Many scientists are
illiterate and I am sure this is a result of their education. In my case
bullying was an important factor. By the age of 13 I had been to six different
school and had been bullied at three of them for a total of about six years.
Much fiction concentrates on personal relationships and ends up happily ever
after and I knew life was not really like that. Bullying meant my view of life as a young child was of misery was piled onto misery,
apparently without end. Apart from some science fiction (mainly Azimov) and
The Lord of the Rings, I don't think I have read a work of fiction in the
last 60 years. This approach has also affected my choice of TV watching – and I avoid
soaps and plays because they are a “waste of time”. As a result I have very little knowledge
of the classical literature or modern fiction.
My attitude to poetry
was undoubtedly influence by an incident when I was 8. During the winter of
1946/7 there was heavy snow in Devon and I was confined to bed with some
childhood illness. So I started to write a poem – “I wish I'd seen the snow
fall” which was terrible doggerel – with dozens of rhyming couplets interspersed
with the theme line repeated again and again. I was caught writing an extra verse during school prayers
by the headmaster and ridiculed in front of the class (which of course included the regular
bullies). Clearly writing poetry was not a clever thing to do.
Two schools later a trainee teacher got into trouble. He had tried to get us to
learn Wordsworth's “
Daffodils” and had been singularly
unsuccessful – at least with most of the boys in the class. So the next poem he set us
to learn was Harry Graham's poem which starts “
Broad
is the gate, and wide the path, that lead man to his daily bath”. We
all learnt it, clearly demonstrating that our problem was motivation and not
stupidity. Of course the headmaster received a number of complaints from prim and proper parents who thought that their children should not be exposed to such unsuitable nonsense - so classes
returned to uninspiring conventionality..
However in 1952 I moved to
Dartington Hall School where things were very
different. In particular Raymond O'Malley inspired me to think creatively about
language but failed miserably in trying to get me to improve my dreadful
handwriting. Chaucer's
Prologue intrigued me and helped me to understand
how language developed with time while an in-depth study of T. S. Eliot's
Journey of the Magi and
The Wasteland
made me realise how powerful language could be
if creatively used
. I was also encouraged to write a limerick
involving word play, triggered by Flaunder's and Swann's
The Gnu Song and my amateur effort was published in the School's
magazine,
Chanticleer.
There was a
young man at the zoo,
Who allowed
penny rides on his gnu,
But the gnu was too old,
And at last caught a cold ,
And a new
gnu was needed, he knew.
Needless to say I
haven't written any more poetry since then, until a couple of week's ago. But
over the intervening years O'Malley's inspired teaching has stood me in good stead. My
first job was as an information scientist writing managerial research and
development reports. Later I wrote various pieces for the
New Scientist,
such as
Why Gebius is nipped in the bud. What I had learnt forty years early greatly helped when I came
to write “
The London Gunners come to Town.” The unusual structure of this book, in three parts
telling the story from three different points of views, was probably inspired by
my refusal to accept to establishment norms, an approach which I picked up at
Dartington.
So why have I returned to writing limericks after so many years? I am currently
trying to teach myself Windows 8 and I started to set
up a diary for 2014 – and made a silly mistake. A few days later the computer
reminded me to go to the Archaeology group meeting of our
local U3A group
and, because it was the wrong day, I walked into the Poetry group by mistake and decided to
stay. Not only did I enjoy it but I discovered there was a limerick writing
competition and decided to have a go.
Memories of how to do
it came flooding back. I not only needed to get the verse structure right. My limerick would need to tell a topically interesting story, and end with a suitable punch line. I
also felt that if it was to be read out the way it was presented could convey added meaning without the need for extra words. The first line was given so I had a mere 28 syllables to play with. I was used to writing to a target – although
with the New Scientist this was usually 400 or 1000 words – so it was going to
be a challenge. The following was the result
"Dedicated to the losers in this
limerick competition"
Narrator: Normal voice
|
A member of Tring U3A
Expected to win here today |
Poet: Excitedly with pride
and flamboyant gestures expecting to win
|
“With a limerick fine
The prize should be mine. |
Poet:
Descent into bathos on discovering he had not won. |
But the judge must have
thrown it away” |
In planning this I decided to look online to see what I could find about writing
limericks. After looking at two or three sites I decided that writing
limericks should be fun and while the pages I saw included examples of interesting and
amusing limericks the connecting text was boring. Perhaps there are better sites
– but I decided that what was needed was a limerick to tell you how to write
limericks – and this is the result:-
A limerick's distinctive
metre
Means you do have to know
where the feet are
And of course the fourth line
With the third line must
rhyme
While the last line can be
a repeater.
I feel I ought to have been able to come up with a better last line – but of
course Edward Lear's limericks, and others in the same style, do use repetition. Of course some purists will complain that I have added an unstressed syllable at
the end of lines 1, 2 and 5, and that “line” and “rhyme” don't
rhyme. But many poets, and anyone who has benefited from a Dartington
education, knows that the appropriate breaking down of establishment boundaries
is a very effective tool in getting a message across.