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
There were two very aged dons sitting together on a front bench, whom
nobody in the assembly had ever seen before. They frowned and refrained
from clapping Mr. Hardy or the Public Orator who had just described him
as “Omnium poetarum Britannicorum necnon fabulatorum etiam facile
princeps,” and people said they were certainly ghosts and identified
them with those masters of colleges who failed to answer Jude the
Obscure when he enquired by letter how he might become a student of the
University. It seems one ought to be very careful when writing
realistically.
LVII
THE LAYING ON OF HANDS
While still in my perambulator about the year 1899,[2] I once received
with great alarm the blessing of Algernon Charles Swinburne who was
making his daily journey from “The Pines” in Putney to the _Rose and
Crown_ public house on the edge of Wimbledon Common. It was many years
before I identified our nursery bogey man, “mad Mr. Swinburne,” with the
poet. It interests me to read that Swinburne as a young man once asked
and received the blessing of Walter Savage Landor who was a very old man
indeed at the time, and that Landor as a child had been himself taken to
get a blessing at the hand of Dr. Samuel Johnson, and that the great
lexicographer in his childhood had been unsuccessfully “touched” by
Queen Anne for the King’s Evil. And what the moral may be, I cannot say,
but I have traced the story back to Queen Anne because I want to make my
grimace at the sacerdotalists; for I must confess, I have been many
times disillusioned over such “poetry in the great tradition” as
Authority has put beyond criticism.
[2] See Mr. Max Beerbohm’s AND EVEN NOW, page 69.
In caution, and out of deference to my reader’s sensibilities I will
only quote a single example. Before reading a line of Swinburne I had
been frequently told that he was “absolutely wonderful,” I would be
quite carried away by him. They all said that the opening chorus, for
instance, of _Atalanta in Calydon_ was the most melodious verse in the
English language. I read:
When the hounds of Spring are on Winter’s traces,
The Mother of months in meadow and plain, ...
and I was not carried away as far as I expected. For a time I persuaded
myself that it was my own fault, that I was a Philistine and had no
ear--but one day pride reasserted itself and I began asking myself
whether in the lines quoted above, the two “in’s” of _Spring_ and
_Winter_ and the two “mo’s” of _Mother_ and _Months_ did not come too
close together for euphony, and who exactly was the heroine of the
second line, and whether the heavy alliteration in _m_ was not too
obvious a device, and whether _months_ was not rather a stumbling-block
in galloping verse of this kind, and would it not have been better....
Thereupon faith in the “great tradition” and in “Authority” waned.
Still, I would be hard-hearted and stiff-necked indeed if I did not
wish to have had on my own head the blessing that Swinburne received.
LVIII
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account