Saturday, 23 August 2025

John Medlin's Thanks to Mrs Susan Horton

To those who know, this poem will need no introduction. But for the others: the Catholic Church went mad after the disastrous Second Vatican Council in the 1960s. It destroyed its immemorial liturgy in an effort to be "with it" and persecuted all those who remained attached to the ancient liturgy. The great unsung saint, Archbishop Marcel Lefebvre, established the Society of St Pius X (SSPX) to protect and spread the old liturgy. He, too, was persecuted by Rome. Today, the SSPX is a worldwide force.
   Mrs Susan Horton, like many other lay people, spent many years working tirelessly to support the SSPX and she is sorely missed. The SSPX uses the Missal of 1962 in its liturgies and completely rejects Pope Paul's disembowelled "new rite" missal of 1970. Many, however, prefer the pre-1962 Missal (myself included) as the fullest expression of Catholic faith and worship. The SSPX has established schools throughout the world. In the UK its St Michael's School is almost the only school teaching the genuine and full Catholic faith. At the end of Part One, "the Bergoglian revolt" refers, of course, to the recent disastrous papacy of Pope Francis (Jorge Mario Bergoglio). "Indietrist" (backwardist) was his scornful insult directed at those who clung to the Tradition he actively attacked. For much more information see the SSPX English website!
   Part Two uses the form of W.B. Yeats's "John Kinsella's Lament for Mrs Mary Moore" which is a wonderful poem but completely profane. I think I had thoughts of "cleansing it" by using it to memorialize Mrs Horton: perhaps I should have used a different form.

---------------

I.
What serendipity, though graced and guided
By His great hand, it is when unawares
One takes a step which, much like Frost’s forked path,
Results in life’s occasions – fruits or tares –
Resolving to a thankful final end.
Fierce Mrs Horton, keeper of the chapel’s
Devotionals and haut-indietrist book stall,
(A chapel served by faithful priests – “bad apples”
Written off by the Popes’ post-Council Church),
Took me in hand when first I found Tradition,
Guiding my doubtings Truthwards, quarantined
From Council shallowness and its admission
Of satan’s kitsch into the House of Faith.
One Sunday after Mass, knowing I lacked
A Missal, turning to a window ledge
Where books much-used but surplus now were stacked,
Selecting one she said, “Take this,” and thrust
A time-torn Missal in my hand. I gabbled
My thanks, retiring to inspect this prize
In a nearby café where, intrigued, I dabbled
Its dowdy pages, puzzling that there seemed
“Discrepancies” compared to the “Sixty-Two” –
The Missal used for all the chapel’s rites.
Well, frequent use, both home and in the pew,
Revealed the reason: Mrs Horton’s gift
Was of a 1940s Missal, thus
Complete with Great Week rites not yet “reformed”
And Calendar not yet “improved” – that fuss
For civil servants’ “tidiness” which broke
A generation’s faith, and as a gibe
Produced, at last, Pope Paul’s amoebic Mass,
Committee-made by men half-clown, half-scribe.
What depths of doctrine, nodes of pious truths,
What praisings’ vaults are held in that “old” book
Which sanctified worldwide the Church’s worship
Prior the Council’s folly, and with a look
Can crush the new rite’s tickbox childishness.
Dear Mrs Horton, what a seed you sowed!
I pray your Missal daily, loose with age,
Elastic-banded: foot-mate on the road,
Dialogist when at my desk, confessor
Crouched on my knees; and so until my death!
   Enough. I thought to sketch and analyse,
To catch her whole, but that’s a waste of breath:
Suffice to say she was irascible
(To me, the backward-slider!), always tough,
Untiring, and insistent on the Truth
That is Tradition; so, she scorned the fluff
Posing for now as Catholic catechesis
(The Faith can neither change nor contradict
Itself), and saw the True Mass of the Martyrs
As guard and future of a Faith re-quicked
Once Rome’s louche love-clasp with the heresies
Was broken. Gone now to the Lord’s reward,
The chapel where she strove still thrives, its prayer
And sacramental life innately moored
In what the Church has always done (and meant) –
Refusing the Bergoglian revolt,
Its thuggish quackery. Her memory’s
In this: indomitable and sharp as salt!

