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The secret of writing poetry, it has been said, is to find | 0:00:04 | 0:00:07 | |
is at bottom your child mind, | 0:00:12 | 0:00:15 | |
that a poet's words and subjects | 0:00:15 | 0:00:18 | |
So, what I want to do is to explore | 0:00:28 | 0:00:32 | |
But I'd like to think that the subject not only leads back there, | 0:00:46 | 0:00:49 | |
to step into the same river twice. | 0:01:03 | 0:01:06 | |
The River Moyola flows south-east | 0:01:19 | 0:01:21 | |
and enters Lough Neagh just a | 0:01:25 | 0:01:42 | |
linking the townland of Broagh to the townland of Bellshill. | 0:01:42 | 0:01:46 | |
We used to paddle around the gravel | 0:01:46 | 0:01:50 | |
and I always loved venturing out from one stepping stone to the | 0:01:50 | 0:01:54 | |
next, right into the middle | 0:01:54 | 0:01:57 | |
For even though the river was narrow enough and shallow enough, | 0:01:57 | 0:02:00 | |
there was a feeling of daring | 0:02:00 | 0:02:03 | |
into the main flow of the current. | 0:02:03 | 0:02:06 | |
away from the safety of the bank, | 0:02:08 | 0:02:11 | |
You were giddy and rooted to the spot at one and the same time. | 0:02:14 | 0:02:18 | |
Your body stood stock-still, | 0:02:18 | 0:02:21 | |
But your head would be light and swimming from the rush of the river | 0:02:25 | 0:02:28 | |
at your feet and the big, stately | 0:02:28 | 0:02:31 | |
in the sky above your head. | 0:02:31 | 0:02:34 | |
Nowadays when I think of that child | 0:02:42 | 0:02:46 | |
I see a little version of the god the Romans called Terminus, | 0:02:46 | 0:02:51 | |
The Romans kept an image of Terminus | 0:02:54 | 0:02:58 | |
on Capitol Hill and the interesting | 0:02:58 | 0:03:02 | |
above the place where the image sat | 0:03:02 | 0:03:06 | |
and the borders of the Earth needed | 0:03:09 | 0:03:13 | |
the whole unlimited height and width and depth of the heavens themselves. | 0:03:13 | 0:03:19 | |
boundaries are necessary evils | 0:03:21 | 0:03:24 | |
the truly desirable condition | 0:03:24 | 0:03:27 | |
is the feeling of being unbounded, | 0:03:27 | 0:03:32 | |
Terminus appears in many Irish place | 0:03:54 | 0:03:58 | |
meaning the glebe land attached to | 0:03:58 | 0:04:02 | |
land of any sort marked off for | 0:04:02 | 0:04:08 | |
from very early on, I recognised | 0:04:08 | 0:04:11 | |
was a special marker of a very | 0:04:11 | 0:04:15 | |
but also when I stood on the bridge | 0:04:23 | 0:04:29 | |
and look directly down at the flow where the trout were darting about | 0:04:29 | 0:04:41 | |
where my mother's people lived in a terraced house with an archway | 0:04:41 | 0:04:45 | |
of roses over the front pathway and a vegetable garden at the back. | 0:04:45 | 0:04:49 | |
Castledawson could have been in any | 0:04:49 | 0:04:53 | |
spick-and-span English mill village, | 0:04:53 | 0:05:02 | |
In this case, the factory horn | 0:05:02 | 0:05:05 | |
and then to let them all go home. | 0:05:09 | 0:05:13 | |
Home to New Row and Boyne Row, | 0:05:13 | 0:05:15 | |
and the Protestant church, up past the entrance to Moyola Park | 0:05:19 | 0:05:22 | |
where the Castledawson soccer team | 0:05:22 | 0:05:25 | |
Chichester-Clarks lived their life | 0:05:25 | 0:05:29 | |
behind the walls of their demesne. | 0:05:29 | 0:05:31 | |
All that was, mentally, on one side of the river, as well as physically. | 0:05:31 | 0:05:36 | |
On the other, there was the parish of Bellaghy or Ballyscullion, | 0:05:36 | 0:05:40 | |
Their kitchens had open fires rather | 0:05:50 | 0:05:54 | |
Their houses stood in the middle of fields rather than in a terrace. | 0:05:54 | 0:05:59 | |
And the people who lived in them | 0:05:59 | 0:06:00 | |
listened to the cattle roaring | 0:06:00 | 0:06:04 | |
I knew the Ballaghy side of things was not only in a different | 0:06:08 | 0:06:12 | |
physical place, but in a sort of different cultural space as well. | 0:06:12 | 0:06:16 | |
In my mind, Bellaghy belonged not only to Gaelic football, but also | 0:06:18 | 0:06:22 | |
