Published on August 18, 2009
The Invention of Seasons in Haji Salleh’s england in the spring and Hardy’s If It’s Ever Spring Again: A Comparative Study Mehdi Hassanian esfahani (GS22456) The Victorian Age (BBL5101) Lecturer: Dr. Wan Roselezam February 2009
Abstract Muhammad Haji Salleh (1942 - ) a National Laureate of Malaysia (Sasterawan Negara Malaysia) is well known for his careful observation of society he lived in, and his poetry is considered one of the finest, whether written in English or Bahasa Melayu. In this study I will discuss the invention and usage of seasons (particularly winter and spring) in one of his poems, england in the spring, to find its significance and I will compare this to a selected poem by Thomas Hardy (1840 - 1928), If It’s Ever Spring Again, and Hardy’s innovation of seasons in his poetry. In this way, I observe both poems through formalistic approach, and explain the imageries. Interpreting its connotations and the role they play in the general atmosphere of the poem, I will come up with an outline which makes it easy to compare these two. As a result, the similarity and differences will be analyzed. It is expected, through the influence of Hardy on Haji Salleh, that both poems follow the same procedure regarding the usage of seasons, although the theme and situation is different. 
Reading poetry of Muhammad Haji Salleh reveals a repeated regular pattern in which seasons are fully connected to cliché characteristics, and present their connotations. Gloomy winter is when nature and people stop growing as if there is a heavy burden of frozen air upon the world; sun has left and sky is dark and alone. Darkness gives opportunity to barbarism to uncover, when world is numb to fight against. Then it comes spring, with promising propaganda of rebirth. Sun melts the ice and grass will make the world green one more time, birds will sing and happiness appears in the nature. Brightness overcomes. It’s time to grow, to reproduce, and change. Summer is the celebration of sun. Although nature is not young anymore, it is reliable, replete with energy and powerful. And autumn is a transition from summer to winter. These inferred meanings help the poet to create the setting and make the desired atmosphere based on the theme he wants to express. This practice of using seasons is a common one, for both Hardy and Haji Salleh, as both make their worlds connected to a season; and use the connotations of the season to intensify the underlying theme of their poems. In the following, I will compare If It’s Ever Spring Again by Thomas Hardy, which completely fits through this pre-assumption, in which spring is a season of love and helps us to understand the theme, and Muhammad Haji Salleh’s england in the spring which seems different in his collection of poetry, and from that of Hardy’s at the first sight, as it is full of urban pictures of modern lifestyle, and doesn’t address any particular season directly. However, a detailed analysis may investigate the invention and lead to the significance of ‘spring’ and ‘winter’ in this poem. england in the spring is not a poem about spring in the traditional point of view, but a poem which is set in March. Poet’s purpose to refer to March and indirectly name seasons is to create the atmosphere which has overwhelmed London, because as we are promised from the beginning and the title, it is a poem about England. Although we have some references to ‘spring’ the setting of time is actually late winter. People who are described are busy with 
daily life in a wintery day, and complaining poet hopes that the following season, i.e. spring, comes soon and change the society. Despite Hardy, Haji Salleh doesn’t explore the nature outside in search of beauty. He is a modern man and talks about urban life, with no reference to nature or rural scenes; as though he has never seen them or modern life has put an end to them. Poem starts with depiction of late winter, when still ‘arctic winds howl’ through the streets of London, in a modern and formal language. We have the first piece of our modern everyday life presented in the first stanza; images of night’s litters such as ‘newspapers with faded truths’ and ‘plastic containers’. This jigsaw puzzle will be completed in next stanzas and more pieces will be added to account different aspects of man’s modern life. Then we have a very strong claim that ‘time has lost its sun’. Time refers literally to the middle of March, but figuratively to our modern era. It could be interpreted as our age, the new generation and the modern world which has become the city of dust and sin. This line is the key to interpret the whole poem, and to understand the wasteland Haji Salleh depicts through the use of wintry imagery. The second and third stanzas act like a camera; they explain what the persona sees (like a Japanese mini-market) and feels (like the wind) when he / she enters north London. Insignificant issues like ‘cold chaotic Indian sundry shops’, are what attract the persona’s attention, or they are all he finds outside. It is in contrast with description of London by previous poets. The grotesque picture of gloomy land is repeated again, when wind moves through ‘dark lanes’ along the city and frightens every individual. Again it ends on a foretelling line, which supports this idea that the poem is not just about a wintery night of London, but about the wintery era of human being. Persona believes that we are lost, as ‘sun’ is lost, in this life. He wishes us to ‘turn our eyes that we may see ourselves’, find ourselves 
