A quotation and a parody will illustrate the difference between ready-made music and music made to measure. I remember (I trust correctly) a simile of Milton’s:—
Like that fair field
Of Enna, where Proserpine gathering flowers,
Herself a fairer flower, by gloomy Dis
Was gathered, which cost Ceres all that pain
To seek her through the world.
Rearranged according to their musical phrasing, these lines would have to be written thus:—
Like that fair field of Enna,
where Proserpine gathering flowers,
Herself a fairer flower,
by gloomy Dis was gathered,
Which cost Ceres all that pain
To seek her through the world.
The contrast between the lyrical swiftness of the first four phrases, with that row of limping spondees which tells of Ceres’ pain, is thrillingly appropriate. Bespoke, the music fits the sense like a glove.
How would Poe have written on the same theme? I have ventured to invent his opening stanza.
It was noon in the fair field of Enna,
When Proserpina gathering flowers—
Herself the most fragrant of flowers,
Was gathered away to Gehenna
By the Prince of Plutonian powers;
Was borne down the windings of Brenner
To the gloom of his amorous bowers—
Down the tortuous highway of Brenner
To the god’s agapemonous bowers.
The parody is not too outrageous to be critically beside the point; and anyhow the music is genuine Poe. That permanent wave is unquestionably an ondulation de chez Edgar. The much too musical metre is (to change the metaphor once more) like a rich chasuble, so stiff with gold and gems that it stands unsupported, a carapace of jewelled sound, into which the sense, like some snotty little seminarist, irrelevantly creeps and is lost. This music of Poe’s—how much less really musical it is than that which, out of his nearly neutral decasyllables, Milton fashioned on purpose to fit the slender beauty of Proserpine, the strength and swiftness of the ravisher and her mother’s heavy, despairing sorrow!
Of the versification of ‘The Raven’ Poe says, in his Philosophy of Composition: ‘My first object (as usual) was originality. The extent to which this has been neglected in versification is one of the most unaccountable things in the world. Admitting that there is little possibility of variety in mere rhythm, it is still clear that the possible varieties of metre and stanza are absolutely infinite—and yet, for centuries, no man, in verse, has ever done or ever seemed to think of doing an original thing.’ This fact, which Poe hardly exaggerates, speaks volumes for the good sense of the poets. Feeling that almost all strikingly original metres and stanzas were only illegitimate short cuts to a music which, when reached, turned out to be but a poor and vulgar substitute for individual music, they wisely stuck to the less blatantly musical metres of tradition. The ordinary iambic decasyllable, for example, is intrinsically musical enough to be just able, when required, to stand up by itself. But its musical stiffness can easily be taken out of it.
It can be now a chasuble, a golden carapace of sound, now, if the poet so desires, a pliant, soft and, musically speaking, almost neutral material, out of which he can fashion a special music of his own to fit his thoughts and feelings in all their incessant transformations. Good landscape painters seldom choose a ‘picturesque’ subject; they want to paint their own picture, not have it imposed on them by nature. In the thoroughly paintable little places of this world you will generally find only bad painters. (It’s so easy to paint the thoroughly paintable.)
The good ones prefer the unspectacular neutralities of the Home Counties to those Cornish coves and Ligurian fishing villages, whose picturesqueness is the delight of all those who have no pictures of their own to project on to the canvas. It is the same with poetry: good poets avoid what I may call, by analogy, ‘musicesque’ metres, preferring to create their own music out of raw materials as nearly as possible neutral. Only bad poets, or good poets against their better judgment, and by mistake, go to the Musicesque for their material. ‘For centuries no man, in verse, has ever done or ever seemed to think of doing an original thing.’ It remained for Poe and the other nineteenth century metrists to do it; Procrustes-like, they tortured and amputated significance into fitting the ready-made music of their highly original metres and stanzas. The result was, in most cases, as vulgar as a Royal Academy Sunrise on Ben Nevis (with Highland Cattle) or a genuine hand-painted sketch of Portofino.
