On English poetry : $b being an irregular approach to the psychology of this art, from evidence mainly subjectiveGraves, Robert
History
On English poetry : $b being an irregular approach to the psychology of this art, from evidence mainly subjective
Graves, Robert
English poetry -- History and criticism
Turn then to Mr. Housman’s classic sequence “A Shropshire Lad,” to No.
XLVII “The Carpenter’s Son,” beginning, “Here the hangman stops his
cart.” Ask any Housman enthusiasts (they are happily many) how long it
took them to realize what the poet is forcing on them there. In nine
cases out of ten where this test is applied, it will be found that the
lyric has never been consciously recognized as an Apocryphal account of
the Crucifixion; and even those who have consciously recognized the
clues offered have failed to formulate consciously the further daring
(some would say blasphemous) implications of its position after the last
three pieces “Shot, lad? So quick, so clean an ending,” “If it chance
your eye offend you” and the momentary relief of “Bring in this timeless
grave to throw.”
Among Jubilee bonfires; village sports of running, cricket, football; a
rustic murder; the London and North Western Railway; the Shropshire
Light Infantry; ploughs; lovers on stiles or in long grass; the ringing
of church bells; and then this suicide by shooting, no reader is
prepared for the appearance of the historic Son of Sorrow. The poet has
only to call the Cross a gallows-tree and make the Crucified call His
disciples “Lads” instead of “My Brethren” or “Children,” and we are
completely deceived.
In our almost certain failure to recognize Him in this context lies, I
believe, the intended irony of the poem which is strewn with the
plainest scriptural allusions.
In justification of the above and of my deductions about “La Belle Dame
sans Merci” in a later section I plead the rule that “Poetry contains
nothing haphazard,” which follows naturally on the theory connecting
poetry with dreams. By this rule I mean that if a poem, poem-sequence or
drama is an allegory of genuine emotional experience and not a mere
cold-blooded exercise, no striking detail and no juxtaposition of
apparently irrelevant themes which it contains can be denied at any rate
a personal significance--a cypher that can usually be decoded from
another context.
IX
THE GADDING VINE
Public-domain text, read in full here on John Shaqi.
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