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
“If you are going to appeal to the poets,” returns B, “you can’t
disregard the position of the vine in decorative art. It has been
conventionalized into the most static design you can find, after the
lotus. When I say _Vine_, that’s quite enough for me, just V for
vegetable.”
They are interrupted by A the master spirit who says with authority:--
“Silence, the two of you! I rule a compromise. Call it a “gadding vine”
and have done with it.”
* * * * *
The converse of the proposition stated at the beginning of this section,
namely that every one who has the sort of family history mentioned above
and is not the prey of inhibitions, will become a poet, is certainly not
intended. Poetry is only one outlet for peculiar individual expression;
there are also the other arts, with politics, generalship, philosophy,
and imaginative business; or merely rhetoric, fantastic jokes and
original swearing--
X
THE DEAD END AND THE MAN OF ONE POEM
The question of why Poets suddenly seem to come to a dead end and stop
writing true Poetry, is one that has always perplexed literary critics,
and the poets themselves still more. The explanation will probably be
found in two causes.
In the first case the poet’s preoccupation with the clash of his
emotions has been transmuted into a calmer state of meditation on
philosophic paradox: but poetry being, by accepted definition, sensuous
and passionate is no vehicle of expression for this state. Impersonal
concepts can perhaps be expressed in intellectual music, but in poetry
the musical rhythm and word-texture are linked with a sensuous imagery
too gross for the plane of philosophic thought. Thus dithyramb, by which
I mean the essentially musical treatment of poetry in defiance of the
sense of the words used, is hardly a more satisfactory medium than
metaphysical verse: in which even a lyrical sugar-coating to the pill
cannot induce the childish mood of poetry to accept philosophic
statements removed beyond the plane of pictorial allegory.
In the second case the conflict of the poet’s subpersonalities has been
finally settled, by some satisfaction of desire or removal of a cause of
fear, in the complete rout of the opposing parties, and the victors
dictate their own laws, uncontradicted, in legal prose or (from habit)
in verse.
Public-domain text, read in full here on John Shaqi.
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