How could a judge so fastidious as Baudelaire listen to Poe’s music and remain unaware of its vulgarity? A happy ignorance of English versification preserved him, I fancy, from this realization. His own imitations of mediaeval hymns prove how far he was from understanding the first principles of versification in a language where the stresses are not, as in French, equal, but essentially and insistently uneven. In his Latin poems Baudelaire makes the ghost of Bernard of Cluny write as though he had learned his art from Racine. The principles of English versification are much the same as those of mediaeval Latin. If Baudelaire could discover lines composed of equally stressed syllables in Bernard, he must also have discovered them in Poe. Interpreted according to Racinian principles, such verses as
It was down by the dank tarn of Auber
In the ghoul-haunted woodland of Weir
must have taken on, for Baudelaire, heaven knows what exotic subtlety of rhythm. We can never hope to guess what that ghoul-haunted woodland means to a Frenchman possessing only a distant and theoretical knowledge of our language.
Returning now to ‘Ulalume,’ we find that its too poetical metre has the effect of vulgarizing by contagion what would be otherwise perfectly harmless and refined technical devices. Thus, even the very mild alliterations in ‘the ghoul-haunted woodland of Weir’ seem to protest too much. And yet an iambic verse beginning ‘Woodland of Weir, ghoul-haunted,’ would not sound in the least over-poetical. It is only in the dactylic environment that those two w’s strike one as protesting too much.
And then there are the proper names. Well used, proper names can be relied on to produce the most thrilling musical-magical effects. But use them without discretion, and the magic evaporates into abracadabrical absurdity, or becomes its own mocking parody; the over-emphatic music shrills first into vulgarity and finally into ridiculousness. Poe tends to place his proper names in the most conspicuous position in the line (he uses them constantly as rhyme words), showing them off—these magical-musical jewels—as the rastacouaire might display the twin cabochon emeralds at his shirt cuffs and the platinum wrist watch, with his monogram in diamonds. These proper-name rhyme-jewels are particularly flashy in Poe’s case because they are mostly dissyllabic. Now, the dissyllabic rhyme in English is poetically so precious and so conspicuous by its richness that, if it is not perfect in itself and perfectly used, it emphatically ruins what it was meant emphatically to adorn. Thus, sound and association make of ‘Thule’ a musical-magical proper name of exceptional power. But when Poe writes,
I have reached these lands but newly
From an ultimate dim Thule,
he spoils the effect which the word ought to produce by insisting too much, and incompetently, on its musicality. He shows off his jewel as conspicuously as he can, but only reveals thereby the badness of its setting and his own Levantine love of display. For ‘newly’ does not rhyme with ‘Thule’—or only rhymes on condition that you pronounce the adverb as though you were a Bengali, or the name as though you came from Whitechapel. The paramour of Goethe’s king rhymed perfectly with the name of his kingdom; and when Laforgue wrote of that ‘roi de Thulé, Immaculé’ his rime riche was entirely above suspicion. Poe’s rich rhymes, on the contrary, are seldom above suspicion. That dank tarn of Auber is only very dubiously a fit poetical companion for the tenth month; and though Mount Yaanek is, ex hypothesi, a volcano, the rhyme with volcanic is, frankly, impossible. On other occasions Poe’s proper names rhyme not only well enough, but actually, in the particular context, much too well.
Dead D’Elormie, in ‘The Bridal Ballad,’ is prosodically in order, because Poe had brought his ancestors over with the Conqueror (as he also imported the ancestors of that Guy de Vere who wept his tear over Lenore) for the express purpose of providing a richly musical-magical rhyme to ‘bore me’ and ‘before me.’ Dead D’Elormie is first cousin to Edward Lear’s aged Uncle Arly, sitting on a heap of Barley—ludicrous; but also (unlike dear Uncle Arly) horribly vulgar, because of the too musical lusciousness of his invented name and his display, in all tragical seriousness, of an obviously faked Norman pedigree. Dead D’Elormie is a poetical disaster.
§VII
It is vulgar, in literature, to make a display of emotions which you do not naturally have, but think you ought to have, because all the best people do have them. It is also vulgar (and this is the more common case) to have emotions, but to express them so badly, with so many too many protestings, that you seem to have no natural feelings, but to be merely fabricating emotions by a process of literary forgery. Sincerity in art, as I have pointed out elsewhere, is mainly a matter of talent. Keats’s love letters ring true, because he had great literary gifts. Most men and women are capable of feeling passion, but not of expressing it; their love letters (as we learn from the specimens read aloud at inquests and murder trials, in the divorce court, during breach of promise cases) are either tritely flat or tritely bombastic. In either case
