Perhaps it is only when we are released from the stranglehold of the deep freeze that we can once again celebrate cold, snowy art. Today between Hogmanay (New Year’s) and Burns Night (Jan. 25), I bring you a Scottish, though autumnal, chill–the blizzard, the wind, the land, and their combined efforts to confound. Still, may your eyes and heart be open wide to the imagery, the sounds, and the impact that only poetry can deliver.
Recently, I rediscovered the work of a famous poet I was vaguely familiar with: Hugh MacDiarmid, celebrated Scottish poet of the 20th century (1892-1978). Again, I became so fascinated with the Scots language he used to effect his art that I started trying to translate the Scots of one of his poems into standard English. A bit more challenging than “To a Mouse” by Robert Burns, the poem is also more somber and contemplative. A novice in translation for personal interest alone, I am unsure of how well it came out and some of it I couldn’t parse, but I thought the poem interesting enough to share with you.
The poem’s title “The Eemis Stane” translates roughly as “The Unsteady Stone.” If you’ve been following my series on nature poetry, you may have realized by now that sometimes there is a fine line between nature poetry and poetry that uses nature imagery but operates through a different primary theme or mode. Although MacDiarmid’s poem also uses nature imagery, as with many poems, its true subject is more abstract and societal. I believe, though, that all nature poetry need not just celebrate nature; it can also lament it. In that sense, “The Eemis Stane” could legitimately bear the tag “nature poetry.” It would simply need other tags as well.
Following is a bit about Hugh MacDiarmid with a link to more information about the poet, and then the poem in full with my translation and analysis.
According to the Poetry Foundation,
“C. M. Grieve, best known under his pseudonym Hugh MacDiarmid, is credited with effecting a Scottish literary revolution which restored an indigenous Scots literature and has been acknowledged as the greatest poet that his country has produced since Robert Burns.”
“The Eemis Stane” by Hugh MacDiarmid
I’ the how-dumb-deid o’ the cauld hairst nicht
The warl’ like an eemis stane
Wags i’ the lift;
An’ my eerie memories fa’
Like a yowdendrift.
Like a yowdendrift so’s I couldna read
The words cut oot i’ the stane
Had the fug o’ fame
An’ history’s hazelraw
No’ yirdit thaim.
Translation and Analysis
I attempted my translation from Scots into standard English with the assistance of The Online Scots Dictionary and other sources. Brackets and parentheses indicate points of possible alternate meanings.
At the darkest point of the cold harvest night
The world like an unsteady stone
waggles in the sky;
And my eerie memories fall
Like a snow driven by the wind [or a blizzard].
Like a blizzard so that I couldn’t [(even) have] read
The words cut out in the stone
Had the smoky atmosphere [or moss] of foam [or fame]
and history’s lichen
not buried them.
Message of the poem
More about perhaps the nature of history and understanding than about nature itself, here is my interpretation: Truth in cultural identity and any peace of mind about one’s place in the world or cosmos are obscured both by personal perspective and the half-truths of history. In other words, not even personal memory and thought can rescue truth and justice from history’s muddled layers. Alternatively, though less likely, it could mean that only history’s obfuscation of events allows the observant man to see things clearly, as if transgression alone, however unintended, is what urges one’s keen attention to matters. Compounded by this confusion, or perhaps contributing to it, is the timing of the attempt: the darkest point of the night, a metaphor for the hardest moment in life, when you are shaken to your core and too discombobulated to make sense of it.
Means of the message
We can trust the reputable MacDiarmid to use the Scots language precisely, but ambiguity is the primary theme echoed by method across the poem. With compound images and multiple word meanings (fog/smoke/moss, fame/foam), unclear things masked in layers (darkness, fog, eerie memories, blizzard, lichen), and unexpected shifts in visual perspective (in total darkness, harvest night’s earth wobbling in the sky as seen from what vantage point?), the reader feels the speaker’s disorientation.
One example of a mysterious reference, the idea of the “words” cut out in the stone literally suggests either gravestone, monument, or ancient language, but figuratively calls to mind efforts to make one’s mark, the tantalizing nature of age-old mysteries, or a foundation marred or eroded by words and time. Then, stanza 2’s double negative (“couldna” plus “No’”) raises further questions of interpretation.
The speaker’s reaction to the confusion is a lament, with the consistent choice of words that collectively mourn: “how-dumb-deid” (darkest point), “cold,” “nicht” (night), “eemis” (unsteady, unstable, untethered, precarious, tenuous, unreliable), “wags” (wobbles, shakes, waggles, jars, dislocates, disorients), “eerie,” “fa'” (fall), “couldna” (could not), “cut oot” (cut out), “fug” (smoke, haze, fog, moss), and, most obviously, “yirdit” (buried). These account for our mood of sadness, solemnity, and empathetic bereavement.
Unlike the poem’s subject, with the help of such words, its overall impression proves firm, immutable by poem’s end. Although “The Eemis Stane” might be interpreted simply as an intimate human struggle, MacDiarmid, like many great poets, stretches his words beyond the individual into a more universal context. We can see this happening foremost in the introduction of the word “history.” Employing a distinct lexical heritage, the poem is likely best understood as a metaphorical portrait of a people and culture’s displaced memory and shaken identity, and the far too common resulting experience of loss, confusion, and emptiness.
Read more Hugh MacDiarmid, aloud for the music or for the challenge of deciphering, but always for the artfulness of poetry:
- from A Drunk Man Looks at the Thistle – perhaps his most famous poem, in Scots
- Stony Limits – an elegy in English
- Speech, My Beloved – a celebration of poetry, in English
For more from my collection of famous nature poetry, see:
- Nature Poetry by Famous Poets and
- the first post in this series Famous Poets’ Nature Poetry, 1: Sun Spots.
Two weeks later . . .
The entire Famous Poets’ Nature Poetry series
- Nature Poetry by Famous Poets excerpting Thomas Hardy’s “The Darkling Thrush”
- Famous Poets’ Nature Poetry (1a): “The Sunlight on the Garden”
- Famous Poets’ Nature Poetry (2): Elizabeth Bishop
- Famous Poets’ Nature Poetry (3): Wordsworth’s Daffodils
- Famous Poets’ Nature Poetry (4): Promise of a Fruitful Plath
- Famous Poets’ Nature Poetry (5): Of Mice, Men and Rabbie Burns
- Famous Poets’ Nature Poetry (6): Hugh MacDiarmid in Scots
- Famous Poets’ Nature Poetry (6)–Oh, NOW I Get It!: Hugh MacDiarmid in Scots
- Famous Poets’ Nature Poetry (7): Black Legacies
- Famous Poets’ Nature Poetry (8): “Corsons Inlet” by A. R. Ammons
- Famous Poets’ Nature Poetry (9): “The Lake Isle of Innisfree”