Wordsworth, too, remembered a towering, shadowed rock as a force that supervised and admonished his childhood – the similarity of language in Hughes’s ‘The Rock’ suggests a literary allusion as well as a personal memory. For Wordsworth, the overseer was a cliff face that loomed above him as he rowed a stolen boat across a lake. It cast a shadow of guilt and fear over his filial bond with nature. For Hughes, too, to speak of living in the shadow of the Rock was a way of externalising a darkness in his own heart.
From the Rock, young Ted could also see the arteries leading out to east and west. The railway, fast and slow lines in each direction. The station building was perched on a viaduct. Below, there was the largest goods yard in the West Riding of Yorkshire. Inward goods: wool from Yorkshire and cotton from the Lancashire ports. Outward: clothing and blankets from the mills and sewing shops. Corduroy and flannel, calico and moleskin; men’s trousers in grey or fawn. New fashions: golf jackets, hiking shorts, blue and khaki shirts. The yard was also packed with boxes of chicks and eggs: overrunning the hillside above were chicken sheds belonging to Thornbers, pioneers of factory poultry farming.
Below the railway was the river Calder. A ‘mytholm’ is a meeting of streams. Just by the Co-op and the old Navvy Bridge, the Elphin Brook, darting down from the narrow gully of Cragg Vale, flows into the Calder. Beyond the river was the main road, the old cross-Pennine turnpike – rumbling lorries but some of the traffic still horse-drawn – that linked Halifax to Burnley, Yorkshire to Lancashire. The Calder Valley is on the cusp of the two great counties of northern industrial productivity, with their deep history of rivalry going back to the Wars of the Roses.
On the far side of the road – Ted’s side – ran the Rochdale Canal, still in use for transporting goods, but only just. Now it was a place for the local children to fish for gudgeon and stickleback. Beyond the canal, a network of terraced houses clustered, back to back or back to earth, on the northern hillside. This was the Banksfield neighbourhood, where he and his family belonged. Some of the muck streets went vertically, others (including his own) ran horizontally, in parallel with the canal. The surrounding fields were dotted with smallholders’ hen pens. Scattered above, where the fields sloped gently up to the moors, were farms. The path up the hill to the moor was always there as an escape from the blackened mills and terraces.
Down in the valley, Ted felt secure, if hemmed in. On top of the Rock that day in 1936 or ’37, he was exposed. He looked down on a community that was closed in on itself. Nearly all the buildings were made of the distinctive local stone. Known as millstone grit (‘a soul-grinding sandstone’),9 it oxidises quickly, whatever the condition of the air. Add a century of factory smoke and acid rain. Then, as a tour guide will put it in one of Hughes’s poems about his home valley, ‘you will notice / How the walls are black’.10 This was the cradle of the Industrial Revolution. Everywhere, blackened chimneys known as lumbs rose skyward from the mills.
On his side of the valley, the dark admonitory presence was not a rock but a building. A stone mass towered beside the Hughes family home: the Mount Zion Primitive Methodist Chapel. It was black, it blocked the moon, its façade was like the slab of a gravestone. It was his ‘first world-direction’.11
Number 1 Aspinall Street stands at the end of the terrace. Now you walk in straight off the street; when Ted was a boy, before the road was tarmacked, there was a little front garden where vegetables were grown and the children could play. Go in through the front door and the steep stairs are immediately in front of you. The main room, about 14 feet by 14 feet, is to the left. From the front window the Hughes family could look straight up Jubilee Street to the fields.
There was a cosy little kitchen with a fireplace in the corner and a window looking out on the side wall of Mount Zion. According to Ted’s poem about the chapel, the sun did not emerge from behind it until eleven in the morning. His sister Olwyn, however, recalls the kitchen being bathed in afternoon light. The poems have a tendency to take the darker view of things. By the same account, Olwyn always thought that Ted exaggerated the oppressive height and darkness of the Rock.
A tin bath was stored under the kitchen table. One day Mrs Edith Hughes woke from a dream in which she had bought a bath in Mytholmroyd. She went straight to the shops, where she found one that was affordable because slightly damaged. The back door led to a ginnel, a passageway shared with the terraced row that stood back to back with Aspinall Street. The washing could be hung out here and the children, who spent most of their time playing in the street, could shelter from the rain. Which never seemed to stop.
