written and posted by members of Lancashire Dead Good Poets' Society

Showing posts with label Limerick. Show all posts
Showing posts with label Limerick. Show all posts

Friday, 10 July 2026

Turkish Moustaches

The curious case of the disappearing Turkish military moustache

I was recently passing a hot afternoon on a guided tour of the museum at Selimiye Barracks in Istanbul. (No one has ever accused me of being normal.)

I was a kind of support worker on a medical tour. We were from a small cruise boat exploring the eastern Mediterranean. Most of the participants were over seventy and some were octogenarians or even nonagenarians. My role was, in part, to help them on their trip, which was primarily designed to visit museums and the ruined sites of archaeological interest, such as asclepieia (healing centres in the ancient world), and it wasn’t the sort of experience I’m likely to forget.

‘Keith, hold on. I can’t find my hat. I can’t go out in the sun without it.’

‘You’re wearing it, Michael.’

‘Ah, yes, good. That’s a relief... Oh, no, it’s not that! I meant my stick. I need my stick.’

‘I’ll get it for you. When did you last have it, Michael?’

‘I’m not sure. It might be with my passport...’

‘Ok, Where’s your passport?’

‘I’ve no idea. I can’t find my passport either.’

Since we visited Istanbul, Gallipoli, Troy, Pergamum, Ephesus, Bodrum, Kos, Rhodes, Syros, Nafplion, Epidauros, Mycenae and Athens in just a couple of weeks, it was all educational and great fun but pretty exhausting. The trip ended in Athens and I remember 87-year-old Rachel leaning, conspiratorially, towards me and saying, ‘I’m so disappointed I couldn’t make it right to the top of the Acropolis. But I’ve been before, many years ago: and that ouzo bar you took me to last night was much better!’

Back to the plot. When we all leapt from the coach at the barracks – you can picture the scene – we were herded into a waiting area, because Selimiye is an active military headquarters and administrative establishment and under strict army rules. You can only get in with special permission.

(As an aside: everyone has to do military service in Türkiye. For six months. Unless you can afford to pay the equivalent of £5,200, in which case you only have to do 28 days. George Orwell was right, of course. As ever. Some are more equal, everywhere you go.)

Anyway, a very smart-looking soldier was to be our guide. He told us to line up, in ranks of four: we were to proceed, in a militarily precise formation, to the museum building. I wonder if anyone reading this has ever attempted to harness the myriad disabilities of forty aged former medical consultants and dentists along two hundred yards of scorched pathways, keeping them in lines, up slopes and round obstructions? No, thought not - but the image of them scattered like disorientated First World War casualties along what seemed a vast expanse of roadway will linger long in my memory.

Finally inside the museum, we stood respectfully in wide corridors where hundreds of injured British soldiers had lain during the Crimean War (1853 -1856), when the Turks were our allies against the Russians. It used to be called the Scutari Barracks Hospital and was where Florence Nightingale began to establish her reputation, having previously run the Institute for the Care of Sick Gentlewomen in Harley Street in London.

I’d visited the place before and knew we ended up climbing a short spiral staircase to the room in which the Lady with the Lamp used to work. It is now much as it was then. Her actual carpet and chair are there, as well as her desk, with her notes upon it; and there are extracts from her handwritten writings, framed, on the walls. The view from the window, right to the Bosphorus, is stunning. She would have been able to look down and see, in the distance, wounded soldiers being unloaded from transports at the wharf.

However, it was the room from which you climb to Nightingale’s study that particularly held my attention on this occasion. It serves as a memorial to Turkish soldiers who died in the Crimean War, the First World War and the War of Independence (1919 – 1923), which was fought in a confusing scenario against the UK, Greece, Armenia, France, Italy and the collapsed Ottoman Empire and which established the Republic of Türkiye. Around two of the walls runs a floor-to-ceiling metal frieze of very human moments from the conflicts, and there are free-standing life-size tableaux, including cannons and the men firing them, and Nightingale is there too.

Florence Nightingale and wounded soldier tableau
One moving representation is of a Turkish soldier carrying an injured British enemy from the battlefield in WW1.

In that war, the man who became the greatest Turkish hero, Mustafa Kamal, known as ‘Ataturk’, made his reputation by repulsing the allied forces at Gallipoli, out-marshalling Churchill and his commanders and, after thousands of casualties on both sides, forcing the invaders to withdraw. The remaining British and Empire forces might well have been massacred during the evacuation, but it’s believed the Turks, who had held the heights throughout eight months of fighting, simply allowed them to retreat.

That is credible, because Ataturk was an unusual and special man.

