A er Lorca by Ted Hughes

The clock says “When will it be morning?”

The sun says “Noon hurt me.”
The river cries with its mouthful of mud
And the sea moves every way without moving.

Out of my ear grew a reed

Never touched by mouth.
Paper yellows, even without flame,
But in words carbon has already become diamond.

A supple river of mirrors I run on

Where great shadows rise to the glance,
Flowing all forward and bringing
The world through my reflec on.

A voice like a ghost that is not

Rustle that dead in passage
Leaving the living chilled,
Wipe clear the pure glass of stone.

Wipe clear the pure stone of flesh.

A song ckling God's ear

Till he laughs and catches it with his hand
A song with a man's face
That God holds up in his fingers.
Detailed Analysis:

**1. "The clock says 'When will it be morning?'"**

The opening line introduces the theme of me and

an cipa on. The clock, a symbol of regimenta on and
rou ne, is personified, sugges ng a longing for the
arrival of morning. The ques on implies a sense of
impa ence or restlessness, se ng the tone for the
poem's explora on of me and its subjec ve
experience.

**2. "The sun says 'Noon hurt me.'"**

This line introduces a vivid anthropomorphism of the

sun, a ribu ng human-like quali es to it. The sun,
typically associated with warmth and light, here
expresses a sense of pain or discomfort at noon. This
unexpected portrayal adds a layer of complexity, hin ng
at the dual nature of light, which can bring both warmth
and discomfort.

**3. "The river cries with its mouthful of mud"**

The river is personified, given the ability to cry. The
men on of a "mouthful of mud" suggests impurity or
obstruc on. This image evokes a sense of suffering or
burden, perhaps alluding to environmental degrada on
or the consequences of human ac vi es on nature.

**4. "And the sea moves every way without moving."**

This line introduces a paradoxical image of the sea.

While it appears sta onary, it is described as moving in
every direc on. This paradox reflects the complexity of
the natural world, sugges ng that appearances can be
deceiving and that there is more to reality than meets
the eye.

**5. "Out of my ear grew a reed / Never touched by

mouth."**

This shi to the first person introduces a personal,

almost surreal element. The emergence of a reed from
the speaker's ear is a striking image. The fact that it is
"never touched by mouth" adds an element of purity or
untouched origin. This may symbolize the unadulterated
nature of inspira on or crea vity.

**6. "Paper yellows, even without flame,"**

This line introduces the theme of impermanence. Paper,

a common medium for wri en expression, naturally
yellows over me. The choice of "even without flame"
suggests that this aging process is inherent, not
necessarily accelerated by external forces. This may be a
metaphor for the inevitable decay or transforma on of
human crea ons.

**7. "But in words carbon has already become

diamond."**

This metaphorical statement explores the

transforma ve power of language. While paper may
age, the words wri en on it undergo a metamorphosis.
The comparison of carbon turning into a diamond
suggests the poten al for beauty, resilience, and value
emerging from the mundane or ordinary.
**8. "A supple river of mirrors I run on"**

This line introduces a metaphorical river of mirrors,

sugges ng a fluid and reflec ve surface. The speaker
metaphorically runs on this surface, implying a dynamic
interac on with self-reflec on. The use of "supple"
conveys a sense of flexibility and adaptability in
naviga ng the complexi es of one's own reflec on.

**9. "Where great shadows rise to the glance,"**

The river of mirrors becomes a metaphorical space

where significant shadows emerge. Shadows o en
symbolize hidden aspects of the self or unconscious
elements. The phrase "rise to the glance" suggests a
revela on or acknowledgment of these deeper, possibly
darker, facets of the self.

**10. "Flowing all forward and bringing / The world

through my reflec on."**

Con nuing the metaphor of the reflec ve river, this line

suggests a unidirec onal flow that brings the world into
the speaker's reflec on. This could be an explora on of
the interconnectedness of the individual with the
external world and the transforma ve power of self-
reflec on.

**11. "A voice like a ghost that is not"**

This line introduces a spectral element, a voice

resembling a ghost. The ambiguity of the ghost being
"not" raises ques ons about its existence or
authen city. This could represent a haun ng presence,
perhaps memories or unresolved aspects of the past
that linger in the speaker's consciousness.

**12. "Rustle that dead in passage"**

The rustling evokes a sound associated with movement,

but it is specifically linked to the dead. This could
symbolize the con nued presence or influence of the
past, sugges ng that even in the act of moving forward,
the speaker is accompanied by the echoes of what has
come before.
**13. "Leaving the living chilled,"**

The effect of the ghostly voice is described as chilling the

living. This chilling effect may represent a sense of
unease or discomfort caused by confron ng the past or
acknowledging the presence of the spectral voice. It
adds an emo onal layer to the poem, exploring the
impact of memory and the past on the present.