Penzance: Six Occasional Poems

Note: “An October Gale” is based on the form of stanzas 2 and 3 of Thomas Campion’s “A Day, A Night”; “Turnstones” is based on the form of his “Never Weather-Beaten Sail”; “A Blithe and Bonny City Lass” is based on Thomas Lodge’s “A Blithe and Bonny Country Lass”; “The Settled Life” uses the form (feminine line endings) of Shakespeare’s Sonnet 87 “Farewell, Thou Art Too Dear for My Possessing”; “A Newlyn Roundelay” uses the form of Spenser’s roundelay “It Fell Upon a Holy Eve” (from the August eclogue in “The Shepherds’ Calendar”) and “November Damp” is based on the form of Thomas Dekker’s “Art Thou Poor” (from “Patient Grissill). All these poems are in Patricia Thomson’s highly enjoyable, and useful, anthology “Elizabethan Lyrical Poets” (Routledge & Kegan Paul, London 1967).
   Obviously, all places mentioned in the poems are real, either in Penzance or the adjacent Newlyn. Penwith is the area of West Cornwall. "Emmets" is the local name for incomers and holiday-makers. A "Bucca" is a proud, born and bred Newlyn resident.

-----------------

An October Gale

    A gale swept in, and greyed the day:
    It greyed the day through thickened rain;
    That thickened rain was flung as spray,
    Was flung as spray by wind’s distrain;
    The wind’s distrain upturned the bay:
    A gale swept in, and greyed the day.

The water’s ankle-deep in Daniel Place!
The ramping waves engulf the prom then drain!
In New Street soaking wind distorts your face!
And Rosevean Road’s a howling gulf in pain!
At noon all’s twilight – streets gone brown like mace!
Ouf! Wave shocks rock the town’s length, brace and brace!

----------

Turnstones

   Turnstones turning stones for hours in hope their food to find,
   Shore and pool and waves’ frothed edge have haunt time out of mind;
Compact, chestnut-brown, black-bibbed, yet stark with whited underparts,
   Twitting liquidly they dash, pale-legged, about their arts.

   Wolfing hoppers, morsels, mites, like monks they duck and bow,
   Hour by hour they feed or die, for life’s a constant now;
Spooked, they launch and fleet along the wave line, wings’ black bars on show;
   Settled, feeding and their breeding urge are all they know.

----------

A Blithe and Bonny City Lass

A blithe and bonny city lass,
   Hey ho the city lass,
Sat on her fore-step, out of place,
   Mourning her luck, which way she turned.
Came one who had a gentle way,
   Hey ho a gentle way,
   Fair hair, good wits which earned his pay,
   Who caught her eye, and so she yearned.

Her pert light beauty, seamed by life,
   Hey ho seamed by life,
Quite seized his love thoughts, made them thrive.
   “I have a child: take me, take her,”
She warned. He swore, “She’ll be my own,”
   Hey ho “she’ll be my own.”
   Love’s heat drew both, they made their moan,
   And so, content, one-fleshed they were.

He took that woman and her child,
   Hey ho and her child,
Far west to where the waves are wild.
   In Penzance town they wove their nest
Among granite streets, wind-wet and cold,
   Hey ho wind-wet and cold,
   But love’s first joys made all to gold
   (Always his hand was at her breast).

Well, all must cool: life duns for rent,
   Hey ho life duns for rent;
Their food is budget, work is scant,
   The girl begs frills that aren’t to have:
The woman’s baulked, tongue-sharp and grey,
   Hey ho tongue-sharp and grey,
   For he’s in drink, with eyes that stray,
   His hair unwashed, and boozed of breath:

And fate should warn each pretty peat,
   Hey ho each pretty peat,
That smicker men are rancid meat,
   And love’s a trudge through life to death.

(Note: "peat" means pet, merry girl, or simply girl. "Smicker" means beautiful, handsome.)

----------