I Met a Lady in the Wood
I met a lady in the wood.
No mortal maid, I knew, was she;
She was no thing of flesh and blood,
No child of human ancestry.
Her beauty held my eyes in thrall.
I spoke to her sweet words, soft-toned.
She answered me no word at all,
But only looked at me and moaned.
I spoke to her about Exchange,
Of Sterling and its recent rise.
The subject was beyond her range;
She stared at me with haunting eyes.
I touched upon the price of Rye
And its effect upon the Pound.
She walked beside me silently,
Like one that treads on charméd ground.
She witched me with her elfin grace.
I spoke of Wages and the Dole
And briefly sketched for her the case
For International Control.
She gazed upon me as I talked;
Some elfin thing she seemed to be.
I knew her, by the way she walked,
A creature of the Faëry.
Through green and leafy glades we went,
Knee-deep among the dewy ferns;
I touched upon the Law of Rent
And of Diminishing Returns.
And, as we wandered through the wood
Mid oaks and elm-tree boles rotund,
Explained to her as best I could
The workings of a Sinking Fund.
I said that Rubber was depressed
By recent rumours from Malay.
She only moaned and beat her breast
And cried aloud, 'Alack-a-day!'
I said my brokers had foreseen
A rise in Oil, and asked her view
As to the trend of Margarine,
She only answered 'Willaloo!'
I took her to a green-lit glade
Where tall trees twined their branches high
And a moss-muted streamlet made
Unmeditating melody;
And there I paused awhile; and there
I offered her my heart and hand,
And bade her take me in her care
To dwell with her in Fairyland.
I said I was a Whale-oil King,
With gold and goods and gear in plenty.
She said she was a Mrs. Byng
And had a family of twenty.
She turned and left me where I stood.
While round her elfin pipes were fluting
She walked away into the wood,
And I walked home to Lower Tooting.
Commentary
Notes
Edward Lear (1812-1888) was an early pioneer of nonsense poetry, a genre developed further by the Rev Charles Lutwidge Dodgson, (alias Lewis Carroll, 1832-1898), and more recently by Spike Milligna (the well-known typing-error, 1918-2002). Barrington (1909-1990) is a golden link in this brilliant chain of absurdists.
Like many of Barrington’s poems the comic effect is generated by an absurdity of juxtapositions – perhaps most absurdity comes to that, one way or another. In this masterpiece of inspired nonsense Barrington juxtaposes Arcadian romance with economic and commercial discourse. The denouement – when the identity of the elfin companion is exploded – is vintage Barrington. As usual, Barrington’s romantic narrative is unconsummated. (Barrington never married.)
The poem was published in ‘Songs of a Sub-Man’ (London: Methuen & Company Limited, 1934). The title of the collection presumably parodies Nietzsche’s “ubermensch” (“overman”). Barrington sketches more than one credible untermensch.
— William Grey
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From the Wondering Minstrels mailing list, 1999–2008.
mad · 15 January 2005
Of note, this poem is also a transparent parody on La Belle Dame Sans Merci by Keats (minstrels poem 182.)
-Daniel
And now this is ‘an inheritance’ -
Upright, rudimentary, unshiftably planked
In the long ago, yet willable forward
Again and again and again.
William Grey · 16 January 2005
The allusion to Keats ‘La Belle Dame Sans Merci’ is clear; thanks Daniel for pointing it out. ‘Alack-a-day’ and ‘Willaloo’ I recollect from some or other of the Savoy Operas by Gilbert and Sullivan – Barrington was a great fan of these.
William Grey