When it comes to favourites, certain British birds nudge their way into the top ranks repeatedly: the robin – unofficially Britain’s top choice – is predictable enough, as are other garden species, such as blue tit and blackbird, or perhaps something less commonly seen; a barn owl or kingfisher. I suspect my own favourite, though, is shared by few, and would never occur to anyone curious enough to hazard a guess. Fieldfares are unfamiliar to many, a birder’s bird maybe, unnoticed in the hedgerows of sodden ploughlands in such short and dreary days. But these mobster thrushes are mysterious and attractive. They exist like the promise of hard snow – overnight, sudden and thrilling, they come with the boreal cold.
This year, as every year, I have been walking and driving the lanes in search of fieldfares and their thrush cousins, redwings, mostly across the flatlands of Romney Marsh not far from home in Kent. These winter nomads breed right across sub-arctic Scandinavia and the Baltic regions, making their annual incursions each October and November to wander and raze berry harvests in southern Europe. I found a roving flock last November, one bright and blue morning when it was painfully cold. I knew the birds were there long before I saw them, announcing their presence with restless stony calls, a ringing magpie ‘chak-chak’. For all this commotion, they can be frustratingly difficult to catch in good view. They remain teasingly invisible in the bare but impenetrable thorns. Suddenly, at the moment you become just too close, they burst from cover as though the trees have kept their leaves all along to release just now in a brisk gust. The action is surrounded by accelerating notes that rise in pitch and dynamics, scattering with as much force as the birds themselves. These cackling fits disappear again just metres down the frosted path, though some birds veer upwards to sit defiantly at the top branches. They mark my advance like a procession, always just ahead and out of reach, as though alarmed and mocking all at once.
The fieldfare’s evasive presence seems fittingly mirrored in their slight cultural legacy. The name as we have it is certainly medieval, but its origins, although almost certainly older (Old English feld ‘field’ + fara ‘to go’), are all but lost, scantily and obscurely present in the inky tracks of just one or two Anglo-Saxon scripts for scholars obsessed with such things to ponder and trace. Fieldfares, curiously in my view, have never attracted poetic attention in the way of so many other British species. John Clare, of course, does not forget them as passing details: they ‘chatter in the whistling thorn’ (‘Emmonsails Heath in Winter’) or ‘come and go on winter’s chilling wing’ (Shepherd’s Calendar, March). At the end of the medieval period, though, it is clear that fieldfares did not go unnoticed: Chaucer ends his catalogue of birds in The Parliament of Fowls, unexpectedly, with the ‘frosty feldefare’, and in the Sherborne Missal (c. 1400), there is a remarkable titled image of the bird, accurately depicted in all its striking colours (see here for some of the images, although the fieldfare page is not included).
I find a new, hustling chatter of fieldfares on Romney Marsh again this week in mid-February. By now, with most berries stripped, they are dispersing to the fields, roaming in big numbers. Chaucer’s phrase, I’d say, has it right – their hoary plumage is a precise configuration of winter splendour, even on a day as drab and wet as this. They mark extremes: that pristine white underwing and belly, that storm-grey hood, are balanced with colours that flare like hibernal dusks, or the light and warmth of indoors we seek against such cold – the colour of smoky whisky, or the slow burn of wood fires. I follow fieldfares across tree-lined fields, follow their flights down hawthorn paths to be with all that clattering verve that turns and turns again straight into the wind.
Bit of a cheat post this one, but since I’ve recently published a general-audience post on the Anglo-Saxon riddles site The Riddle Ages, I thought I’d provide a link for readers of this site who might be interested. It’s taken and adapted from work I’ve produced on the Old English Exeter Book Riddles – an amazing collection of riddles written in Old English (the only ones we have – everything else is in Latin) and compiled in a huge manuscript given by Bishop Leofric in 1072 to Exeter cathedral, where it still resides. Many of the riddles involve a first-person speaker who describes themselves in typically riddling, paradoxical style and then asks that the listener or reader saga hwæt ic hatte ‘say what I am called’. Intriguingly, in this manuscript at least, there are no answers. It really is a guessing game! The natural world features well in the collection of 90+ riddles, and birds make up a noticeable portion of these. There is a swan, a nightingale, a cuckoo, a barnacle goose, hens and a jay. Riddle 57 is nearly always solved as one species of bird or another (crow, swift, swallow), but no scholar has ever settled on which species. So … here are my thoughts on why we should pay more attention to the anonymity of the birds in Riddle 57 then the possibility of a precise answer: see here for the translation, and here for the commentary.
