Pe e
Know he One?Insolen On ology
and Mahon's Re isions
You bes poem,
you
know he one
I
mean,
The e y language in which he poem
Was w i en, and
he
idea
o
language,
All
hese hings will pass away
in
ime.
De ek Mahon, on Ri e s
"
(1979)was in e ec a olume o
"
new and selec ed
I d ew on h ee books:
Nigh
-
C ossing Li es
(1972)and
Snow Pa y
and added some nine een pieces no p e iously
in book o m. Ele en yea s la e came
Selec ed Poems,
a
la ge olume han he 1979 one, con aining 102 poems as agains 88.
Onlyone i em,
"
Dawn a S had no been published
in
book
o mbe o e. The
Selec ed Poems
had a g ea e body o wo k o selec
om, o he nine een eigh ies had seen publica ion o
The Hun by
Nigh
(1982) and wo
"
in e im
"
collec ions:
Cou ya ds in
(1980)
which was subsumed in o
Hun
by
Nigh ,
and
An a c ica
(1985).
P ac icallyall o he new i ems in
Poems
a e p ese edin he
Selec ed Poems,
as a e all o he poems om he subsequen books, wi h
he excep ion o one o he pai en i led
"
B ech in S endbo g
"
in
Hun
by
Nigh .
The e was a conside able p uning o he selec ions
om he books ha had p eceded
Poems
he ep esen a ion
o
Nigh
-
C ossing
sh ank om wen y
-
ou o hi een, ou o a
possible wen y
-
eigh ; o
Li es
om wen y
-
one o se en een, ou o
wen y
-
six; and o
The Snow Pa y
om nine een o ele en, ou o
wen y
-
ou .
The o ganisa ion o he books, especiallyo he ea lie ones, seems
o ha e had some a chi ec onic signi icance: o ins ance,
C ossing
achie es closu e wi h
"
The Poe s Lie Whe e They Fell
"
and
"
Legacies
"
he la e a e sion o es amen in ballad o m;
and he opening poem in
The Snow Pa y,
he collec ion ollowing
Nigh
-
C ossing (London: Ox o d Uni e si y P ess, 1968) (N
-
C); (London:
Ox o d Uni e si y P ess, 1972) (L); The Snow Pa y (London: Ox o d Uni e si y
P ess, 1975) (TSP);Poems (Ox o d: Ox o d Uni e si y P ess,1979) (P);
Cou ya ds
in
(Dublin: The Galle y P ess, 1981) (CID); The Hun by Nigh
(Ox o d: Ox o d Uni e si y P ess, 1982) (THN);An a c ica (Dublin: The Galle y
P ess, 1985)
(A);
Selec ed Poems (London: Loughc ew; Ox o d: Viking, Galle y,
Ox o d Uni e si y P ess, 1991) Subsequen e e ences a e o hese edi ions,
as abb e ia ed. The numbe s gi en o he ep esen a ion o poems om he
a ious collec ions a e no o be aken as ha d
-
and
-
as o , as will be seen, he
iden i y o some poems is no absolu e.
IRISH
REVIEW
Li es, is called
"
A e li es
"
. Nei he Poems no Selec ed Poems
p ese es he names o he a ious collec ions on which hey d aw.
The ph ase
"
nigh
-
c ossing
"
, used as he i le o he i s collec ion,
was aken om he las line o
"
The P isone
"
(N
-
C, p. 32); his poem
is called 'Jail Jou nal
"
in
P, and is omi ed om SP. The eponymous
poems o Li es and The Pa y su i e in P and SP, bu he
o ganisa ion o he books does no . Along wi h he omission o poems,
and he ew i ing o some o hose ha a e e ained, he in eg i y o
he g oupings ep esen ed by he collec ions is e oded; poems
o iginally om a e likely o be ound in among pieces om
Nigh
-
C ossing and so on.
The ex s ha ha e appea ed be ween book co e s display a
complex ex ual his o y. I is e iden om he publishing his o y ha
p ac ically all his poems so a ha e been conside ed o publica ion in
book o m on wo o h ee occasions. Apa om he appea ance o
indi idual poems in pe iodicals and magazines, he e ha e been
pamphle s, collec ions, in e im collec ions, and wo selec ions. This
has a o ded oppo uni ies o omission, ea angemen , e i ling,
ew i ing, expansion o ab idgemen o poems.
