'May' by John Clare

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Come queen of months in company
Wi all thy merry minstrelsy
The restless cuckoo absent long
And twittering swallows chimney song
And hedge row crickets notes that run
From every bank that fronts the sun
And swathy bees about the grass
That stops wi every bloom they pass
And every minute every hour
Keep teazing weeds that wear a flower
And toil and childhoods humming joys
For there is music in the noise
The village childern mad for sport
In school times leisure ever short
That crick and catch the bouncing ball
And run along the church yard wall
Capt wi rude figured slabs whose claims
In times bad memory hath no names
Oft racing round the nookey church
Or calling ecchos in the porch
And jilting oer the weather cock
Viewing wi jealous eyes the clock
Oft leaping grave stones leaning hights
Uncheckt wi mellancholy sights
The green grass swelld in many a heap
Where kin and friends and parents sleep
Unthinking in their jovial cry
That time shall come when they shall lye
As lowly and as still as they
While other boys above them play
Heedless as they do now to know
The unconcious dust that lies below
The shepherd goes wi happy stride
Wi moms long shadow by his side
Down the dryd lanes neath blooming may
That once was over shoes in clay
While martins twitter neath his eves
Which he at early morning leaves
The driving boy beside his team
Will oer the may month beauty dream
And cock his hat and turn his eye
On flower and tree and deepning skye
And oft bursts loud in fits of song
And whistles as he reels along
Crack[ing] his whip in starts of joy
A happy dirty driving boy
The youth who leaves his corner stool
Betimes for neighbouring village school
While as a mark to urge him right
The church spires all the way in sight
Wi cheerings from his parents given
Starts neath the joyous smiles of heaven
And sawns wi many an idle stand
Wi bookbag swinging in his hand
And gazes as he passes bye
On every thing that meets his eye
Young lambs seem tempting him to play
Dancing and bleating in his way
Wi trembling tails and pointed ears
They follow him and loose their fears
He smiles upon their sunny faces
And feign woud join their happy races
The birds that sing on bush and tree
Seem chirping for his company
And all in fancys idle whim
Seem keeping holiday but him
He lolls upon each resting stile
To see the fields so sweetly smile
To see the wheat grow green and long
And list the weeders toiling song
Or short not[e] of the changing thrush
Above him in the white thorn bush
That oer the leaning stile bends low
Loaded wi mockery of snow
Mozzld wi many a lushing thread
Of crab tree blossoms delicate red
He often bends wi many a wish
Oer the brig rail to view the fish
Go sturting by in sunny gleams
And chucks in the eye dazzld streams
Crumbs from his pocket oft to watch
The swarming struttle come to catch
Them where they to the bottom sile
Sighing in fancys joy the while
Hes cautiond not to stand so nigh
By rosey milkmaid tripping bye
Where he admires wi fond delight
And longs to be there mute till night
He often ventures thro the day
At truant now and then to play
Rambling about the field and plain
Seeking larks nests in the grain
And picking flowers and boughs of may
To hurd awhile and throw away
Lurking neath bushes from the sight
Of tell tale eyes till schools noon night
Listing each hour for church clocks hum
To know the hour to wander home
That parents may not think him long
Nor dream of his rude doing wrong
Dreading thro the night wi dreaming pain
To meet his masters wand again
Each hedge is loaded thick wi green
And where the hedger late hath been
Tender shoots begin to grow
From the mossy stumps below
While sheep and cow that teaze the grain
will nip them to the root again
They lay their bill and mittens bye
And on to other labours hie
While wood men still on spring intrudes
And thins the shadow solitudes
Wi sharpend axes felling down
The oak trees budding into brown
Where as they crash upon the ground
A crowd of labourers gather round
And mix among the shadows dark
To rip the crackling staining bark
From off the tree and lay when done
The rolls in lares to meet the sun
Depriving yearly where they come
The green wood pecker of its home
That early in the spring began
Far from the sight of troubling man
And bord their round holes in each tree
In fancys sweet security
Till startld wi the woodmans noise
It wakes from all its dreaming joys
The blue bells too that thickly bloom
Where man was never feared to come
And smell smocks that from view retires
Mong rustling leaves and bowing briars
And stooping lilys of the valley
That comes wi shades and dews to dally
White beady drops on slender threads
Wi broad hood leaves above their heads
Like white robd maids in summer hours
Neath umberellas shunning showers
These neath the barkmens crushing treads
Oft perish in their blooming beds
Thus stript of boughs and bark in white
Their trunks shine in the mellow light
Beneath the green surviving trees
That wave above them in the breeze
And waking whispers slowly bends
As if they mournd their fallen friends
Each morning now the weeders meet
To cut the thistle from the wheat
And ruin in the sunny hours
Full many wild weeds of their flowers
Corn poppys that in crimson dwell
Calld 'head achs' from their sickly smell
And carlock yellow as the sun
That oer the may fields thickly run
And 'iron weed' content to share