There are some birds that are early fixed in the imagination, and hold their allure for a lifetime. These are not childhood memories of actual encounters, but of something more mythic – birds that made claims on my experiences long before I ever set eyes upon them. I knew them only from illustrations (John Gooders’ Kingfisher Guide to Birds in Britain and Europe; a scrappy pocket Collins), or experienced them vicariously in my uncle’s scrawling field notes. I loved their rarity, made them live – the impossible colours of bee-eaters, rollers, waxwings; the wildness of eagles – in my assiduously copied sketches from a hand-me-down set of Ladybirds. I dreamed of discovering these birds myself, desired them as much as those accumulating notebooks in my uncle’s study – dinky and black, with an elastic band that made a firm snap when you pulled it into place.
In an attempt to conjure one of these exotic species, I once invented reports to my mother, hoping that the fantasised chase across the South Downs would turn up a real life counterpart to the impressive sunset vision depicted in that Ladybird plate. It was years before I finally saw a great grey shrike – a strange songbird from the north with a grisly habit and a dapper bandit mask to suit. I’ve seen several since, but I am still compelled to see these birds when small numbers make their winter homes here each year from Scandinavia.
This morning was ideal out on the brooks, the first properly cold weather of the season and everything reduced to a shrike’s wintry colours: the stone-hard whites of frost, the bare blackness of trees, and low mists tracing every degree of grey-silver. As shrikes do, the bird I was after appeared quite suddenly, there atop a nearby birch. It was gone as quickly, in the second I glanced away, but there it was again, at some distance, silent and sentinel on another tree top. Shrikes establish large territories and can go unseen for long stretches of time, though they will be present all winter, remaining faithful to particular sites year after year.
Despite its scarcity, the bird has a long-lived gruesome legacy in British folklore, which pertains to the red-backed shrike, too, once a breeding species in these isles (unlike the great grey). Its various names speak of its macabre reputation, derived from its family propensity for impaling prey on thorns, recalling a butcher’s meat store, or the huge iron hooks from which his carcasses hang. The great grey’s scientific name reminds us of this habit – Lanius derives from Latin for butcher or executioner. A meat-hacker: the butcher-bird.
Its infamy goes back much further, however, as indicated by the strikingly similar cluster of names across northern European countries. Its late medieval English name was the waryangle which existed in various dialect forms for centuries, all of which, like Germanic werkangel or warkangel, mean something like ‘suffocating angel’ (compare Modern German, würger and würgengel). The name is not attested in Anglo-Saxon records, but may well extend back this far; waryangle, may, in fact, derive from Old English wearg (criminal) and incel (diminutive suffix): ‘little-villain’. Certainly by the fourteenth century the name was invoked as an abusive term. In Chaucer’s Friar’s Tale, the summoner is denounced by way of comparison, ‘as ful of jangles [tricks] / As ful of venym been thise waryangles’ [as shrikes are full of venom] (a shrike’s butchering thorns were thought to be forever after poisonous).
Remarkably, in an age without binoculars, and which is traditionally dismissed for its unscientific indifference to ornithological precision, the earliest illustration we have of the species actually comes from a medieval English missal (1400) produced in Sherborne, Dorset. It very clearly and accurately depicts a grey shrike labelled waryghanger, one of many British species depicted in this remarkable manuscript. For this illuminator, at least, the shrike held a place in the native imagination, as it always has in mine. Its flight from thorn to thorn points on to shrikes I have not yet seen, that exist in those books and pocket notes that occupy me still.
I’ve spent the last couple of months devoted to re-writing the very first chapter I ever wrote for my PhD. In many ways, it’s been the hardest task. Returning to something I wrote five years ago was always likely to make me balk, but quality of writing and ideas aside, there is the accumulated mass of four other chapters to cohere with those original thoughts now, and all the developments in methodology and theory that come with that body of work. Needless to say it’s taking a while, but here’s the basic nub (which I offer now as much to clarify it to myself among the mess of sections and paragraphs that currently exists!)
