Tag: Thomas Hardy

What Abides (Into Old Age)?

What makes the 73-year-old me that I see in the mirror, that I identify as “me,” the same as the four-year-old in the picture on my desk?  No one would recognize me in the four-year-old.  Even I have trouble identifying what remains of her.  As we age, “what abides?” is a question worth pondering.  People try to answer it in different ways – some look up old friends, some write memoirs.  We all dread the loss of what we think of as our “selves;” I watched my mother turn into a different person in her late eighties, and yet she retained many early memories.  In fact, she seemed to live in her earliest memories.  What of her self was lost, and what remained?

These questions made me think of that old word: abide.  In old age, what abides?  What stays and makes us us until the very end?  Or is the concept of a constant being just fallacious?  In “Ulysses,” Tennyson posits that “much abides” in old age – that while the body fades and weakens, the will is strong:

Tho’ much is taken, much abides; and tho’
We are not now that strength which in old days
Moved earth and heaven, that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

Tennyson wrote “Ulysses” when he was a young man; I would posit that the admonition “not to yield” would not be the advice of an old man.

On the other hand, Thomas Hardy was around sixty when he addressed “abiding” into old age in “I Look Into My Glass:”

But Time, to make me grieve.
Part steals, lets part abide;
And shakes this fragile frame at eve
With throbbings of noontide.

While Tennyson wants to concentrate on the value of what abides, Hardy finds it a form of torture, as his spirit wants to do what his body cannot do.  And then there is Robert Graves and his poem about looking in the mirror, written when he was about 72:

I pause with razor poised, scowling derision
At the mirrored man whose beard needs my attention,
And once more ask him why
He still stands ready, with a boy’s presumption,
To court the queen in her high silk pavilion.

For Graves, what abides is “presumption.”  And more specifically, “a boy’s presumption.”

In its intransitive form (as used by Tennyson and Hardy above), abide means “to remain stable or fixed in a state;” this is the same as the meaning it takes in the great hymn, “Abide with Me.”  The tale is that the author of the hymn wrote it at the deathbed of a friend, a friend who asked him to abide with him until the end.  The Biblical reference is Luke 24:29. The disciples (after they had met the risen Christ) plead with Jesus: “Abide with us: for it is toward evening, and the day is far spent.”  This is from the lovely King James Version; I would note that some later versions use the word stay rather than abide.   I prefer abide, which is related to the word “abode.”

This is an old problem.  The ancient Greeks pondered the problem of the Ship of Theseus.  As told by Plutarch in the first century, Theseus’s original ship was used for a ceremony commemorating his defeat of the Minotaur; over the centuries, almost every part of the ship had to be replaced, as it rotted and rusted.  A thousand years later, was it still really the Ship of Theseus?  Sixty-nine years later am I still my four-year-old self?

So, the question still is: What abides?  What abides when we walk with a limp, when we can’t remember the librarian’s name or where we put the library book?  What abides that can reassure us of who we are?  Tennyson would leave us with the impetuosity of youth; Hardy would have us the prisoner of passions we can’t act on; Graves chides us for presumption.  I firmly believe that something of value abides, and I spend a bit of time trying to winnow out the chaff to find it.

Old Folks and the Wisdom of Appreciating Little Things

Younger people sometimes make fun of their elders for the simple pleasure we find in routine – waiting for the mail, afternoon tea, watching our favorite television show, knitting a sock, dead-heading the roses.  Somehow, they think small pleasures are signs of a diminished life.  However, there is every reason to believe that these are the constituents of the good life.  Maybe this is something we learn in our old age.

You may remember that at the end of Voltaire’s Candide, that satire of the optimistic philosophy that all things are for the best, Candide counsels us that we must all simply “cultivate our own garden.”  I have always thought that it was a way of reminding us that the worth of our lives, the joy of our lives, comes from paying attention to the small things that we do every day, the things that truly make up our lives.   As I have aged and the distractions of the outside world are more easily kept at bay, I have realized what good advice this is.

My husband and I have been reading Thomas Hardy lately, and at the end of the Mayor of Casterbridge, I was quite taken by a passage which talks about the “ever-after” of Elizabeth Jane, a central character who has suffered much from the ups and downs of life:

Her experience had been of a kind to teach her, rightly or wrongly, that the doubtful honor of a brief transit through a sorry world hardly called for effusiveness, even when the path was suddenly irradiated at some half-way point by daybeams rich as hers.  But her strong sense that neither she nor any human being deserved less than was given, did not blind her to the fact that there were others receiving less who had deserved much more.  And in being forced to class herself among the fortunate she did not cease to wonder at the persistence of the unforeseen, when the one to whom such unbroken tranquillity had been accorded in the adult stage was she whose youth had seemed to teach that happiness was but the occasional episode in a general drama of pain.

