. ^ Bells in the Tower
  27. ^ Poets' Corner - A.E. Housman - A Shropshire Lad
  28. ^ http://www.bartleby.com/123/40.html

References

  • Brink, C.O. http://www.lutterworth.com/jamesclarke/jc/titles/engclass.htm, English Classical Scholarship: Historical Reflections on Bentley, Porson and Housman, James Clarke & Co (2009), ISBN 9780227172995.
  • Critchley, Julian, 'Homage to a lonely lad', Weekend Telegraph (UK), 23 April 1988.
  • Cunningham, Valentine ed., The Victorians: An Anthology of Poetry and Poetics (Oxford: Blackwell, 2000)
  • C. Efrati, The road of danger, guilt, and shame: the lonely way of A.E. Housman(Associated University Presse, 2002) ISBN 0838639062
  • Philip Gardner ed., A. E. Housman: The Critical Heritage, a collection of reviews and essays on Housman’s poetry (London: Routledge 1992)
  • Gow, A. S. F., A. E. Housman: A Sketch Together with a List of his Writings and Indexes to his Classical Papers (Cambridge 1936)
  • Graves, Richard Perceval, A. E. Housman: The Scholar-Poet (Oxford: Oxford University Press, 1979), p. 155
  • Holden, A. W. and J. R. Birch, A. E Housman - A Reassessment (Palgrave Macmillan, London 1999)
  • Housman, Laurence, A.E.H.: Some Poems, Some Letters and a Personal Memoir by his Brother (London: Jonathan Cape, 1937)
  • Page, Norman, ‘Housman, Alfred Edward (1859–1936)’, Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004)
  • Palmer, Christopher and Stephen Banfield, 'A. E. Housman', The New Grove Dictionary of Music and Musicians (London: Macmillan, 2001)
  • Shaw, Robin, "Housman's Places" (The Housman Society, 1995)
  • Summers, Claude J. ed., The Gay and Lesbian Literary Heritage (New York: Henry Holt and Co., 1995)

External links

On Housman in general and his life

Topics

Texts online

Audio

A Shropshire Lad


Quotes

Up to date as of January 14, 2010
(Redirected to A. E. Housman article)

From Wikiquote

Alfred Edward Housman (1859-03-261936-04-30), usually known as A.E. Housman, was an English poet and classical scholar, now best known for his cycle of poems A Shropshire Lad.

Contents

Sourced

  • Chorus: O suitably attired in leather boots
    Head of a traveller, wherefore seeking whom
    Whence by what way how purposed art thou come
    To this well-nightingaled vicinity?
    My object in inquiring is to know.
    But if you happen to be deaf and dumb
    And do not understand a word I say,
    Nod with your hand to signify as much.
    Alcmaeon: I journeyed hither a Boeotian road.
    Chorus: Sailing on horseback or with feet for oars?
    Alcmaeon: Plying by turns my partnership of legs.
    Chorus: Beneath a shining or a rainy Zeus?
    Alcmaeon: Mud's sister, not himself, adorns my shoes.
    Chorus: To learn your name would not displease me much.
    Alcmaeon: Not all that men desire do they attain.
    • "Fragment of a Greek Tragedy". This parody was first written in 1883, but quoted here from a revised version of 1927.
  • The house of delusions is cheap to build, but draughty to live in, and ready at any instant to fall.
    • "Introductory Lecture" delivered on October 3, 1892 at University College, London.
  • The average man, if he meddles with criticism at all, is a conservative critic. His opinions are determined not by his reason -- 'the bulk of mankind' says Swift 'is as well qualified for flying as for thinking' -- but by his passions; and the faintest of all human passions is the love of truth. He believes that the text of ancient authors is generally sound, not because he has acquainted himself with the elements of the problem, but because he would feel uncomfortable if he did not believe it; just as he believes, on the same cogent evidence, that he is a fine fellow, and that he will rise again from the dead.
    • Introduction to Astronomicon of Manilius, Lib I. (Cambridge University Press, [1903] 1937) p. xliii
  • Three minutes' thought would suffice to find this out; but thought is irksome and three minutes is a long time.
    • Saturae of Juvenal (Cambridge University Press, [1905] 1931) p. xi
  • Most men are rather stupid, and most of those who are not stupid are, consequently, rather vain.
    • "The Application of Thought to Textual Criticism", a lecture delivered on August 4, 1921
  • It is supposed that there has been progress in the science of textual criticism, and the most frivolous pretender has learned to talk superciliously about "the old unscientific days". The old unscientific days are everlasting; they are here and now; they are renewed perennially by the ear which takes formulas in, and the tongue which gives them out again, and the mind which meanwhile is empty of reflexion and stuffed with self-complacency.
    • "The Application of Thought to Textual Criticism"
  • And, what is worse, the reader often shares the writer's prejudices, and is far too well pleased with his conclusions to examine either his premises or his reasoning. Stand on a barrel in the streets of Bagdad, and say in a loud voice, 'Twice two is four, and ginger is hot in the mouth, therefore Mohammed is the prophet of God', and your logic will probably escape criticism; or, if anyone should by chance criticise it, you could easily silence him by calling him a Christian dog.
    • "The Application of Thought to Textual Criticism"
  • I rather doubt if man really has much to gain by substituting peace for strife, as you and Jesus Christ recommend. Sic notus Ulixes? do you thing you can outwit the resourceful malevolence of Nature? God is not mocked, as St. Paul long ago warned the Galatians. When man gets rid of a great trouble he is easier for a while, but not for long: Nature instantly sets to work to weaken his power of sustaining trouble, and very soon seven pounds is as heavy as fourteen pounds used to be. Last Easter Monday a young woman threw herself in the Lea because her dress looked so shabby amongst the holiday crowd: in other times and countries women have been ravished by half-a-dozen dragoons and taken it less to heart. It looks to me as if the state of mankind always had been and always would be a state of just tolerable discomfort.
    • "Letter to Gilbert Murray" (April 23, 1900)
  • My heart always warms to people who do not come to see me, especially Americans, to whom it seems to be more of an effort.
    • "Letter to Neilson Abeel" (October 4, 1935)
  • Oh who is that young sinner with the handcuffs on his wrists?
    And what has he been after that they groan and shake their fists?
    And wherefore is he wearing such a conscience-stricken air?
    Oh they're taking him to prison for the colour of his hair.
    • Additional Poems, No. 18, st. 1 (1937)
  • Nature, not content with denying to Mr — the faculty of thought, has endowed him with the faculty of writing.
    • From a list of insults drafted by A E Housman, and posthumously published in Laurence Housman's A. E. H. (1937) pp. 89-90. The name was left blank in the original, but was intended to be filled in and used when a suitable subject should turn up.

A Shropshire Lad (1896)

  • Loveliest of trees, the cherry now
    Is hung with bloom along the bough.
    • No. 2, st. 1
  • Now, of my threescore years and ten,
    Twenty will not come again,
    And take from seventy springs a score,
    It only leaves me fifty more.

    And since to look at things in bloom
    Fifty springs are little room,
    About the woodlands I will go
    To see the cherry hung with snow.
    • No. 2, st. 2-3
  • Clay lies still, but blood's a rover;
    Breath's a ware that will not keep.
    Up, lad: when the journey's over
    There'll be time enough to sleep.
    • No. 4 ("Reveille"), st. 6
  • Lovers lying two and two
    Ask not whom they sleep beside,
    And the bridegroom all night through
    Never turns him to the bride.
    • No. 12, st. 4
  • When I was one-and-twenty
    I heard a wise man say,
    "Give crowns and pounds and guineas
    But not your heart away."
    • No. 13, st. 1
  • When I was one-and-twenty
    I heard him say again,
    "The heart out of the bosom
    Was never given in vain;
    'Tis paid with sighs a plenty
    And sold for endless rue."
    And I am two-and-twenty
    And oh, 'tis true, 'tis true.
    • No. 13, st. 2
  • His folly has not fellow
    Beneath the blue of day
    That gives to man or woman
    His heart and soul away.
    • No. 14, st. 3
  • Oh, when I was in love with you
    Then I was clean and brave,
    And miles around the wonder grew
    How well did I behave.

