Skylarks and their inspirational song

One of my favourite local walks in summer is along a path below Ivinghoe Beacon, then climbing up to the ridge to look out over the extensive lowlands below. In the past, there was an added bonus, as there were several skylark nests in the fields that formed the first part of the walk and it was a joy to listen to their song and then try to spot them high up: very high up, for they take a bit of finding without binoculars. It is only the males that sing in this way and the flight is used to advertise their breeding territory. They may fly up several hundred metres before “hovering” for a minute or two, then descending rapidly. Singing is constant on the upward flight and when the skylark appears suspended at its zenith. 

Sadly, there are no longer skylarks in the fields next to Ivinghoe Beacon; at least, I haven’t heard them. Changes in farming practice and, especially, the time of year when grain is planted is one reason why these birds are now on the British conservation Red list [1]. Grain crops planted in early winter grow too tall for the larks in the breeding season, as they need easy access to the nest. 

Although they are rather dull in colour (see the image above) compared to some other birds, the effect of skylark song (heard in [1]) is far from dull and it has inspired many poets, for example, John Milton and George Meredith:

John Milton: L'Allegro (lines 40-44)

 

To hear the lark begin his flight

And singing startle the dull night

From his watch-tower in the skies

Till the dappled dawn doth rise

George Meredith: The Lark Ascending 

(lines 1-4; 65-70: and 121-122):

He rises and begins to round,

He drops the silver chain of sound,

Of many links without a break,

In chirrup, whistle, slur and shake.

 

For singing till his heaven fills,

‘Tis love of earth that he instils,

And ever winging up and up,

Our valley is his golden cup

And he the wine which overflows

to lift us with him as he goes.

 

Till lost on his aërial rings

In light, and then the fancy sings. 

The lines from Milton stimulated Samuel Palmer to paint The Rising of the Skylark (shown below). As Milton’s lines suggest, the lark is high in the sky at dawn, being visible only as a speck identified by following the gaze of the human observer by the gate. It is an idyllic scene and its atmosphere owes something to Turner, recognised at that time for his genius in painting light. Palmer created this Romantic view in 1839 while he was based in Shoreham in Kent, with a house close to the River Darent. 

The valley of the Darent had a special significance for Palmer and it does for me, too, in a lesser way. Not, I’m afraid, for any artistic endeavours, but it was where I conducted experiments on aquatic insect larvae and I collected material from the chalk stream to work on in the laboratory. Having been very keen on Art History since undergraduate years, I always nodded at Palmer’s house when I arrived in Shoreham and parked next to the bridge by his house before starting my collection in the river. 

The quoted lines from George Meredith were inscribed on the manuscript of Ralph Vaughan Williams' The Lark Ascending, that shared its title with that of the poem. It was written just before the outbreak of the First World War, but didn’t receive its first performance in orchestral form until 1921. It has been recorded by many artists and a link to a recent performance is given below [2].

Vaughan Williams’ work was voted to be the most popular of all pieces of music by listeners to Desert Island Discs [3] and also placed first in Classic FM’s Hall of Fame [4]. That is not a surprise, as it has lyrical beauty and feels connected to British, and, more specifically, English folk music; a genre from which Vaughan Williams gained inspiration. Hearing this music in his head must a have been a solace to the composer as he served in both the Medical Corps and the Royal Artillery during the First World War, just as George Butterworth must have found comfort in recalling his lovely The Banks of Green Willow. That piece was also inspired by English folk tunes and was composed just before the war broke out, but, sadly, Butterworth was killed in the trenches [5]. Vaughan Williams survived, but he did suffer deafness from the noise of gunfire.

I love the works by Palmer and Vaughan Williams and their Romanticism touches a nerve with me. Given their popularity, it seems that I am not alone. The drab, but beautifully singing, skylark has been an inspiration for many other poets, painters and composers and I hope that we can do something to keep their numbers up, and even restore them to their earlier abundance. Skylarks inspire us, but we should remember that their song did not evolve for our benefit, but for theirs.

[1] https://www.rspb.org.uk/birds-and-wildlife/wildlife-guides/bird-a-z/skylark/

[2] https://www.youtube.com/watch?v=ZR2JlDnT2l8&ab_channel=RichardBrittain 

[3] https://www.bbc.co.uk/programmes/p04qpmw9

[4] https://www.udiscovermusic.com/classical-features/vaughan-williams-lark-ascending/

[5] http://www.rwotton.blogspot.com/2013/02/the-banks-of-green-willow.html

My thanks to Alexander Wotton who was the (unknowing) catalyst for this article.

 

Palmer’s painting is held by the National Museum of Wales: https://museum.wales/art/online/?action=show_item&item=1436

The full poem L’Allegro by John Milton is available here: https://www.poetryfoundation.org/poems/44731/lallegro

The full poem The Lark Ascending by George Meredith is available here: https://allpoetry.com/The-Lark-Ascending

 

School summer holidays in the early 1960s

I attended Torquay Boys’ Grammar School from 1958-1965 (now demolished to make way for housing – see the image below, taken by Tom Jolliffe, just before the end [1]). Weekdays for 36 weeks of the year were spent learning some interesting things, some that were needed to pass examinations, and other activities like Games and Gym that someone considered to be good for me. There were a few excellent masters, some that were good, and then the rest, but, fortunately, only one or two that were very unpleasant. Of these, some were bullies and some so struck the fear of God into us that it was a relief when their classes ended. 

It was not a disappointment when summer holidays came around and Assembly on the last day of term always featured “Lord, dismiss us with Thy blessing”, sung with something of a sense of relief. One year, the piano in the Hall was modified by having drawing pins inserted in all the hammers and the student who played had a look of mock surprise at the resulting sound. Of course, we enjoyed this thoroughly, although we knew better than to laugh. Some masters smirked a little, but “Joe”, the Head Master, took it personally and looked like thunder. “Joe” was John Harmer MA (Cantab.) FRAS and he always appeared in an immaculate gown that somehow added to his sense of importance.

It was said that “Joe” was handy with a cane, a punishment that was confined to the privacy of his office. There was no chance of me finding out as I was always well-behaved, going through my school career with just a single detention and only one whacking. That came from “Hoppy” Hopwood when he discovered several of us in our form room when we should have been in the playground. “Hoppy” taught music and was very enthusiastic about his subject and also in giving taps with his black plimsoll. They were a feature of many music lessons.

 Anyway, at the end of the summer term there was six weeks break, but this coincided with the large influx of tourists to the holiday towns of Torbay. At the start of my career at TBGS that was good, as the increased number of trains meant some good trainspotting, but I tired of that in early adolescence as I wanted to get away from the crowds of holidaymakers. My interest then turned to walking around the coast and in the countryside, and I couldn’t resist looking in rock pools and streams, and being astonished by all the different animals and plants that I saw. 

The other passion was to buy Holiday Runabout Tickets, sometimes in pairs. These allowed unlimited travel over specified local railway lines and, as many small branch lines were still open, a chance to explore parts of Devon, Somerset and Dorset in a way that couldn’t be done on foot or by bus (no-one in our family had a car). Some of the branch line trains consisted of a single carriage pulled by a small steam engine and they wound their way through the countryside at a leisurely pace, stopping at small stations that were often far from the villages that they were built to serve. On one trip from Torrington to Halwill Junction, our train picked up a freight wagon en route and towed that down the line, a practice that I had never experienced before, but a regular feature of this form of rural transport at the time. 

There were few passengers on these trains and it was inevitable that the lines would be closed for economic reasons, but I was so pleased to have had the chance to ride over them (you can get some of the atmosphere by viewing a videoclip [2]). It’s no wonder that I became a fan of John Betjeman.

What a splendid contrast it all was to school life and I looked forward to these summer holiday journeys very much for a couple of years. After the branch lines closed, I developed other interests, while maintaining my passion for walking and natural history. The latter are constants that have been with me throughout the last sixty years; the Grammar School buildings and the branch lines disappearing into the world of nostalgia.

[1] Tom Jolliffe / Former Torquay Boys' Grammar School / CC BY-SA 2.0

[2] https://www.youtube.com/watch?v=ak9WgSYzQ50&ab_channel=ACEWEO-