While you might not agree with Hardy that life is a “general drama of pain,” we must all agree that it is no Eden either. Hardy’s “solution” was akin to Voltaire’s:

As the lively and sparkling emotions of her early married life cohered into an equable serenity, the finer movements of her nature found scope in discovering to the narrow-lived ones around her the secret (as she had once learnt of it) of making limited opportunities endurable; which she deemed to consist in the cunning enlargement, by a species of microscopic treatment, of those minute forms of satisfaction that offer themselves to everybody  not in positive pain; which, thus handled, have much of the same inspiriting effect upon life as wider  interests cursorily embraced.

This talk of the cultivation and appreciation of “minute forms of satisfaction” is brilliant, I think, – and true.  I think of the little pleasures in our life – watching “Grantchester,” espresso on Saturday night, a good pasta dinner – what would life be without them?  Hardy is skeptical enough to put a caveat in (“to everybody not in positive pain”), but generally he gives us hope.

I wrote some years ago about the wonderful book by Marion Milner, A Life of One’s Own.  It was based on a journal this amazing woman kept in an effort to try to ascertain what, really, made her happy:

I could not by direct effort feel love towards someone, or by direct effort make myself happy.  What then was entirely under the control of my will?  It seemed to me that the only thing that was even potentially so controlled was my attention.  I could not control what I saw when I looked in a certain direction, but I could, generally at least, control which direction I should look in.

And mostly, her attention and her joy were on the small moments of life.

When long-married couples are separated by death or disability, they often talk about missing the little things – the glass of wine after dinner, the game of Scrabble on Sunday afternoons, or the standing joke about who was going to wash the dishes.

Small pleasures should not crowd out the more important things in life (and this can begin to happen if we are not careful), but they should be valued for the fact that they often contribute to those more important things – chances to share love, restore our balance, touch base with who we are.

So, when young folks roll their eyes over our rituals and small attentions, just realize that they have a lot to learn.  And never neglect or take for granted the simple pleasures of life that last into old age.

Does Everyone Die Young?

I just read an intriguing book by Marc Augé, entitled Everyone Dies Young. Augé is a distinguished and famous anthropologist; he was eighty-one in 2016 when he published this slim volume of essays about old age.  It starts with the story of Mounette, his first cat, who aged without the psychological constraints that human beings struggle with as they age, and this cat yet knew her own limitations.  As Mounette aged, she gave up leaping to the beloved mantel and contentedly spent days in the sunshine in a soft chair by the window. When she could not leap onto the chair, she lay on the floor.  The old cat was not perturbed.  Like the elderly human, it had time.  Unlike the human, it had no age: “Time is a freedom, age a constraint.  The cat, apparently, does not know this constraint.”

We all feel the “constraint” of age in various ways.  Aches and pains remind us.  Other people remind us.  And then there is the mirror.  In medieval literature (Langland, Gower), the mirror is the vehicle which confronts us with our own age.  In “The Uncanny,” Freud tells of his surprise that the reflection of the old man in the window is his self.  Robert Graves and Thomas Hardy write poignant poems about what they see in the mirror.  They are alternately puzzled and outraged.  And why does the mirror sometimes surprise us?  Because we feel young inside.  That continuing self, the “person” that we were at twenty, is still there somewhere, but now is enshrouded with a wrinkled and faded façade. 

It is a truism that “you are only as old as you feel.”  Nevertheless, one of the worse things that our culture can say about our older comrades is that “they are showing their age,” which usually means they are “acting old” (never a good thing).  Ellen Langer, a Harvard psychologist, posited that feeling younger psychologically would have a positive effect on the physical body and did the famous “counterclockwise” experiment in which she moved a group of elders into an environment that mimicked (or maybe mocked) the world of 1959, the world of their youth.  They watched old television programs, read old magazines, discussed old headlines.  And there were no mirrors.  The staff treated them as if they were young; no one helped them with their luggage or condescended to them.  At the end of the week, they showed improvement in almost all measurable areas – cognitive, physical, perceptual.  Of course, there was no control group and perhaps the group just profited from attention, socialization, and respect from the staff.