    And now the fancy passes by
    And nothing will remain,
    And miles around they'll say that I
    Am quite myself again.
    • No. 18
  • To-day, the road all runners come,
    Shoulder-high, we bring you home,
    And set you at your threshold down,
    Townsman of a stiller town.
    • No. 19 ("To an Athlete Dying Young"), st. 2
  • And silence sounds no worse than cheers
    After earth has stopped the ears.
    • No. 19 ("To an Athlete Dying Young"), st. 4
  • The bells they sound on Bredon
    And still the steeples hum.
    "Come all to church, good people," —
    Oh, noisy bells, be dumb;
    I hear you, I will come.
    • No. 21, st. 7
  • They carry back bright to the coiner the mintage of man,
    The lads that will die in their glory and never be old.
    • No. 23, st. 4
  • But from my grave across my brow
    Plays no wind of healing now,
    And fire and ice within me fight
    Beneath the suffocating night.
    • No. 30, st. 4
  • There, like the wind through woods in riot,
    Through him the gale of life blew high;
    The tree of man was never quiet:
    Then 'twas the Roman, now 'tis I.
    • No. 31, st. 4
  • Oh tarnish late on Wenlock Edge,
    Gold that I never see;
    Lie long, high snowdrifts in the hedge
    That will not shower on me.
    • No. 39, st. 3
  • Into my heart an air that kills
    From yon far country blows:
    What are those blue remembered hills,
    What spires, what farms are those?

    That is the land of lost content,
    I see it shining plain,
    The happy highways where I went
    And cannot come again.
    • No. 40
  • Be still, my soul, be still; the arms you bear are brittle,
    Earth and high heaven are fixt of old and founded strong.
    • No. 48, st. 1
  • Far in a western brookland
    That bred me long ago
    The poplars stand and tremble
    By pools I used to know.
    • No. 52, st. 1
  • There, by the starlit fences,
    The wanderer halts and hears
    My soul that lingers sighing
    About the glimmering weirs.
    • No. 52, st. 4
  • With rue my heart is laden
    For golden friends I had,
    For many a rose-lipt maiden
    And many a lightfoot lad.

    By brooks too broad for leaping
    The lightfoot boys are laid;
    The rose-lipt girls are sleeping
    In fields where roses fade.
    • No. 54
  • Now hollow fires burn out to black,
    And lights are guttering low:
    Square your shoulders, lift your pack,
    And leave your friends and go.

    Oh never fear, man, nought's to dread,
    Look not to left nor right:
    In all the endless road you tread
    There's nothing but the night.
    • No. 60
  • Oh many a peer of England brews
    Livelier liquor than the Muse,
    And malt does more than Milton can
    To justify God's ways to man.
    Ale, man, ale's the stuff to drink
    For fellows whom it hurts to think.
    • No. 62, st. 2

Last Poems (1922)

  • The chestnut casts his flambeaux, and the flowers
    Stream from the hawthorn on the wind away,
    The doors clap to, the pane is blind with showers.
    Pass me the can, lad; there’s an end of May.
    • No. 9, st. 1
  • We for a certainty are not the first
    Have sat in taverns while the tempest hurled
    Their hopeful plans to emptiness, and cursed
    Whatever brute and blackguard made the world.
    • No. 9, st. 3
  • The troubles of our proud and angry dust
    Are from eternity, and shall not fail.
    Bear them we can, and if we can we must.
    Shoulder the sky, my lad, and drink your ale.
    • No. 9, st. 7
  • But men at whiles are sober
    And think by fits and starts,
    And if they think, they fasten
    Their hands upon their hearts.
    • No. 10, st. 2
  • The laws of God, the laws of man,
    He may keep that will and can;
    Now I: let God and man decree
    Laws for themselves and not for me.
    • No. 12, l. 1-4
  • And how am I to face the odds
    Of man’s bedevilment and God’s?
    I, a stranger and afraid
    In a world I never made.
    • No. 12, l. 15-18
  • He stood, and heard the steeple
    Sprinkle the quarters on the morning town.
    One, two, three, four, to market-place and people
    It tossed them down.

