Handkerchiefs, white twisted prayer,
sobs breach and break the mourning air,
death takes, will not be second-guessed,
a shroud beneath the lychgate rests.

The shelter with its angled roof
hears clattering of horses' hooves,
covers the dear departed, blessed;
her shroud beneath the lychgate rests.

The bearers seated by the corpse
know flesh, bones, come to nothing, naught
to ponder, but in time accept,
a shroud beneath the lychgate rests.

From lych to church seems overlong,
they pause, they pray, they chant their song,
to see her pass this way—none guessed
a shroud around the lych would rest.

A hot ague shook her life away,
the children sobbed, begged her to stay,
but death took life, imbibed her breath,
a shroud beneath the lychgate rests.
    
Yet that was then and this is now,
time changes, untracked: marriage vow,
photo backdrop, bride with guests,
a shroud beneath the lychgate rests.

Spectres, spirits of the passed,
plague actors in the wedding cast,
this shady place, does it oppress
if shrouds beneath the lychgate rest?

'Death is the only deathless one',⁠*
time lingers brief, they've just begun,
this is for life, no trial or test,
a shroud beneath the lychgate rests.

Fading out the nuptial glitter,
shadows cast by bygone sitters,
carnation wilts upon his breast,
and shrouds beneath the lychgate rest.

The charm of years, a pretty place.
He gazes down on her sweet face.
Craves togetherness, wedded, yes.
A shroud beneath the lychgate rests.


* From 'Kyrielle' by John Payne (1842–1916)

Growing Places (Black Pear Press, 2021)

I love lychgates—those structures at the entrance of some churches where
brides and grooms are often photographed—there are many such churches
in Worcestershire. This led to me looking into their history. At the 
same time, I was fascinated by the poetry form of the Kyrielle, based 
on the Kyrie, a church liturgy. This poem is the outcome.