W B Yeats’ The Lake Isle of Innisfree (1888)

Ten years ago, Sal and I had a week­end break in Knock in Coun­ty Mayo, Ire­land, dur­ing which we took a pleas­ant side trip to Sli­go and “Yeats coun­try”. In those days I was into “col­lect­ing” lit­er­ary graves and we took the oppor­tu­ni­ty to vis­it Yeats’ final rest­ing place, which turned out to be sit­u­at­ed in a glo­ri­ous set­ting at Drum­cliff, under the impos­ing Ben­bul­bin rock for­ma­tion. William But­ler Yeats was of course one of the fore­most twen­ti­eth cen­tu­ry Eng­lish lan­guage poets, and in Sli­go they’re right­ly proud of him.

Ben­bul­ben

I con­fess to not hav­ing read much Yeats, but there are two of his poems in par­tic­u­lar that have res­onat­ed with me from old. One is his evoca­tive ren­der­ing of the Greek myth, Leda and the Swan, and the oth­er is this, the twelve-line lyric poem, The Lake Isle of Inn­is­free.

Yeats wrote The Lake Isle of Inn­is­free in 1888 when he was a young man, liv­ing in Lon­don and feel­ing lone­ly and home­sick. The 1880s had seen the rise of Charles Stew­art Par­nell and the home rule move­ment in Ire­land and devel­op­ments there had had a pro­found effect on Yeats’ poet­ry, informed by his sub­se­quent explo­rations of Irish iden­ti­ty. The Lake Isle of Inn­is­free is about a yearn­ing for his child­hood home (the isle of Inn­is­free is a real place, an unin­hab­it­ed island in Lough Gill, where Yeats spent many of his child­hood sum­mers). It is a place of seren­i­ty and sim­plic­i­ty, and to we, the read­er, that place becomes not Inn­is­free, but wher­ev­er we hap­pen to pic­ture our own rur­al hide­away; the place to which we pre­tend we shall one day escape and leave behind our cur­rent man­ic, urban lives (“on the pave­ment grey”).

The Lake Isle rep­re­sents an escape, a poet­’s vision of a roman­tic, idyl­lic, and time­less way of life. I love the way he evokes the tran­quil life, in the bosom of nature, in that mas­ter­ful­ly sim­ple phrase where­in he says he will “live alone in the bee-loud glade”. How effec­tive­ly this con­jures up a pic­ture of a hot sun­ny day alive with the hum of insects!

Of course, such an ambi­tion rarely comes to pass and it remains for most of us a fan­ci­ful idea. Indeed, Yeats died in France and only returned to Sli­go in a cof­fin. But his poem remains a great favourite with the Irish (it’s quot­ed in Irish pass­ports) and to roman­tics every­where who yearn for tran­quil­li­ty and “hear it in the deep heart’s core”.

I will arise and go now, and go to Inn­is­free,
And a small cab­in build there, of clay and wat­tles made;
Nine bean rows will I have there, a hive for the hon­ey bee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes drop­ping slow,
Drop­ping from the veils of the morn­ing to where the crick­et sings;
There mid­night’s all a glim­mer, and noon a pur­ple glow,
And evening full of the lin­net’s wings.

I will arise and go now, for always night and day
I hear lake water lap­ping with low sounds by the shore;
While I stand on the road­way, or on the pave­ments grey,
I hear it in the deep heart’s core.

 

William But­ler Yeats

The Glenn Miller Orchestra plays In The Mood (1939)

In this blog, I have writ­ten about both Elvis Pres­ley and the Bea­t­les, but before them, in an extra­or­di­nary four year peri­od between 1938 and 1942, there was a man who scored 23 num­ber-one hits in the US: band­leader and icon of the swing era, Glenn Miller. Miller was per­haps an unlike­ly star and cer­tain­ly a reluc­tant one, as he shied away from the spot­light and hat­ed per­son­al appear­ances, but he nonethe­less had such an ear for melody and such keen arrang­ing skills that most of his out­put became clas­sics of the age – think Moon­light Ser­e­nade, Penn­syl­va­nia 6–5000, Tuxe­do Junc­tion, Chat­tanooga Choo Choo, and of course In the Mood, one of the best dance songs to emerge from the peri­od and the one big band song that gave the swing era its defin­ing moment.

Miller had cut his teeth as a free­lance trom­bon­ist in a vari­ety of bands in the late 1920s and ear­ly 1930s, and worked as a com­pos­er and arranger for the Dorsey broth­ers. He had put an orches­tra togeth­er for British band­leader Ray Noble in 1935, and in 1937 formed his first band, but this proved short-lived after fail­ing to dis­tin­guish itself from the pletho­ra of rival bands. Miller knew that he need­ed a unique sound and in 1938 he put togeth­er an arrange­ment with the clar­inet play­ing a melod­ic line with a tenor sax­o­phone hold­ing the same note, while three oth­er sax­o­phones har­monised with­in a sin­gle octave. It soon became the basis of the “Miller sound”, the tem­plate for what big band music would sound like.

In the Mood is based on an old jazz riff that had been passed around in var­i­ous incar­na­tions for many a year. It was a fel­low named Joe Gar­land who cre­at­ed a new arrange­ment for the riff with the title of “In the Mood”, but it was Miller who pared the tune down to its bare essen­tials. Released in Sep­tem­ber 1939, the tune went on to top the charts in the US for thir­teen straight weeks. With its famous intro­duc­tion fea­tur­ing the sax­o­phones in uni­son, the catchy riff anchor­ing the tune, the two solos (a “tenor fight” between sax­o­phon­ists Tex Beneke and Al Klink, and a 16-bar trum­pet solo by Clyde Hur­ley), and the sus­pense-build­ing end­ing, it has all the Miller spe­cial­i­ties. A true mod­el of sus­pense and dynam­ics. Here it is as fea­tured in the 1941 movie Sun Val­ley Ser­e­nade.

 

Glenn Miller
Glenn Miller