    Strapped, noosed, nighing his hour,
    He stood and counted them and cursed his luck;
    And then the clock collected in the tower
    Its strength, and struck.
    • No. 15 ("Eight O'Clock")
  • Happy bridegroom, Hesper brings
    All desired and timely things.
    All whom morning sends to roam,
    Hesper loves to lead them home.
    Home return who him behold,
    Child to mother, sheep to fold,
    Bird to nest from wandering wide:
    Happy bridegroom, seek your bride.
    • No. 24 ("Epithalamium"), st. 3
  • These, in the day when heaven was falling,
    The hour when earth’s foundations fled,
    Followed their mercenary calling
    And took their wages and are dead.

    Their shoulders held the sky suspended;
    They stood, and earth’s foundations stay;
    What God abandoned, these defended,
    And saved the sum of things for pay.
    • No. 37 ("Epitaph on an Army of Mercenaries")
  • Tell me not here, it needs not saying,
    What tune the enchantress plays
    In aftermaths of soft September
    Or under blanching mays,
    For she and I were long acquainted
    And I knew all her ways.
    • No. 40, st. 1

More Poems (1936)

  • They say my verse is sad: no wonder.
    Its narrow measure spans
    Rue for eternity, and sorrow
    Not mine, but man's.

    This is for all ill-treated fellows
    Unborn and unbegot,
    For them to read when they're in trouble
    And I am not.
    • Foreword
  • Hope lies to mortals
    And most believe her,
    But man's deceiver
    Was never mine.
    • No. 6, st. 1
  • The rainy Pleiads wester,
    Orion plunges prone,
    The stroke of midnight ceases,
    And I lie down alone.
    • No. 11, st. 1
  • Who made the world I cannot tell;
    'Tis made, and here am I in hell.
    My hand, though now my knuckles bleed,
    I never soiled with such a deed.
    • No. 19, st. 2
  • Here dead we lie because we did not choose
    To live and shame the land from which we sprung.
    Life, to be sure, is nothing much to lose;
    But young men think it is, and we were young.
    • No. 36
  • We now to peace and darkness
    And earth and thee restore
    Thy creature that thou madest
    And wilt cast forth no more.
    • No. 47 ("For My Funeral"), st. 3
  • Good-night; ensured release,
    Imperishable peace,
    Have these for yours,
    While sea abides, and land,
    And earth's foundations stand,
    And heaven endures.
    • No. 48 ("Alta Quies"), st. 1

The Name and Nature of Poetry

The Leslie Stephen Lecture, Cambridge University, May 9, 1933

  • Even when poetry has a meaning, as it usually has, it may be inadvisable to draw it out ... and perfect understanding will sometimes almost extinguish pleasure.
  • Good literature continually read for pleasure must, let us hope, do some good to the reader: must quicken his perception though dull, and sharpen his discrimination though blunt, and mellow the rawness of his personal opinions.
  • Experience has taught me, when I am shaving of a morning, to keep watch over my thoughts, because, if a line of poetry strays into my memory, my skin bristles so that the razor ceases to act...The seat of this sensation is the pit of the stomach.
  • The most important truth which has ever been uttered, and the greatest discovery ever made in the moral world.
    • Referring to Luke 17:33, 'Whosoever will save his life shall lose it, and whosoever will lose his life shall find it' (the wording used by Housman).

Attributed

  • I find Cambridge an asylum, in every sense of the word.
    • A remark made in conversation, according to Grant Richards Housman 1897-1936 (1942) p. 100
  • In every American there is an air of incorrigible innocence, which seems to conceal a diabolical cunning.
    • According to Frederic Prokosch, in his Voices: A Memoir (1983), this was once said to him by Housman.

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