To slightly mis-quote Shakespeare, ‘he bestrid his world like a Colossus’
When independence was achieved in 1923, he founded the Republic and served as its president until his death in 1938. He was forward-thinking and probably as ‘woke’ as it was possible to be back then. He modernised the country, shifting it into the twentieth century and making it westward-looking. Türkiye became a secular state and he introduced equal rights for women. He was revered and still is today. On the anniversary of his death, the country comes to a halt for two minutes at the time he died. Traffic stops and people stand in silent tribute.

As you stare at the frieze and tableaux in the museum, it is instantly apparent you are looking at Turkish soldiers. Some wear the fez – which Ataturk sensibly decided was no way to protect your head in modern warfare, and banned – and all of them, each soldier, sports a luxuriant and mightily impressive moustache, thicker than a ‘Freddie Mercury’ in every case, better harnessed than a ‘Dave Bedford’ (for those who remember the great runner) and perhaps akin to a ‘Graeme Souness’, so they might all have played for Liverpool FC in the late 1970s.

However, in 1923 Ataturk also banned the wearing of moustaches in the armed forces. It was one very small part of his plan to leave the past behind and focus the state on being part of the new world. As a consequence, all the soldiers we saw at the barracks were immaculately clean-shaven. Traditionally, the Turks had believed that his moustache gave a soldier courage and strength; the more prolific the growth, the greater the resilience of the man wearing it. Ataturk told them that when times get tough what really matters is mental attitude and professionalism. You can’t rely on facial hair to bring you victories; especially, I suppose, when the enemy’s armed with machine guns and tanks...

We left Selimiye and Istanbul and all its glories and sailed south through the Dardanelles and away. Our daily trips from the boat continued, of course, and our brilliantly lucid but extremely antique cruisers coped incredibly well and on a daily basis with the difficulties they encountered on the sites we visited: miles of often extremely rough ground and steps and obstacles, as well as intense heat.

At times it became positively gruelling. How did they manage to cope? Well, a coach carried us to the right location, then it was all down to their mental fortitude, I guess. They certainly didn’t rely on moustaches. There wasn’t one to be seen. Michael didn’t have one. Neither did Rachel. And neither did anyone else.

That Ataturk guy knew stuff.

          A moustache, neither bushy nor trim,
          doesn’t add to your valour or vim:
          so Ataturk said -
          sharp focus instead
          was essential, according to him...


Keith Brindle
www.keithbrindlewriter.com

Thursday, 16 August 2012

Here Kitty, Kitty...

For me, the most wonderful thing about poetic form is the ability to abandon it.  To know that your words slip off the tongue but refuse to rhyme.  To know that they look like a poem on the page but that their metre is rebellious, out of sync.  To know that there's a thread tying the language together which doesn't have a name, which has been created specially for this poem, because it fits.  

Limericks work when you want to have fun with ideas:

There was an old woman whose cake
Was a hit at the Veganfest Bake
When they pressed for the key
To her sticky green treats
She revealed jars of 'jus de grass snake'.


Villanelles are inextricably linked to villains in my mind (due to an obvious lack of imagination).  The repetition is fab if you have a cracking line that you're really proud of and want to share again and again and again:


Richard III


Rude ragged nurse blurs inky star to smear
Numb, sobbing Liz disrupts conjecture’s thrust
Dick bores through swells of corpses clutching Lear.

Drunk Clarence sings of regal mutineers
Mad Margaret taints each act with bitter rust
Dick bores through swells of corpses clutching Lear.

Round bishop calls for berries, feigning cheer
A messy end awaits his fruitless lust
Rude ragged nurse blurs inky star to smear

York's setting sun yields to a frost-tipped spear
Brash, gnashing boar's impatient dash through dust
Rude ragged nurse blurs inky star to smear

Brave Billie frames Dread Dickie; motives clear
Spiced nest retains wet seal for lack of trust
Dick bores through swells of corpses clutching Lear.

No pony for the king who perseveres
Bloodline of John of Gaunt smeared with mistrust
Rude ragged nurse blurs inky star to smear
Dick bores through swells of corpses clutching Lear.



But these poems don't speak in the same way my free verse speaks.  They are tied down.  The ideas chase the shapes rather than the other way round.  Which is why I love to pervert form, to know it and then abandon it - with abandon:

Fat Cat Demands

Every day he must feast on the fishes, consume the cream,
or small corpses will be written on the doorstep:
a head, a limb
a baby, a foetus.
Veiled threats scribbled in net curtains with claws.
Damp stains in the corner that soap won’t shift.

pivotal puss
penned population

Selfish Kitty – too vital to die, too big to break:
Roll him down the steps of St Paul’s and he purrs,
The cat got the cream and came back for the herd.


Saturday, 8 October 2011

Nantucket

06:25:00 Posted by Ashley Lister , , , , , 7 comments

By Ashley Lister

Like others on this blog, I have favourite poems. Ordinarily I cite Edgar Allan Poe’s ‘The Raven’ as my favourite because I think it’s dramatic and beautifully structured. Sometimes I might mention something by Shakespeare just to show I’m a classy type of bloke what has got a proper education and knows his sonnets and stuff.