**14. "Wipe clear the pure glass of stone."**

This line introduces a metaphorical act of cleansing or

clearing. The "pure glass of stone" may refer to a pris ne
or unclouded surface, possibly the speaker's percep on
or consciousness. The act of wiping suggests an a empt
to remove the residue of the past or to gain clarity.

**15. "Wipe clear the pure stone of flesh."**

Building on the previous line, this repe on emphasizes

the cleansing process. The "pure stone of flesh"
introduces a powerful metaphor for the human body,
sugges ng a desire to purify or clarify one's own
existence. The fusion of stone and flesh creates a striking
image, blurring the boundaries between the organic and
the inorganic.

**16. "A song ckling God's ear"**

This line introduces a divine dimension, depic ng a song

that has the quality of ckling God's ear. This imagery
humanizes God, presen ng a playful and in mate
interac on with the crea ve act of singing. It suggests a
connec on between the earthly and the divine through
the medium of music.

**17. "Till he laughs and catches it with his hand"**

The personifica on of God con nues, portraying a joyful

response to the song. God's laughter and the act of
catching the song with his hand evoke a sense of delight
and engagement with the crea ve expression of the
human voice. This adds a whimsical and celebratory
tone to the poem.
**18. "A song with a man's face / That God holds up in
his fingers."**

The final lines introduce a song with a human face,

sugges ng the embodiment of human experience and
expression. God holding up the song in his fingers
conveys a sense of careful considera on and
apprecia on. This image encapsulates the
transforma ve power of art and crea vity, eleva ng
human expression to a divine level.

**Conclusion:**

Ted Hughes's "A er Lorca" is a rich and complex poem

that weaves together diverse themes, vivid imagery, and
symbolic elements. The lines unfold with a poe c
intensity that invites readers to explore the intricacies of
me, transforma on, self-reflec on, and the interplay
between the earthly and the divine. The poem's layers
of meaning and evoca ve language make it a compelling
piece for analysis, invi ng readers to delve into its
depths and extract the nuanced insights it offers.
Detailed Summary:

**Introduc on:**
Ted Hughes's "A er Lorca" is a cap va ng poe c
explora on that serves as a homage to the renowned
Spanish poet Federico García Lorca. The poem,
composed of vivid and evoca ve imagery, takes the
reader on a journey through diverse themes, including
me, transforma on, self-reflec on, and the
intersec on of the earthly and the divine. Hughes, a
prominent Bri sh poet, weaves a tapestry of words that
resonate with Lorca's influence while bearing the
unmistakable stamp of his own poe c iden ty.

**Sec on 1: Time and Nature (Lines 1-4):**

The poem opens with a contempla on of me,
personifying the clock and the sun. The clock's query,
"When will it be morning?" hints at an eager
an cipa on, while the sun expresses a sense of pain at
noon. This ini al stanza introduces a thema c tension
between the cyclical nature of me and the discomfort
it brings, se ng the stage for a nuanced explora on of
temporal and natural elements. The river, crying with a
"mouthful of mud," and the sea's paradoxical
movement contribute to the portrayal of a world in flux,
where appearances can be deceiving.

**Sec on 2: Transforma on and Crea ve Process (Lines

5-8):**
The speaker's personal involvement emerges in the next
sec on, with the surreal image of a reed growing out of
the ear, untouched by mouth. This metaphorical reed,
unaffected by external influence, becomes a symbol of
pure crea vity. The poet reflects on the transforma ve
power of words, likening the aging of paper to the
crystalliza on of carbon into diamond. This metaphor
suggests that, despite the ephemeral nature of paper,
the words inscribed on it undergo a profound and
enduring metamorphosis.

**Sec on 3: Self-Reflec on and Shadows (Lines 9-12):**

The speaker metaphorically runs on a "supple river of
mirrors," a reflec ve surface that brings forth shadows.
These shadows, rising to the glance, imply a deeper
explora on of the self. The flow of the river symbolizes
a unidirec onal journey, bringing the world into the
speaker's reflec on. This sec on delves into the
complexi es of self-discovery and the unveiling of
hidden facets, with shadows serving as metaphors for
unexplored dimensions of the psyche.

**Sec on 4: Ghostly Presence and Chilling Effect (Lines

13-14):**
The poem takes a haun ng turn as a ghostly voice is
introduced, a presence that rustles the dead in passage.
This spectral voice leaves the living chilled, hin ng at the
unse ling impact of unresolved past experiences. The
metaphorical wiping clear of the "pure glass of stone"
suggests a desire for clarity and cleansing, perhaps an
a empt to confront and dispel the lingering influence of
the ghostly voice.