The two Old English poems I discuss in this opening chapter, The Seafarer and The Wanderer, both expound a traditional Christian vision of the soul’s journey on earth to reach home (OE ham); heaven. Technically it’s the body that does the journeying, of course, but it’s for the soul’s sake. Whether we are to read the journey literally or not has been much discussed, but either way, the speakers of both poems are involved in a maritime pilgrimage of sorts – they take to the sea, probably voluntarily, to seek the ultimate destination. It’s not so far fetched to imagine this literally; certain monastic individuals (see here, entry for the year 891) did, in fact, do precisely this – set sail in flimsy coracles on sea-bound wanderings (peregrinatio pro amore Dei ‘pilgrimage for the love of God’), often headed for remote, pinhead islands in the Atlantic from which to live out bleak, ascetic lives (Robert Macfarlane discusses this practice and visits specific locations in the first chapter of The Wild Places).
What I’ve been researching and writing about, though, is the role of birds in all of this. The convention of representing souls as birds certainly predates both of these poems in Latin, Norse and Germanic cultures (and post-dates; think Coleridge’s Rime of the Ancient Mariner). It appears several times in scripture (as a sparrow [passer]), and almost certainly influenced one of the most famous instances of all time; Bede’s analogy of fleeting human life as a sparrow in his telling of the conversion of Edwin of Northumbria in the seventh century. The king’s councillor puts the case for converting thus:
“Such”, he said, “the present life of men on earth seems to me, king, in comparison with that time which is unknown to us: as if, while you were sitting at dinner with your leaders and ministers in the winter time, with the fire lit in the centre and the upper room filled with heat, with the raging winter storms of winter rains or snow everywhere outside, a sparrow were to arrive and fly swiftly through the house. As it enters through one door and soon exits through another, during the time when it is inside it is not touched by the winter storm, but nevertheless, after the briefest space of calm, when it has hastened forth, turning from winter and soon back to winter, it escapes your eyes. Thus this life of men appears for a moment; what follows, or what came before, we absolutely do not know.” (The Ecclesiastical History of the English People, II.12, trans. B. Colgrave)
Just to indicate the legacy of Bede’s description, here’s how the twentieth-century poet Louis MacNeice reimagines the metaphor:
This indoors flying makes it seem absurd, Although it itches and nags and flutters and yearns, To postulate any other life than now.
(‘Dark Age Glosses’)
Given the religious content, and the popularity of Bede’s text, it seems likely that the poets (or poet – it’s possible one person wrote both; they appear in the same manuscript) of The Seafarer and The Wanderer were influenced by the sparrow-soul image. Moreover, though, these writers specifically include real birds in their texts, which preface the implicit references to bird-souls later on. In The Seafarer, we actually get birds named:
Hwilum yflete song dyde ic me to gomene, ganetes hleoþor ond huilpan sweg fore hleahtor wera, mæw singende fore medodrince. Stormas þær stanclifu beotan þær him stearn oncwæð isigfeþera; ful oft þæt earn bigeal urigfeþra … .
[Sometimes the swan’s song I did for my game, the gannet’s sound and curlew’s cry for man’s laughter, the gull’s singing for the mead-drink. There storms beat stone cliffs, there the tern answers them, icy-feathered; very often the eagle screams, dewy-feathered… .]
The Wanderer‘s reference is fleeting, and far less specific, but the birds are real and doing birdy things nonetheless:
[Then the friendless man wakes again, sees before him dark waves, bathing seabirds spreading feathers, falling rime and snow mingled with hail.]
What has particularly intrigued me is not just that the souls of humans might be depicted as birds, but that they are depicted as seabirds (brimfuglas). The type of birds may well have been suggested to the poets by the ‘life is like a tempestuous journey at sea’ trope, but both these poems, to me, draw their suitable metaphors for the wandering soul from wider Anglo-Saxon knowledge about birds, and seabirds specifically.
