A fit of September blues, accompanied by September skies. (That means grey; where I come from September skies are famous for their particularly beautiful deep blue colour.) My September blues, however, are not merely due to the fact that summer is over; my plans for rowing up the Thames à la Three Men in a Boat are over too. For reasons I don’t want to discuss here not only we didn’t succeed in following the Three Men upriver this summer, we didn’t even have a holiday. Maybe better luck next year?
So – for a while at least – this is the last post in the Upriver series. And what better way to wind up and lighten the September blues at the same time than to immerse ourselves into some books set on boats (and envy the people who get to sail on them)?
There’s a song by the English comedian stroke musician Mitch Benn titled The Hardest Song In The World To Find. Of the song in question there is only one copy left, and that’s stuffed in the wrong sleeve in a second hand record shop on Camden High Street. Although my interest in obscure music records is nil, I can fully sympathise with Mitch Benn’s sentiments because there’s a book that I couldn’t track down, not in thirty years.
Today I want to write about a French book; I want to hold up the humanity of a French writer, who fought and died for the freedom of France in 1944, against the mindless hatred of those who committed the terrorist attacks in Paris last Friday. I want to talk about a book for children that should be read by adults: a book about human nature, of love and friendship and, inevitably – given the author – the Sahara. I want to talk about The Little Prince by Antoine de Saint-Exupéry.
“And now here is my secret, a very simple secret: It is only with the heart that one can see rightly; what is essential is invisible to the eye.”
When I was ten, I read Swallows and Amazons and in the course of that, Arthur Ransome introduced me to English poetry. One of the characters, Titty (I still wonder what sort of a name is that for a girl), was much given to recalling random lines of poetry that they had taught her at school.
The boy stood on the burning deck
Whence all but he had fled;
The flame that lit the battle’s wreck
Shone round him o’er the dead.
These lines spoke about adventure and unknown worlds in pulsating rhyme. I’m not surprised that they stuck in Titty’s head; they certainly stuck in mine. Ransome – and not my literature teachers – made me read Keats; and Keats made me pick up Homer again, many years after I left school.
Searching for Homer
Homer is difficult to get into nowadays; he was difficult to get into two hundred years ago too. Keats wrote:
Oft of one wide expanse had I been told
That deep-brow’d Homer ruled as his demesne;
Yet did I never breathe its pure serene
Till I heard Chapman speak out loud and bold:
One October night in 1816, when he was twenty-one years old, Keats had read the translation of the Odyssey by George Chapman at a friend’s house – and that very same night, he wrote the sonnet On First Looking into Chapman’s Homer. The power of his images haunts me still.
I always enjoyed Greek mythology and especially the story of the Trojan War, but when I read excerpts of the Iliad and the Odyssey in school, they bored me. Homer wrote nearly three thousand years ago and reading him is not easy, especially in a verse form: I gave up on the Iliad at the seemingly endless description of Achilles’s shield. Yet with Keats I could stand on a peak on Darien and see the uncharted sea through the eyes of Cortez (in point of fact, it was Vasco Núñez de Balboa but I suppose that wouldn’t have scanned); with Keats I could be Galilei discovering the moons of Jupiter. Keats had seen what I failed to: he had stood on the walls of Troy and had seen the black ships appear on the horizon, he had seen Achilles fight under the walls, he had seen Odysseus tossed in the stormy seas. Keats made me believe in Homer. I went and read Pope’s translation of the Iliad but if the Hungarian verse had been boring, Pope was contrived; and they both lacked punch.
Figuratively – and literally – speaking, I was still to come across Chapman’s Homer.
In the end, for me, a 19th century prose translation from the Gutenberg Project did it. Since then, I consider the Iliad (as opposed to the Greek myths relating to the Trojan War) as one of my favourite books; I’m still reading versions of it. Someday I’ll learn Ancient Greek, and take the poetry in the original (it seems Ransome has much to answer for).
All this, by the way, occasioned by the line of Chapman’s Homer that had – supposedly – inspired Keats to write his sonnet: