Sir John Betjeman - Poems by the Famous Poet - All Poetry

Famous poet /1906-1984  •  Ranked #62 in the top 500 poets

Sir John Betjeman

Sir John Betjeman was a British poet who served as Poet Laureate from 1972 until his death. Considered one of the most popular poets of the 20th century, he is still beloved by readers today for his accessible, witty, and often nostalgic verse.

Betjeman's poetry frequently explores themes of Englishness, particularly its architectural heritage, suburban life, and the changing social landscape. His style is characterized by clear diction, traditional forms, and a keen eye for detail. He embraced rhyme and meter, bucking the trend of free verse that was prevalent among his contemporaries.

His work is infused with humor and a gentle irony, often poking fun at social conventions and the pretensions of the upper classes. Betjeman's poetry can be both celebratory and melancholic, capturing the beauty of everyday life while also acknowledging its fleeting nature.

While Betjeman's traditional style set him apart from some of his contemporaries, he shared an interest in capturing the nuances of modern life with poets like Philip Larkin and Stevie Smith. His work was also influenced by earlier poets like Thomas Hardy and Rudyard Kipling, who shared his love for the English landscape and its history.

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In Westminster Abbey

Let me take this other glove off
As the vox humana swells,
And the beauteous fields of Eden
Bask beneath the Abbey bells.
Here, where England's statesmen lie,
Listen to a lady's cry.

Gracious Lord, oh bomb the Germans,
Spare their women for Thy Sake,
And if that is not too easy
We will pardon Thy Mistake.
But, gracious Lord, whate'er shall be,
Don't let anyone bomb me.

Keep our Empire undismembered
Guide our Forces by Thy Hand,
Gallant blacks from far Jamaica,
Honduras and Togoland;
Protect them Lord in all their fights,
And, even more, protect the whites.

Think of what our Nation stands for,
Books from Boots' and country lanes,
Free speech, free passes, class distinction,
Democracy and proper drains.
Lord, put beneath Thy special care
One-eighty-nine Cadogan Square.

Although dear Lord I am a sinner,
I have done no major crime;
Now I'll come to Evening Service
Whensoever I have the time.
So, Lord, reserve for me a crown,
And do not let my shares go down.

I will labour for Thy Kingdom,
Help our lads to win the war,
Send white feathers to the cowards
Join the Women's Army Corps,
Then wash the steps around Thy Throne
In the Eternal Safety Zone.

Now I feel a little better,
What a treat to hear Thy Word,
Where the bones of leading statesmen
Have so often been interr'd.
And now, dear Lord, I cannot wait
Because I have a luncheon date.
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Analysis (ai): This supplication to God reflects the religious and patriotic sentiments during wartime. It implores divine protection for soldiers, civilians, and British ideals (free speech, freedom, democracy). Despite acknowledging personal shortcomings, the speaker expresses faith and a willingness to serve. The poem captures the blend of piety, patriotism, and self-interest prevalent in society during the era.
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Diary Of A Church Mouse

Here among long-discarded cassocks,
Damp stools, and half-split open hassocks,
Here where the vicar never looks
I nibble through old service books.
Lean and alone I spend my days
Behind this Church of England baize.
I share my dark forgotten room
With two oil-lamps and half a broom.
The cleaner never bothers me,
So here I eat my frugal tea.
My bread is sawdust mixed with straw;
My jam is polish for the floor.
Christmas and Easter may be feasts
For congregations and for priests,
And so may Whitsun. All the same,
They do not fill my meagre frame.
For me the only feast at all
Is Autumn's Harvest Festival,
When I can satisfy my want
With ears of corn around the font.
I climb the eagle's brazen head
To burrow through a loaf of bread.
I scramble up the pulpit stair
And gnaw the marrows hanging there.
It is enjoyable to taste
These items ere they go to waste,
But how annoying when one finds
That other mice with pagan minds
Come into church my food to share
Who have no proper business there.
Two field mice who have no desire
To be baptized, invade the choir.
A large and most unfriendly rat
Comes in to see what we are at.
He says he thinks there is no God
And yet he comes… it's rather odd.
This year he stole a sheaf of wheat
(It screened our special preacher's seat),
And prosperous mice from fields away
Come in to hear our organ play,
And under cover of its notes
Ate through the altar's sheaf of oats.
A Low Church mouse, who thinks that I
Am too papistical, and High,
Yet somehow doesn't think it wrong
To munch through Harvest Evensong,
While I, who starve the whole year through,
Must share my food with rodents who
Except at this time of the year
Not once inside the church appear.
Within the human world I know
Such goings-on could not be so,
For human beings only do
What their religion tells them to.
They read the Bible every day
And always, night and morning, pray,
And just like me, the good church mouse,
Worship each week in God's own house,
But all the same it's strange to me
How very full the church can be
With people I don't see at all
Except at Harvest Festival.
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Analysis (ai): "Diary of a Church Mouse" portrays the tale of a solitary church mouse living amidst discarded items and nibbling on service books. The mouse's solitary existence contrasts with the bustle of church activities, which it observes with both amusement and frustration.

The poem satirizes the hypocrisy of churchgoers who only attend services for special occasions like Harvest Festival, contrasting their behavior with the mouse's genuine devotion. It also explores themes of social stratification within the church, with the mouse encountering different types of mice with varying beliefs and motivations.

Compared to Betjeman's other works, such as "Summoned by Bells" and "Indoor Games Near Newbury," "Diary of a Church Mouse" displays a similar wry humor and fondness for capturing the quirks of human behavior. It also reflects the waning religious attendance of the post-war era, making it a poignant commentary on changing societal norms.
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The Licorice Fields At Pontefract

In the licorice fields at Pontefract
My love and I did meet
And many a burdened licorice bush
Was blooming round our feet;
Red hair she had and golden skin,
Her sulky lips were shaped for sin,
Her sturdy legs were flannel-slack'd
The strongest legs in Pontefract.

The light and dangling licorice flowers
Gave off the sweetest smells;
From various black Victorian towers
The Sunday evening bells
Came pealing over dales and hills
And tanneries and silent mills
And lowly streets where country stops
And little shuttered corner shops.

She cast her blazing eyes on me
And plucked a licorice leaf;
I was her captive slave and she
My red-haired robber chief.
Oh love! for love I could not speak,
It left me winded, wilting, weak,
And held in brown arms strong and bare
And wound with flaming ropes of hair.
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Analysis (ai): This poem celebrates the author's romantic encounter in Pontefract, where licorice fields abound. The sensual description of his lover's physical attributes evokes a time of innocent passion. The setting is imbued with idyllic charm, with the sweet scent of licorice flowers mingling with the Sunday evening bells. The poem's simplicity and playful tone contrast with the themes of desire and submission, hinting at the societal constraints of the period. Compared to Betjeman's other works, this poem exhibits a more sentimental and romantic style, while still retaining his characteristic humor and observation of everyday life.
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