We know this kind of thing works.  In this digital age, when our cell phone can design a radio program based on the music we listened to in our youth (and isn’t that the music we all love?), we get a lift as one old favorite after another conjures up scenes and emotions from the days when our whole life was in front of us.  We like talking about old times, particularly with someone who was there.  We enjoy re-reading the books and re-watching the movies that shaped our lives, and all of it is available to us with a few clicks.  We can bring 1959 back all by ourselves.

There is also the matter of memory.  Many old people have much better memories of fifty years ago then they do of last week.  True, we have had time to polish those memories, but they are there.  Augé says that “with regard to our pasts, we are all creators and artists.  We advance facing backward, forever observing and reconstructing the times gone by.”  We can remember the lyrics to a song we haven’t heard for decades and the name of the friend who bought us our first cigarette.  But, for dear life, we can’t remember the name of our neighbor’s husband.  We are youthful in memory.  Except in the face of physical ailments, we all feel young.

Augé ends with this from the title essay of Everyone Dies Young:

Time, as old age experiences it, is not the accumulated, ordered sum of the events of the past.  It is a palimpsest; everything inscribed there does not reappear, and sometimes the earliest inscriptions surface most easily.  Alzheimer’s disease is only an acceleration of the natural selection process of forgetting, at the end of which it seems that the most tenacious – if not the most faithful – images are often those of childhood.  Whether we delight in this fact or deplore it, because there is a share of cruelty in such an observation, we must nevertheless admit it:  everyone dies young.  (85)

I recommend Augé’s little book.  He approaches old age from the vantage point of being old and being trained as an anthropologist/ethnologist.  He encourages us to look at old age as a cultural as well as a biological construction. 

If you are interested in people and mirrors, you might try my old story, “Reflections.”  I don’t like looking in the mirror myself, but don’t seem to be able to avoid it.

 

Last Poems

In my old age, I am interested in those who have entered this territory before me.  I want to know what they were thinking as they approached the end of their lives.  I have always taken a lively interest in looking up how old a poet or novelist was when they produced a work I am impressed with (thank you Wikipedia!).  But I am especially keen to scout out last poems – particularly when the poet lived long.  Or at least to my age.

We do, of course, have the last poems of shorter-lived people like John Keats, Robert Louis Stevenson, Gerard Manley Hopkins, or Rupert Brooke.   But I want to hear what poets have to say after a long life.  There are some collections to look at in this regard (like Harold Bloom’s Till I End My Song: A Gathering of Last Poems, which is excellent), but the real joy is to ferret them out yourselves.  If you have a beloved poet or novelist, read what they wrote in their old age.  I will discuss last novels in another blog, but last poems are interesting enough to keep you going for a while.

In fact, more than a few novelists turned to poetry in their old age. Thomas Hardy gave up writing novels after the bad reception of Jude the Obscure –  George Eliot  did the same thing when her reading public spurned the remarkable (and recommended) Daniel Deronda.  And there are some poets that turned to religion in their old age – T.S. Eliot, W. H. Auden and Siegfried Sassoon come to mind.

But in looking at poets who have meant much to me over the years, I am particularly taken by those last poems that seem to say that, old and wise as they may have become, the poet has never found the answers – but seems to have found the ability to hold the unknown with great equanimity.  Denise Levertov’s final book of poetry (published after she died at age 74) is entitled The Great Unknowing: Last Poems.   The great unknowing…   And in it we find “Ancient Stairway”:

Footsteps like water hollow

the broad curves of stone

ascending, descending

century by century.

Who can say if the last

to climb these stairs

will be journeying

downward or upward?

“Who can say”?  Clearly no answers, but some comfort in the hollowing of footsteps.  I once worked at a college which occupied the old Springfield Armory buildings – in the wood floors were foot-shaped depressions where operators had stood at wood and metal lathes making rifles for decade after decade.  I would stand in those footprints and take a strange comfort in wondering about the dimensions of a life that went before me and in whose vacancy I was now abiding.

Among Robert Frost’s last poems is “In a Glass of Cider”:

It seemed I was a mite of sediment

That waited for the bottom to ferment

So I could catch a bubble in ascent.

I rode up on one till the bubble burst,

And when that left me to sink back reversed

I was no worse off than I was at first.

I’d catch another bubble if I waited.

The thing was to get now and then elated.

