Elegies have various narratives buried within them. Some, like Thomas Gray’s famous reflections in an eighteenth-century country churchyard, have incomplete ones: what might have been rather than what was. There are ironies underlying Gray’s use of the word ‘waste’ in the couplet
‘Full many a flower is born to blush unseen
And waste its sweetness on the desert air.’
Blushing suggests a social awareness, a young girl perhaps entertaining her earliest encounters with the opposite sex, and ‘waste’ records with a touch of wistful sorrow how those imagined ambitions of youth are lost to the inexorable marches of Time.
Simon Marsh’s sixteen short elegiac poems present the reader with narratives which accrue to become a ‘life’. The opening poem, ‘Notte’, registers the continuance of one narrative (‘nature’s circuitry’) acting its part as background to another narrative which has now reached conclusion. The inevitable new growth of seed ‘is soldered to…
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