A Study of Poetry by Bliss Perry (ereader with android TXT) 📖

A GLANCE AT THE BACKGROUND

It is a gray day in autumn. I am sitting at my desk, wondering how to begin the first chapter of this book about poetry. Outside the window a woman is contentedly kneeling on the upturned brown earth of her tulip-bed, patting lovingly with her trowel as she covers the bulbs for next spring’s blossoming. Does she know Katharine Tynan’s verses about “Planting Bulbs”? Probably not. But I find myself dropping the procrastinating pen, and murmuring some of the lines:

“Setting my bulbs a-row

In cold earth under the grasses,

Till the frost and the snow

Are gone and the Winter passes—

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“Turning the sods and the clay

I think on the poor sad people

Hiding their dead away

In the churchyard, under the steeple.

“All poor women and men,

Broken-hearted and weeping,

Their dead they call on in vain,

Quietly smiling and sleeping.

“Friends, now listen and hear,

Give over crying and grieving,

There shall come a day and a year

When the dead shall be as the living.

“There shall come a call, a foot-fall,

And the golden trumpeters blowing

Shall stir the dead with their call,

Bid them be rising and going.

“Then in the daffodil weather,

Lover shall run to lover;

Friends all trooping together;

Death and Winter be over.

“Laying my bulbs in the dark,

Visions have I of hereafter.

Lip to lip, breast to breast, hark!

No more weeping, but laughter!”

Yet this is no way to start your chapter, suggests Conscience. Why do you not write an opening paragraph, for better for worse, instead of looking out of the window and quoting Katharine Tynan? And then it flashes over me, in lieu of answer, that I have just discovered one way of beginning the chapter, after all! For what I should like to do in this book is to set forth in decent prose some of the strange potencies of verse: its power, for instance, to seize upon a physical image like that of a woman planting bulbs, and transmute it into a symbol of the resurrection of the dead; its capacity for turning fact into truth and brown earth into beauty; for remoulding the broken syllables of human speech into sheer music; for lifting the mind, bowed down by wearying thought and haunting fear, into a brooding ecstasy wherein weeping is changed into laughter and autumnal premonitions of death into assurance of life, and the narrow paths of individual experience are widened into those illimitable spaces where the imagination rules. Poetry does all this, assuredly. But how? And why? That is our problem.

“The future of poetry is immense,” declared Matthew Arnold, and there are few lovers of literature who doubt his triumphant assertion. But the past of poetry is immense also: impressive in its sheer bulk and in its immemorial duration. At a period earlier than any recorded history, poetry seems to have occupied the attention of men, and some of the finest spirits in every race that has attained to civilization have devoted themselves to its production, or at least given themselves freely to the enjoyment of reciting and reading verse, and of meditating upon its significance. A consciousness of this rich human background should accompany each new endeavor to examine the facts about poetry and to determine its essential nature. The facts are indeed somewhat complicated, and the nature of poetry, in certain aspects of it, at least, will remain as always a mystery. Yet in that very complication and touch of mystery there is a fascination which has laid its spell upon countless generations of men, and which has been deepened rather than destroyed by the advance of science and the results of scholarship. The study of folklore and comparative literature has helped to explain some of the secrets of poetry; the psychological laboratory, the history of criticism, the investigation of linguistics, the modern developments in music and the other arts, have all contributed something to our intelligent enjoyment of the art of poetry and to our sense of its importance in the life of humanity. There is no field of inquiry where the interrelations of knowledge are more acutely to be perceived. The beginner in the study of poetry may at once comfort himself and increase his zest by remembering that any real training which he has already had in scientific observation, in the habit of analysis, in the study of races and historic periods, in the use of languages, in the practice or interpretation of any of the fine arts, or even in any bodily exercise that has developed his sense of rhythm, will be of ascertainable value to him in this new study.

But before attempting to apply his specific knowledge or aptitude to the new field for investigation, he should be made aware of some of the wider questions which the study of poetry involves. The first of these questions has to do with the relations of the study of poetry to the general field of Aesthetics.

1. The Study of Poetry and the Study of Aesthetics

The Greeks invented a convenient word to describe the study of poetry: “Poetics.” Aristotle’s famous fragmentary treatise bore that title, and it was concerned with the nature and laws of certain types of poetry and with the relations of poetry to the other arts. For the Greeks assumed, as we do, that poetry is an art: that it expresses emotion through words rhythmically arranged. But as soon as they began to inquire into the particular kind of emotion which is utilized in poetry and the various rhythmical arrangements employed by poets, they found themselves compelled to ask further questions. How do the other arts convey feeling? What arrangement or rhythmic ordering of facts do they use in this process? What takes place in us as we confront the work of art, or, in other words, what is our reaction to an artistic stimulus?

For an answer to such wider questions as these, we moderns turn to the so-called science of Aesthetics. This word, derived from the Greek aisthanomai (to perceive), has been defined as “anything having to do with perception by the senses.” But it was first used in its present sense by the German thinker Baumgarten in the middle of the eighteenth century. He meant by it “the theory of the fine arts.” It has proved a convenient term to describe both