to the much older Gaelic order of cattle herding and hillforts. | 0:06:22 | 0:06:28 | |
first Monday of every month. | 0:06:31 | 0:06:32 | |
The streets would be crammed with cows and heifers and bullocks | 0:06:32 | 0:06:37 | |
the whole place loud and stinking | 0:06:38 | 0:06:43 | |
of unruly activity like that | 0:06:44 | 0:06:48 | |
Castledawson was a far more | 0:06:51 | 0:06:55 | |
more a part of the main drag. | 0:06:55 | 0:06:58 | |
The very name of the place is from | 0:06:58 | 0:07:03 | |
whereas Bellaghy - Baile Eachaidha - | 0:07:06 | 0:07:09 | |
more obscure origin, in Irish. | 0:07:09 | 0:07:14 | |
So, as I once said in a poem, | 0:07:14 | 0:07:16 | |
a poem called Terminus, as a | 0:07:16 | 0:07:21 | |
between the predominantly loyalist | 0:07:26 | 0:07:29 | |
and the predominantly nationalist and Catholic district of Bellaghy. | 0:07:31 | 0:07:46 | |
On a border between townlands | 0:07:46 | 0:08:02 | |
clear ring of the Ulster Irish | 0:08:06 | 0:08:09 | |
to the Gaeltacht or Rannafast. | 0:08:09 | 0:08:22 | |
like the word "hoke", for example. | 0:08:26 | 0:08:33 | |
not standard English and it's not an Irish language word either, | 0:08:37 | 0:08:41 | |
as far as I know, but it is there at the foundation of speech, | 0:08:41 | 0:08:47 | |
under me, like the floor of the | 0:08:47 | 0:08:52 | |
Something to write home about, | 0:08:52 | 0:08:54 | |
It means to root about or delve into | 0:08:54 | 0:08:59 | |
in a poem when the poem is writing itself or you are writing the poem. | 0:09:04 | 0:09:08 | |
The poem kind of gets its nose | 0:09:08 | 0:09:13 | |
hokes its way towards the very centre of what it's really concerned with, | 0:09:13 | 0:09:18 | |
And in fact, it was the word | 0:09:21 | 0:09:25 | |
an acorn and a rusted bolt. | 0:09:29 | 0:09:33 | |
If I listened, an engine shunting | 0:09:41 | 0:09:44 | |
Is it any wonder when I thought | 0:09:47 | 0:09:50 | |
I would have second thoughts? | 0:09:50 | 0:09:52 | |
and not be forced into second | 0:10:02 | 0:10:05 | |
People are being brought up against different boundaries all the time. | 0:10:05 | 0:10:10 | |
One person says too many cooks | 0:10:10 | 0:10:13 | |
the other person says many hands | 0:10:13 | 0:10:17 | |
One person says Ulster is British, | 0:10:17 | 0:10:19 | |
the other person says Ulster is | 0:10:19 | 0:10:22 | |
You say potato on your side of the I say "potatto" on my side. | 0:10:24 | 0:10:27 | |
These contradictions are part of being a member of the human species. | 0:10:29 | 0:10:34 | |
But in Northern Ireland they have taken on a special local intensity. | 0:10:35 | 0:10:40 | |
It shone like gifts of the Nativity. | 0:10:46 | 0:10:51 | |
When they spoke of the Mammon | 0:10:51 | 0:10:53 | |
and the march drain drains banks | 0:10:58 | 0:11:09 | |
that I used to hear again and again | 0:11:09 | 0:11:21 | |
One farm marched another farm, one field marched another field | 0:11:41 | 0:11:59 | |
to border upon and be bordered upon. | 0:11:59 | 0:12:02 | |
It was a word that acknowledged | 0:12:04 | 0:12:06 | |
but it also contained a definite | 0:12:06 | 0:12:10 | |
If my land marched your land, | 0:12:12 | 0:12:15 | |
we were bound by that boundary as well as separated by it. | 0:12:15 | 0:12:18 | |
In the kitchen of the house where | 0:12:46 | 0:12:50 | |
and it is one of the first memories | 0:12:50 | 0:12:54 | |
I have, of my feet touching | 0:12:54 | 0:12:58 | |
I must have been just two or | 0:12:59 | 0:13:01 | |
I used to lean down and take the boards out of the bottom of the cot, | 0:13:04 | 0:13:08 | |
and there was a terrific surprise | 0:13:08 | 0:13:13 | |
small foot touched the actual cold cement, the smoothness of it. | 0:13:13 | 0:13:19 | |
Then something more gradual, | 0:13:19 | 0:13:25 | |
through your foot, coming into you. | 0:13:29 | 0:13:32 | |
You felt confirmed within yourself just by being there on the ground. | 0:13:32 | 0:13:37 | |
I'm in two places at once really, | 0:13:38 | 0:13:42 | |
on the floor and within that big | 0:13:42 | 0:13:47 | |