The migrating or pelagic seabird provides the poet(s) of The Seafarer and The Wanderer with a potent image for the migrating soul partly because these species inhabit liminal, coastal territories, the uneasy boundary between the joys associated with the earthly splendours for which the speakers in both poems yearn, and the paradoxically desired hardships sought on the rough waters. Seabirds breed on terrestrial margins, but travel for vast distances to feed, often for huge spans of time. They inhabit realms that might seem, well, otherworldly. The religious journeys of both human bodies and souls, that is, are so well depicted not only by birds generally, whose most noticeable ability is flying, but by birds who master this skill over nonhuman habitats – mysterious and dangerous seas that stretch beyond the human eye. That Anglo-Saxon poets responded to the natural aspects of these richly suggestive locations as part of their poetic imaginings seems very significant. Seabirds, it seems, did feature in the cultural identities of coastal areas in Anglo-Saxon England. There is a series of coinsdating from the eighth century, for instance, largely distributed in southern coastal regions, which portrays what appear to be tall waders. And zooarchaeological work on at least one coastal high-status site, has unearthed numerous sea or water bird species, including herring gull, common gull, kittiwake, dunlin and curlew (see here).
The Anglo-Saxons were certainly aware of birds’ ability to migrate, in the sense understood in ornithological terms. Aristotle’s observations on birds were available to churchmen through Pliny’s Natural History and Isidore of Seville’s seventh-century Etymologies(XII.7), the last of which comments, for instance, on how birds like the swallow and stork are ‘migratory and return at certain seasons’, whilst others ‘stay in the same location’. But the Anglo-Saxons, keenly aware of their own migrations over the ‘gannet’s bath’ (OE ganot’s bæþ; e.g., Beowulf, 1861) and wary of invasions from Nordic foreigners across the North Sea, must have understood and responded to birds’ migrations in the broadest sense, too, as creatures seemingly always on the move, soon to be gone and out of sight. In two riddles from the same manuscript of The Seafarer and The Wanderer, a swan is defined by its unreachable flights far ofer folc ‘over people’, and a barnacle goose is described according to the myth that its unfathomable disappearance is explained by its origin as a mollusc. They are equated with frightening but compelling territories outside human knowledge, like the ‘wildernesses of India and Ethiopia and Scythia’ to which Isidore links birds’ unknowable wanderings in his introductory passages to birds and which leads to their most characteristic quality, that which gives them their Latin name (according to Isidore; a lot of his etymologies are highly dubious or downright ridiculous!)): ‘They are called birds (avis) because they do not have set paths (via), but travel by means of pathless (avia) ways’.
Seabirds, at home on the pathless oceans that the speakers of The Seafarer and The Wanderer perversely seek out, best embody this marvel of avian behaviour, and provide the ideal metaphor for human souls pursuing a mysterious celestial destination beyond known lands.
Postscript: the ideas explored in this post are now to be published in an article submitted to English Studies. For a copy of the pre-submission script, see here.
I’ve been reading and writing about goshawks and their kin a lot over the last four months. As fashionable birds from the sport of falconry, they make frequent appearances in medieval literary texts, alongside eagles and falcons and other hawks. Chaucer’s Sir Thopas carries a ‘grey goshauk on [his] honde’; Maldumarec in Marie de France’s Yonec morphs into the species; and Philomena in the very popular L’Ovide moralise (a 14th-century French moralised version of the Metamorphoses) is a woman of status, skilled in the art of hunting, who knows about goshawks and moulting patterns.
Goshawks are back in fashion. They’ve made it beyond the rarefied interests of birdwatchers and austringers to fascinate a wider public. Two recent books have contributed to this accipitrine passion – Conor Mark Jameson’s Looking for the Goshawk (2013) and the phenomenally successful H is for Hawk (2014), both of which honour their debt to, and have renewed interest in, T. H. White’s classic The Goshawk. Helen Macdonald’s work has outstripped sales of all other books of its kind, and is now set to make it to the big screen. The goshawk craze looks set to continue.