The kitchen also had a door opening on some steps down to a little cellar, which had a chute where the coal was delivered, the coalman heaving sacks from his horse-drawn cart. Some of the terraces had to make do with a shared privy at the end of the row, but the Hughes family lived at the newer end of Aspinall Street, slightly superior, with the modern amenity of an indoor toilet at the top of the stairs.
Mother and father had the front bedroom and Olwyn the side one, with a window looking out on the chapel. Ted shared an attic room with Gerald. When he stood on the bed and peered out through the little skylight, the dark woods of Scout Rock gave the impression of being immediately outside the glass, pressing in upon him.
This was the house in which Edward James Hughes entered the world at twelve minutes past one in the morning on Sunday 17 August 1930. ‘When he was born,’ his mother Edith remembered, ‘a bright star was shining through the bedroom window (the side bedroom window) he was a lovely plump baby and I felt very proud of him. Sunday was a wet day and Olwyn just could not understand this new comer.’12
Gerald, just a few weeks off his tenth birthday, lent a helping hand. Despite the rain, Edith’s husband Billie went out for a spin in her brother Walter’s car. Minnie, wife of another brother, Albert, who lived along the street at number 19, had offered to look after Olwyn, but she didn’t that first day. A neighbour was called to take in the unsettled two-year-old.
As a teenager, Olwyn would develop a serious interest in astrology, which she shared with Ted. The conjunction of the stars mattered deeply to them.13 He was born at what astrologers call ‘solar midnight’. With knowledge of the exact time and place of his birth, a natal chart could be cast. He was born under the sign of Leo, the lion, which endowed him with a strong sense of self, the desire to shine. But because he was born at solar midnight, he would also need privacy and seclusion. His ‘ascendant’ sign was Cancer, bonding him to home and family. And Neptune, the maker of symbols and myths, was ‘conjunct’. His horoscope, he explained, meant that he was ‘fated to live more or less in the public eye, but as a fish does in air’.14 Bound for fame, that is to say, but fearful of scrutiny.
Did he really believe that his fate was written in the stars? ‘To an outsider,’ he once observed in a book review, ‘astrology is a procession of puerile absurdities, a Babel of gibberish.’ He granted that many astrologers peddled rubbish and craziness. Others, he thought, did make sense. He did not know whether genuine astrology was an ‘esoteric science’ or an ‘intuitive art’. That did not matter, so long as it worked: ‘In a horoscope, cast according to any one of the systems, there are hundreds of factors to be reckoned with, each one interfering with all the others simultaneously, where only judgement of an intuitive sort is going to be able to move, let alone make sense.’15 It is all too easy to select a few out of those hundreds of factors in order to make the horoscope say what you want it to say. Neptune is the sign of many things in addition to symbols and myths, but since Ted Hughes was obsessed with symbols and myths they are the aspect of ascendant Neptune that it seems right to highlight in his natal chart. By the time anyone is old enough to talk about their horoscope, their character is formed; at some level, they have themselves already written the narrative that is then ‘discovered’ in the horoscope. But there is comfort in the sense of discovery. For Ted, astrology, like poetry, was a way of giving order to the chaos of life.
> ‘Intuitive’ is the key word in Hughes’s reflections on astrology. If the danger of a horoscope is that it is an encouragement to the abnegation of responsibility for one’s own actions, a forgetting of Shakespeare’s ‘the fault, dear Brutus, is not in our stars, / But in ourselves’, the value of a horoscope is its capacity to confirm one’s best intuitions. The major superstitions – astrology, ghosts, faith-healing, the sixth sense whereby you somehow know that a person you love has died even though they are far away – are, Hughes thought, impressive because ‘they are so old, so unkillable, and so few. If they are pure nonsense, why aren’t there more of them?’16
His birth was formally registered in Hebden Bridge, the nearest large town. Father was recorded as William Henry Hughes, ‘Journeyman Portable Building maker’, that is to say a carpenter specialising in the assembly of sheds, prefabs and outbuildings. Mother was Edith Hughes, formerly Farrar.
