Refugee Blues

Jewish refugees flowing Hitler aboard the M. S. St. Louis in 1939. They were turned away in Ellisville Europe, Cuba, and the US.

    

Say this city has ten million souls,
Some are living in mansions, some are living in holes:
Yet there’s no place for us, my dear, yet there’s no place for us.

Once we had a country and we thought it fair,
Look in the atlas and you’ll find it there:
We cannot go there now, my dear, we cannot go there now.

In the village churchyard there grows an old yew,
Every spring it blossoms anew;
Old passports can’t do that, my dear, old passports can’t do that.

The consul banged the table and said:
“If you’ve got no passport, you’re officially dead”;
But we are still alive, my dear, but we are still alive.

Went to a committee; they offered me a chair;
Asked me politely to return next year:
But where shall we go today, my dear, but where shall we go today?

Came to a public meeting; the speaker got up and said:
“If we let them in, they will steal our daily bread”;
He was talking of you and me, my dear, he was talking of you and me.

Thought I heard the thunder rumbling in the sky;
It was Hitler over Europe, saying: “They must die”;
O we were in his mind, my dear, O we were in his mind.

Saw a poodle in a jacket fastened with a pin,
Saw a door opened and a cat let in:
But they weren’t German Jews, my dear, but they weren’t German Jews.

Went down the harbour and stood upon the quay,
Saw the fish swimming as if they were free:
Only ten feet away, my dear, only ten feet away.

Walked through a wood, saw the birds in the trees;
They had no politicians and sang at their ease:
They weren’t the human race, my dear, they weren’t the human race.

Dreamed I saw a building with a thousand floors,
A thousand windows and a thousand doors;
Not one of them was ours, my dear, not one of them was ours.

Stood on a great plain in the falling snow;
Ten thousand soldiers marched to and fro:
Looking for you and me, my dear, looking for you and me.

---W. H. Auden (1907- 1973) seminal British-American poet, and Pulitzer Prize winner for The Age of Anxiety. He wrote this poem in 1939 in response to the flood of Jewish refugees fleeing Nazi Germany and being turned away throughout Europe and even in the United States.

You can learn more about the M.S. St. Louis here and here.

Still Falls the Rain

(The Raids, 1940. Night and Dawn)

Still falls the Rain –
Dark as the world of man, black as our loss –
Blind as the nineteen hundred and forty nails
Upon the Cross.

Still falls the Rain
With a sound like the pulse of the heart that is changed to the hammer-beat
In the Potters’ Field, and the sound of the impious feet

On the Tomb:
Still falls the Rain
In the Field of Blood where the small hopes breed and the human brain
Nurtures its greed, that worm with the brow of Cain.

Still falls the Rain
At the feet of the Starved Man hung upon the Cross.
Christ that each day, each night, nails there, have mercy on us –
On Dives and on Lazarus:
Under the Rain the sore and the gold are as one.

Still falls the Rain –
Still falls the Blood from the Starved Man’s wounded Side
He bears in his Heart all wounds, – those of the light that died,
The last faint spark
In the self-murdered heart, the wounds of the sad uncomprehending dark,
The wounds of the baited bear, –
The blind and weeping bear whom the keepers beat
On his helpless flesh ... the tears of the hunted hare.

Still falls the Rain –
Then – O I'll leape up to my God: who pulles me doune –
See, see where Christ’s blood streames in the firmament:
It flows from the Brow we nailed upon the tree
Deep to the dying, to the thirsting heart
That holds the fires of the world, – dark-smirched with pain
As Caesar’s laurel crown.

Then sounds the voice of One who like the heart of man
Was once a child who among beasts has lain –
“Still do I love, still shed my innocent light, my Blood, for thee.”


~ Dame Edith Sitwell (1887-1964) English poet


From my friend Caroline Carson, some explanation:

Sitwell compares the Nazi bombing of London to the Crucifixion. As befits the historical context, this is a bleak poem about the sinfulness of humanity. Each year since Christ’s birth become another nail that humanity has driven into his body on the cross (“nineteen hundred and forty nails”), and the poem alludes to famous betrayers, murderers, and sinners from the Bible and literature. But there is a turn in the final stanza, as Jesus continues to shed his blood willingly for sinful humanity. (Composer Benjamin Britten wrote a musical setting for this poem in 1955.)
~ Potter’s Field” – a burial ground for poor and unknown people. From Matthew, in which Judas’s thirty pieces of silver for betraying Jesus are used to buy a potter’s field for burying foreigners (Matthew 27:7-8).
--“Field of Blood” – the name given to the potter’s field in Matthew 27:7-8, because it is bought with Judas’s “blood money.”
--“Cain” – the Bible’s first murderer, who kills his brother Abel (Genesis 4).
--“Dives and Lazarus” – the rich man and the poor man in Jesus’s parable about judgment and the afterlife. Dives (Latin for “rich man”) ignores the suffering of Lazarus, a beggar at his gate; when both men die, Lazarus ascends to heaven while Dives is sent to hell (Luke 16:19-31). In the poem’s next line, “the sore” refers to Lazarus, who was afflicted with terrible sores while on earth, and “the gold” refers to Dives.

And in the next to last stanza there is a reference to Doctor Faustus by Christopher Marlowe:
FAUSTUS: Ah, Faustus,
Now hast thou but one bare hour to live,
And then thou must be damn’d perpetually!
Stand still, you ever-moving spheres of heaven,
That time may cease, and midnight never come;
Fair Nature’s eye, rise, rise again, and make
Perpetual day; or let this hour be but
A year, a month, a week, a natural day,
That Faustus may repent and save his soul!
O lente, lente currite, noctis equi!
The stars move still, time runs, the clock will strike,
The devil will come, and Faustus must be damn’d.
O, I’ll leap up to my God! – Who pulls me down? –
See, see, where Christ’s blood streams in the firmament!
One drop would save my soul, half a drop: ah, my Christ! –
Ah, rend not my heart for naming of my Christ!

Benjamin Britten's setting of the poem from 1955: