Principles of literary criticismRichards, I. A. (Ivor Armstrong)
Philosophy
Principles of literary criticism
Richards, I. A. (Ivor Armstrong)
Criticism
We may turn now to that more complex and, more specialised form
of temporal rhythmic sequence which is known as metre. This is
the means by which words may be made to influence one another
to the greatest possible extent. In metrical reading the narrowness
and definiteness of expectancy, as much unconscious as ever in
most cases, is very greatly increased, reaching in some cases,
if rime also is used, almost exact precision. Furthermore, what
is anticipated becomes through the regularity of the time intervals
in metre virtually dated. This is no mere matter of more or less
perfect correspondence with the beating of some internal metronome.
The whole conception of metre as _‘uniformity_ in variety’,
a kind of mental drill in which words, those erratic and varied
things, do their best to behave as though they were all the same,
with certain concessions, licences and equivalences allowed,
should nowadays be obsolete. It is a survivor which is still
able to do a great deal of harm to the uninitiated, however,
and although it has been knocked on the head vigorously enough
by Professor Saintsbury and others, it is as difficult to kill
as Punch. Most treatises on the subject, with their talk of feet
and of stresses, unfortunately tend to encourage it, however
little this may be the aim of the authors.
As with rhythm so with metre, we must not think of it as in the
words themselves or in the thumping of the drum. It is not _in_
the stimulation, it is in our response. Metre adds to all the
variously fated expectancies which make up rhythm a definite
temporal pattern and its effect is not due to our perceiving
a pattern in something outside us, but to our becoming patterned
ourselves. With every beat of the metre a tide of anticipation
in us turns and swings, setting up as it does so extraordinarily
extensive sympathetic reverberations. We shall never understand
metre so long as we ask, ‘Why does: temporal pattern so excite
us’? and fail to realise that the pattern itself is a vast cyclic
agitation spreading all over the body, a tide of excitement pouring
through the channels of the mind.
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