Rupert Brooke’s The Soldier (1915)

I recent­ly stayed for a few days in the charm­ing vil­lage of Red­mar­ley d’Abitot in Glouces­ter­shire and when research­ing the local area was pleas­ant­ly sur­prised to find that the near­by vil­lage of Dymock was sig­nif­i­cant in poet­ry cir­cles for being the home of the epony­mous Dymock Poets (as well as being the home of the Dymock Red cider apple and also Stink­ing Bish­op cheese!). A vis­it ensued and in its church of St Mary’s I found a dis­play about the Dymock Poets and learnt a bit more.

They were a lit­er­ary group of poets who lived in or around Dymock, or vis­it­ed often, and were active in the peri­od from 1911 to the First World War. Cen­tred around Las­celles Abercrombie’s house The Gal­lows, in near­by Ryton (that I sub­se­quent­ly vis­it­ed and had a nice chat with the cur­rent own­er who told me she gets plen­ty of Amer­i­can and Chi­nese lit­er­ary tourists), the group com­prised Aber­crom­bie, Robert Frost (whose poem The Road Not Tak­en I wrote about here), Rupert Brooke, Edward Thomas, Wil­frid Wil­son Gib­son and John Drinkwa­ter.

The group pub­lished their own quar­ter­ly, titled New Num­bers, and it was in this that we first saw Rupert Brooke’s The Sol­dier pub­lished: a poem which was to gain world­wide fame for its sim­ple and affect­ing ‘noble fall­en sol­dier’ motif, and be recit­ed in a thou­sand-fold war memo­ri­als. Whilst a lot of war poet­ry such as Wil­frid Owen’s Dulce et Deco­rum Est (also blogged about, here) had a dis­cernibly real­is­tic view of war, Brooke’s The Sol­dier was dia­met­ri­cal­ly oppo­site: a roman­ti­cised and  sen­ti­men­tal view, speak­ing in unabashed tones of pride, courage, and sac­ri­fice. It was writ­ten near the start of the First World War, per­haps before Brookes had time to sam­ple the bru­tal real­i­ties of bat­tle.

Indeed, he nev­er would: sail­ing with the British Mediter­ranean Expe­di­tionary Force on its way to the Gal­lipoli land­ings in 1915, he devel­oped strep­to­coc­cal sep­sis from an infect­ed mos­qui­to bite and, whilst moored off the Greek island of Sky­ros, died of sep­ti­caemia on 23rd April . As the expe­di­tionary force had orders to depart imme­di­ate­ly, Brooke was buried in an sim­ple olive grove on Sky­ros. It makes the open­ing lines of his poem all the more poignant.

If I should die, think only this of me:
That there’s some cor­ner of a for­eign field
That is for ever Eng­land. There shall be
In that rich earth a rich­er dust con­cealed;
A dust whom Eng­land bore, shaped, made aware,
Gave, once, her flow­ers to love, her ways to roam,
A body of Eng­land’s, breath­ing Eng­lish air,
Washed by the rivers, blest by suns of home.
And think, this heart, all evil shed away,
A pulse in the eter­nal mind, no less
Gives some­where back the thoughts by Eng­land giv­en;
Her sights and sounds; dreams hap­py as her day;
And laugh­ter, learnt of friends; and gen­tle­ness,
In hearts at peace, under an Eng­lish heav­en.

Rupert Brooke

Key and Peele’s Substitute Teacher sketches (2012)

I came across the com­e­dy duo Key & Peele just pri­or to Jor­dan Peele’s direc­to­r­i­al career blow­ing up with the release of his films Get Out (2017), Us (2019) and, just last month, Nope. I have seen the first two of those movies, and they are intrigu­ing, slick psy­cho­log­i­cal hor­ror films, but it’s his com­e­dy with part­ner Kee­gan-Michael Key that inter­ests us here. The two first worked togeth­er on Amer­i­can sketch com­e­dy series Mad TV but broke out with their own series on Com­e­dy Cen­tral.

Key and Peele are black Amer­i­cans and their sketch­es often focus on eth­nic stereo­types and social awk­ward­ness in race rela­tions but they are very fun­ny with it, and no more so than in their two Sub­sti­tute Teacher sketch­es. In these, Key plays Mr Gar­vey, an angry and intim­i­dat­ing sub­sti­tute teacher and vet­er­an of inner-city school­ing, who has come to teach a class of white, mild-man­nered sub­ur­ban stu­dents.

Since Mr Gar­vey is pre­sum­ably used to teach­ing kids with first names hav­ing every spelling and pro­nun­ci­a­tion under the sun, he strug­gles with the reg­u­lar spellings and pro­nun­ci­a­tions of these white kids’ names: when tak­ing the class roll he pro­nounces Jacque­line as “Jay-kwellin”, Blake as “Balarkay”, Denise as “Dee-nice” and Aaron as “A‑A-Ron”. Any attempt­ed cor­rec­tion is seen as an affront and there’s no way he’s going to take it, so he forces them to acknowl­edge them­selves by his incor­rect pro­nun­ci­a­tions and threat­ens to send them to Prin­ci­pal O’Shaughnessy’s office (whose name he pro­nounces “O‑Shag-hen­nessy”).

The con­cept of Sub­sti­tute Teacher is very clever and Key absolute­ly nails his char­ac­ter. With excel­lent con­tri­bu­tions from the sup­port­ing cast of stu­dents whose names are so amus­ing­ly man­gled, it’s very, very fun­ny. “You done messed up, A‑A-Ron!”

Sub­sti­tute Teacher, Mr Gar­vey