Classic and Contemporary Poetry: Explained

"The Rookery at Hawthornden" by William Matthews is a rich and reflective poem that explores the confluence of history, literature, and the natural world within the setting of Hawthornden, a place historically associated with poets and creative solitude. The poem begins by evoking the historical visit of Ben Jonson to William Drummond, two prominent poets whose interaction symbolizes the complex fellowship among writers. The greeting between them, "Welcome, royal Ben." "Greetings, Hawthornden," hints at a formal, possibly ironic camaraderie. The description of their "good fellowship" as containing "gravel in its craw" suggests a nuanced, perhaps competitive or tense, aspect to their relationship, likening it to "death jokes on the eve of battle."

The speaker reflects on their own experience at Hawthornden, likening it to a retreat for reading, writing, and introspection. The "liter of the Famous / Grouse" implies a measure of comfort and indulgence amidst the solitude. The phrase "a slut for company" vividly captures the speaker's mixed feelings about solitude—craving interaction yet perhaps relishing the isolation needed for creative work. The speaker carries with them their "intimates, my bawds, my pretty ones," referring to the words and ideas that accompany them, some obedient ("didn't mutiny") and others rebellious.

The poem acknowledges the challenge of filling six weeks dedicated to creativity, noting that such time is both "hard to find, and hard / to fill." The speaker is aware of the pastoral beauty around them, from "the blotched, mottled / sky above the glen" to "the pale scumbled blue forget-me-nots." Yet, these natural elements remind them of the elusive nature of capturing the world's essence in poetry, suggesting that "the world's a poem we'll not learn how to write." This sentiment underscores the inherent limitations of language and artistic expression.

Matthews contrasts the romanticized pastoral life of poets like Horace, who enjoyed a secluded, idyllic existence ("Yaddo-for-one"), with the reality that many poets "never sheared a sheep / nor steered a plow." This line highlights a disconnect between the romantic notions of pastoral poetry and the realities of rural life, suggesting a lack of authentic experience among some poets.

The poem transitions to the vibrant imagery of the rookery, where the "shrill / inventions rise" from the rooks. The birds' "rasped song" is described as coming from "the entire black bell of each bird," emphasizing the full-bodied and unrestrained nature of their cries. The speaker contrasts "verse," which is "easy," with "poetry," which is "hard," acknowledging the difficulty of creating meaningful art. The rooks' loud, unselfconscious song represents a form of expression unburdened by the self-doubt and philosophical questions that plague poets. The rooks sing without concern for "what poetry can do," which is "infamous for making / nothing happen," a reference to W.H. Auden's famous line.

Ultimately, the speaker finds joy in the shared vocalization with the rooks, celebrating the mere act of not being mute. The poem closes with a triumphant acknowledgment of the day's "raucous / song about the joy of a song-stuffed throat," celebrating the exuberance of expression itself, even if it may not always result in profound change or understanding.

"The Rookery at Hawthornden" explores the nature of artistic creation, the challenges of capturing the world's beauty and complexity in poetry, and the joyous, unfiltered expression found in nature. Through the juxtaposition of historical literary figures, personal introspection, and the lively presence of the rooks, Matthews meditates on the limitations and joys of poetry and the inevitability of striving to express the inexpressible.

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