that the feel of the floor opened | 0:13:47 | 0:13:50 | |
When my feet touched that floor I knew I was on my way somewhere. | 0:14:00 | 0:14:04 | |
But whereto I could not have said. | 0:14:04 | 0:14:07 | |
Nowadays, I would say it was | 0:14:08 | 0:14:16 | |
"What is important", Basho wrote, | 0:14:21 | 0:14:24 | |
in the world of true understanding | 0:14:24 | 0:14:28 | |
"and returning to the world of our daily experience to seek | 0:14:29 | 0:14:32 | |
"therein the truth of beauty. | 0:14:32 | 0:14:34 | |
"No matter what we may be doing at a given moment, we must not forget | 0:14:36 | 0:14:53 | |
of Terminus, the Roman god of | 0:14:53 | 0:14:59 | |
boundary that entered into me | 0:15:21 | 0:15:25 | |
I used to carry a can of milk in the evenings from our house | 0:15:31 | 0:15:34 | |
to a house across the fields from us. | 0:15:34 | 0:15:37 | |
My journey from home to the back door of that house was short, | 0:15:39 | 0:15:42 | |
no more than a few hundred yards, | 0:15:42 | 0:15:45 | |
but in my imagination I covered a great distance every time. | 0:15:45 | 0:15:50 | |
I still experience that old familiar | 0:16:00 | 0:16:03 | |
For between the two doorsteps there were several borders. | 0:16:09 | 0:16:12 | |
In fact, that whole country was | 0:16:14 | 0:16:18 | |
ditches and hedges and drains. | 0:16:18 | 0:16:22 | |
On my way to school, I crossed a stream, just a trickle in a | 0:16:52 | 0:16:57 | |
culvert under the road that turned into this drain between the fields. | 0:16:57 | 0:17:02 | |
But actually even though it looked | 0:17:02 | 0:17:05 | |
it was a very important boundary. This was called the Sluggan. | 0:17:05 | 0:17:08 | |
It divided first of all two | 0:17:10 | 0:17:12 | |
it divided the townland of Leitrim | 0:17:12 | 0:17:14 | |
It divided the townland of Tamniarn | 0:17:18 | 0:17:21 | |
Then it divided two parishes, | 0:17:24 | 0:17:28 | |
and the parish of Newbridge. | 0:17:28 | 0:17:30 | |
It actually also divided therefore | 0:17:31 | 0:17:35 | |
the diocese of Derry, running away | 0:17:35 | 0:17:40 | |
on this side, and the diocese of Armagh running right down to | 0:17:40 | 0:17:44 | |
Drogheda, the Boyne in the Irish Republic on the other side. | 0:17:44 | 0:17:47 | |
It was also, in my own life, a division because at the age | 0:17:47 | 0:17:55 | |
I used to move my loyalties across from Bellaghy to Castledawson. | 0:17:55 | 0:17:58 | |
I played football for Castledawson. | 0:17:58 | 0:18:01 | |
I was moving backwards and forwards across the division all the time. | 0:18:01 | 0:18:09 | |
lands which were subsequently | 0:18:44 | 0:18:48 | |
County of Coleraine in the period | 0:18:48 | 0:18:51 | |
between the Flight of the Earls and the beginning of the Plantation. | 0:18:51 | 0:18:56 | |
is the area known in the document | 0:18:59 | 0:19:02 | |
There included are the names of Tamniarn, Leitrim and Shanmullagh, | 0:19:04 | 0:19:08 | |
which was the old Irish name for the place we now call Castledawson. | 0:19:08 | 0:19:14 | |
Two buckets were easier carried than | 0:19:18 | 0:19:21 | |
When I stood on the central | 0:19:37 | 0:19:39 | |
I was the last earl on horseback, | 0:19:39 | 0:19:42 | |
parleying in the earshot of his | 0:19:42 | 0:19:45 | |
One of the great figures of Irish history in the pre-Plantation | 0:19:54 | 0:19:57 | |
period was Hugh O'Neill, Earl | 0:19:57 | 0:20:01 | |
leader to hold out against the Tudor armies of Queen Elizabeth I, | 0:20:01 | 0:20:06 | |
the last earl to make a stand and one of the first to suffer | 0:20:06 | 0:20:10 | |
within himself the claims of two different political allegiances | 0:20:10 | 0:20:14 | |
which still operate with such | 0:20:14 | 0:20:18 | |
and therefore in the understanding of Queen Elizabeth, the English | 0:20:23 | 0:20:27 | |
Queen's loyal representative in the | 0:20:27 | 0:20:32 | |
descended from the mythic Irish leader Niall of the Nine Hostages | 0:20:35 | 0:20:40 | |
and to the Irish he therefore | 0:20:40 | 0:20:44 | |
