Approaching poetry
Approaching poetry

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Approaching poetry

1 Approaching poetry

What is the point of analysing poetry? One simple answer is that the more we know about anything the more interesting it becomes: listening to music or looking at paintings with someone who can tell us a little about what we hear or see – or what we‘re reading – is one way of increasing our understanding and pleasure. That may mean learning something about the people who produced the writing, music, painting that we are interested in, and why they produced it. But it may also mean understanding why one particular form was chosen rather than another: why, for example, did the poet choose to write a sonnet rather than an ode, a ballad, or a villanelle? To appreciate the appropriateness of one form, we need to be aware of a range of options available to that particular writer at that particular time. In the same way, we also need to pay attention to word choice. Why was this particular word chosen from a whole range of words that might have said much the same? Looking at manuscript drafts can be really enlightening, showing how much effort was expended in order to find the most appropriate or most evocative expression.

Activity 1

Click on the link below to read and compare the two versions of William Blake's ‘Tyger’. The one on the left is a draft, the other is the final published version.

William Blake's ‘Tyger’ [Tip: hold Ctrl and click a link to open it in a new tab. (Hide tip)]

Discussion

The most obvious difference between the two is that stanza 4 of the draft does not survive in the published version, and an entirely new stanza, ‘When the stars threw down their spears’, appears in the finished poem. Significantly this introduces the idea of ‘the Lamb’, a dramatic contrast to the tiger, as well as the idea of a ‘he’ who made the lamb. One similarity between draft and final version is that each is made up entirely of unanswered questions. But if you look at the manuscript stanza 5, you can see revisions from ‘What’ to ‘Where’, and the struggle with the third line, where Blake eventually decided that the idea of an arm was redundant, subsumed in the notions of grasping and clasping. The two rhyme words are decided – grasp/clasp – but in which order should they come? ‘Clasp’ is a less aggressive word than ‘grasp’; ‘clasp’ is not quite as gentle as an embrace, but it is closer to embracing than ‘grasp’ is – so it must be for deliberate effect that we end up with ‘What dread grasp/Dare its deadly terrors clasp?

It is rare to have manuscript drafts to examine in this way, but I hope that this convinces you of the kind of attention writers pay to word choice. Let us take one more example. Think about this first stanza of Thomas Hardy's ‘Neutral Tones’ (1867):

We stood by a pond that winter day,

And the sun was white, as though chidden of God,

And a few leaves lay on the starving sod;

– They had fallen from an ash, and were gray.

(Gibson, 1976, p. 12)

Notice that, in the last line, ‘oak’ or ‘elm’ would work just as well as far as the rhythm or music of the line is concerned, but ‘ash’ has extra connotations of greyness, of something burnt out, dead, finished (‘ashes to ashes’, too, perhaps?), all of which contribute to the mood that Hardy conveys in a way that ‘oak’ or ‘elm’ wouldn't.

To return to my original question then, ‘what is the point of analysing poetry?’, one answer is that only an analytical approach can help us arrive at an informed appreciation and understanding of the poem. Whether we like a poem or not, we should be able to recognise the craftsmanship that has gone into making it, the ways in which stylistic techniques and devices have worked to create meaning. General readers may be entirely happy to find a poem pleasing, or unsatisfactory, without stopping to ask why. But studying poetry is a different matter and requires some background understanding of what those stylistic techniques might be, as well as an awareness of constraints and conventions within which poets have written throughout different periods of history.

You may write poetry yourself. If so, you probably know only too well how difficult it is to produce something you feel really expresses what you want to convey. Writing an essay presents enough problems – a poem is a different matter, but certainly no easier. Thinking of poetry as a discipline and a craft which, to some extent, can be learned, is another useful way of approaching analysis. After all, how successful are emotional outpourings on paper? Words one might scribble down in the heat of an intense moment may have some validity in conveying that intensity, but in general might they not be more satisfactory if they were later revised? My own feeling is that a remark Wordsworth made 200 years ago has become responsible for a number of misconceptions about what poetry should do. In the Preface to a volume of poems called Lyrical Ballads (1802) he wrote that ‘all good poetry is the spontaneous overflow of powerful feelings’ (Owens and Johnson, 1998, p.85,11.105–6). The second time he uses the same phrase he says something that I think is often forgotten today: ‘poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquillity’ (my italics) (ibid., p. 95, ll.557–8). Notice the significant time lapse implied there – the idea that, however powerful or spontaneous the emotion, it needs to be carefully considered before you start writing. He goes on:

The emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion kindred to that which was before the subject of contemplation is gradually reproduced, and does itself actually exist in the mind. In this mood successful composition generally begins.

You don't have to agree with Wordsworth about what poetry is or how best to achieve it. (Would you always want a poem to express powerful emotion, for example? I referred to Hardy's ‘Neutral Tones’ above, where the whole point is that neither of the two characters described feels anything much at all.) But the idea of contemplation is a useful and important one: it implies distance, perhaps detachment, but above all re-creation, not the thing itself. And if we try to re-create something, we must choose our methods and our words carefully in order to convey what we experienced as closely as possible. A word of warning though: writers do not always aim to express personal experiences; often a persona is created (see discussion of ‘Voice’ in Section 8).

The poet Ezra Pound offered this advice to other poets in an essay written in 1913: ‘Use no superfluous word, no adjective, which does not reveal something’ (Gray, 1990, p. 56). And in the 1950s William Carlos Williams advised, ‘cut and cut again whatever you write’. In his opinion, the ‘test of the artist is to be able to revise without showing a seam’ (loc. cit.). That sewing image he uses appeals to me particularly because it stresses the notion of skilled craftsmanship. Pound and Williams were American, writing long after Wordsworth, but, as you can see, like countless other poets they too reflected very seriously on their own poetic practice. I hope this helps convince you that as students we owe it to the poems we read to give them close analytical attention.

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