However, when someone asks me to recite a verse off the top of my head, I automatically go to the limerick. I’ve written of my passion for this particular form of poetry before on this blog. But, previously, I skirted around the pleasure I take from vulgar limericks.

There once was a man from Nantucket

Who kept all his cash in a bucket.

His daughter, called Nan

Ran off with a man

And as for the bucket, Nan took it.

I recite this version in class because it’s more acceptable than the obscene version. I’ve reprinted the obscene version below with the offending language carefully censored.

There once was a man from Nantucket

Whose **** was so long he could suck it.

He said with a grin

As he wiped off his chin,

“If my ear was a **** I could **** it.”

Why do I like the limerick? It’s fun. It’s vulgar (and those who know me will probably appreciate that I enjoy dallying with vulgarity). But it’s also a legitimate form of poetry exemplifying balanced meter and disciplined rhyme schemes. It is characterised by the a-a-b-b-a rhyme scheme. And it’s fairly easy for anyone to attempt.

A vice both obscene and unsavoury
Kept the Bishop of Barking in slavery
With horrible howls
He deflowered young owls
That he lured to his underground aviary.

The sophisticated rhyme scheme in the previous limerick is quite remarkable. The three syllable rhyme (ay-var-ee) at the end of lines 1, 2 and 5 is a powerful reminder of the poem’s strong construction. The same can be said for the rhyme in lines 3 and 4 (ow-uls). Not bad for a throwaway verse based on a bishop having sex with owls.

There was a young woman from Leeds

Who swallowed a packet of seeds

Within half an hour

Her **** grew a flower

And her **** was a bundle of weeds.

In this limerick the rhyme on lines 3 and 4 depends on a diphthong. Again, the double impact of the sound reinforces the poem’s rigid form. Even the bimoraic syllables in lines 1, 2 and 5 (potentially weighted as trimoraic or superheavy when you take into account the final consonant cluster of the /ds/ sounds) add to the imposing structure of the form. Or, without the academic goobledegook: the strong construction can be heard because of the careful use of repeated multiple syllable sounds. Such constructions don’t just happen by accident.

There once was a young man called Paul

Who had a hexagonal ball

The square of its weight

And his ****’s length (plus eight)

Is his phone number – give him a call.

As others on this blog have shown this week, there are some remarkable poems out there that deserve to be regarded as favourites. But, as I hope these examples show – even the most vulgar of anonymous rhymes can hold a deserved place in our affections.

Saturday, 13 August 2011

There was an old man from Blackpool…

By Ashley Lister

My father was a music hall comedian. I’m not saying his material was bad but, on the night variety died, his act was held for questioning.

Actually, that’s unfair.

He was very good at making people laugh. I remember his last words to me. “Don’t turn the machine off. Please. Please, for the love of God. I’m sure I’ll recover. I don’t want to die.” How we all chuckled.

But I’m not sure if it’s because of father’s influence that I’ve developed my lifelong passion for humour.

“Do I make you laugh?” I asked my wife.

“Not when you’ve got your clothes on,” she replied.

I think that’s what she said. It’s difficult to tell what someone’s saying when they’ve always got a pie in their mouth. Not that I’m saying my wife’s fat, but her patronus is a cake. (A mysognistic northern joke there for all the Harry Potter fans reading this. Talk about aiming at a niche market).

Humour is such a personal thing that it’s probably encoded in our DNA. Freud talked about humour in terms of the tendentious and the innocent, although why we listen to a German talking about humour is a mystery to me. It’s like listening to a Frenchman talk about bravery, or a Canadian sing about irony, or a Spaniard talk about compassion for animals… (Have I offended enough stereotypes yet with this postmodern humour?)

In poetry the form most commonly associated with humour is the limerick. And, whilst Shaun was singing the praises of Edward Lear at the start of this week, I have to admit I find him annoying. (Lear not Shaun. I think Shaun is perfectly lovely). Too often Lear’s final rhymes merely reiterate the sentiment expressed in the opening line. Here’s an example:

There was an Old Man of the Wrekin
Whose shoes made a horrible creaking
But they said, 'Tell us whether,
Your shoes are of leather,
Or of what, you Old Man of the Wrekin?'

To me, the final line in this Lear limerick seems like a weak conclusion to a potentially stylish verse. Lear could have had the final rhyme of squeakin’, leakin’, Peking or a myriad other alternative rhymes that would be superior to the reiteration of the Old Man of Wrekin.

However, rather than write a limerick to conclude this post, I’d like to see regular readers contributing limericks in the comments box below. For those who are unsure how to start, I’d suggest you begin with the words:

There was an old man from Blackpool…