John Gardner
Jason and Medeia
A NOTE FROM THE PUBLISHER
John Gardner wrote Jason and Medeia as a book-length poem, complete with line breaks and indents that do not usually occur in works of prose.
JASON AND MEDEIA
TO JOAN
And so the night will come to you: an end of vision;
darkness for you: an end of divination.
The sun will set for the prophets,
the day will go black for them.
Then the seers will be covered with shame,
the diviners with confusion;
they will all cover their lips,
because no answer comes from God.
ACKNOWLEDGMENTS
This poem was made possible by financial gifts from my friends Marilyn Burns, Ruby Cohn, and Duncan M. Luke and by grants from Southern Illinois University and the National Endowment for the Arts. I thank William H. Gass for permission to borrow and twist passages from his Fiction and the Figures of Life, and Gary Snyder for permission to borrow and twist two of his translations from the Cold Mountain series. Parts of this poem freely translate sections of Apollonios Rhodios’ Argonautica and Euripides’ Medeia, among other things.
1
I dreamed I awakened in a valley where no life stirred,
no cry
of a fox sparked up out of stillness; a night of ashes.
I was sitting
in a room that seemed a familiar defense against
darkness, but decayed,
the heavy old book I’d been reading still open on my
knees. The lamp
had burned out long ago; at the socket of the bulb,
thick rust.
All around me like weather lay the smell of the
abandoned house,
dampness in every timber, the wallpaper blistered,
dark-seamed,
at the window, the curtains mindlessly groping inward,
and beyond,
gray mist, wet limbs of trees. I seemed to be waiting
for someone.
And then (my eyes had been tricked) I saw her—
a slight, pale figure
standing at the center of the room, present from
the first, forlorn,
around her an earth-smell, silence, the memory of a
death. In fear
I clutched the arms of my chair. I whispered:
“Dream visitor
in a dreaming house, tell me what message you bring
from the grave,
or bring from my childhood, whatever unknown or
forgotten land
you haunt!” So I spoke, bolt-upright, trembling; but the ghost-shape, moonlit figure in mourning, was silent, as if she could neither see nor hear. She
had once
been beautiful, I saw: red hair that streamed like fire, charged like a storm with life. Alive no longer.
She began
to fade, dissolve like a mist. There was only the
moonlight.
Then came
from the night what I thought was the face of a man
familiar with books,
old wines, and royalty — dark head slightly lowered, eyes amused, neither cynical nor fully trusting: cool eyes set for anything — a man who could spin a yarn and if occasion forced him, fight.
Then I saw another shade,
a poet, I thought, his hair like a willow in a light wind, in his arms a golden lyre. He changed the room to sky by the touch of a single string — or the dream-change
rang in the lyre:
no watchfulness could tell which sea-dark power
moved first.
If I closed my eyes, it seemed the song of the man’s harp was the world singing, and the sound that came from
his lips the song
of hills and trees. A man could revive the dead
with a harp
like that, I thought; and the dead would glance back
in anguish at the grave,
torn between beauty’s pain and death’s flat certainties.
(This was a vision stranger than any a man ever saw. I rose and stepped in close. There came a whistling
wind.
My heart quaked. I’d come, God knew, beyond my
depth.
I found a huge old tree, vast oak, and clung to it,
waiting.)
And now still another ghost rose up, pale silent mist: the mightiest mortal who’d ever reached that thestral
shore,
his eyes like a child’s. They seemed remote from me
as stars
on a hushed December night. His whitened lips moved, and I strained forward; but then some wider vision
stirred,
blurring my sight: the swaying shadow of a huge snake, a ship reeling, a room in a palace awash in blood, a woman screaming, afire …
The sea went dark. Then all
grew still. I bided my time, the will of the moon-goddess.
A king stood scowling out over blue-green valleys.
He seemed
half giant, but enfeebled by age, his sinews slackening
to fat.
In the vast white house behind him, chamber rising
out of
chamber, nothing moved. There was no wind, no breeze. In the southwest, great dark towers of cloud were
piled high,
like summercastles thrown up in haste to shield ballistas, archers of ichor and air, antique, ignivomous engines, tottering in for siege, their black escarpments charged like thunderheads in a dream. Light bloomed, inside
the nearest—
there was no sound — and then, at the king’s left side
appeared
a stooped old man in black. He came from nowhere—
leering
sycophant wringing his crooked-knuckled hands, the
skin
as white as his beard, as white as the sun through
whitecaps riding
storm-churned seas. The king stood looking down at
him, casual,
believing he knew him well. “My lord!” the old man said, “good Kreon, noblest of men and most unfortunate!” He snatched at the hem of the king’s robe and kissed it,
smiling.
I saw that the old man’s eyes and mouth were pits. I
tried
to shout, struggle toward them. I could neither move
nor speak.
Kreon, distressed, reached down with his spotted,
dimpled hands
to the man he took for his servant, oft-times proven
friend,
and urged him up to his feet. “Come, come,” the king
said, half-
embarrassed, half-alarmed. “Do I look like a priest?”
He laughed,
his heart shaken by the sudden worship of a household
familiar.
He quickly put it out of mind. “But yes; yes it’s true,
we’ve seen
some times, true enough! Disaster after disaster!”
He laughed
more firmly, calming. His bleared eyes took in the river winding below, as smooth and clean as new-cut brass, past dark trees, shaded rocks, bright wheat. In the
soft light
of late afternoon it seemed a place the gods had
blessed,
had set aside for the comfort of his old age. Dark walls, vine-locked, hinted some older city’s fall.
He tipped
his head, considered the sky, put on a crafty look. They say, ‘Count no man happy until he’s dead, beyond all change of Fortune.’” He smiled again, like a
merchant closing
his money box. “Quite so, quite so! But the axiom has its converse: ‘Set down no man’s life as tragedy till the day he’s howled his way to his bitter grave.’ ”