William Hughes was born in 1894.17 His father, John, was a fustian dyer, known as ‘Crag Jack’. Family legend made him a local sage – ‘solved people’s problems, wrote their letters, closest friends the local Catholic and Wesleyan Ministers, though he spent a lot of time in pubs’.18 Crag Jack was said to have been a great singer. He was a bit of a ‘mystery man’, who came to the Calder Valley from Manchester and, before that, Ireland. In the young Ted’s imagination, he is perhaps a kind of bard or shaman, certainly a conduit of Celtic blood.
‘Crag Jack’s Apostasy’ is one of the few early Hughes poems to mention his family directly. There Jack clears himself of the dark influence of the church that ‘stooped’ over his ‘cradle’. He finds a god instead beneath the stone of the landscape.19 Here Ted takes on Grandfather Jack’s identity: the cradle stooped over by the dark church is clearly his own, shadowed by Mount Zion.
The story in the family was that Crag Jack died from pneumonia at the age of forty, leaving Willie Hughes a three-year-old orphan, together with his younger brother and elder sister. But there is a little misremembering or exaggeration here. The 1901 census records that John Hughes, aged forty-seven, and his wife Mary were living over a shop in King Street, Hebden Bridge, with their nineteen-year-old daughter, also called Mary, a ‘Machinist Fustian’, and the two boys, John aged eight (born Manchester) and Willie, seven (born Hebden Bridge), together with a young cousin called Elizabeth. Crag Jack died in 1903, closer to the age of fifty than forty. Willie was not three but nearly ten when he lost his father. Ted’s widowed Granny Hughes kept on the King Street shop for many years. She died in her eighties.
Like her husband, she had been born in Manchester. Her father was apparently a major in the regular army, his surname also being Major. His station was Gibraltar, so family tradition knew him as ‘Major Major of the Rock’. He married a short, dark-skinned, ‘Arab looking’ Spanish woman with, according to Ted, a ‘high thin nose like Olwyn’s’.20 This association with Spain and a distant Rock, an outpost of empire overlooking the Mediterranean, gave Ted the idea that he might have some exotic Moorish blood in him. A touch of blackness, akin to that of Emily Brontë’s Heathcliff, found on the streets of Liverpool?
It was the Farrar family, not the Hughes, who dominated Ted’s childhood. In May 1920, Willie married Edith Farrar, who was five months pregnant with Gerald. There was a gap of eight years before Olwyn’s birth. Ted was the youngest.
Farrar was a distinguished name, woven into the historical and spiritual fabric of English poetry. Edith’s family traced their ancestry back to a certain William de Ferrers, who fought in the Battle of Hastings as William the Conqueror’s Master of Horse. Later generations of Farrars became famous in Tudor and Stuart times. One of Ted’s most prominent early poems was ‘The Martyrdom of Bishop Farrar’, telling of how his ancestor was ‘Burned by Bloody Mary’s men at Caermarthen’. It was a poem of fire and smoke, evocative of the tradition of Protestant brimstone sermons that still lived in the Mount Zion Primitive Methodist Chapel over the road. ‘If I flinch from the pain of the burning,’ said the bishop on being chained to the stake, ‘believe not the doctrine that I have preached.’21 A Stoic gene to prepare Ted for his travails?
Nicholas Farrar (1592–1637), a collateral descendant of the martyred bishop, was a scholar, courtier, businessman and religious thinker. In his own way, Ted Hughes would grow up to be all these things. Cambridge University was the making of Nicholas, but he also owed a debt to the New World in that his family was closely involved with the colonial projects of the Virginia Company. The seventeenth-century Farrars eventually settled in the rundown village of Little Gidding, not far from Cambridge, where they established a community of faith and contemplation. It was to Farrar that fellow-Cambridge poet George Herbert sent the manuscript of his poetry collection The Temple from his deathbed with the instruction that it should be either burnt or published. Farrar saw that it was published, with the result that Herbert’s incomparably honest poetry of self-examination has remained in print ever since. As Hughes grew up, learning of his Farrar heritage, he could not have dreamed that a day would come when he too would be entrusted with seeing into print another poetry collection prepared at the moment of death, this one called Ariel. Like his Farrar ancestor, he had the responsibility of saving a loved one’s confessional poetry for posterity. Decisions as to whether to burn or preserve literary manuscripts would trouble him throughout his adult life.
