English poetry -- 19th century -- History and criticism; Great Britain -- History -- Victoria, 1837-1901
That is technically a sheer triumph of metrical skill. Of the
rhythmic line of which we have spoken there is nothing. Of the finer
enchantment of diction also there is nothing. In fourteen lines
there are over a hundred monosyllabic words, and it could hardly be
claimed for one of them that it performs any magical evocation, such
as do those words quoted of Vaughan and Marvell. The monosyllabic
commonplace of the diction is hardly redeemed by the few words that
have some stock poetic association, and the diction is, indeed, in
itself as insignificant as the rhythm. And yet this is lovely verse,
among the best work of a great poet, and its virtue comes from its
exquisite metrical authority. So pronounced is this that the absence
of rhythmical vitality does not matter, being made good by a metrical
beauty that under this poet’s direction is in itself something as
satisfying. And the poverty of the diction is no longer poverty, taking
from the metrical genius of the verse all that it needs of colour and
temperament. Swinburne’s characteristic contribution to the poetic
technique of his age was to show that great verse could be produced
without the greatest gifts of rhythm or diction. He had an ear that
was, in one sense, faultless, but it rarely caught the long haunting
undertones of poetry that flow about the structure of most great verse,
and he could command every device of verbal luxuriance without being
able to penetrate to the last spiritual recesses of language. What,
with all his powers, he lacked of greatness in these respects, he made
good by his one unchallenged mastery. Since of the three elements of
poetic technique, metre, rhythm and diction, metre is least inscrutable
in its nature, it followed that Swinburne was at once fatally easy of
imitation and less influential than any of his peers upon the living
tradition of English poetry. Dozens of poets have written very like
Swinburne, but no poet has ever written better because of him.
Chapter VII
_Browning’s Influence--R. H. Horne--
Alfred Domett--T. E. Brown--
Coventry Patmore_
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