Classic and Contemporary Poetry
POETRY: WHAT IS IT?, by LEVI BISHOP Poet's Biography First Line: What is poetry? This question has been often propounded Last Line: Rank and character of a true poet. Subject(s): Language; Poetry & Poets; Writing & Writers; Words; Vocabulary | ||||||||
What is poetry? This question has been often propounded. It often recurs in looking over the great variety of composition in the form of verse, with which the daily newspaper press abounds. Although many attempts have been made to answer the question, it has seldom been answered correctly or satisfactorily. No attempt will now be made to answer it, much less to show how poetry may be written; but a few suggestions will be offered, which may be profitably regarded by those who may feel inclined to indulge in this species of composition. 1. To write good verses a person must be thoroughly master of the language in which he writes. He must understand its grammar minutely. Without this there can be no excellent composition of any kind; and it should be always remembered, that true poetry is the highest order of grammatical composition. 2. If the author has mastered or can master other languages than his native one, so much the better, and the more the better. Every additional language acquired, furnishes new forms and modes of expression, and opens up new fountains of thought, of knowledge, of criticism and of excellence. 3. To write good verses a person should have, at least, a general knowledge of the sciences; and as in the languages so in the sciences, the farther an author can extend his researches and his acquisitions in this direction the better. 4. The poet must be a philosopher, for every poetic composition should exhibit a familiarity with the general nature of things, and with the settled theories of causes and effects. 5. He must also be a thorough student in logic, in order to be able to give clear and forcible expression to his philosophy; for, in good poetry, the argument will appear in the body of the piece as well as in the title page. 6. He must understand geology, history, geography, chronology and astronomy, so that he may, by simple allusions to well known facts, enrich his work of fancy and of the imagination. 7. To write good verses the author must have studied thoroughly, the leading works of criticism, such as those of Aristotle, Johnson, Quintillian, Kames, Voltaire, Addison, Lamartine, Allison, Taine and Macaulay. 8. To make verses which can be at all acceptable to an intelligent reader, the author must be master of the settled rules for this species of composition, and especially with the first four specimens of poetic feet, viz.: lambics, Trocheics, Anapestics and Dactylics. Without a familiar knowledge and a strict observance of these there can be no poetic melody. 9. To write verses, the leading poets of his own language and country, together with those of as many other languages as possible, should be made familiar to the mind of the author, in order that he may possess the proper standard of taste and merit as presented in the great masters of poetry. 10. The aspirant for poetic fame should also make himself familiar with the general literature of his own language and country, for this will cast a steady light upon his efforts at poetic composition. 11. He should also as far as possible, for the same reason, form an acquaintance with the general literature of other languages and countries, the more the better. Originals are always best, but translations are often excellent, and they are generally far better than nothing. 12. The true poet must be familiar with the general dogmas and principles of the different religious systems of the world -- past and present; for these systems have exerted, do exert, and in the future will exert, a controling influence upon the moral, intellectual and physical condition of mankind. 13. The poet must have an accurate knowledge of the sounds of letters, for these sounds must enter, for better or for worse, as a most important element, into both the melody and the harmony of verse. 14. The versifier should have a taste and an ear for music, for real poetry is another form of music. If he is a master of vocal or instrumental music so much the better. Poetry and music are kindred arts, and the author who cannot make melody and sweet music in his verse, had better confine himself to the forms of prose composition. 15. The author should be master of what is known as poetic measure. In this respect, also, poetry bears a close resemblance to what is known as time or measure in music. The foot or measure in poetry is closely analagous to the bar of the staff in music. A true poet is a melodious singer, and good poetry is melifluent song. 16. A poet should also have some considerable knowledge of what are known as the other fine arts, such as painting, sculpture, architecture and landscape gardening. The farther he can go in this direction the better. 17. Some knowledge of botany is indispensable to a high order of poetry, for this branch of natural history embraces some of the best and most exquisite elements of true poetry. 18. If an author intends to compose in rhyme, he should possess a rare tact and facility at selecting and arranging rhyming syllables; otherwise his labors will be very severe. He should also be master of what is known as the classification or catalogue of rhymes. He must know what two or more syllables make admissible rhymes for the uses of poetry and what do not. Otherwise his rhymes may turn out to be no rhymes, and his poetic music to be no music at all. 19. The poet must possess the poetic spirit, inspiration, or poetic fire as it is called. This is not produced by effort or labor. Nature must furnish it or it will not exist; and he who has it not may write verses but he will never be a poet. 20. The poet must have what is called invention. That is, he must be able to invent or produce that which may lay just claims to originality, from the vast range of the imaginary, the sentimental, the physical, the sensational and the intellectual world. The true poet will be able to produce new forms, and the exhibitions of new beauties, from the world of creation. 21. The true poet will possess a just and an elevated taste; and instead of descending to vulgar tastes and pandering to them, by affecting bad orthography, bad grammar, and low and vulgar thoughts and language, he will strive to improve the popular tastes by the standard of his own. Poetry is eminently calculated to elevate, ennoble and refine the feelings and sentiments, and there cannot be a better test of true poetry than that it produces these effects upon the minds and feelings of appreciative persons. 22. The poet must be a critic. That is, he must be able, wherever he sees a piece of versification, at once to analyze, describe and classify -- its syllables, its words, its poetic feet, its lines, its couplets and its stanzas. If he cannot do this he will never write acceptable verses, for without this capacity, how can he determine the real character and standard of his own compositions? How can he hope ever to compose good verse, if he cannot analyze poetry and tell how it is and how it should be formed? 23. The poet must possess good judgment. He must be able to judge correctly of his subject and of its various incidents and episodes, whether they be of a poetic and of an appropriate character. He must also be able to judge of the proper arrangement and treatment of his subject when selected. Good practical common sense will carry even a poet very far on these various points. Finally: If the aspirant for poetic honors possesses the foregoing qualifications in a considerable degree, he may find himself able to write acceptable verses, even if he is not able to attain to the highest or even to a high order of poetry. He may be able to produce good, correct and acceptable compositions, while at the same time he may be able to lay no just claims to the rank and character of a true poet. | Discover our Poem Explanations and Poet Analyses!Other Poems of Interest...HOWYOUBEENS' by TERRANCE HAYES MY LIFE: REASON LOOKS FOR TWO, THEN ARRANGES IT FROM THERE by LYN HEJINIAN THE FATALIST: THE BEST WORDS by LYN HEJINIAN WRITING IS AN AID TO MEMORY: 17 by LYN HEJINIAN CANADA IN ENGLISH by JUAN FELIPE HERRERA THERE IS NO WORD by TONY HOAGLAND CONSIDERED SPEECH by JOHN HOLLANDER AND MOST OF ALL, I WANNA THANK ?Ǫ by JOHN HOLLANDER A HOP AT SARATOGA by LEVI BISHOP |
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