Reviewed by: Towards a Credo by Brian Arkins Dr William Adamson (bio) Brian Arkins, Towards a Credo (Clifden: Little Gull Publishing, 2021), 36 pages. Dr Brian Arkins is Emeritus Professor of Classics at NUI Galway and has published extensively on academic subjects, ranging from studies of Catullus, Shakespeare, W.B. Yeats, James Joyce, James Liddy to Desmond Egan. His powerful standing as the author of scholarly works is beyond doubt. His latest work, however, is his first collection of poetry and literary translations, entitled Towards a Credo. The volume contains twenty-two poems and seven translations of poetry from the French (Verlaine and Baudelaire), German (Heine) and Latin (Catullus and the anonymous twelfth-century author known as the Archpoet) and Greek (Sappho). Plato wrote that poetry is nearer to vital truth than history. This point is well stressed by Brian Arkins in these poems, which accommodate a range of themes, including religion, sex, love, politics, and society, and which are frequently, but by no means exclusively, seen through a critical lens, often humorous, never trite, and always energetically true. The poems represent a highly personal and radical epistemological stance in their approach to life – by no means as a fait accompli, but rather as an unfinished, ongoing process of experience, reflected in the title of the collection, ‘Towards a Credo’, a stimulating journey towards a set of beliefs that influence the way we live, laying bare the relationships between our attitudes and the things at which they are directed. Yeats once commented on the Englishman’s idea of compromise: ‘He [the Englishman] says, some people say there is a God. Some people say there is no God. The truth probably lies somewhere between these two statements’. Arkins is no Englishman. A strong sense of commitment permeates the poems, not least when dealing with the relationship with God. Here Arkins refuses to become involved with the platitudes of institutionalised religion but rather reveals a deeply personal connection between the ‘I’ of the poems and God, with an honesty and directness that refuses to proselytise but rather defines a deeply individual bond of belief that challenges the reader, but no more. In ‘To Atheists’, for example, the poet addresses his audience apophatically, denying those functional, theological arguments designed to evidence the existence (or not) of a deity within the dispassionate confines of narrow dogma. Arkins invokes the spirit of Tertullian, the second-century author and mystic credited with the statement certum est, quia impossibile. [End Page 208] The poem ends with these words (in translation, of course): it iscertainbecause it isimpossible Sex and love are dealt with playfully but succinctly, as in the poem ‘Du’, a response to Heinrich Heine’s love poem ‘Du bist wie eine Blume’ (also translated in this collection by Arkins). Whereas Heine’s poem reflects upon the transience of love, Arkins takes an opposite stance: love is directly experienced, is the substance itself, with no need of comparison. The poem begins by directly contradicting Heine: Du bist wie eine Blume […] – Heinewhy can’t you Germans keepflowers out of your poetry?du bist nicht wie eine Blume The lyric ‘I’ of the poem goes on to refute emphatically and succinctly in three two-line stanzas Heine’s proposition before ending: ‘I praying that God / keep you beautiful, clever, passionate’, distilling the very essence of being into the one word ‘Du’ of the title. At other times there is almost a Yeatsian feel to the theme of love (we are reminded of the poem ‘Politics’ and the theme of the supremacy of love), as in the first of two haikus: girls were made to loveand kiss and who am Ito interfere with this? And global politics too is dealt with, but always within an inclusive context and not as something experienced from afar, forcing the reader to confront and respond to the tragedies which affect us all. In ‘Bosnia’ the misery of ‘a far-off country’ is brought home with the line ‘from Sarajevo Fazla came to Millstreet’1, for example. And in ‘Afghanistan’ (for Michael D. Higgins), the political conceit of powerful first-world nations is held up to the mirror...