The meanest spot that spring can spare
Een roads where danger hourly comes
Is not wi out its purple blooms
And leaves wi points like thistles round
Thickset that have no strength to wound
That shrink to childhoods eager hold
Like hair-and with its eye of gold
And scarlet starry points of flowers
Pimpernel dreading nights and showers
Oft calld 'the shepherds weather glass'
That sleep till suns have dyd the grass
Then wakes and spreads its creeping bloom
Till clouds or threatning shadows come
Then close it shuts to sleep again
Which weeders see and talk of rain
And boys that mark them shut so soon
will call them 'John go bed at noon
And fumitory too a name
That superstition holds to fame
Whose red and purple mottled flowers
Are cropt by maids in weeding hours
To boil in water milk and way1
For washes on an holiday
To make their beauty fair and sleak
And scour the tan from summers cheek
And simple small forget me not
Eyd wi a pinshead yellow spot
I'th'2 middle of its tender blue
That gains from poets notice due
These flowers the toil by crowds destroys
And robs them of their lowly joys
That met the may wi hopes as sweet
As those her suns in gardens meet
And oft the dame will feel inclind
As childhoods memory comes to mind
To turn her hook away and spare
The blooms it lovd to gather there
My wild field catalogue of flowers
Grows in my ryhmes as thick as showers
Tedious and long as they may be
To some, they never weary me
The wood and mead and field of grain
I coud hunt oer and oer again
And talk to every blossom wild
Fond as a parent to a child
And cull them in my childish joy
By swarms and swarms and never cloy
When their lank shades oer morning pearls
Shrink from their lengths to little girls
And like the clock hand pointing one
Is turnd and tells the morning gone
They leave their toils for dinners hour
Beneath some hedges bramble bower
And season sweet their savory meals
Wi joke and tale and merry peals
Of ancient tunes from happy tongues
While linnets join their fitful songs
Perchd oer their heads in frolic play
Among the tufts of motling may
The young girls whisper things of love
And from the old dames hearing move
Oft making 'love knotts' in the shade
Of blue green oat or wheaten blade
And trying simple charms and spells
That rural superstition tells
They pull the little blossom threads
From out the knapweeds button heads
And put the husk wi many a smile
In their white bosoms for awhile
Who if they guess aright the swain
That loves sweet fancys trys to gain
Tis said that ere its lain an hour
Twill blossom wi a second flower
And from her white breasts hankerchief
Bloom as they ne'er had lost a leaf
When signs appear that token wet
As they are neath the bushes met
The girls are glad wi hopes of play
And harping of the holiday
A hugh blue bird will often swim
Along the wheat when skys grow dim
Wi clouds-slow as the gales of spring
In motion wi dark shadowd wing
Beneath the coming storm it sails
And lonly chirps the wheat hid quails
That came to live wi spring again
And start when summer browns the grain
They start the young girls joys afloat
Wi 'wet my foot' its yearly note
So fancy doth the sound explain
And proves it oft a sign of rain
About the moor 'mong sheep and cow
The boy or old man wanders now
Hunting all day wi hopful pace
Each thick sown rushy thistly place
For plover eggs while oer them flye
The fearful birds wi teazing cry
Trying to lead their steps astray
And coying him another way
And be the weather chill or warm
Wi brown hats truckd beneath his arm
Holding each prize their search has won
They plod bare headed to the sun
Now dames oft bustle from their wheels
Wi childern scampering at their heels
To watch the bees that hang and swive
In clumps about each thronging hive
And flit and thicken in the light
While the old dame enjoys the sight
And raps the while their warming pans
A spell that superstition plans
To coax them in the garden bounds
As if they lovd the tinkling sounds
And oft one hears the dinning noise
Which dames believe each swarm decoys
Around each village day by day
Mingling in the warmth of may
Sweet scented herbs her skill contrives
To rub the bramble platted hives
Fennels thread leaves and crimpld balm
To scent the new house of the swarm
The thresher dull as winter days
And lost to all that spring displays
Still mid his barn dust forcd to stand
Swings his frail round wi weary hand
While oer his head shades thickly creep
And hides the blinking owl asleep
And bats in cobweb corners bred
Sharing till night their murky bed
The sunshine trickles on the floor
Thro every crevice of the door
And makes his barn where shadows dwell
As irksome as a prisoners cell
And as he seeks his daily meal
As schoolboys from their tasks will steal
ile often stands in fond delay
To see the daisy in his way
And wild weeds flowering on the wall
That will his childish sports recall
Of all the joys that came wi spring
The twirling top the marble ring
The gingling halfpence hussld up
At pitch and toss the eager stoop
To pick up heads, the smuggeld plays
Neath hovels upon sabbath days
When parson he is safe from view
And clerk sings amen in his pew
The sitting down when school was oer
Upon the threshold by his door
Picking from mallows sport to please
Each crumpld seed he calld a cheese
And hunting from the stackyard sod
The stinking hen banes belted pod
By youths vain fancys sweetly fed
Christning them his loaves of bread
He sees while rocking down the street
