We each take something different from a work of art, be it music, a picture, a novel or a poem. Great art resonates in many ways, depending on the psychological receptiveness of the person concerned.
Last week we heard that W.E. Henley’s very personal verse, Invictus gets our stranger-than-fiction Prime Minister through the night.
There have been many erudite comments on this choice, and on the poem itself, which is a self-glorification of the writer using attributes that a normal man would not ascribe to himself, but would be delighted if others did.
Henley had an excuse for his misery in that he suffered years of agonising illness and disability, including the amputation of part of a leg, and the potential loss of the other one. This was in Victorian times when amputation techniques scarcely varied from those of a butcher’s shop.
So what attracts Gordon Brown to Invictus? He mentions Nelson Mandela who also admired the work, probably because he spent decades in a South African prison. Here Brown is trying to associate himself with a greater leader than himself.
We also remember his rather immature attempts to curry favour with Barack Obama soon after his election, especially the cringing speech he gave in Scotland which included the line: “I wish I could have brought him home with me.” Wrapped up like a fish, perhaps?
Clearly, this is a man with problems in what is fashionably called “self-esteem”, and needs to bask in the glow of more luminous personalities.
Let’s look at what Brown wants us to take from the poem and link to his name:
Out of the night that covers me,
Black as the pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds and shall find me unafraid.
It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.
Brown is romanticizing his weaknesses with the grand rhetoric of fortitude and personal destiny. He doesn’t seem to recognize that the final couplet, “I am the master of my fate: / I am the captain of my soul”, is both unknowable and wildly improbable.
This is a man with hardly a shred of self-knowledge, who defines himself by other people’s actions and other writers’ words, hoping that some of the shine will rub off on him. He’s like a schoolboy who clings to his heroes to find an identity for himself.
Margaret Thatcher wrapped herself in Rudyard Kipling’s poem, If, which is also stuffed with Victorian values. Yet her choice is more of a manual on how to “be a Man, my son!”, rather than a paean of praise to oneself. The first verse contains good advice for Gordon Brown:
IF you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you,
But make allowance for their doubting too;
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise …
The line: “Or being lied about, don’t deal in lies,” should be emblazoned on Brown’s office wall.
If you can talk with crowds and keep your virtue,
Or walk with Kings — nor lose the common touch,
if neither foes nor loving friends can hurt you,
If all men count with you, but none too much.
The Prime Minister’s virtue is in need of an MOT. I would recommend a complete replacement instead of an overhaul.
And finally:
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
And — which is more — you’ll be a Man, my son!
However, I imagine Henley depicts Gordon Brown’s future more appropriately than Kipling’s:
Beyond this place of wrath and tears
Looms but the Horror of the shade …
John Evans

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