**Sec on 5: Divine Connec on and Crea ve Expression

(Lines 15-18):**
The final sec on introduces a divine dimension,
depic ng a song that ckles God's ear. This playful
imagery suggests an in mate connec on between the
human crea ve act and the divine. God's laughter and
the act of catching the song with his hand convey a
sense of joy and apprecia on. The song, with a man's
face, becomes a tangible expression of human
experience that God holds up in his fingers, eleva ng the
crea ve process to a sacred level.

**Conclusion:**
"A er Lorca" unfolds as a mul faceted explora on that
intertwines themes of me, transforma on, self-
reflec on, and the divine. The poem's structure moves
seamlessly between contempla on of the natural world,
personal introspec on, and a transcendent connec on
with the divine. Hughes pays homage to Lorca's
influence while infusing the verses with his own unique
perspec ve and poe c sensibility. The rich tapestry of
images and metaphors invites readers to contemplate
the complexi es of existence, the passage of me, and
the transforma ve power of crea vity. The poem stands
as a testament to the enduring dialogue between poets
across cultures and genera ons, where influences
converge to create something both homage and
dis nctly original.
SUMMARY:

Ted Hughes's "A er Lorca" is a profound poe c journey

that intricately weaves together themes of me,
transforma on, self-reflec on, and the divine. This
homage to Federico García Lorca unfolds across five
dis nct sec ons, each contribu ng to the rich tapestry
of images and metaphors that characterize Hughes's
poe c explora on.

The poem commences with a contempla on of me and

nature. Hughes personifies the clock and the sun,
introducing a thema c tension between the cyclical
nature of me and the discomfort it brings. The river,
crying with a "mouthful of mud," and the sea's
paradoxical movement contribute to the portrayal of a
world in flux, where appearances can be deceiving. This
sec on establishes a founda on for the subsequent
thema c developments, introducing the reader to the
interplay between natural elements and the subjec ve
experience of me.

Moving into the second sec on, Hughes delves into the
transforma ve power of crea vity. The speaker's
personal involvement is expressed through the surreal
image of a reed growing out of the ear, untouched by
mouth. This metaphorical reed becomes a symbol of
pure crea vity, unaffected by external influence. The
poet reflects on the metamorphosis of words, likening
the aging of paper to the crystalliza on of carbon into
diamond. This metaphor suggests that, despite the
ephemeral nature of paper, the words inscribed on it
undergo a profound and enduring transforma on. This
sec on establishes a bridge between the natural world
and the realm of human crea vity, presen ng a
synthesis of organic and ar s c processes.

The third sec on navigates the waters of self-reflec on

and shadows. The speaker metaphorically runs on a
"supple river of mirrors," a reflec ve surface that brings
forth shadows. These shadows, rising to the glance,
imply a deeper explora on of the self. The flow of the
river symbolizes a unidirec onal journey, bringing the
world into the speaker's reflec on. This sec on delves
into the complexi es of self-discovery and the unveiling
of hidden facets, with shadows serving as metaphors for
unexplored dimensions of the psyche. Here, Hughes
invites readers to navigate the river of introspec on,
confron ng the shadows that emerge and shaping a
reflec on that encompasses the external world.

The fourth sec on takes a haun ng turn as a ghostly

presence is introduced, a voice that rustles the dead in
passage. This spectral voice leaves the living chilled,
hin ng at the unse ling impact of unresolved past
experiences. The metaphorical wiping clear of the "pure
glass of stone" suggests a desire for clarity and
cleansing, an a empt to confront and dispel the
lingering influence of the ghostly voice. This sec on
introduces a more introspec ve and psychological
dimension, exploring the haun ng echoes of memory
and their chilling effect on the present. The act of wiping
clear becomes a metaphorical gesture, a conscious
effort to purify the essence of self.

The final sec on introduces a divine connec on and the

transcendent power of crea ve expression. The imagery
of a song ckling God's ear suggests an in mate and
playful interac on between the human and the divine.
God's laughter and the act of catching the song with his
hand convey a sense of joy and apprecia on. The song,
with a man's face, becomes a tangible expression of
human experience that God holds up in his fingers,
eleva ng the crea ve process to a sacred level. This
sec on serves as a climac c culmina on, drawing
together the various threads of the poem into a
celebra on of the divine resonance within human
crea vity.

In conclusion, "A er Lorca" unfolds as a mul layered

and nuanced explora on, invi ng readers to traverse
landscapes of me, self-reflec on, and crea vity.
Hughes pays homage to Lorca's influence, but the poem
is not a mere replica on. Instead, it is a synthesis of
influences, where Lorca's legacy merges with Hughes's
unique perspec ve and poe c sensibility. The poem
stands as a testament to the enduring dialogue between
poets across cultures and genera ons, where influences
converge to create something both homage and
dis nctly original. "A er Lorca" beckons readers into a
realm where the earthly and the divine intersect, where
me is both a rhythmic force and a subjec ve
experience, and where the act of crea on is elevated to
a divine communion.