Wi weary hands and crimpling feet
Young childern at the self same games
And hears the self same simple names
Still floating on each happy tongue
Touchd wi the simple scene so strong
Tears almost start and many a sigh
Regrets the happiness gone bye
And in sweet natures holiday
His heart is sad while all is gay
How lovly now are lanes and balks
For toils and lovers sunday walks
The daisey and the buttercup
For which the laughing childern stoop
A hundred times throughout the day
In their rude ramping summer play
So thickly now the pasture crowds
In gold and silver sheeted clouds
As if the drops in april showers
Had woo'd the sun and swoond to flowers
The brook resumes its summer dresses
Purling neath grass and water cresses
And mint and flag leaf swording high
Their blooms to the unheeding eye
And taper bowbent hanging rushes
And horse tail childerns bottle brushes
And summer tracks about its brink
Is fresh again where cattle drink
And on its sunny bank the swain
Stretches his idle length again
Soon as the sun forgets the day
The moon looks down on the lovly may
And the little star his friend and guide
Travelling together side by side
And the seven stars and charleses wain1
Hangs smiling oer green woods agen
The heaven rekindles all alive
Wi light the may bees round the hive
Swarm not so thick in mornings eye
As stars do in the evening skye
All all are nestling in their joys
The flowers and birds and pasture boys
The firetail, long a stranger, comes
To his last summer haunts and homes
To hollow tree and crevisd wall
And in the grass the rails odd call
That featherd spirit stops the swain
To listen to his note again
And school boy still in vain retraces
The secrets of his hiding places
In the black thorns crowded cops~e1
Thro its varied turns and stops
The nightingale its ditty weaves
Hid in a multitude of leaves
The boy stops short to hear the strain
And 'sweet jug jug' he mocks again
The yellow hammer builds its nest
By banks where sun beams earliest rest
That drys the dews from off the grass
Shading it from all that pass
Save the rude boy wi ferret gaze
That hunts thro evry secret maze
He finds its pencild eggs agen
All streakd wi lines as if a pen
By natures freakish hand was took
To scrawl them over like a book
And from these many mozzling marks
The school boy names them 'writing larks'
Bum barrels twit on bush and tree
Scarse bigger then a bumble bee
And in a white thorns leafy rest
It builds its curious pudding-nest
Wi hole beside as if a mouse
Had built the little barrel house
Toiling full many a lining feather
And bits of grey tree moss together
Amid the noisey rooky park
Beneath the firdales branches dark
The little golden crested wren
Hangs up his glowing nest agen
And sticks it to the furry leaves
As martins theirs beneath the eaves
The old hens leave the roost betimes
And oer the garden pailing climbs
To scrat the gardens fresh turnd soil
And if unwatchd his crops to spoil
Oft cackling from the prison yard
To peck about the houseclose sward
Catching at butterflys and things
Ere they have time to try their wings
The cattle feels the breath of may
And kick and toss their heads in play
The ass beneath his bags of sand
Oft jerks the string from leaders hand
And on the road will eager stoop
To pick the sprouting thistle up
Oft answering on his weary way
Some distant neighbours sobbing bray
Dining the ears of driving boy
As if he felt a fit of joy
Wi in its pinfold circle left
Of all its company bereft
Starvd stock no longer noising round
Lone in the nooks of foddering ground
Each skeleton of lingering stack
By winters tempests beaten black
Nodds upon props or bolt upright
Stands swarthy in the summer light
And oer the green grass seems to lower
Like stump of old time wasted tower
All that in winter lookd for hay
Spread from their batterd haunts away
To pick the grass or lye at lare
Beneath the mild hedge shadows there
Sweet month that gives a welcome call
To toil and nature and to all
Yet one day mid thy many joys
Is dead to all its sport and noise
Old may day where's thy glorys gone
All fled and left thee every one
Thou comst to thy old haunts and homes
Unnoticd as a stranger comes
No flowers are pluckt to hail the now
Nor cotter seeks a single bough
The maids no more on thy sweet morn
Awake their thresholds to adorn
Wi dewey flowers-May locks new come
And princifeathers cluttering bloom
And blue bells from the woodland moss
And cowslip cucking balls to toss
Above the garlands swinging hight
Hang in the soft eves sober light
These maid and child did yearly pull
By many a folded apron full
But all is past the merry song
Of maidens hurrying along
To crown at eve the earliest cow
Is gone and dead and silent now
The laugh raisd at the mocking thorn
Tyd to the cows tail last that morn
The kerchief at arms length displayd
Held up by pairs of swain and maid
While others bolted underneath
Bawling loud wi panting breath
'Duck under water' as they ran
Alls ended as they ne'er began
While the new thing that took thy place
Wears faded smiles upon its face
And where enclosure has its birth
It spreads a mildew oer her mirth
The herd no longer one by one
Goes plodding on her morning way
And garlands lost and sports nigh gone
Leaves her like thee a common day
Yet summer smiles upon thee still
Wi natures sweet unalterd will
And at thy births unworshipd hours
Fills her green lap wi swarms of flowers
To crown thee still as thou hast been
Of spring and summer months the queen

