ACL 1002 |
Lecture week 10 by Ian Syson |
The History of Poetry/More properly the histories of poetry. Looking at the history of
I'll start with a proposition: It would seem easy to come to the conclusion that poetry today is less popular and less viable than at any other time in its history.
The energetic performance and alternative poetry scene that exists today is no real measure. It obtains its energy from its sense of marginality and perhaps even holding the candle for poetry. Yet I'm not sure that this represents a very different situation from any number of moments in the history of poetry. Were we to focus on certain historical periods we would see poetry as being thought of as
Throughout history, poets have devoted almost as much energy to finding a sponsor as they have to writing poetry itself.
eg Dylan Thomas, in the 1940s, wrote “In my Craft or Sullen Art” recognising that he was writing for a small audience. The poetry of WB Yeats and TS Eliot for example, written in the modernist period, often reflects this sense of the poet being alone
Also the poet as bit player on the margins or as suffering existential doubt Eliot's 'Lovesong of J Alfred Prufrock' concludes:
This individual angst can sometimes be translated into a more genreal and cataclysmic vision
These are bleak views of the period in which the poets live -- yet are ones that seems to recur in modernist poetry. Though perhaps poetry written immediately prior to, during, or after the first world war is bound to be bleak. However, if we are after solitude, alienation and even despair, then we really need look no further than the romantic period (1780-1830). Wordsworth's "Daffodils", for example, is a kind of metaphor for the poet's role and the limited circle of the poet's nonetheless powerful impact.
And this tradition might well begin here. This self-consciousness about poetry being written in a vacuum or for few people seems to be a post-romantic (discuss this term) notion, something that mainly exists in poetry from the 19 and 20th centuries. Prior to this time poetry was the predominant literary form. Poetry's function had not yet been usurped by the novel and so tended to include a broader range of themes and types. Discursive prose was an important though barely disseminated practice and creative prose (or the novel) was in its infancy. A lot of the poetry written prior to the romantic period shows much less explicit sense of being aware of itself as poetry. This is despite the arguable paradox that it was written with greater use of what we think of as poetic devices. This earlier poetry is also often much stronger in terms of argument, narrative and allegory. The romantic period is the one in which in other fields is seen as a period of revolution: French, American, industrial. These bring about
Such forces helped to produce a rupture in the world of letters and a bifurcation between poetry and prose. The romantic period represents something of a revolutionary moment in poetry as well -- in all of the senses we are looking at today:
If we want to look at the previous 700 years, what we might identify is a gradual formal fragmentation of poetry from something like The Canterbury Tales into something like 'The Red Wheelbarrow'. From a public narrative about public narration to a wistful, oblique meditation on mundane objects. What are some threads we could draw?
Now I don't want these generalisations to be taken as the whole story because there are countervailing trends. For a start there is a whole ballad tradition which becomes important in relation to poetry during the romantic period. The romantic poets write verse which bears a strong though sometimes controversial relation to this tradition: The Rime of the Ancient Mariner and poets like Robbie Burns and Rudyard Kipling are firmly placed within it. Australian poetry of the 1890s is largely written in ballad form. Significantly, this poetry was genuinely popular, often being published in widely circulated magazines and newspapers like The Bulletin, The Worker and The Dawn. As far back as we look we short fragmentary verse being written and today we can observe the writing of formal verse and even verse novels. Amid all the Popes or Drydens writing their grand satires and narratives in the 17 and 18C, we still have the odd Aphra Behn writing powerful poetry of personal anguish. And amid the 20th century dominance of free verse we still can observe poets like Dylan Thomas writing in a rigid form to powerful effect. Dylan Thomas, “Do not go gentle into that Good Night” Nevertheless, I think it is ultimately correct to see the history of poetry as a history in which formal shifts seem to have a trajectory. I leave it up to you to wonder why.
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