Frost is not wondering about whether we are ascending or descending, he is sure we are doing both all of the time, and only hopes that we “get now and then elated.”  There are no answers for Frost either, as noted in a couplet he wrote in his old age entitled “An Answer”:

But Islands of the Blessèd, bless you, son,

I never came upon a blessèd one.

 

This, by the way, is not a new sentiment in old age for Frost – you will find it again and again in his early poetry (e.g. “Happiness Makes Up in Height for What It Lacks in Length”).  In the very first poem in his very first volume (“Into My Own”), he warns us that if we tracked him down after many years:

                                    They would not find me changed from him they knew –

                                    Only more sure of all I thought was true.

And then we have Thomas Hardy, another poet who says, at the end, that his views of life have not changed much.  He gives us  a poem (“He Never Expected Much”) on the occasion of his eighty-sixth birthday.  (Hardy died at 87.)   Here it is:

Well, World, you have kept faith with me,

Kept faith with me;

Upon the whole you have proved to be

Much as you said you were.

Since as a child I used to lie

Upon the leaze and watch the sky,

Never, I own, expected I

That life would all be fair.

 

‘Twas then you said, and since have said,

Times since have said,

In that mysterious voice you shed

From clouds and hills around:

“Many have loved me desperately,

Many with smooth serenity,

While some have shown contempt of me

Till they dropped underground.

 

“I do not promise overmuch,

Child; overmuch;

Just neutral-tinted haps and such,”

You said to minds like mine.

Wise warning for your credit’s sake!

Which I for one failed not to take,

And hence could stem such strain and ache

As each year might assign.

But, please look up the last poems of your favorite poet. And if you are interested in reading more about the poetry of age, you can read this prior blog post and look at my ever-growing list of poems about old age. Meanwhile, here again is “Last Things,” a story I wrote a few years ago when I was pondering what to make of the end of things.

The Poetry of Old Age

On the topic of aging, I most trust poets who are old. Some poets –like Frost and Yeats – wrote poetry throughout a long life. Some turned to poetry in their old age. Thomas Hardy published his first volume of poetry at age fifty-eight and apparently wrote nothing but poetry for the next thirty years. I think poetry lends itself to the old mind, both in the writing and the reading. Good spirits must be distilled.

There are various types of poetry about old age. There is serious poetry and silly poetry. There are elegies for what has been and odes to the joys of senescence. There are genres and tropes. There have been more than a few poems about glimpsing one’s own aging façade in the bathroom mirror – one thinks of Hardy’s “I Look Into My Glass” or Robert Graves’ “The Face in the Mirror.” There are poems of return to places of one’s youth and reminiscences of lost loves. (Yeats is good at this.) Poignant poems capture the difficulties and loneliness of old age. There are no more affecting lines than the end of Frost’s “An Old Man’s Winter Night.” Other poems are filled with the realization that life is going to go on without us, as in Housman’s “Tell Me Not Here.”

Then there are the losses – which some poets see as a mixed blessing. There is the loss of memory. In “The Winter Palace,” Larkin writes that “Some people know more as they get older, /I give all that the cold shoulder.” There is the loss of those we love, as in  Auden’s “Funeral Blues.” And the prospect of our own death, which for some is fearsome (mostly for the younger ones – Dylan Thomas was only thirty-three when he wrote “Do Not Gentle”), for others is welcome (Stevie Smith’s magnificent “Black March” or Auden’s “A Lullaby”). For some the final event is imagined – we hear and see the deathbed scene in Dickinson’s “I Heard A Fly Buzz When I Died.”

As I read poetry or novels, I note the age of the poet/author at the time of composition. This is easier in older volumes wherein the date of birth of the author appear on the back of the title page in the Library of Congress information (why did they stop?), but there is always Wikipedia. I find it particularly interesting to read works of poets at about my own age. The human experience is not entirely singular; there are correspondences. And differences.

I read poetry about old age to learn about myself. Poets can put into language what I often cannot. If I cannot speak it, if I cannot even think it coherently, I cannot truly comprehend it. E.M. Forster asked, “How can I know what I think until I see what I say?” Flannery O’Connor said, ““I write because I don’t know what I think until I read what I say.” I read poetry about old age to give me words for what I am feeling. To give me courage. And sometimes for comfort.

