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The Hollow Land by William Morris

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"Christ keep the Hollow Land
All the summer-tide;
Still we cannot understand
Where the waters glide;

Only dimly seeing them
Coldly slipping through
Many green-lipp'd cavern mouths.
Where the hills are blue."

"Then," she said, "come now and look for it, love, a hollow city in
the Hollow Land."

I kissed Margaret, and we went.

Through the golden streets under the purple shadows of the houses we
went, and the slow fanning backward and forward of the many-coloured
banners cooled us: we two alone: there was no one with us. No soul
will ever be able to tell what we said, how we looked.

At last we came to a fair palace, cloistered off in the old time,
before the city grew golden from the din and hubbub of traffic; those
who dwelt there in the old ungolden times had had their own joys,
their own sorrows, apart from the joys and sorrows of the multitude:
so, in like manner, was it now cloistered off from the eager leaning
and brotherhood of the golden dwellings: so now it had its own gaiety,
its own solemnity, apart from theirs; unchanged, and changeable, were
its marble walls, whatever else changed about it.

We stopped before the gates and trembled, and clasped each other
closer; for there among the marble leafage and tendrils that were
round and under and over the archway that held the golden valves were
wrought two figures of a man and woman winged and garlanded, whose
raiment flashed with stars; and their faces were like faces we had
seen or half seen in some dream long and long and long ago so that we
trembled with awe and delight; and turned, and seeing Margaret, saw
that her face was that face seen or half seen long and long and long
ago; and in the shining of her eyes I saw that other face, seen in
that way and no other long and long and long ago - my face.

And then we walked together toward the golden gates, and opened them,
and no man gainsaid us.

And before us lay a great space of flowers.





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We do not know the women's names, but their voices are quite distinct. All are pregnant. But while the first woman awaits the birth of her baby with a moon-like serenity, the other two are not so lucky. One, whose previous pregnancies have failed to go to term, is experiencing a heartbreaking late miscarriage; the other is a young student whose accidental pregnancy will end in her child being put up for adoption.

Sylvia Plath's only play was never intended for the stage, being broadcast instead on BBC radio in August 1962. Less than six months later, Plath killed herself, but not before the burst of astonishing creative energy that produced her extraordinary, terrifying Ariel poems.

Anyone who knows Plath's poetry will see the connection between Three Women and Plath's subsequent poems, particularly in the way she talks about the agony of childbirth, the rush of love for this tiny alien being, and both the wonder and wounded rawness of motherhood. It is a beautiful piece, full of startling imagery that draws you in through the sheer intensity of its femaleness, and because it so precisely articulates the emotions that are often thought but seldom voiced by women - certainly not in the early 1960s - about men, motherhood and our relationship to our bodies.

It's been 20 years since there has been an attempt at a professional stage version and - in a theatre world that happily accepts the poetic offerings of Sarah Kane and Debbie Tucker Green, or the staged possibilities of The Waves, one of Plath's own inspirations for the piece, I see no reason why it shouldn't be brought to life. Sadly, it doesn't breathe here, in a production by Robert Shaw that is clearly a labour of love, but which never finds a way to give the internal a physical reality. Plath's poetry, like most babies, is more robust than it appears - and won't break if treated with a little less reverence and considerably more grit.

Instead, what we are offered is tinkling piano music, mournful mood lighting, an innocuous pale setting, as well as three perfectly good but indisputably ladylike performances that capture none of the wounded redness of Plath's poetry, and do her the disservice of making her sound bleached and somewhat prissy. It's a pity. What might have been a wonder ends up a mere curiosity.

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