leader of the Gaelic O'Neills | 0:20:44 | 0:20:47 | |
as a defender of the Gaelic inquest | 0:20:47 | 0:20:51 | |
of those long, drawn-out campaigns that never ceases to fascinate me. | 0:20:56 | 0:21:01 | |
early in September 1599 after | 0:21:01 | 0:21:05 | |
the English army up into his own | 0:21:05 | 0:21:23 | |
The leader of the English forces | 0:21:27 | 0:21:31 | |
in the portrait, who was the first | 0:21:31 | 0:21:47 | |
and managed to draw Essex up to the River Lagan, which is a little | 0:21:55 | 0:22:01 | |
tributary of the River Glyde | 0:22:01 | 0:22:03 | |
He drew Essex's forces up here for a parley on the banks of the river. | 0:22:03 | 0:22:09 | |
It is a famous moment often | 0:22:09 | 0:22:13 | |
O'Neill on his horse in the middle of the river with the water | 0:22:13 | 0:22:17 | |
behind him on the other bank his forces, Irish-speaking... | 0:22:19 | 0:22:22 | |
talking to O'Neill in English, | 0:22:27 | 0:22:31 | |
Everybody could see what was | 0:22:31 | 0:22:34 | |
But for both the central characters, this was a mysterious moment | 0:22:34 | 0:22:39 | |
if you like a frozen frame in | 0:22:41 | 0:22:46 | |
O'Neill already a traitor in the eyes of Elizabeth, but Essex, | 0:22:46 | 0:22:51 | |
on the verge of catastrophe really | 0:22:58 | 0:23:02 | |
executed, as a matter of fact, | 0:23:02 | 0:23:06 | |
because of this, very soon, and O'Neill will suffer ultimate | 0:23:06 | 0:23:11 | |
For the moment, out in the middle | 0:23:16 | 0:23:21 | |
The river runs, the big sky moves. | 0:23:21 | 0:23:24 | |
Earl on horseback in midstream | 0:23:26 | 0:23:30 | |
still parleying, in earshot of his | 0:23:30 | 0:23:34 | |
in the mid-1980s when the political | 0:23:36 | 0:23:41 | |
situation in Northern Ireland was totally locked and blocked. | 0:23:41 | 0:23:44 | |
Maybe that is one reason why it | 0:23:44 | 0:23:50 | |
The poem seems to be saying that the inheritance of a divided | 0:23:50 | 0:23:53 | |
that it traps the people into | 0:23:56 | 0:23:59 | |
predetermined positions and hampers all creative movement and freedom. | 0:23:59 | 0:24:04 | |
Running water never disappointed. | 0:24:14 | 0:24:17 | |
Crossing water always furthered | 0:24:17 | 0:24:21 | |
It began with the recollection of | 0:24:46 | 0:24:49 | |
neighbour said about a field of ours that marched our field | 0:24:49 | 0:24:53 | |
of his and was divided from it | 0:24:53 | 0:24:57 | |
Then the poem went on to play with the notion of separation, of | 0:24:57 | 0:25:24 | |
Mournfully on in the kitchen | 0:25:29 | 0:25:31 | |
Would the knock come to the door | 0:25:36 | 0:25:38 | |
And the casual whistle strike up | 0:25:38 | 0:25:42 | |
But now I stand behind him in the dark yard, in the moan of players. | 0:25:51 | 0:25:57 | |
Shyly, as if he were party to lovemaking or a stranger's weeping. | 0:26:02 | 0:26:07 | |
Should I slip away, I wonder, or go up and touch his shoulder | 0:26:09 | 0:26:14 | |
and talk about the weather or | 0:26:15 | 0:26:19 | |
when I thought The Other Side | 0:26:33 | 0:26:36 | |
In the face of everything that was | 0:26:36 | 0:26:38 | |
assassinations and explosions, | 0:26:38 | 0:26:42 | |
I thought it was too benign and too | 0:26:42 | 0:26:45 | |
But then still it struck me, | 0:26:47 | 0:26:53 | |
people from whatever side have to go on living in the same old place. | 0:26:58 | 0:27:04 | |
that as a symbol of the reality of our lives, the march drain is | 0:27:06 | 0:27:12 | |
a better one for contemplating | 0:27:12 | 0:27:16 | |
The marching season is O'Neill and Essex on either side of the river. | 0:27:16 | 0:27:22 | |
of our experience embittered. | 0:27:25 | 0:27:29 | |
The march drain seems to me | 0:27:30 | 0:27:32 | |
to offer a way towards what | 0:27:32 | 0:27:34 | |
Basho called "the world of true | 0:27:34 | 0:27:36 | |
whole of the Earth instantly to be below and sustain the march drain. | 0:27:51 | 0:27:57 | |
That seems to me to be something | 0:27:57 | 0:28:01 | |
Subtitles by Red Bee Media Ltd | 0:28:25 | 0:28:28 |