Soldiers Bathing
The sea at evening moves across the sand.
Under a reddening sky I watch the freedom of a band
Of soldiers who belong to me. Stripped bare
For bathing in the sea, they shout and run in the warm air;
Their flesh worn by the trade of war, revives
And my mind towards the meaning of it strives.
All's pathos now. The body that was gross,
Rank, ravenous, disgusting in the act or in repose,
All fever, filth and sweat, its bestial strength
And bestial decay, by pain and labour grows at length
Fragile and luminous. 'Poor bare forked animal,'
Conscious of his desires and needs and flesh that rise and fall,
Stands in the soft air, tasting after toil
The sweetness of his nakedness: letting the sea-waves coil
Their frothy tongues about his feet, forgets
His hatred of the war, its terrible pressure that begets
A machinery of death and slavery,
Each being a slave and making slaves of others: finds that he
Remembers his old freedom in a game
Mocking himself, and comically mimics fear and shame.
He plays with death and animality;
And reading in the shadows of his pallid flesh, I see
The idea of Michelangelo's cartoon
Of soldiers bathing, breaking off before they were half done
At some sortie of the enemy, an episode
Of the Pisan wars with Florence. I remember how he showed
Their muscular limbs that clamber from the water,
And heads that turn across the shoulder, eager for the slaughter,
Forgetful of their bodies that are bare,
And hot to buckle on and use the weapons lying there.
–- And I think too of the theme another found
When, shadowing men's bodies on a sinister red ground
Another Florentine, Pollaiuolo,
Painted a naked battle: warriors, straddled, hacked the foe,
Dug their bare toes into the ground and slew
The brother-naked man who lay between their feet and drew
His lips back from his teeth in a grimace.
They were Italians who knew war's sorrow and disgrace
And showed the thing suspended, stripped: a theme
Born out of the experience of war's horrible extreme
Beneath a sky where even the air flows
With lacrimae Christi. For that rage, that bitterness, those blows,
That hatred of the slain, what could they be
But indirectly or directly a commentary
On the Crucifixion? And the picture burns
With indignation and pity and despair by turns,
Because it is the obverse of the scene
Where Christ hangs murdered, stripped, upon the Cross. I mean,
That is the explanation of its rage.
And we too have our bitterness and pity that engage
Blood, spirit, in this war. But night begins,
Night of the mind: who nowadays is conscious of our sins?
Though every human deed concerns our blood,
And even we must know, what nobody has understood,
That some great love is over all we do,
And that is what has driven us to this fury, for so few
Can suffer all the terror of that love:
The terror of that love has set us spinning in this groove
Greased with our blood.
These dry themselves and dress,
Combing their hair, forget the fear and shame of nakedness.
Because to love is frightening we prefer
The freedom of our crimes. Yet, as I drink the dusky air,
I feel a strange delight that fills me full,
Strange gratitude, as if evil itself were beautiful,
And kiss the wound in thought, while in the west
I watch a streak of red that might have issued from Christ's breast.
--F. T. Prince (1912-2003)
Prince, a British academic, spent six years in the British Army, some of that time at Bletchley Park, now a household word for its role in the breaking of the Enigma code. This remarkable poem, first published in 1954, is one of the finest to come out of World War II. Steeped in the long tradition of English-language poetry and moved by the examples of Eliot and Yeats, Prince here successfully found new territory and fresh approaches; his engagement with the vulnerable body is sincere and his faith unforced. Prince found a path to authentically modern meditative poetry; he repays repeated readings.
The so-called Pereire Gem, once in the collection of Roger Pereire, and now in the British Museum. Produced in the later 2nd or earlier 3rd century of the Common Era in green-brown jasper, it is a magical amulet that shows a bearded and naked Christ on the cross, and may be the earliest surviving depiction of the crucifixion.
Thank you. I've never heard of this poet.