LECTURE Kyffin Williams & R S Thomas – Attitudes to Wales and to Faith Some of you here tonight will probably be thinking that to speak about a poet and an artist in the same lecture is a bit like comparing apples to oranges, especially from somebody who cannot claim to be either an artist or poet. Now, I know that bishops of past generations were great patrons of the arts and indeed employed both poets and artists, but I am afraid those days are long gone – Ichabod, the glory has departed. And as I said when I opened the summer exhibition at the Royal Cambrian Academy one year, when Kyffin was its president, I never ever got more than 20% for my artwork and to the relief of my teachers, gave it up in my second year at grammar school. The only comment I ever got was “Will never be any good but tries his best”. So I am no artist and have never tried to write poetry. 1 So then, why speak about an artist and poet? Well, both were famous Welshmen, one born in Llangefni and the other in Cardiff; both had an enormous affinity and love for Wales, its landscape and history, especially North Wales and they both lived at different times in Chirk, on the Lleyn peninsula, Meirionnydd and Anglesey and they were born within a few years of one another – R S Thomas in 1913 so it is his centenary year and Kyffin in 1918. Both lived into their 80’s. R S was 87 when he died in 2000 and Kyffin was 88 when he died in 2006. They of course knew one another, but apparently, did not talk about either poetry or art just about rugby and birds! Both lived frugal lives without benefit of much comfort. Pwllfanogl could hardly be described as luxurious, and R S lived most of his life without fridge, or TV, the electric cleaner was never used because it was too noisy and he ripped out the central heating in Rhiw for the same reason. More personally, they were people whom I admired from a distance as I grew up in a mining village in South Wales. I never thought that I 2 would ever meet them, or if at least I did, that I would get to know them but I was privileged to do so as Bishop of Bangor and officiated at both their funerals. Both wanted simple ones. RS got one, in the small Pentrefelin church at the end of the lane in which he lived. There was no music, no hymns and no homily on his instructions. Kyffin would have preferred a simple service at Llanfair yng Nghornwy, but the burial there was preceded by a service at Bangor Cathedral. I had to persuade him that a service of that nature was required. Kyffin sketched a portrait of RS after the latter’s retirement. “Look at it” said RS to me once “It makes me look very miserable”. I am afraid I gave him little consolation when I said that at times he did appear to be so. All I got by way of a reply was “Humph”. Ironically, RS Thomas was married for the second time in Llanfair yng Nghornwy, where Kyffin is buried. Kyffin’s great grandfather had been the rector there. 3 As I think of them both, I am reminded of the lines in RS Thomas “The Echoes Return Slow” “But this one, had he ever been anything but solitary” and of Kyffin’s admission that when he was at Trearddur Bay School and Shrewsbury, he was always a loner. Nicholas Sinclair, Kyffin’s godson, quotes Kyffin when he says that ‘there was a mood that touches the seam of melancholy that is in most Welshmen, a melancholy that derives, from the dark hills and heavy clouds and enveloping sea mists.’ Melancholic might well have been a description of many for RS as well. Writing poetry and painting are solitary occupations and one thinks of RS spending every morning writing poetry and of Kyffin either in his studio or out walking the mountains sketching and painting. Both were 4 great nature lovers and RS spent his afternoons walking and bird watching and gaining inspiration for his poetry. Both RS and Kyffin give the lie to the attack made on Wales by A N Wilson in the London Evening Standard once when he said “The Welsh are held in universal derision. They have never made any significant contribution to any branch of knowledge or culture. Choral singing, usually flat, seems to be their only artistic attainment. They have no architecture, no gastronomic tradition, and since the Middle Ages, no literature worthy of the name. Even their religion Calvinistic Methodism is boring”.1 It simply shows up Wilson’s ignorance, for here were two giants in their respective fields. RS, of course, was no stranger to art. Mildred Eldridge, his first wife, was a very talented painter and a Fellow of the Royal Watercolour Society (he called her Elsi) and been to the Royal College of Art. I have 1 Obsessed p.202 5 one of her paintings. As he says in his autobiography, “The girl he had started to court was a recognised artist with experience of art school in London and also in Italy. Looking at her paintings, he identified with the artistic life. She had already exhibited her work in galleries in London and he too yearned to prove himself in the field”. 2 She was a well known artist long before he became a well known poet. Eldridge’s great mural, “The Dance of Life”, painted for the orthopaedic hospital in Gobowen, has now been loaned to the University of Glyndwr in Wrexham. It consists of six panels painted in oil on canvas, telling the story of humanity’s alienation from nature and the attempt to reclaim a lost, natural wisdom. It has images of plants, animals, birds, the countryside and the sea. As M Wynn Thomas in his latest book on RS, “RS Thomas Serial Obsessive” says “His poetry existed in a complex symbiotic relationship with her painting, and her distinguished 2 Autobiographies, translated J Walford‐Davies p.45 6 work as an artist was to help Thomas develop his own distinctive interest in visual art”3. His wife’s attention to detail of birds and plants helped RS in his observation of the natural world. “Quite simply, she helped him to look at things” writes one commentator. He referred to some of his wife’s paintings in his Selective Prose 1982 on chapels such as Maes yr Onnen and Soar y Mynydd but, ironically, did not possess any of her paintings after her death. She produced more than 2,000 finished pictures, in oil and watercolour, and regularly exhibited at the Medici and Beaux Art galleries in London and her work as an artist for Athena cards helped finance the household. Her son credits her with resurrecting the art of fine detail natural history studies and she illustrated children’s books, as well as being a sculptor. 3 p.39 7 RS wrote a number of stirring poems about paintings, following other poets such as Seamus Heaney, Dave Smith, Derek Mahon, W H Auden, Euros Bowen, Christine James, Tony Conran, Gillian Clarke, but as Wynn Thomas points out, RS “was participating (no doubt unaware and most uncharacteristically) in a popular even fashionable modern trend of writing poems about paintings”4 In his volume entitled “Between Here and Now”, he wrote poems about 33 impressionist paintings chosen from a book by Germaine Bazin “Impressionist Paintings in the Louvre”. These contain landscapes, seascapes and portraits of various kinds but almost half of them have women as their subject. According to Elaine Shepherd in her book “RST Conceding an Absence” “he found paintings by the impressionists particularly useful in focussing a response to women”. 5 These were artists such as Monet, Degas and Renoir. 4 p.264 5 p.12 8 Wynn Thomas says that in these poems RS explores womanhood in an intense way “belatedly doing what came naturally since from the beginning his own poems had been strong in graphic and painterly qualities” 6 Wynn Thomas goes on to argue that his painting poems have been largely ignored simply because there are not many of them in comparison with, for example, his poems about farmers and about God. He writes about art: “Art is recuperation from time” 7 “Art is a sacrament in itself”8 6 p.264 7 Between Here and Now p.41 9 “Exchanging progress without a murmur for the leisureliness of art”9 “A doctor becoming patient himself of art’s diagnosis” 10 So, he sees art as many things – a leisure time activity but also something sacred and spiritual and revealing something profound about human existence. But again as Wynn Thomas points out, when poems are written about paintings, what is being addressed is the representation of a representation which involves the production of art about the art of art. 8 p.59 9 p.33 10 p.63 10 And of course, just as one can read a poem and read into it layers of meaning which were either not intended or indeed thought of by the poet, so too it is possible to look at a work of art and see things the artist may never have intended and according to Wynn Thomas, RS frequently does so. Thus, in “Portrait of a Young Woman” he ignores Degas, the artist’s intention, and says: “I imagine he intended other things; tonal values, the light and shade of her cheek.