It’s not difficult to see why these birds fascinate us. We love a predator – a creature that can be part-tamed, or captured at least, but which remains well on the distant side of loveable or predictable, of that we think we can come to know. Minacious and fierce, tiger-striped, fire in the eye. Goshawks might be familiar to us as captive birds for display or hunting, but we know they exist wild, too, rare creatures that made it back from extinction in this country. In British forests these huge, striking birds are masterful predators, but so rarely seen by the uninitiated that they more fully inhabit the mythic realm – the stuff of medieval elite hunting (unsurprisingly they appear in T. H. White’s best known book The Once and Future King, the source for Disney’s Sword in the Stone); the blood-and-guts poetry of Ted Hughes; or stunning footage in wildlife documentaries, at large in HD. Their name hints at their impressive bulk: from Old English goshafoc;goose-hawk. These birds are capable of taking large prey, unlike their smaller cousin, the sparrowhawk (OE spearhafoc), and there is evidence that they were used to hunt big water birds from the Anglo-Saxon period onwards. All in all, I imagine Macdonald may have had less success with M is for Meadow Pipit.
I have never seen a goshawk. In the last few days of 2015 I make determined plans to change this in the coming year. Wild breeding goshawks are elusive and, quite rightfully, guarded closely. The threat of egg collectors has not yet passed. I know there are goshawks in the counties where I live and watch birds, but the most likely places are the Forest of Dean on the border of England and Wales, and Thetford Forest in Norfolk. On calm, sunny days in March, it is possible to see goshawk pairs displaying above their territories. I am re-reading Jameson’s book, translating his journeys into my own imagined quest for a bird that still exists as symbol for me, as a complex and tantalising construct that has not yet escaped my Kulturbrille, the thrilling bird in Ted Hughes’s ‘Hawk Roosting‘ whose ‘manners are tearing off heads’. The poet’s ‘falsifying dream’ both dismisses human pontification and confirms it – the bird is a part of that ‘falsifying’, even in the attempt to envisage a hawk’s perspective, for whom the ‘earth’s face [is] upward for my inspection’. I revel in all of this, in White and Macdonald and the goshafoc, but what I really want is to see the thing itself, to collapse and explode myth into the barred breast and the orange eye of the flesh-and-feathers bird.
For now though, I return to medieval hawks, to a sparrowhawk in Chaucer’s Troilus and Criseyde and a goshawk in the ‘Tale of Tereus’ in John Gower’s Confessio Amantis. The references are insubstantial – fleeting metaphors, in fact – but carry sophisticated meanings. In both examples (and its certainly possible that Chaucer’s sparrowhawk detail influenced Gower’s goshawk), the birds take on inherited meaning from aristocratic culture, but they also allow something of the instinct and unpredictability of real hawks to intrude as well, to create perversely alluring figures of sexual desire.
In Middle English, the association between these birds and their predatory nature was linguistically pronounced – ravine referred to both greed, but also raptors; indeed, our modern word for birds of prey still carries the Latinate etymology – from rapere (to seize). The knot of words surrounding this term included raptors alongside lust, theft, abduction and aggression. Rape still carries these associations, but ravishment has more romantic significance than it once did. John Trevisa, in the Properties of Things (14th cen.), writes that: ‘The goshauk is a real foul and for þe takynge of oþir foules for pray (because it takes other birds for its prey) he[o] (she) is icplepid (called) aucipiter (accipiter) ‘a raptour and rauyschere (ravisher)’.
Both Chaucer and Gower take advantage of this apparent ferocity. In Troilus and Criseyde, the sparrowhawk is a metaphor for the first sexual union of the two lovers, and is striking because it conflates sex with both disturbing violence and sexual pleasure. The narrator rhetorically asks ‘What myghte or may the sely (wretched) larke seye / Whan that the sperhauk hath it in his foot?’ No answer comes, but the narrator goes on implicitly to link this metaphor to the lovers’ ‘gladnesse’ (III.1196) as well as their ‘hevynesse’ (III.1197): they come ‘out of wo in[to] blisse’ (III.1221). The implication is that both human and avian sexual instincts are alike – love, lust, aggression and death are not unrelated, and not human preserves.