Fo ins ance,
"
J.P.
Donlea y's Dublin
"
(L)
is included in Poems
as
"
Dog Days
"
and in Selec ed Poems as
"
D eam Days
"
.
"
Day T ip o Donegal
"
(N
-
C)appea s in
P
wi h a s anza d opped and
ou e bal changes; his is subs an i ely he e sion in SP, bu wi h
wo u he e bal adjus men s. The omission o he s anza is
signi ican
in
he con ex o Mahon's wo k gene ally, as shall be seen
below. Some o he changes made o poems a e simply explained. In
he Selec ed Poems he language ends o be modi ied in he di ec ion o
gen ili y, so ha
"
To sca e you shi less
"
in
"
Table Talk
"
p. 27)
becomes
"
To sca e you pan s o
"
(SP, p.139); he line
"
Dog
o shi bu ials
"
in
"
A Disused Shed in Co. Wex o d
"
(TSP, p. 36) is
changed o
"
Dog co ne s o bone bu ials
"
(P, p. 79, SP, p. 62);and he
expos ula o y
"
Wha middle
-
class we a e
"
(
"
A e li es
"
,TSP,
p.
P,
p. 57) dwindles o
"
Wha middle
-
class wi s we a e
"
(SP, p.
E o s a e co ec ed, so ha he ph ase
"
bland wi h age
"
in
"
Rock
Music
"
(THN,
p.
25) becomes
"
blind wi h age
"
(SP, p. 100). Else
-
whe e, wha seems o be a new e o slips
in.
The e e ence o
"
a
no he nland o ain and mu k
"
(
"
Dea hand heSun
"
,
A,
p. 36) eads
. .
ain and
in
SP (p.192); he change loses an end
-
hyme wi h
"
da k
"
in
his o he wise hymed poem.
had a poem called
"
Gipsies
"
; he nex collec ion,
Li es, con ained
"
Gipsies Re isi ed
"
. The ea lie (and o my mind
2.
In
an in e iew
in
The
Supplemen ,
(Fall
1991)
Mahon commen s
ha he o iginal line was unaccep able and ha he change was p omp ed
by
"
good manne s
"
(p.
28).
KNOW
THE
ONE?
poem is no ep in ed, bu he la e one is ound in bo h
and
Selec ed Poems;
i s i le, howe e , is al e ed o
as he in e ex ual hin ha he subjec is being e isi ed is
longe app op ia e.
In
e ec , he ea lie poem is no simply omi ed
unw i en, wi h i s i le being ans e ed o he la e
Tha 's no qui e all: Mahon's hi d collec ion,
The Snow Pa y,
a hi d poem on he subjec ,
"
The
Poems
i , bu his ime as he hi d in
a
g oup o pieces iden i ied as
Poems a e Jacco e
"
.
"
Th ee Poems by Philippe Jacco e
"
appea in in
Selec ed Poems,
bu he hi d poem is no longe
"
The
bu an al oge he di e en piece,
"
Wo ds in he Ai
"
. The
and nomadic cou se o hese poems is ep esen a i e.
The e a e wo p ose
-
poems in
The Snow
"
A
He mi
"
and
"
The Apo heosis o Tins
"
. Nei he o hem su i es in subsequen
selec ions,al hough bo h a e included p ac ically wo d o wo d
in
P
ph ases added o
"
The Apo heosis o Tins
"
, he i le and one
wo d change in
"
A He mi
"
). On hei second ime ou , hey a e
no as p ose
-
poems, bu in i egula s anzas. The added
linea ion al e s hem adically. Line endings p i ilege ph ases such as
"
e minal democ acy
"
and
"
he no ion o pe manence
"
, and he iso
-
la ion o a sen ence such as
"
We esis you pa onage, you e lec i e
leisu e
"
gi es i
a
gnomic signi icance; in he p ose
-
poems hese we e
pa o a con inuous discu si e low.
Then he e is he case o
"
Going Home
"
.
A
poem o his i le is
included in
The Snow Pa y,
and ep in ed in
Poems
Also in
Poems
is
a poem called
"
The Re um
"
. In
Selec ed Poems,
we
ind he i le
"
Going Home
"
, bu he poem o e which i s ands is,
wo d o wo d,
"
The Re um
"
, changed only by he addi ion o an
epig aph om
Wu he ing Heigh s.