What he did come to know, as he began reading in the canon of English poetry as a teenager, was that T. S. Eliot, the most revered of living poets, took deep religious solace from the example of the Farrar family: his great wartime meditation on the cleansing fire of faith, his fourth Quartet, was called ‘Little Gidding’. Eliot’s language seeps into Hughes’s own metaphysical lyric on his ancestor, ‘Nicholas Ferrer’ (Edith and her children were inconsistent in their spelling of the historic family name). Famously, in ‘Little Gidding’ Eliot began with spring in midwinter and ended with an epiphany of divine fire in the remote chapel deep in the English countryside. There is a catch of deep emotion in Hughes’s voice as he speaks this phrase in his recorded reading of Eliot’s poem. His own poem ‘Nicholas Ferrer’ is located in that same Little Gidding chapel, now ‘oozing manure mud’. The speaker tracks Eliot’s footsteps, past the same pigsty, in the same winter slant light. An ‘estranged sun’ echoes Eliot’s ‘brief sun’ that flames the ice on what in retrospect seem very Hughesian ponds and ditches. Nicholas and his family had ‘Englished for Elizabeth’ but in Hughes’s desolate modern November ‘the fire of God / Is under the shut heart, under the grave sod’.22
Hughes’s poem makes the death of Nicholas Farrar into a turning point in English history. It invokes the desecrating maw of Oliver Cromwell. The Little Gidding community was broken up by Puritans, who saw vestiges of Romish monasticism in their practices. Nicholas’s books were burnt. For Hughes, influenced by the Anglo-Catholic Eliot’s idea of a ‘dissociation of sensibility’ that fractured English culture and poetry at the time of the Civil War, Puritanism was the great enemy of those ‘ancient occult loyalties’ to a deeper, mysterious world that were embodied by such superstitions as astrology.
Ted’s belief in a world beyond the normal came from his mother. Edith Farrar felt that the spirit world was in touch with her. Ever since childhood, she had often felt the sensation of a ghostly hand. One night in June 1944 she was woken by an ache in her shoulder. She got up and saw crosses flashing in the sky above St George’s Chapel, which was across the road from their Mexborough home. She tried to wake William (whom she called Billie) to tell him that a terrible battle was going on somewhere and that thousands of boys were being killed. The next day the radio announced that the D-Day landings had begun early that morning.23 Later, when she and her husband moved to the Beacon, she saw a shadow in the house. She learned that the previous owners had died and their daughter had sold the house and moved into Hebden Bridge. She told the shadow, who was the mother, where her daughter now lived. It never reappeared.24
Mr Farrar, f
rom Hebden Bridge, was a power-loom ‘tackler’ – a supervisor, with responsibility for tackling mechanical problems with the looms. Tall and quiet, with black hair and a heavy black moustache, he was fond of reading, played the violin a little and had a gift for mending watches. His grandson Ted would be good with his hands. Grandma Farrar, Annie, was a farmer’s daughter from Hathershelf, ‘short and handsome with a deep voice and great vitality’. When they went to the local Wesleyan chapel, ‘tears would roll down her cheeks under the veil she wore with her best hat’, so moved was she by the sermon or the hymns. As well as regular chapel attendance, there were prayer meetings once a week in the evening. But on Sunday afternoons came the freedom of country walks and picnics at picturesque Hardcastle Crags. The Farrars had eight children, the eldest born in 1891, the youngest in 1908: Thomas, Walter, Miriam, Edith, Lily, Albert, Horace (who died as a baby) and Hilda. In May 1905, Lily died of pneumonia, aged just four and a half.
As she grew up, Edith got on especially well with Walter, who was both easygoing and strong-willed. He wasn’t good at getting up in the morning. Soon he started work in the clothing trade, while taking evening classes to improve himself. Miriam and Edith left school at thirteen and went into the same trade, training to be machinists making corduroy trousers and moleskin jackets. Miriam was delicate. In June 1916, she caught cold and it turned to pneumonia and she died, aged nineteen.25
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