‘Rich in Vitamin C’ – from ’The Collected Poems of J H Prynne’
George Szirtes in his StAnza Lecture Possessing the Line (2007), cites George Steiner’s essay, On Difficulty (1978). Here Steiner has formulated poetic difficulty into four main classes.
1 – The Epiphenomenal Difficulty. This is in the use of obscure words, phrases; and of ideas that relate to unusual or relatively unconnected areas of knowledge.
2 – The Tactical Difficulty. This is where something is deliberately withheld from the text. This was a major strategy of Eastern European writers, where a classical allusion was used as a comment on a contemporary situation, but the readers had to draw the linkages themselves.
3 – The Modal Difficulty. This is where the tone of the poem renders it unappealing. Think of Swift’s diatribe’s on women’s boudoirs. It need not be inimical to the reader, just at odds with the subject.
4 – The Ontological Difficulty. Contemporary poets question more than ever before the ways a writer communicates with the reader, the languages used, and the ways syntax can be manipulated to express more of the complexity of the contemporary world.
A writer’s medium is that of expression through language, and by extension, the voice in space and time; and the printed page, the message of the layout on the page, and the type of font used.
For J H Prynne these are all part of the overall consideration of a poem. Bring in also the officialdom and legitimacy of the choice of publisher, and we have a picture of the writer’s chosen stance towards his/her audience, self, peers, and also to the writing itself. Is the text part of an ongoing psycho-biographical framework; or can it be seen as independent of the author, and therefore open to complete lexical analysis?
Prynne has published most of his books through small, unknown presses; this is partly through necessity, where the larger presses have shown themselves unsure of his work, but also it has become a deliberate tactic.
John Kinsella and Rod Mengham have written widely in praise of Prynne’s work. We have in their introductions one of our best resources for approaching Prynne’s difficulties. And they are temporal as well as strategic: they relate how Prynne’s relationship with his work, with the reader, have altered over time.
Kinsella’s commentary, in the Jacket Series, on Prynne’s ‘Rich in Vitamin C’, on a poem from the early nineteen seventies, is very deeply considered.
What is ‘rich in vitamin C’, according to the advertisement? Rosehip Syrup. That this is indeed the reference can be seen in stanza two’s ‘Or as the syrup in the cup’, and the last stanza’s ‘Such shading of the rose to its stock…’.
Rosehip Syrup is very much a WWII memory, bringing in the ‘Dig for Victory’ initiative: food supplies were not getting though the Axis’ naval blockade, and so all recreational land and gardens were to be dug up and turned to growing vegetables, to become self-sufficient. Part of this initiative was the collecting, harvesting, of rose hips because they were ‘Rich in Vitamin C’.
In turn this memory leads us into reading the poem as a very touching, indeed moving active elegy for an elderly person; it is also a commentary on the generation gap. The narrator has his own take on her life, how ‘the trusted’ of her time became in his the ‘idiocy’. Her ‘incomplete, the trusted’, that is the accepted status quo, the war time propaganda, becomes for the narrator tantamount to ushering in ‘what/motto we call peace talks.’ (in both senses of noun phrase, and verb phrase).
One strand of narrative behind the piece is of an elderly widow and her younger visitor; the widow has lost her husband to enemy action in the War, in the Baltic. Baltic in the poem is lower-case and hence taking on adjectival nuances. This ties-in later when we look at the way images are linked.
The garden the elderly widow looks out on (dug-up and replanted: the cycle of examination and re-examination that we call memory) could very much be a reference to the widow’s self-enclosed, memory-obsessed later life.
An archaic, or pseudo-archaic, note is heard in the ‘ shews’ and the arch; the water is like awareness/mental lucidity in the elderly widow; the image of ‘the purpose we really cut’ as a wind over its surface, a momentary disturbance, produces a brooding, almost Gothic, mood (there is also a metaphysical imagery at work here: the garden of the soul in medieval Christian writing, the Taoist imagery of wind on water. Is this also part of her ‘idiocy’ in the Auden-on-Yeats sense: ‘You were silly, like us…’? And is that ‘idiocy’ also that of the holy fool?). This Gothicness has a ring of falsity perhaps, of an ornate folly. Do we also sense here in the follow-up of the militaristic images of accidental damage, ‘the cross-fire’ et al, of the fall of the Brideshead generation in WW11?
The images follow on from each other in an associative manner; we have the point of view of the two people in the narrative, they intrude and weave between and comment obliquely on each other. We see the germane image of ‘darkly the stain skips as a livery/… like an apple pip’ connect with the dark Baltic region, with the darkness of depth and cold of the Baltic where her ‘loved one… sleeps’. This leads to the ‘shading/of the rose to its stock tips the bolt/ from the sky…’ Here we see the death in enemy action in the Baltic transform into the narrator’s present day fears where the Baltic, its cold, represents the threat of the Soviet Union in the Cold War. The ‘bolt/ from the sky…’ and ‘what we call peace talks…’ references nineteen seventies President Carter regime’s (the period of the poem) Strategic Arms Limitation Talks (SALT 1 and 11). And also, quite appositely in the dark and cold, the ‘starry fingers’ and ‘bolt/ from the sky’ references, to space, and President Reagan’s ‘Star Wars’ web of a satellite early-warning system.
At first I was uncomfortable with this roping-in of WW11 and the Cold War together. There are obvious historical linkages, but by nature and character they were very different affairs. But then it occurred to me that this was indeed how a lot of the youth protest groups thought at that time, that naïve, half-understood restlessness, that throws out everything older generations did, thought or achieved.
The narrator’s pejorative of the widow’s ‘trusted’, that ‘idiocy’, is perfectly in tune with the youth-rebellion attitude.
What on first reading seems to be a continually shifting sand of half-meanings and implications, takes on a clearer perspective: to look back, to look forward: both are highly speculative acts, and both coloured by the observer’s contemporary concerns. The poem holds both views in the same space, and also we have the writer’s colourations: the kindness and generosity of his attitude towards the elderly widow apparent in the time he spends with her, ‘setting’ her in the poem.
And also the humour: vitamin C is considered an excellent remedy against colds; and was also believed to help one see in the dark.
This is simple word-play, but it also points-up Prynne’s ‘sounding’ of the connotive possibilities of words and language.
In stanza one the ‘snowy wing-case/ delivers truly…’ whereas the widow’s idea of honour is in the ‘incomplete, the trusted.’ What the eye sees (has she brown/ hazel eyes?) is what is there to be seen; what is remembered, ie the image held within the eye of what has been seen, is liable to ageing, changing tone and colour as one’s attitudes and beliefs change.
To really see, one must reflect upon and judge against what one knows. There is also the implication that what one truly believes is all there is of value for one. Can value be measured by what is seen, and what it is compared with? Or is it something objective?
The ‘syrup’ could well be a placebo, something sweet for our childish, or at any rate immature, minds to be soothed by: the ‘sweet shimmer of reason’ , a childish fascination with shiny, shimmery things.
The reference to health propaganda by health companies points up the insidiousness of language used against us: to believe the image and deny the thing.
It also points up that we as much as them, the characters in the poem, are just as vulnerable to the propaganda of our time: ‘this flush/ scattered over our slant of the/ day…’: the slant of sun at evening, and the slant of our take on our time.
We get the ghost-shiver of Socrates’ ‘the unexamined life…’ here, just as earlier we hear the ghost of Auden’s ‘September 1, 1939’: ‘Accurate scholarship can/ Unearth the whole offence/ From Luther until now/ That has driven a culture mad…’ in ‘an idea bred to idiocy by the clear/ sight-lines ahead.’.
There does not seem to be an occasion for the poem. It appears to occur at the point of happy coincidence of Prynne’s subjective concerns, reflections on his time, and memories, and the impulse to write in this manner at this time, on these themes.
It is surprising how this poem fulfils all of Steiner’s criteria for difficulty. There is no indication in Steiner’s writings that he was aware or appreciative of Prynne’s writing. And also I very much doubt that Prynne was paying Steiner any kind of homage in his writings.
Prynne’s poem in taking on the past, carries the suggestion from Geoffrey Hill’s work of a rehabilitation of history in poetry. Pound’s Cantos are read by many as a refutation, even cancellation, of the sense of history: Donald Davie states ‘…the poet’s vision of the centuries of recorded time has been invalidated by the Cantos…’.
In some ways the Cantos can be viewed as the last word of a generation’s sense of ‘the end of history’. This sense of the end was particularly strong amongst survivors of World War 1.
This period however also saw the beginning of a new validation of historical study. Here began the ground-breaking work of Marc Bloch and the French Annales School, and of course the developments in Marxist economic history.
If anything it was the end of the ‘history of great men’, of political, imperial history, history as narrative, of hierarchies. The new history, and this is relevant to the reading of Prynne’s poem, looked on the past as part of a matrix, its constituents linguistic, architectonic, relativistic: present and future are present in time past, as it were. Present concerns, coloured by past precedent, influence future decisions, the selection of material, their weighting, and interpretation.
One criticism levelled at both Prynne and Geoffrey Hill is that although both eschew any biographical approach to their work, their range of references and especially the nature of the references they use, are essentially personal, subjective.
As with all general comments this, as we have seen above it is not always the case. I feel this criticism applies more to the later Hill than the instance of this particular poem by Prynne. The poem is maybe idiosyncratic in its form but the intentions and motives appear mostly objective.