Poems — Context and Discussion

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Betham, Matilda, 1776-1852 Project Gutenberg 2006 Not confirmed
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Words 14,364
Reading time 63 min
Text sections 2

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Matilda Betham's 1808 collection moves between solitary figures—an old fisherman, a grandfather, a shepherd—and scenes of memory, loss, and moral reflection, with recurring images of cold, fading light, and the sea.
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That were only awaken'd for me.

'Whether weary, with toiling in vain, Or gay, from abundant success, I heard the same blessing again,-- I met the same tender caress:

'I fancied the perils repay'd, That could such affection ensure; By fondness and gratitude sway'd, I was eager to dare and endure.

'My cot did each comfort contain, And that gave my bosom delight; When drench'd by the winterly rain, I watch'd in my vessel at night.

'But, alas! from the tyrant, Disease, What love or what caution can save! A fever, more harsh than the seas, Consign'd my poor wife to the grave.

'My children, so tenderly rear'd, And pining for want of her care, Though more by my sorrows endear'd, Could not rescue my heart from despair.

'I tempted the dangers of night, And still labour'd hard at the oar, My sufferings appear'd to be light, But I suffer'd with pleasure no more.

'And yet, when some seasons had roll'd, I seem'd to awaken anew; My children I lov'd to behold, How tall and how comely they grew.

'My boy became hardy and bold, His spirit was buoyant and free; And, as I grew thoughtful and old, Was loud and oppressive to me.

'But the girl, like a bird in the bower, Awaken'd my hope and my pride; She won on my heart ev'ry hour, And I could not the preference hide.

'I mark'd the address and the care, The manner endearing and mild, Not dreaming those qualities rare Were to murther the peace of my child:

'That grandeur would ever descend To seek for so lowly a bride, Or his fair one, a lover pretend, From all she held dear to divide:

'That beauty was priz'd like a gem, Expected to dazzle and shine, Whose value the world would contemn, Unless trac'd to some Indian mine:

'Alas! hapless girl! had I known Thou hadst learnt to repine at thy lot; That splendour and rank were thy own, Thy home and thy father forgot:

'That lore and ambition assail'd, Thou hadst left us, whatever befel! My pardon and prayers had prevail'd, I had blest thee, and bade thee farewel!

'With thy husband, from this happy clime, I had seen thee for ever depart! Still hoping affection and time Might soften the pride of his heart:

'That a moment perhaps would arise, When, fondling a child on the knee, He might read, in its innocent eyes A lesson of pity for me.

'But lips, which till then never said A word to cause any one pain, Inform'd me, when reason had fled, Of a conflict it could not sustain.

'And he, who had wish'd to conceal That the woman he lov'd had been poor, Began all his folly to feel, When the victim could hearken no more.

'Yet still for himself did he mourn, And, indignant, I fled from the view: For my wrongs were not easily borne, And my anger was hard to subdue.

'One prop, one sole comfort, remain'd, Who saw me o'erladen with grief, Who saw (though I never complain'd) My heart was too sick for relief.

'One, who always attentive and dear, Every effort exerted to please, My desolate prospect to cheer, To study my health and my ease.

'For his was each toil and each care, The due observations to keep; To sit watching amid the night air, And fancy his father asleep.

'Yet, dejected, and sadly forlorn, I dar'd in my heart to repine,-- To lament that I ever was born, Though such worth and affection were mine.

'Alas! I was destin'd to know, However intense my despair, I still was reserv'd for a blow, More painful and cruel to bear.

'Yes! this only one fell in the main! --I eagerly struggled to save; But I strove with the current in vain, And saw him sink under the wave!

'My head was astounded and wild,-- Incessant I roam'd on the shore, To seek the dead corse of my child, And to weep on his bosom once more.

'Seven days undisturb'd was the sky, The eighth was a tempest most drear, I saw the huge billow rise high! I saw my lost treasure appear!

'Like a dream it seem'd passing away:-- I hurried me onward to meet, And clasp the inanimate clay, When senseless I sunk at his feet.

'These hands, now enfeebled by time, The last pious offices paid! Age sorrow'd o'er youth in its prime, And my boy near his mother was laid.

'Now scar'd by the griefs I have known, Wounds, apathy only can heal, My joys and my sorrows are flown, For I have forgotten to feel.