I have attached a list in progress of some poems about aging that are worth looking at. In addition, as I have noted before, there is a wonderful collection by Harold Bloom entitled: Till I End My Song: A Gathering of Last Poems. There is also The Art of Growing Older by Wayne Boothe which gathers poems and other literature about aging into categories. Part of my daily reading for years has been in the Poem A Day books – there are three volumes. The original volume was compiled as a project for The Natural Death Centre in Great Britain, and many of the poems address old age, loss, and death. Many of them also express and bring joy. I will add to my list of old age poems as more come to mind or are discovered; I encourage readers to send me their own favorites. In this business of being on the downside of life’s parabola, we all need comfort, companionship, and a marked-up map.

So what is my favorite poem about aging? I am tempted to cite Frost’s two-liner, written in his eighties:

Forgive, O Lord, my little jokes on Thee
And I’ll forgive Thy great big one on me.

But no. My choice (at least for today) is from A. E. Housman’s volume Last Poems. Housman published only two volumes of poetry in his lifetime – one at age thirty-seven (A Shropshire Lad) and Last Poems at age sixty-three. I own a first U.S. edition of the latter, and it is a treasured possession. On page 60 is the following poem:

XXXV
When first my way to fair I took
Few pence in purse had I,
And long I used to stand and look
At things I could not buy.

Now times are altered: if I care
To buy a thing, I can;
The pence are here and here’s the fair,
But where’s the lost young man?

– To think that two and two are four
And neither five nor three
The heart of man has long been sore
And long ’tis like to be.

If you are interested in poems about old age, you might also look at my post about last poems here.

The Mirror of Age

There is a footnote in Freud’s essay “The Uncanny” which all of us can identify with:

I was sitting alone in my wagon-lit compartment when a more than usually violent jerk of the train swung back the door of the adjoining washing-cabinet, and an elderly gentleman in a dressing-gown and a traveling cap came in. I assumed that he had been about to leave the washing-cabinet which divides the two compartments, and had taken the wrong direction and come into my compartment by mistake. Jumping up with the intention of putting him right, I at once realized to my dismay that the intruder was nothing but my own reflection in the looking-glass of the open door. I can still recollect that I thoroughly disliked his appearance.

First, we must remember that Freud has defined “uncanny” as the “mixture of the familiar and the eerie.” And, in this case, it was his own image as an “elderly gentleman” that was uncanny. And so, perhaps, it is with old age. The face is familiar but the transformation can sometimes be…eerie. I think part of it is because when we look at our own faces in the mirror or at the faces we love, we see a vision anchored to the past. It is only when we unexpectedly identify ourselves as a stranger that we can see what we really look like to others.

The old face in the mirror is a familiar motif –we see it in poetry. In both Robert Graves’ “Face in the Mirror” and Thomas Hardy’s “I Look into My Glass,” the poet contrasts the visage he sees with how he feels inside. Graves is puzzled:

I pause with razor poised, scowling derision
At the mirrored man whose beard needs my attention,
And once more ask him why
He still stands ready, with a boy’s presumption,
To court the queen in her high silk pavilion.

Hardy is more outraged as he views his “wasting skin” and wishes his heart would also waste away:

But Time, to make me grieve,
Part steals, lets part abide;
And shakes this fragile frame at eve
With throbbings of noontide.

For babies, the “mirror stage” starts a process of physical identity. For the aging person, the mirror may serve as an agent of disintegration rather than integration; a secure sense of the physical self developed when young – and as young – is displaced by the changing body in the mirror: “The I or ego which is developed in the mirror stage of infancy is structured precisely to resist the anxiety of bodily fragmentation. In old age, with one’s position reversed before the mirror, the ego finds it more difficult to maintain its defenses” (Woodward, Aging and Its Discontents). Fragmentation rather than integration – no wonder we are disoriented.

Still, we have wonderful self-portraits of artists like Rembrandt in their old age. A triumph of the spirit looks out of Rembrandt’s wrinkled eyes. I have lasted, Rembrandt seems to say, despite and because of this old, battered body. We know Rembrandt used a mirror for his many self-portraits. Clearly he came to terms with what he saw. Such self-examination is not easy, but I think it would be a worthwhile exercise.

The old, deaf, and presumed mad (I’m not so sure) Jonathan Swift, upon being led across a room in his dotage, caught sight of himself in a mirror and cried out “O poor old man.” And so cry we all. But, near the very end, Swift was found rocking himself and muttering “I am what I am, I am what I am.” There is a truth in the mirror. We can deny it, but it is part of who we are and it cannot be rejected anymore than can the self/soul that peers out of the reflected eyes.