Quaker Alphabet Blog 2015-2017 - V for Verses

As I said in a much earlier post, Friends in the past have felt ambivalent about both reading and writing poetry. Some, like Mary Southworth Mollineux, did write in this form but only on serious subjects and they hesitated to publish their work widely or under their own name.

In the 18th century poetry was often copied by Friends into commonplace books for their own use. This might be written by Quakers but works such as James Thomson's The Seasons were also popular. As the century progressed a few Friends ventured into the public domain with their poetry. In 1794 Catherine Payton Phillips published The Happy King; a sacred poem which was addressed to George III. The main subject of the poem is to urge the monarch to do away with slavery and was part of mainstream Quaker campaigning at this time. In her Memoirs Catherine states that when she became a minister she stopped any reading other than the Bible, but perhaps towards the end of her life she allowed herself more latitude, as her poem is very much in the contemporary style.

In later times many Friends wrote poetry and even published it, although like W. C. Braithwaite's volume it was often referred to, self-deprecatingly, as Verses. There were Quaker poets, such as the Americans Walt Whitman and John Greenleaf Whittier but it was only in the 20th century that this became an acceptable description in the UK. Poets who are Quakers do not always identify as Quaker poets but a modern anthology has recently been published. A Speaking Silence; Quaker poets of today came out in 2013 and was advertised as the first of its kind for over a hundred years.

So what is the difference between poetry and verses? Is one more serious than the other? There is certainly a continuing tradition of both forms appearing in local newsletters and blogs and both are now equally acceptable. I would like to end this post with an extract from a verse published in 2007 by the Sheffield Quaker Simon Heywood which is part of another tradition - verse which pokes fun at the idiosyncrasies of Friends - usually in a loving spirit.


I'm a lonely little Quaker
and I'm feeling very small.
I'm the clerk of Monthly Meeting
and there's no-one here at all.
I've got all the minutes drafted
and I'm ready with my pen
but the sense of Monthly Meeting
is they've stayed at home again...

If it wasn't for the Quakers
in the Quaker burial ground
then I'd be the only Quaker
for a hundred miles around,
for the buses stop at seven
and there's something on TV
and this month it's nominations
and there's no-one here but me.
I could minute they're prevented
but they never said what by.
I'm a lonely little Quaker
and I think I want to cry.

Quaker Alphabet Blog 2014 - M for Mary Southworth Mollineux

Mary Southworth was born in 1651 and brought up in Lancashire, possibly in Warrington. She was an only child and, her cousin tells us, was 'much afflicted with weak eyes, which made her unfit for the usual employment of girls, and being of a large natural capacity, her father brought her up to more learning than is commonly bestowed on our sex, that she could fluently discourse in Latin, made considerable progress in Greek, wrote several hands well, was a good arithmetician, a student of several useful arts, understood physic and surgery and the nature of plants, herbs and minerals, made some inspection into divers profitable sciences and delighted in the study of nature.' Mary also began to write poetry from the age of eleven.

She was convinced while she was still young and in 1684 was imprisoned in Lancaster Castle for attending Quaker meetings in Warrington. It was there that Mary first became acquainted with Henry Mollineux, although they had seen each other before. He says that at this time 'I believed that she should be my wife; but never intended to express any thing thereof, whilst we were both prisoners there; and after she was released, I saw her, and was in company with her several times, before I expressed anything of my concern to take her to be my wife; several considerable men having before attempted to prevail with her on that account.'

Lancaster Castle in 1778

Eventually they were married at Penketh, now a suburb of Warrington, on 10th April 1685. They had two sons to whom they gave the unusual but biblical names, Othniel and Elleazor. The family lived first at Ormskirk and later at Liverpool. Both Mary and Henry suffered persecution during their marriage. Henry was imprisoned for not paying tithes and Mary disputed with the bishop of Chester about the injustice of this.

In general though Mary did not speak out in public. She wrote poetry as personal advice to those who came to her for support. Her talent was low-keyed, not fiery or controversial. Mary's epistles, meditations and contemplations are all of an improving nature, with an emphasis on homely domestic virtues, and were given to her friends and relations as a message of kindness, affection and sound advice on behaviour.

Mary was not writing for the public and would not allow her poetry to be printed during her lifetime. Her friend Trial Ryder says, 'I remember that several years ago, when she was a single woman, upon perusal of some copies of her verses which she gave me, I felt such unity of spirit with them that I said I thought they might be of service if made public in print, but she was not then free that her name should be exposed, she not seeking praise amongst men, but to communicate the exercise of peculiar gifts amongst her near friends and acquaintance.'

Unfortunately this embargo was not destined to last for long as Mary died in 1696 at home in Liverpool at the age of 44. During her last illness she spoke of her regret at leaving 'her little lads', then aged eleven and nine. She sometimes spoke in Latin, not to impress others with her learning, but in order to communicate privately with Henry when company was present. Soon after her death Henry published her poems as a tribute and testimony to her and as a help to others. The volume proved extremely popular and Fruits of Retirement; or Miscellaneous Poems, moral and divine went into six editions in the course of the eighteenth century.

