Edwin Morgan: “Good Friday” and “In the Snack-bar”

Vincenzo Pastore, photogapher_Agéd man on Rua São João in São Paulo_circa 1910

Vincenzo Pastore, photogapher_Agéd man on Rua São João in São Paulo_circa 1910

Edwin Morgan (Glasgow, Scotland, 1920-2010)

Good Friday


Three o’clock. The bus lurches

round into the sun. “D’s this go – ”

he flops beside me – “right along Bath Street?

– Oh tha’s, tha’s all right, see I’ve

got to get some Easter eggs for the kiddies.

I’ve had a wee drink, ye understand –

ye’ll maybe think it’s a – funny day

to be celebrating – well, no, but ye see

I wasny working, and I like to celebrate

when I’m no working – I don’t say it’s right

I’m no saying it’s right, ye understand – ye understand?

But anyway tha’s the way I look at it –

I’m no boring you, eh? – ye see today,

take today, I don’t know what today’s in aid of,

whether Christ was – crucified or was he –

rose fae the dead like, see what I mean?

You’re an educatit man, you can tell me –

– Aye, well. There ye are. It’s been seen

time and again, the working man

has nae education, he jist canny – jist

hasny got it, know what I mean,

he’s jist bliddy ignorant – Christ aye,

bliddy ignorant. Well –” The bus brakes violently,

he lunges for the stair, swings down – off,

into the sun for his Easter eggs,

on very




. . .

From: The Second Life (Edinburgh University Press, 1968)

. . .

In the Snack-bar


A cup capsizes along the formica,

slithering with a dull clatter.

A few heads turn in the crowded evening snack-bar.

An old man is trying to get to his feet

from the low round stool fixed to the floor.

Slowly he levers himself up, his hands have no power.

He is up as far as he can get. The dismal hump

looming over him forces his head down.

He stands in his stained beltless gabardine

like a monstrous animal caught in a tent

in some story. He sways slightly,

the face not seen, bent down

in shadow under his cap.

Even on his feet he is staring at the floor

or would be, if he could see.

I notice now his stick, once painted white

but scuffed and muddy, hanging from his right arm.

Long blind, hunchback born, half paralysed

he stands

fumbling with the stick

and speaks:

‘I want – to go to the – toilet.’


It is down two flights of stairs, but we go.

I take his arm. ‘Give me – your arm – it’s better,’ he says.

Inch by inch we drift towards the stairs.

A few yards of floor are like a landscape

to be negotiated, in the slow setting out

time has almost stopped. I concentrate

my life to his: crunch of spilt sugar,

slidy puddle from the night’s umbrellas,

table edges, people’s feet,

hiss of the coffee-machine, voices and laughter,

smell of a cigar, hamburgers, wet coats steaming,

and the slow dangerous inches to the stairs.

I put his right hand on the rail

and take his stick. He clings to me. The stick

is in his left hand, probing the treads.

I guide his arm and tell him the steps.

And slowly we go down. And slowly we go down.

White tiles and mirrors at last. He shambles

uncouth into the clinical gleam.

I set him in position, stand behind him

and wait with his stick.

His brooding reflection darkens the mirror

but the trickle of his water is thin and slow,

an old man’s apology for living.

Painful ages to close his trousers and coat –

I do up the last buttons for him.

He asks doubtfully, ‘Can I – wash my hands?’

I fill the basin, clasp his soft fingers round the soap.

He washes, feebly, patiently. There is no towel.

I press the pedal of the drier, draw his hands

gently into the roar of the hot air.

But he cannot rub them together,

drags out a handkerchief to finish.

He is glad to leave the contraption, and face the stairs.

He climbs, and steadily enough.

He climbs, we climb. He climbs

with many pauses but with that one

persisting patience of the undefeated

which is the nature of man when all is said.

And slowly we go up. And slowly we go up.

The faltering, unfaltering steps

take him at last to the door

across that endless, yet not endless waste of floor.

I watch him helped on a bus. It shudders off in the rain.

The conductor bends to hear where he wants to go.


Wherever he could go it would be dark

and yet he must trust men.

Without embarrassment or shame

he must announce his most pitiful needs

in a public place. No one sees his face.

Does he know how frightening he is in his strangeness

under his mountainous coat, his hands like wet leaves

stuck to the half-white stick?

His life depends on many who would evade him.

But he cannot reckon up the chances,

having one thing to do,

to haul his blind hump through these rains of August.

Dear Christ, to be born for this!

. . .

Another thoughtful poem for Eastertime…


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