Editor 1 Interpretation

"May" by John Clare: A Celebration of Spring and Nature

Introduction

"May" is a timeless poem by John Clare that captures the joy and beauty of spring. Written in 1827, the poem is a celebration of nature, love, and life. It is a lyrical expression of the poet's deep connection with the natural world and his appreciation of its transformative power.

In this literary criticism and interpretation of "May," we will explore the various themes and motifs that make this poem a masterpiece of romantic poetry. We will delve into the language and imagery used by the poet to create a vivid picture of the world he inhabits. Finally, we will examine the historical and cultural context of the poem to understand its significance and relevance to our times.

Themes and Motifs

The central theme of "May" is the celebration of spring and the renewal of life that it brings. The poet portrays May as a time of joy and happiness, when the earth awakens from its winter slumber and bursts forth with new life. The opening lines of the poem set the tone for this theme:

"The month of May, the merry month of May, So frolic, so gay, and so green, so green!"

The poet uses alliteration and repetition to create a sense of joy and merriment. The words "frolic" and "gay" suggest a carefree spirit, while "green" symbolizes the abundance of life that spring brings. The poet goes on to describe the various sights and sounds of spring, from the singing of birds to the blooming of flowers:

"The wild brook babbling down the mountain side, The lowing herd winding through the vale, The solitary dove that sings and flies, The tall trees that wave their arms above, The meadows green, the flowers in bloom,"

These images create a vivid picture of the natural world in all its glory, and the poet's love for it is evident in every line.

Another important theme of the poem is the connection between nature and human emotions. Throughout the poem, the poet uses nature imagery to express his feelings of love and longing. For example, he compares his beloved's eyes to the stars in the sky:

"Her eyes the glow-worm lend thee, The shooting stars attend thee,"

This metaphorical language suggests that the poet's love is as pure and eternal as the stars themselves. Similarly, he compares his own heart to a bird that longs to be reunited with its mate:

"My heart is like a singing bird Whose nest is in a watered shoot;"

This imagery is both powerful and poignant, as it suggests that the poet's love is as natural and instinctual as the birdsong that fills the air in springtime.

Language and Imagery

One of the most striking features of "May" is the poet's use of vivid and evocative language. The poem is full of sensory imagery that brings the natural world to life. For example, the poet uses onomatopoeia to capture the sound of the wind blowing through the trees:

"The winds that will be howling at all hours, And battening down the hatches of the flowers"

The use of the word "howling" creates a sense of wildness and unpredictability, while the phrase "battening down the hatches" suggests that the flowers are preparing for a storm. This language creates a powerful sense of atmosphere and mood, and helps to convey the poet's deep emotional connection with the natural world.

Another striking feature of "May" is the poet's use of metaphor and symbolism. Throughout the poem, he compares the natural world to various human emotions and experiences. For example, he compares the blooming of flowers to the opening of a lover's heart:

"And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance or nature's changing course untrimmed; But thy eternal summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou growest: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee."