and reach the cheerful time of spring again. He feels that it is time to understand and become aware, we are disillusionment and it is time to attempt to replace winter with spring. Setting in mid-March, sun is weaker than before, but poet metaphorically uses it as a guide, or a milestone in the history of England which is far and unreachable. This will be discussed –and repeated in the poem– in the following lines, that the poet avoids talking about British people, distinguished landmarks and signs of development, its cultural and historical heritage, as if sun presents all positive qualities, which are gone for now, and the only thing remained is incongruous picture of men, mostly immigrants, who do not fit into the context; they belong to nowhere, and England belongs to no one. The second part of england in the spring goes into the social life, though it is still dependent to urban lifestyle and modern urbanism. It explores multicultural city of London, and foreigners who have inhabited there and have one feature in common: they all have tried to imitate British people, but none of them really belongs to that country; persona notices a stranger who has become skeptical British; ‘I meet a stranger from a continent / built by the sun, / history and need / brought him here, / making him a skeptical British’. But England is full of ‘shops and bright saris’ and despite his assumed hope just bestows him what he once had in his country. It is the same for ‘Ugandan cloth merchants’ who are here in a quiet exile. The next three stanzas depict a picture of only foreigners, as if London is over crowded with immigrants or persona feels it special and worth noting to tell us about their way of living. Persona intentionally or unintentionally speaks in a sarcastic tone. He mocks those who once had a country and history, and now they are here in search of history. In spite of the fact that there is no sharp comment or subjective explanation, but there is an implied incongruous imagery by ‘Greek children queue up / for the oily Chinese fried rice’ and ‘a 
Caribbean boy falls in love with a punk girl’ in municipal houses, or a Welsh man who makes love with a Punjabi woman in cockney. It is as if foreigners are an essential part of this wasteland. Haji Salleh avoids talking about English people, civilization, the ancient heritage or any landmark in England deliberately to intensify the sense of loss. He excludes whatever expected from London to emphasize the new face of modern London. In the last stanza, he comes back to the wintery London with its gray eyes staring upon the fog. He refers to the past, when England was the colonizer and had occupied Far East countries; when, perhaps, was the ‘spring’ of England. And now, she stares at the ‘history’s break-point’. The usage of ‘fog’ is twofold here, as the whole wintery imagery was in the first stanza. It is connected to the mid-March weather of London, and the current situation of England; even the gray eyes of England, experienced and old, cannot foretell the future. There is a doubt in survival, and it is unpredictable. At last, persona condemns past and asks for redemption. Winter is like a curse upon this country. He believes that past sins ‘must be expiated in the centre of London’ to bring spring again. In england in the spring, Haji Salleh uses spring and winter in an implicit way to increase the climax of the poem. Although the usage is different from traditional nature poetry, the same pattern in used to remind the reader common connotations that each season has in literature. However, he avoids direct references to the seasons, and suggests them figuratively in order to concentrate on the current condition of England. Briefly, Haji Salleh wants to depict a wasteland. He uses winter imagery to create the atmosphere, and prepare the reader for the concept of modern England, although unlike nature poets, he refuses to talk about nature outside and winter. This invention of season is not a noble one, but he links the cycle of seasons with the history of England. He implies that 
history of England has passed spring which was when it had many colonies around the world. Different people from different cultures are the offspring of past, who are gathered together in England; the motherland now. But due to sins England committed, now winter is overwhelmed. Modern London is not only presented by dirt and sin, but also by foreigners who are not a part of it. It is as if that old London, the tradition, heritage and culture is lost as well. But it is not the ending, according to the narrator, this never-ending cycle will bring spring one more time. He knows that time should pass and sins must be expiated. All he wants is the awareness of people of their current winter and their longing for a rebirth. Narrator is looking forward to the future of England, to its rebirth and blossom one more time. It is logically assumable that this poem is written on a personal feeling toward London. Haji Salleh declares in an article ‘A Quid of Betel’ that “most of all, I owe my poems to the broad and varied lives lived in the places I have visited or stayed in”. He continues: “As a poet, all things are 'poetic' to me; all are legitimate themes for this wonderfully flexible verse form. Things and events that I live with and experience, which touch me visually or emotionally, light up certain frames of existence, insight or meaning, they are recreated as the centre of these poems”. Being concerned about society and social issues, his poetry is dominated by his persona’s perception of world around him, which mostly presents an individual who seeks his identity, fights for roots and history. It is plausible that the poem is written after a personal experience, during the time he lives in Britain in the early 60s. Comparing this poem with Hardy’s If Its Ever Spring Again, at first differences will appear and one may conclude that they belong to two distinctive categories; as the 
appearance of Hardy’s is more like a nature poem, talking of and mentioning beauty of nature outside, like Romantic potms, with a heavy load of emotion and feeling, but a close reading of both reveals similarity which supports the influence of Hardy’s poetry on Haji Salleh’s. If Its Ever Spring Again seems like a love song to recall a beloved who has left the lover. Bright picture of spring and delightful description of summer cannot be separated from the whole poem. It follows the style of Romanticism to give an account of nature, and seasons. In this sense, the innovation of seasons is not to elaborate the poem, but the poem seems to be written to admire seasons. From the beginning, cheerful spring is recorded by sharp-eyed persona who is in the middle of a natural scene. This is in contrast with grotesque imagery of modern urban life in Haji Salleh’s poem. Hardy’s persona is wishing for time to meet the beloved again, to unite with her one more time and glorify the moment they had once in a spring day. Talking about moor-cock and moor-hen in first stanza makes the spring special in the mind of this persona, as according to Morgan, these are shy animals that rarely come out of their covertures. Hardy creates the unique setting to make a cheerful atmosphere and relate it to his experience; when he was standing with his arm around the beloved, and felt the ground happiness in his heart. All connotations of spring are linked to the relationship between persona and his beloved. What he experienced was parallel to the spring, and the loss which is in his life is parallel to the absent of spring. In the second stanza, he refers to the golden season and the splendid era of his life time; when hay crop was at the prime and birds were singing passionately in rhyme. In order to create the setting, he uses summer with all common features discussed before. The word summer implies the perfectness of nature (and persona’s life), confident and safety as well as the fruitful relationship which leads to reproduction. Cortus believes that the birds and the 
bees are “collectively a trite euphemism for sex”. By putting it in a summer setting, Hardy appraises his love which was complete and fruitful, if time hadn’t passed or it would be if summer comes back again. In a deep analysis, If Its Ever Spring Again is more narration of persona’s regret than a praise of spring and summer. Constant use of ‘if’s and ‘ever’s bring in mind the condition which lacks joy or happiness. “The sadness of romantic love, which matrimony changes from bliss into misery” (Encarta Encyclopedia) is a recurring theme in Hardy’s poetry, and is portrayed in this poem too. Unsatisfied and morose tone is similar to Haji Salleh’s when he observes a city in which dust and sin has settled over ‘the streets’ gravel and ancient drains’. Hardy’s love mentioned has nothing in common with the love he desires or he wants, simply it is not real at the present, and Haji Salleh sees England in a way which has less similarity to what he (and the readers) expect. In hardy’s poem, it is neither spring nor summer outside, and the poet feels neither cheerful nor prospered inside. He remembers some memories and drowns himself in them. In spite of the fact that winter is never mentioned here, but the gloomy mood has overwhelmed the poem. Dimness of persona’s mind is similar to the wasteland Haji Salleh has depicted in his poem. In both, spring has gone and the current condition is far away from its blossoming promises. It is all winter around, although Hardy cannot name it. Now that the beloved is left, Hardy remembers the past and wishes to go back in time. He claims that they can unite, and make love as long as they dream about, if just the whole experience of spring love happens again. But Haji Salleh doesn’t go deep in the past condition of England. He sees present and depicts the wilderness as he observes. All he knows of past is a glory which is not similar to the present London. 
Like many more poems, If It’s Ever Spring Again is written after the death of Hardy’s first wife; Emma Lavinia Gifford. According to Moore’s categorization, Hardy’s poetry can be sorted into 3 categories: - war poems (regarding the second Boer War and WWI); - philosophical and personal poems; - and poems about Emma. The last poems are mostly written to reduce the guilt Hardy felt inside for his neglect of Emma. They explore the relationship which was started by happiness and promises of prosperity, but ended in bitterness and heavyheartedness. In this poem, it is assumable that persona’s emotion comes from Hardy’s sad experience; his loss, and the addressee is his beloved Emma. Like Haji Salleh’s, it deals with a personal feeling which the poet felt inside, and persona’s voice can be considered that of the poet. england in the spring does not go deep into past; we know nothing of glories of England, and there is no clue to its past, all we know are references to sins that are committed in hundred of islands and states, which may refer to colonization process and invasion of colonized country and culture, however in If It’s Ever Spring Again we know just about past. Narrator’s emphasis on their relationship is the central theme of this poem. But his overemphasis makes it artificial. Moor-cock, as we discussed is not a creature to come out in the spring, and cuckoos, mentioned in stanza 2, are not social creators too. It is not common to see two of them together in nature, whether they are singing individually or with each other. These things question the accuracy of narrator’s record of his past, and the relationship they had. If moor-cock and moor-hen cannot see them, it is not unlikely that the whole cooperation of beloved was a dream. 
At first sight, If It’s Ever Spring Again seems more delightful with vivid visual (and auditory) imagery of spring and summer, and talking about love and joy, but it follows the same underlying pattern that england in the spring does. In both poems, the invention of seasons is to spread over related qualities and common connotations which are the same for Hardy and Haji Salleh: they divide the life time into four parts and dedicate each to one season. In both, the bleak condition is dramatized by wintry imagery and descriptions. The glory of England and the beloved are lost, just as ‘sun is lost’ or ‘summer has passed’ and the persona is looking forward to a rebirth, to a repetition of spring to come again and fulfill the hope to bring back the glory and prosperity, whether to the country or the lover’s life. The last lines in two poems are significant too. In contrast with Haji Salleh’s poem, in which persona hopes that wintry wind would open our eyes, to realize the dimness of present and act against it, Hardy’s persona cannot face the future or accept the present condition. He does not dare to live in actual life; therefore he isolates himself and lives in his memories of the beloved he once had long time ago. He is emotionally disabled through the traumatic experience, but in england in the spring, persona dares to ask for an expiation. He believes that sins which brought about wintry England should be atoned ‘in the centre of London, / in the dirty mills of Birmingham / or the newstands of Oxford’ to make a new spring happen. 
Works C ited Cortus, Betty. "‘If It's Ever Spring Again’ TTHA Poem of the Month for March 2008". TTHA-POTM. February 1, 2009 <http://coyote.csusm.edu/pipermail/ttha-potm/2008- March/000534.html>. Haji Salleh, Muhammad. "A Quid of Betel". Manoa Volume 18, Number 1, 2006: 49-50 ______. Rowing Down Two Rivers. Bangi: Universiti Kebangsaan Press, 2000. Hardy, Thomas. The Works of Thomas Hardy. UK: Wordsworth Editions, 1994. Moore, Andrew. "Thomas Hardy's poetry - study guide". English Teaching Online. February 18th, 2009 <http://www.teachit.co.uk/armoore/poetry/hardy.htm>. Morgan, Rosemarie. "‘If It's Ever Spring Again’ TTHA Poem of the Month for March 2008". TTHA-POTM. February 1, 2009 <http://coyote.csusm.edu/pipermail/ttha-potm/2008- March/000536.html>. "Thomas Hardy." Microsoft® Encarta® 2009 [DVD]. Redmond, WA: Microsoft Corporation, 2008. 
A p p en d i x 1 engla nd in the spring i. the arctic winds howl through the crotch of march wildly sweeping the night’s litter. newspapers with faded truths plastic containers unmanaged by civilization let the city’s dust and sin settle over the streets’ gravel and ancient drains. time has lost its sun. i come to north london passing by cold chaotic indian sundry shops that sit precariously on the edge of finchley, a bright japanese mini-market is made up by the advertisement’s moods. the wind that chases among the dark lanes 
scratches the city’s self, turns our eyes that we may see ourselves, we who always examine with disillusionment. ii. in the dim lanes i meet a stranger from a continent built by the sun, history and need brought him here, making him a skeptical british. the shops and bright saris are reminders of a past century, a history and times edges blending sand and currents, flow and move like the oceans, dashing limestone cliffs and river mud, chaining jamaicans to boats bestowing dreams on hong kong coffee shop owners, 
or a quiet exile for ugandan cloth merchants. time’s ditch rushes in between. now on the lanes of the municipal houses, a caribbean boy falls in love with a punk girl, a welsh is hugging a punjabi woman. all make love in cockney. greek children queue up for the oily chinese fried rice. in the restaurant the father steals meat from his shrinking souvlaki. northern indian tandoori perfumes a whole street, merging into the odour of fish ‘n’ chips. promptly he curses the smell of spices. the gray eyes of the english stare upon the fog and history’s break-point, they have learnt to be angry or accepting 
that history must be paid with history, sins collected in hundred islands and states, must be expiated in the centre of london, in the dirty mills of birmingham or the newstands of oxford (60). A p p en d i x 2 If It's Ever Spring Again (Song) If it's ever spring again, Spring again, I shall go where went I when Down the moor-cock splashed, and hen, Seeing me not, amid their flounder, Standing with my arm around her; If it's ever spring again, Spring again, I shall go where went I then. 
If it's ever summer-time, summer-time, With the hay crop at the prime, And the cuckoos – two – in rhyme, As they used to be, or seemed to, We shall do as long we've dreamed to, If it's ever summer-time, Summer-time, With the hay, and bees achime (563). 
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