The collection opens with 'The Old Fisherman,' a dramatic monologue in which an aged speaker recalls his vigorous youth at sea, contrasting past strength with present chill and loneliness. The poem establishes a pattern of retrospective narration that recurs throughout the volume: a solitary figure looks back on a life shaped by labor, affection, and loss. Betham’s verse often shifts between direct speech and descriptive framing, creating a layered sense of memory. The fisherman’s repeated references to cold—'My bosom is chill'd with the cold'—and the 'white-foaming billows' anchor the poem in a sensory world of physical exposure and emotional withdrawal.

Recurring Images of Cold and Fading Light

Across the excerpts, Betham returns to images of cold, darkness, and dying light. The old fisherman feels his 'bosom is chill'd'; later, a speaker describes 'the dying lamp of hope.' These images are not merely atmospheric but tied to emotional states—grief, age, separation. In 'The Old Shepherd's Recollections,' the narrative turns on a young girl's 'silent tears' and a cheek that 'grew pale in wild amazement.' The physical chill often accompanies a moral or spiritual chill: the fisherman's lost warmth of home, the grandfather's departure, the shepherd's recollections of a youth 'fearful' and 'awe'-struck. Betham uses these sensory details to anchor abstract feelings of loss and longing in tangible, bodily experience.

Movement Between Solitude and Community

Betham’s poems frequently stage a movement from solitary reflection to remembered or imagined community. The old fisherman sits alone on the beach, yet his monologue is filled with the voices of those who 'rejoic'd' at his return and gave 'the same tender caress.' In 'The Old Shepherd's Recollections,' the narrative shifts between the shepherd's present isolation and the crowded scenes of his youth—a circle of listeners around a talented youth, a girl 'always present,' a father's 'proud boasting.' This structural oscillation between solitude and social memory gives the poems a dramatic tension: the speaker is physically alone but psychically peopled by the past. Betham often marks these transitions with a change in verb tense or a direct address to an absent listener.

The Role of Song and Oral Tradition

Music and storytelling are central to several poems. In 'The Old Shepherd's Recollections,' the young man's skill 'upon the many-stringed harp' and his knowledge of 'all our old ballads, all our father's tales' make him a figure of cultural memory. The girl Lora learns 'wild and simple airs' suited to her voice, and the youth mimics her 'sweet minstrelsy.' Betham’s own collection includes a section of 'Songs,' suggesting she saw her poems as part of a living oral tradition. The poems often describe the act of singing or reciting as a communal bond, one that outlasts physical presence. The old fisherman 'sing as I handled the oar'; the shepherd’s recollections are themselves a kind of sung narrative, preserving what would otherwise be lost.

Moral Reflection Through Contrasting States

Betham frequently contrasts past and present, youth and age, wealth and poverty to frame moral reflections. The old fisherman contrasts his former 'pride of strength' with his current 'lost vigour'; the shepherd’s tale sets the 'modest dignity of humble worth' against 'cold arrogance that scorn'd the poor.' These contrasts are not merely nostalgic but carry ethical weight: the fisherman learns that 'perils' were 'repay'd' by affection; the shepherd’s narrative warns against 'proud boasting' and the 'curse' of ill-used power. Betham’s speakers often draw explicit lessons from their memories, as when the shepherd’s tale concludes that 'mines of wealth' cannot purchase 'esteem or friendship, tenderness or love.' The poems thus function as moral exempla, using personal history to illustrate general truths about human life.

Readers attentive to Betham’s handling of voice will notice how she shifts between first-person monologue and third-person narrative, often within a single poem. The excerpts suggest a poet more interested in the texture of memory than in plot. The recurring images of cold and fading light, the movement between solitude and remembered community, and the emphasis on song as a vehicle for moral reflection all reward careful rereading. The collection is best approached not as a sequence of discrete lyrics but as a series of variations on a few resonant themes.

I’ve often shelved Miss Betham’s lonely fishermen beside the royal pageant in The kings and queens of England, with other poems — Edition Insights. Both whisper of time’s long tide, how grandeur and solitude alike fade into brittle pages—a shared, quiet shiver between reigns and salt-spray. A hand rests on each spine, remembering.

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