Is his la es e sion
"
Going Home
"
ew i en, o is i
"
The Re u n
"
e i led?
In
he In oduc ion o
Penguin Book Con empo a y I ish Poe y,
which Mahon edi ed wi h
Pe e he e is he obse a ion ha
"
he wo d mos equen ly
dwel on
in
[ he poems an hologised]
...
is p obably 'home', as i an
unce ain y exis s as o whe e ha ac ually
In
Mahon's own case,
ha unce ain y ex ends as o whe e he e y poem w i en abou
home is.
Men ion o
The Penguin Book o Con empo a
y
Poe y
b ings o
mind one u he example o ex ual inde e minacy.
"
Cou ya ds in
Del
"
exis s in wo e sions.
In
he
1981
in e im collec ion o which i
is he i le poem, i has ou s anzas; by he ollowing yea , placed as
3.
TSP,
p.
24.
Only h ough a sc u iny o he p elimina y page o
"
Acknowl
-
edgemen s
"
does
one
lea n
ha
i
is
a
e sion o
Jacco e 's
"
Les Gi ans
"
.
Penguin Book
o
Con empo a y
edd.
Pe e and Mahon
(Ha mondswo h: Penguin
Books,
p.
xxii.
UNIVERSITY
he i s poem o The
by
Nigh , i has i e.The
1990
Selec ed Poems
e e s o ou s anzas (wi ha sligh change o he wo ding o he las
wo lines). Bu les we ake his as he de ini i e e sion, i should be
no ed ha The Penguin Book
o
Con empo a y I ish Poe y, also published
in
1990
and join ly edi ed byMahon and Pe e ( he publishe o
Cou ya ds in and he Selec ed Poems), includes
"
Cou ya ds in
Del
"
-
bu gi es he i e
-
s anza e sion om The Hun
by
Nigh .
The cumula i e e ec o he e idence is ha Mahon's poe y esis s
ixi y. I is
in
a s a e o p ocess, wi hou any inished absolu e being on
o e . This, o cou se, is
a
heme o his wo k.
In
"
Li es
"
, he mul iple
possibili ies o exis ence a e sampled in a lis ; he plu ali y o he i le
de ies any
"
insolen on ology
"
.
Mahon e u ns o make changes in his wo k wi h
a
equency ha
migh be ega ded as ca alie o sc upulous, depending on he poin
o iew. He will no lea e i alone. I no hing else, he e isions asse
hiscon inuing igh as he au ho o he poems. How a e we o ega d
hese ew i ings?They a e no simply an i i a ion o edi o s who will
ha e o es ablish ex s o he poems. Clea ly, as ye he e
is
no inal
au ho ial in en ion on which o base a choice. The ex s o Mahon's
poems change om book o book
-
and
I
am conside ing he e only
he ex s p in ed in collec ions and 'selec ed' edi ions; his is o lea e
ou he pe iodical and magazine le alone any conside
-
a ion o ypesc ip s, no es and d a s, p oo s and e ises, all o which
would in oduce u he a ian s a es o he ex s. Mahon has no ye
become his admi e s
-
o his c i ics and edi o s, who look o a ixed
and s eady s a e in he ex .
They
-
we
-
canno plead lack o wa ning.The e is
an
ea ly poem
by Mahon called
"
The Fo ge
"
, which begins:
When
I
sold my ake Ve mee s o Goe ing
Nobody knew, nobody guessed
The agony, he ana icism
O
wo king beyond c i icism
And be e han he bes .
(N
-
C,
p.
20;
SP,
p.
19)
The unnamed imagined speake is he pain e Hans an Meege en,
who, like Mahon, had a pa icula ondness o he Del school. Van
Meege en's ploy was o call in o being wo ks o a ha ook on a
pa allel exis ence o hose com o ably assumed o be genuine, and by
ha calling in o being he called in o ques ion no ions o o iginali y.
We can unde s and Mahon's being a ac ed o Van Meege en, o
Mahon oo is some hing o a o ge . Mos no ably, he has o ged a
Paul Du can poem,
"
Poe A es ed o Dis ibu ing Da odils in
This does no
appea
in
his
books,
bu
he e a e o ge ies
5.
"
O pheus
Ascending:
The
poe y
o
Paul
The
I ish
1
p.
15.