It was most unusual for Quakers to write poetry at this time and even more so to publish it, so that Mary's cousin, Frances Owen, felt that some justification was necessary. 'And though verse is not so commonly used in divine subjects as prose, and but too much abused by the extravagant wits of the age; yet she, like a skilful chemist, had learned to separate the purer spirits and more refined parts of poetry, from the earthly, worthless dross, and made use of her gift rather to convince and prevail upon the mind, to affect and raise the soul upon wings of divine contemplation, than to please the airy fancy with strains of wit, and unprofitable invention, which she was ever careful to avoid.'

Although Mary's poems are not on the whole to our taste today, their popularity during the century following her death show as that her family's hope for them was not groundless. Here is a short extract from one of her poems Meditations in Trouble which gives some idea of her style.

	O Whither is he gone? Or where Shall I go mourn, till he appear, Who is my life, my love? Alas, how shall I move Him to return, that’s secretly retired Like unto one displeased, Who, till he be appeased, My heart cannot be eased? He is one lovely, and to be admired!

Quaker Alphabet Week 2 - A for Arts

The Presence in the Midst by J Doyle Penrose 1916

Quaker attitudes to the arts have changed considerably over the years. I have only space here for a short survey but will return to various aspects of the subject over the course of the rest of the Quaker Alphabet.
 
George Fox had a very definite 'puritan' view of the arts. To him these 'jests and toys' were nothing but a distraction from God and Truth and as such were to be entirely avoided by Friends. The only purpose of sports, games, poetry, plays and music as far as he and other early Quakers were concerned was to while away time that should be dedicated to a higher and more serious end. Another objection to the arts was that they were not true. Plays were particular offenders here as not only was the story being told not real but actors dressed up and pretended to be someone else!

Although poetry was allowed to sometimes have a serious purpose, composing it for any but a private audience was frowned upon. The works of Mary Southworth Mollineux (1651-1696) for example were only published after her death, although Fruits of Retirement: or Miscellaneous Poems, moral and divine did go into six editions in the course of the 18th century. Religious poetry was popular among Friends but was not often published, usually being privately circulated and copied into personal commonplace books and journals - which is how much of it survives.

Elizabeth Fry

Both listening to and making music, even privately, were also not approved. This was one of the arts, together with dancing, which Elizabeth Gurney Fry (1780-1845) found most difficult to let go of when she turned from the less strict Quakerism of her upbringing to the 'true' Quakerism of her adult life. In Feb 1799 she wrote "How much my natural heart does love to sing: but if I give way to the ecstasy singing sometimes produces in my mind, it carries me far beyond the centre; it increases all the wild passions, and works on enthusiasm. Many say and think it leads to religion, but true religion appears to me to be in a deeper recess of the heart, where no earthly passion can produce it." Her scruples did not entirely disappear however and in 1833 she writes, "My observation of human nature and the different things that affect it frequently leads me to regret that we as a Society so wholly give up delighting the ear by sound. Surely He who formed the ear and the heart would not have given these tastes and powers without some purpose for them."

John Pemberton 1727-95

Paintings were seen as superfluous decoration and portraits were particularly frowned on as leading to personal vanity. This is the reason why there are so few contemporary representations of Quakers in the 17th and early 18th centuries. Those that exist are often done by outsiders who were seldom sympathetic to their subjects. In the later 18th and 19th centuries however the practice of cutting silhouettes became popular and these met with more approval from Friends. Occasional sketches done without the subjects' knowledge have also survived to give us an idea of what particular Quakers looked like.

As time went on however a different attitude to the arts began gradually to spread among Friends. As with other changes in Quaker practice much evidence of this change comes from the attempts by official bodies to stop it! In 1846 for example London Yearly Meeting minuted "We believe [music] to be both in its acquisition and its practice, unfavorable to the health of the soul. . . . Serious is the waste of time of those who give themselves up to it." At about the same time the influential journal The Friend (Philadelphia) expounded "Sorrowful it is, that even some in conspicuous and influential stations, have actually "sat" for their portraits; and this, not for the hasty moment of the daguerreotypist (questionable as even this prevalent indulgence is), but patiently awaiting the slow business of the limner. Shallow indeed must be the religion of him who knows not that in himself, as a man, dwelleth no good thing."

On the other side some spoke up for the seriousness and spiritual value of the arts. In 1895 William Charles Braithwaite wrote "It needs to be recognized that our Society has not escaped the tendency to narrow down spiritual action to certain prescribed ways as a substitute for the reality of the spiritual life. For example, while Friends have been among the pioneers of modern science they have, until recent years, repressed all taste for the fine arts. These, at their greatest, always contain some revelation of the Spirit of God, which is in the fullest harmony with our spiritual faith. In the fields of music, art, and literature, as in others, Friends may witness to the glory of God and advance that glory by their service."

Penn's Treaty with the Indians by Benjamin West

By the beginning of the 20th century this view was beginning to be more accepted. An example of this is the popularity of the 1916 painting by James Doyle Penrose The Presence in the Midst which makes explicit the presence of Christ in a meeting for worship (see top). It joined representations of William Penn's treaty with the Indians and engravings of a portrait of Elizabeth Fry on the walls of many Meeting Houses in the UK and America.

In the 1970s and 1980s British Quakers set up a Quaker Fellowship of the Arts and The Leaveners continue to encourage Friends to engage in both music making and theatrical performance. There are now many Quaker artists, both amateur and professional, expressing their faith through what they make and what they do. 

Quaker Silence by John Perkin