MacNeice's vision is dark and caustic; he was born in Black Ulster in the first decade of the 20th century and grew up outside the traditions of the (warring) Catholics and Presbyterians alike. Ireland took hold of him and he could never quite shake it off in spite of schooling in England and a later career with the BBC in London. Ireland was like a monkey on his back and throughout his life and writing he was alternatively trying to murder it or make friends with it: neither approach succeeded. But he goes after the charm and the horror of the place with no holds barred ...
I think this is an absolutely brilliant poem because he understands the deadly cryptic nuances of an extremely layered society and he goes after the meaning of it all with sincerity (no attitudes) and directness and a slight touch of spiritual fear. That makes a lot of sense to any thinking Irish person.
from AUTUMN JOURNAL
Nightmare leaves fatigue:
We envy men of action
Who sleep and wake, murder and intrigue
Without being doubtful, without being haunted.
And I envy the intransigence of my own
Countrymen who shoot to kill and never
See the victim's face become their own
Or find his motive sabotage their motives.
So reading the memoirs of Maud Gonne,
Daughter of an English mother and a soldier father,
I note how a single purpose can be founded on
A jumble of opposites:
Dublin Castle, the vice-regal ball,
The embassies of Europe,
Hatred scribbled on a wall,
Gaols and revolvers.
And I remember when I was little, the fear
Bandied among the servants
That Casement would land at the pier
With a sword and a horde of rebels;
And how we used to expect, at a later date,
When the wind blew from the west, the noise of shooting
Starting in the evening at eight
In Belfast in the York Street district;
And the voodoo of the Orange bands
Drawing an iron net through darkest Ulster,
Flailing the limbo lands -
The linen mills, the long wet grass, the ragged hawthorn.
And one read black where the other read white, his hope
The other man's damnation:
Up the Rebels, To Hell with the Pope,
And God Save - as you prefer - the King or Ireland.
The land of scholars and saints:
Scholars and saints my eye, the land of ambush,
Purblind manifestoes, never-ending complaints,
The born martyr and the gallant ninny;
The grocer drunk with the drum,
The land-owner shot in his bed, the angry voices
Piercing the broken fanlight in the slum,
The shawled woman weeping at the garish altar.
Kathleen ni Houlihan! Why
Must a country, like a ship or a car, be always female,
Mother or sweetheart? A woman passing by,
We did but see her passing.
Passing like a patch of sun on the rainy hill
And yet we love her forever and hate our neighbour
And each one in his will
Binds his heirs to continuance of hatred.
Drums on the haycock, drums on the harvest, black
Drums in the night shaking the windows:
King William is riding his white horse back
To the Boyne on a banner.
Thousands of banners, thousands of white
Horses, thousands of Williams
Waving thousands of swords and ready to fight
Till the blue sea turns to orange.
Such was my country and I thought I was well
Out of it, educated and domiciled in England,
Though yet her name keeps ringing like a bell
In an under-water belfry.
Why do we like being Irish? Partly because
It gives us a hold on the sentimental English
As members of a world that never was,
Baptized with fairy water;
And partly because Ireland is small enough
To be still thought of with a family feeling,
And because the waves are rough
That split her from a more commercial culture;
And because one feels that here at least one can
Do local work which is not at the world's mercy
And that on this tiny stage with luck a man
Might see the end of one particular action.
It is self-deception of course;
There is no immunity in this island either;
A cart that is drawn by somebody else's horse
And carrying goods to somebody else's market.
The bombs in the turnip sack, the sniper from the roof,
Griffith, Connolly, Collins, where have they brought us?
Ourselves alone! Let the round tower stand aloof
In a world of bursting mortar!
Let the school-children fumble their sums
In a half-dead language;
Let the censor be busy on the books, pull down the Georgian slums;
Let the games be played in Gaelic.
Let them grow beet-sugar; let them build
A factory in every hamlet;
Let them pigeon-hole the souls of the killed
Into sheep and goats, patriots and traitors.
And the North, where I was a boy,
Is still the North, veneered with the grime of Glasgow,
Thousands of men whom nobody will employ
Standing at the corners, coughing.
And the street-children play on the wet
Pavement - hopscotch or marbles;
And each rich family boasts a sagging tennis-net
On a spongy lawn beside a dripping shrubbery.
The smoking chimneys hint
At prosperity round the corner
But they make their Ulster linen from foreign lint
And the money that comes in goes out to make more money.
A city built upon mud;
A culture built upon profit;
Free speech nipped in the bud,
The minority always guilty.
Why should I want to go back
To you, Ireland, my Ireland?
The blots on the page are so black
That they cannot be covered with shamrock.
I hate your grandiose airs,
Your sob-stuff, your laugh and your swagger,
Your assumption that everyone cares
Who is the king of your castle.
Castles are out of date,
The tide flows round the children's sandy fancy;
Put up what flag you like, it is too late
To save your soul with bunting.
Odi atque amo:
Shall we cut this name on trees with a rusty dagger?
Her mountains are still blue, her rivers flow
Bubbling over the boulders.
She is both a bore and a bitch;
Better close the horizon,
Send her no more fantasy, no more longings which
Are under a fatal tariff.
For common sense is the vogue
And she gives her children neither sense nor money
Who slouch around the world with a gesture and a brogue
And a faggot of useless memories.