KNOW
THE
ONE?
in he manne o
"
-
such as
"
A
Kensing on
"
The Joycen ena y Ode
"
(SP,
p.
145)
o
"
Epi aph o
(TSP,
p. in each which Mahon's own oice is
a pa odic swe e owa ds he idioms o Pound,
espec i ely. Mahon's o ge y o imi a ion is compli
-
me
n a y in in en , an ac o homage: as he has s a ed,
"
i 's he
whoa e
habi o pa ody and pas iche is o a kind wi h Mahon's ac i e
wi h adap a ion and ansla ion. Such en e p ises a e
he p emise ha a wo k can exis in an al e na i e o m,
om ye ecognisably sha ing
an
iden i y wi h he o iginal.
esul in a poem whose exis ence is, in a pa icula sense,
The ope a ions pe o med on Rimbaud's
"
Le
sho ened, ansla ed in o ano he language and in o o he
-
o on de Ne al show ansmu a ions o language. The
no ion o an
"
au ho 's in en ion
"
, asenuncia ed by G eg
Bowe s, is gen ly challenged, concep ually i no bibliog aphi
-
cally, by a ansla ion which ca ies he wo k o e in o ano he s a e.
o iginal wo ks
-
he poems by o de Ne al, he play
by he no el
by
Elizabe h Bowen
-
become p e
-
ex s o
Mahon's.
Two poems gi en some p ominence
in
Mahon's wo k a e he
ex ended e se
-
le e s
"
Beyond How h Head
"
and
"
The Sea in
Win e
"
.The o me was i s published sepa a ely as a pamphle and
hen included in
Li es,
whe e i s ood as he longes and
inal
poem o
ha book.
"
The Sea in Win e
"
occupied a simila posi ion on i s i s
appea ance be ween ha d co e s, in
Poems
o which i is he
longes poem
-
apa om
"
Beyond How h Head
"
. Bo h poemssha e
a e se o m: hymed eigh
-
line s anzas o oc osyllabics and, as hey
s and
in
P,
a e o equal leng h wi h
176
lines each. Bo h a e la e
included in
Selec ed Poems,
bu wi h u he e isions and,
in
he case
o
"
TheSea in Win e
"
,sho ened by ou s anzas.
The e a e a leas h ee e sions o
"
BeyondHow h Head
"
,and wo
o
"
The Sea in Win e
"
. Compa ison o he
L
and
P
ex s o
"
Beyond
How h Head' shows mino changes: he explana o y no es which
we e a ea u e o
L
ha e disappea ed? bu he allusi eness which
seemed o make hem necessa y emains: Yea s, Shakespea e, Pope,
Spense , Becke , Dylan Mil on, Raleigh, Cha eaub iand,
Tho eau, D Johnson, Joyce and No man a e among he
au ho s in oked, ei he explici ly o by he bo owing o a ph ase.
Some o he in oca ions a e mo e occluded han o he s: Spense 's
6.
Ibid.,
p.
15.
7.
The no es we e also a ea u e o he ea lie pamphle publica ion,
Beyond
How h
(Dublin:Dolmen P ess,
1970).

IRISH
UNIVERSITY
REVIEW
"
lewde libe ie
"
is in aised commas and glossed in he no es, bu we
a e le o conjec u e he e e ence o Cha eaub iand
in
"
ou e
-
ombe
"
.
Wha e e he pa icula signi icance o each allusion, he p esence o
such a ange o exempla s p o ides a pe sonal li e a y analogy o he
poem's gene al heme
-
hesweep o la ge cu en s, imaged by he
wind and ide, h ough he ac u ed pe cep ion o
he
immedia e.
A
numbe o hechanges made in he ex bea on place names: he
hi d s anza
in
L
and SP begins
"
and shakes he adio
-
se s ha play/
om he Twel e Pins o Dublin Bay
"
; his becomes
"
om Ca a oe o
Dublin Bay
"
in
SP.
A
line in
L,
' om Chel enham o Inishmaan
"
becomes
"
om o om Cushendun
"
in
P and
SP.
One pa
-
icula ly esonan name ge s elided om he las s anza. The ea lie
e sion uns:
and he e
I
close my
Do e
Beach
scena io, o look! he wa ch
-
ul
Baily winks beyond How h Head,
My liessnug in bed
and he moon a les he los s ones
among he ocks and he s ic bones
o he d owned as
I
pu ou he ligh
on
o
he
(L,
p.
38)
In
P
and
SP
his becomes
And he e
I
close; o look, ac oss
da k wa eswhe e bell
-
buoys dimly oss,
he Bailey winks beyond How h Head
and sleepcalls om he silen bed;
while he moon d agshe kind ed s ones
among he ocks and he bones
o he d owned,
and
I
pu ou he ligh
onshadowso he enc oaching nigh .
(SP,
p.
49)
The emo al o
"
Do e
Beach
"
acili a es
an
easie hyme o comple e
he couple ; spli hyme
-
wo ds a line endings a e no in equen in
Mahon's poems, bu hey end o be emo ed in his la e e sions. The
e e ence o Do e Beach is mo e ex ual han geog aphical. The
allusion is o Ma hew poem, and he o iginal las s anza
ep oduces a epe o y o images om
"
Do e Beach
"
: he moon, he
momen a y ligh , he implied p esence o a companionable woman,
he sweep o he sea on he sho eline
-
and o cou se book
i le is coined om las line,
"
Whe e igno an a mies clash by
nigh
"
. The scena io o
"
Beyond How h Head
"
is, like
"
Do e Beach
"
,
based on a li o al medi a ion. poem, wi h i s sense o los
gods and a sea ch
o
cons an s,
migh
se e
as
a
p e ex
in
his
and
much o Mahon's o he wo k.
KNOW
THE
ONE?
Sea
in
Win e
"
is ano he li o al medi a ion, his
no he n coas . In his poem he e is less sense o a
"
be
yon
d
u
,
an imagined sense o he Medi e anean whe e he add
e
s
see
,
is loca ed:
You oo ha e known he cu ious sense
O wo king on he ci cum e ence
-
(P,
p.
111)
e ision be ween P and
SP,
ou s anzas a e disca ded om
di e en pa s o he poem: he i h, en h, eigh een h and wen ie h.
new s anzas a e inse ed, one o hem
in
place o he d opped
s anza; i s ands se en een h in he e ised e sion, wi h
o he new s anza (
"
O in he open ai en h. Th ee
he ou s anzaic omissions a ec he eading o he poem as
a
whole. The hi d las s anza o he ex men ions Bo icelli's
"
neglec edd awings
"
o
The
Di ine
Comedy,
Diag amso ha pa adise
Each has his ision o .
I
ace
The u u ein
a
colou
-
scheme,
Colou swesca cely da e od eam.
(P,
p.
114)
Two s anzas be o e ha , ano he omi ed passage had also dwel on
he u u eand i s possibili ies:
And will he yea wo housand ind
Mes ill a a window, pen in hand,
Wa ching long b eake scu l on sand
E osion makes o e e ine ?
I
hope so,
o
he sake o hese
Subsidized se endipi ies.
'Ghos lie dema ca ions,keene
Sounds' a e needed mo e
han
e e .
(P,
p.
113)
An ea lie omission simila ly emo es a empo al ma ke , his ime
one poin ing o hepas :
I
e u nedone yea ago
I
el like Tonio
-
slow
Tocome o e ms wi h my own pas
...
(P,
p.
111)
This emo al o pe spec i es on he pas and u u e, on any empo al
"
beyond
"
, is ein o ced
by
he second o he wo new s anzas added o
he poem
in
he
SP
p in ing. This insis s on he he e and now o he
poem's momen and enounces he glanceaway om he p esen :
Bu
le
me
ne e o ge he wei d
haeccei y o hiss ange sea
-
boa d,
he he oismand cowa dice
REVIEW
o li ingon he edge
o
space,
o e e again con emp uously
e use i s pligh ; o his o y
igno es hose who igno e
i ,
no
he igno an whom
i
bego .
(SP,
p.
117)
As a esul o he changes, his la e e sion o
"
The Sea in Win e
"
is
mo e insis en on pe iphe ali y. The consola ions o his o y a e
emo ed, ex ending e en o he disappea ance o he da ing
Oc appended o he ea lie p in
-
ing. Now he poem exis s unda ed; he conjec u al glance ahead o
ano he da e,
"
he yea wo housand
"
, is aken away in he e ision,
as
is
he ain an icipa ion o
"
ha pa adise/ Each has his ision o
"
(P,
p p 113
-
4).