In Gower’s Confessio Amantis, the well-known tale of Philomela is re-told to focus on Tereus, the king who rapes and mutilates his sister-in-law. Gower describes this act ‘As if a goshawk hadde sesed (seized) / A brid, which dorste noght for fere / Remue (does not move for fear): and thus this tirant there / Beraft hire (bereft her)’ (V.5642-7). Similar to Chaucer’s sparrowhawk, the goshawk becomes a complex and paradoxical image of shared sexual kind between beings – ravine (lust) and ravine (raptor) are intimately linked – so that the goshawk is invested with enabling and natural qualities through which Tereus performs worrisome and yet excusable acts (morality and natural law are frustratingly uncertain in the Confessio). The mutilation of Philomela’s tongue also anticipates the dismemberment of other human bodies later on in the tale, particularly that of Itys, Tereus’s son, whose is served up for his father to eat. Bodies, we are reminded, are flesh, eaten and eating.
Most tellingly, Gower’s goshawk image presages real avian transformations at the end of the tale which are not punitive, not indications of depraved bestiality, but empowering changes which reveal and define character most fully through bird-human bodies. In this light, the Tereus-goshawk must be considered more than simple metaphor. The raptor and the ravisher, bird and human, desirous knight and seizing bird, conjoin in Gower’s tale. Medieval goshawks are symbolic, heraldic, projections of cultural elite values, but these writers do not forget the natural either. There is something of the bird I will seek next year, that reminds us of common impulses, the shared viscera and carnality dispersed and experienced across species: the ‘herte on fyre’ in lust (Confessio, V.5622) and ‘takynge of oþir foules for pray’ (Trevisa) are of a kind.
Marshes, levels, fens, bogs, mires, wetlands – these places, and the countless names for them, have long registered their eldritch presence in this island’s imagination. They are there in the Anglo-Saxon epic, Beowulf – the looming morhopu [marshpool] from which Grendel, that mánscaða [evil being], lopes to seize his wretched human victims. They open Dickens’ Great Expectations, the first indelible landscape in child Pip’s ‘first most vivid and broad impression of things’:
the dark flat wilderness beyond the churchyard, intersected with dykes and mounds and gates, with scattered cattle feeding on it, was the marshes; and … the low leaden line beyond, was the river; and … the distant savage lair from which the wind was rushing, was the sea.
Pip’s ‘savage lair’ has something of Grendel about it. Intriguingly, recent historical interpretation of the epic has attempted to site the action in north Kent, in the territories where the early stages of Dickens’ novel is set and where I most enjoy birdwatching in the county. The Isle of Sheppey in winter still maintains a sense of wild down by the Swale estuary. The 11th-century name for Harty was Heorot (exactly the name of Hrothgar’s mead-hall in the poem) and the region itself was recorded as Schrawynghop in 1240, an Old English term, supposed to mean something like ‘marshland of malign creatures’. I cannot find anything convincingly academic on all this, but it’s an appealing notion.
At the end of October my partner and I spent time on the Blackwater Estuary in Essex. It’s become a favourite haunt – out east beyond the London fringe, the strain of M25 traffic, the crush of industry and towns with bad reps, out towards the flat miles and North Sea – where I meet a friend twice a year for a day’s walk round Old Hall Marshes. I wanted more time here, and booked a cottage nearby for a week. These days felt like ceremony or rite out on the coast, with the year finally turning bonfire colours, Ginny’s birthday, and the brent geese in from Artic colds. We went to embrace the solstice.
Seen from above or on a map, the estuary’s mazing channels, more complex here than anywhere along the Essex coast, appear like the brain’s lobal crevices, or a nutmeg cut open to reveal its woody fissures. The saltmarsh shares these intricacies, secrets. Its bewildering waterways belong to the birds and seals.
It is surely this foreignness of marshland that makes it most alluring. Either side of the seawall at Old Hall, the land at times can feel thrillingly treacherous: dense, shifting reedbeds on one side, and thick, clutching mudflats on the other. Although managed and shaped by humans for centuries, these spaces still retain a sense of the un-human and impenetrable, and can still be reclaimed by unpredictable tides, as they were in 1953. The birds match the mystery of their lands. Bearded tits are most often unseen in the depths of their close, vertical world, and the bittern is so accustomed and coloured to this environment, imitates its home so well, it is remarkable no origin myths have passed down to tell of how the bird sheared from reed, ripped up from the very same material in which it skulks.
From the other side of the seawall, curlews and redshanks call in darkness. I fancy their songs sound desolate. They are not. But they are of the saltmarsh entirely, estuarine substance, coming to me along double-hidden creeks – out of view and under dark.