Month: November 2013

Two O’ Clock in the Morning Poetry, #4

Frye-pic

Don’t stand beside my grave and weep,
For I’m not there; I do not sleep.
I am a thousand winds that blow,
I am the diamond glints on snow,
I am the sun on ripened grain,
I am the gentle autumn rain.

When you awaken in the morning’s hush
I am the swift uplifting rush
Of quiet birds in circling flight.
I am the soft star-shine at night.
Do not stand at my grave and cry,
I am not there; I did not die.

Mary Elizabeth Frye

angel-wept1“Do not stand at my grave and weep” is a Holocaust poem and elegy with a very interesting genesis, written in 1932 by Mary Elizabeth Frye (1905-2004). Although the origin of the poem was disputed for some time, Mary Frye’s authorship was confirmed in 1998 after research by Abigail Van Buren, the newspaper columnist better known as “Dear Abby.” The version above was published by The Times and The Sunday Times in Frye’s obituary on November 5, 2004.

Mary Frye wrote the poem in 1932. As far as we know, she had never written any poetry before, but the plight of a young German Jewish woman, Margaret Schwarzkopf, who was staying with her and her husband at the time, inspired the poem. Margaret Schwarzkopf had been concerned about her mother, who was ill in Germany, but she had been warned not to return because of increasing anti-Semitic unrest that was erupting into what became known as the Holocaust.

When her mother died, the heartbroken young woman told Frye that she never had the chance to “stand by my mother’s grave and shed a tear”. Frye found herself composing a piece of verse on a brown paper shopping bag. Later she said that the words “just came to her” and expressed what she felt about life and death.

Mary Frye circulated the poem privately. Because she never published or copyrighted it, there is no definitive version. She wrote other poems, but this, her first, endured. Her EwaltElizFryeobituary in The Times made it clear that she was the author of the famous poem, which has been recited at funerals and on other appropriate occasions around the world for eighty years. The poem was introduced to many Britons when it was read by the father of a young soldier, Stephen Cummins, killed by a bomb in Northern Ireland. The soldier’s father read the poem on BBC radio in 1995 in remembrance of his son, after having found it in an envelope addressed “To all my loved ones” in his son’s personal effects.

She inspired many to write
She inspired many to write
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Two O’ Clock in the Morning Poetry, #3

Collector_Trench

Middle Parts of Fortune, by Frederic Manning

“The air was alive with the rush and flutter of wings; it was ripped by screaming shells, hissing like tons of molten metal plunging suddenly into water, there was the blast and concussion of their explosion, men smashed, obliterated in sudden eruptions of earth, rent and strewn in bloody fragments, shells that were like hell-cats humped and spitting, little sounds, unpleasantly close, lie the plucking of tense strings, and something tangling his feet, tearing at his trousers and puttees as he stumbled over it, and then a face suddenly, an inconceivably distorted face, which raved and sobbed at him as he fell with it into a shell-hole.”

(Accounts of The Great War) 
R
FredricmanningManning was an Australian aspiring intellectual, already in his mid-30s when he enlisted as a private soldier in 1915. His prewar existence in England was dogged by unfulfilled literary hopes and emotional confusions. He served for only a few months in France, and his military career ended in alcoholism and disgrace. But in 1929 he composed a novel, obviously autobiographical, about three soldiers’ experience of the trench nightmare, which is outstanding. Almost certainly the finest work of its kind to emerge from the war. (Penguin)
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Manning continued to write. In 1917 he published a collection of poems under the title Ediola. This was a mixture of verse predominantly in his former style alongside war poems heavily influenced by the imagism of Pound, which deal introspectively with personal aims and ideals tempered in the crucible of battle. He contributed to anthologies, for example, The Monthly Chapbook which appeared in July 1919 edited by Harold Monro, containing twenty-three poems by writers including John Alford, Herbert Read, Walter De La Mare, Osbert Sitwell, Siegfried Sassoon, D. H. Lawrence, Edith Sitwell, Robert Nichols, Rose Macaulay and W. H. Davies alongside Manning and Aldington. He wrote for periodicals, including The Criterion, which was produced by T. S. Eliot.

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Poetry did not pay, and so in 1923 Manning took a commission from his publisher John Murray to write The Life of Sir William White, a biography of the man who, as Director of Naval Construction, led the build-up of the Royal Navy in the last years of the nineteenth century. Galton had died in 1921, which not only left Manning effectively homeless, but also lacking a forceful directing influence in his life. He lived for much of the time at the Bull Hotel in Bourne, apart from a short spell when he owned a farmhouse in Surrey. At this time he was friendly with T. E. Lawrence, then serving in the Royal Air Force at RAF Cranwell, some twenty miles (a motorcycle ride) from where Manning was living. In 1926 he contributed the introduction to an edition of Epicurus’s Morals: Collected and faithfully Englished by Walter Charleton, originally published in 1656, published in a limited edition by Peter Davies. — from Wikipedia and Penguin

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Bonus–

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“Her Privates We” 1930, Cover art
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