The loss o loca ion and da ing means ha he poe on he sho eline
is in a posi ion, a he ci cum e ence bu wi hou any de ining
Places a e no de ined. In successi e e sions o di e en
poems, placenames ge subs i u ed: I haca o Ca hage in
"
Li es
"
(L,
p.
14;
P,
p. 41,
SP,
p. o Lake Ga da in
"
A
Kensing on
(A,
p.
10;
SP,
p. 91). He himsel has assu ed us ha he
ga age desc ibed in
"
A
Ga age in Co. was p obably no in Co k
a all? The inal s anza o ha begins
"
We migh be anywhe e bu a e
in one place only
"
(SP,
p. an idea echoed wice in
"
A
Ligh house in Maine
"
,
in
i sopeningline and in
I
migh be anywhe e
-
Hokkaido,No mandy, Maine;
Bu
i
is
in
Maine. p.
44)
In
SP
he second line eads
"
Hokkaido, Mayo, Maine
"
(p.
143);as he
poem says,i migh be anywhe e, and he subs i u ion is o li le o no
impo . Hokkaido, No mandy, Mayo, Maine, a e equi alen s in he
gaze ee o
Ano he poem ha occu s in wo e sions is
"
The Globe
in
No h
Ca olina
"
.
In
a se en
-
s anza e sion i s ands as he closing poem o
in
and, wi h ou inse ed s anzas and one subs i u ed,
i
is simila ly posi ioned in
The
Hun by
Nigh .
This shows some
a ini y o he wo e se
-
le e s,
"
Beyond How h Head
"
and
"
The Sea
in Win e
"
. I oo is se beside an ocean a nigh , bu emb aces a
con inen al, e en global scale; i oo is a so o sho eline poem which
8.
C .
Hugh
Haugh on,
"
'E en
now
he e
a e
places whe e
a
hough migh g ow';
Place
and
Displacemen
in
he
Poe y
o
Mahon
"
in
The
Chosen G ound:
Essays on
he
Con empo a y
Poe y
o
ed.
Neil
Co co an (B idgend,
Books,
pp.
87
-
120.
9.
"
De ek
Mahon
w i es
Poe y
Book Socie y
Bulle in,
115
(Win e
1982).
In THN
he
same
wo dsoccu
bu
a e
sp ead
ou
o e
an
addi ional
penul ima e
s anza,
d opped
om
he
la e e sion.
KNOW
THE
ONE?
he g ea issue o banished gods
ocus o he p esence o a single indi idual.
The ea h spins o my inge
-
ipsand
Pauses benea hmy ou s e ched hand;
Whi ewa e see hes agains he g een
Capes whe e he con inen s begin.
Wa m b eezes mo e he pines and s i
The ho dus o he piedmon whe e
Nigh glides inland F om own o own.
I
lo e osee ha sun godown.
(CD,
p.
28,
SP, p.
163)
The e is an in e play o scale: he wo ld is bo h i sel and a desk
-
op
he speake is a once in a domes ic in e io
and
in in e
-
plane a y space.
Ou in he oid and s a ing ha d
A hedim s one whe e we we e ea ed,
G ea mo he , now he gods ha e gone,
We
place ou ai h in you alone,
In e ing he p ocedu es which
Knel us o hingsbeyond ou each.
(SP,
p.
165)
The eis, as eme ges in he penul ima e s anza, an implici add essee
in
he
poem.
...You lie,an ocean o he eas ,
You limbscomposed, you mind a es ,
Asleep in a sun ise whichwill be
You mid
-
day when
i
eaches me;
And wha misgi ings
I
migh ha e
Abou he ue impo ance o
The 'me ely human' pale be o e
The me e ac o you being he e.
(SP,
p.
165)
The mo e owa ds companionship is ambiguous. Does ha las line
asse p esence o absence?
"
Being he e
"
migh insis onexis ence, o
i migh be poin ing o he ac she is
"
he e
"
, an ocean away, as
opposed o
"
he e
"
.
The ambigui y is in pa a legacy o he e ision. In he ea lie
e sion, he wo p eceding s anzas lead di ec ly o he in oduc ion o
his in oked add essee, making a clea ansi ion om he cosmic o
he pa icula .
Ou in he oid and s a ing ha d
A hedim s one whe e we we e ea ed,
G ea mo he , now he gods dispe se,
We h ow ou sel es upon you g ace,
In e ing he p ocedu es which