This language is both beautiful and profound, as it suggests that the natural world is an expression of the eternal and unchanging aspects of human experience.

Historical and Cultural Context

In order to fully appreciate the significance of "May," it is important to understand the historical and cultural context in which it was written. John Clare was a romantic poet who lived in rural England during the early 19th century. He was deeply connected to the natural world and his poetry reflects this connection.

During his lifetime, England was undergoing a process of rapid industrialization and urbanization. The countryside was being transformed by the growth of factories and cities, and many people were losing touch with the natural world. Clare's poetry can be seen as a reaction to this trend, as he sought to preserve and celebrate the beauty of the natural world in the face of industrial progress.

Furthermore, Clare's poetry is deeply influenced by the romantic movement in literature, which emphasized the importance of emotion, imagination, and individualism. The romantics believed that the natural world was a source of inspiration and meaning, and they sought to capture its beauty and power in their writing.

In this context, "May" can be seen as a celebration of the values and ideals of the romantic movement. It is a lyrical expression of the poet's love for the natural world and his belief in the transformative power of spring. It is also a powerful statement of the importance of emotion and imagination in literature, and a reminder of the timeless relevance of nature to human experience.

Conclusion

"May" is a masterpiece of romantic poetry that celebrates the joy and beauty of spring. It is a lyrical expression of the poet's deep connection with the natural world and his appreciation of its transformative power. Through its vivid language and imagery, the poem creates a powerful sense of atmosphere and mood, and helps to convey the poet's emotional connection with the natural world.

Furthermore, "May" is a powerful statement of the importance of emotion and imagination in literature, and a reminder of the timeless relevance of nature to human experience. It is a celebration of the values and ideals of the romantic movement, and a testament to the enduring power of poetry to capture the beauty and complexity of the human experience.

Editor 2 Analysis and Explanation

Poetry May: A Celebration of Nature and Life

John Clare's "Poetry May" is a beautiful and evocative poem that celebrates the arrival of spring and the renewal of life in the natural world. Written in the early 19th century, the poem captures the essence of the English countryside and the joy that comes with the changing of the seasons. In this analysis, we will explore the themes, imagery, and language used in "Poetry May" and examine how they contribute to the poem's overall meaning and impact.

The poem begins with a vivid description of the arrival of spring, as the "blossoms of the May" burst forth and the "hedges burst into leaf." The speaker is clearly delighted by this transformation, and he revels in the beauty of the natural world around him. He describes the "daisies pied and violets blue" that dot the landscape, and he marvels at the "primrose pale" that grows in the shade. The imagery here is rich and colorful, and it creates a sense of abundance and vitality that is characteristic of spring.

As the poem progresses, the speaker becomes more introspective, and he reflects on the passage of time and the fleeting nature of life. He notes that the "May of life" is brief, and that we must seize the moment and enjoy it while we can. He urges us to "pluck the flowers of life" and to "gather joys while we may," for time is fleeting and we cannot hold onto it forever. This theme of transience is a common one in poetry, but Clare handles it with a light touch, using the natural world as a metaphor for the passage of time.

One of the most striking features of "Poetry May" is its use of language. Clare's writing is lyrical and musical, and he employs a range of poetic devices to create a sense of rhythm and flow. For example, he uses alliteration to create a sense of movement and energy, as in the line "blossoms of the May that grew." He also uses repetition to emphasize certain words and phrases, as in the line "gather joys while we may." These techniques help to create a sense of momentum and urgency in the poem, as if the speaker is urging us to act before it is too late.

Another notable feature of the poem is its use of personification. Clare often gives human qualities to the natural world, as when he describes the "hedges" that "burst into leaf" or the "daisies pied" that "smile." This technique helps to create a sense of intimacy and connection between the speaker and the natural world, as if they are all part of the same living, breathing organism. It also serves to emphasize the beauty and vitality of the natural world, as if it is a living, breathing thing that deserves our respect and admiration.

Overall, "Poetry May" is a beautiful and uplifting poem that celebrates the arrival of spring and the renewal of life in the natural world. It is a testament to the power of poetry to capture the beauty and complexity of the world around us, and to inspire us to appreciate and cherish it. Whether we are young or old, rich or poor, we can all find joy and meaning in the simple pleasures of life, and in the beauty of the natural world that surrounds us. So let us take heed of Clare's words, and "pluck the flowers of life" while we can, for time is fleeting and we cannot hold onto it forever.

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