John Gould Fletcher

“ The grey grows ever denser, and soon the night will fall:
The wind runs sobbing over the beach and touches with its hands
Straw, chaff, old bottles, broken crates, the litter of the sands.
Sometimes the bloated carcase of a dog or fish is found,
Sometimes the rumpled feathers of a sea-gull shot or drowned.
Last year it was an unknown man who came up from the sea,
There is his grave hard by the dunes under a stunted tree.
With heavy doleful clamour, hour on hour, and day on day,
The muddy groundswell lifts and breaks and falls and slides away.
(2) SNOW AT SEA
Andante. ”

“ The second range of problems with which we are immediately concerned, when we examine the poetic craft, is that which is generally expressed under the name of rhyme.
Now rhyme is undoubtedly an element of poetry, but it is neither an indissoluble element, nor is it, in every case, an inevitable one. In the main, the instinct which makes for rhyme is sound. Poetry is an art which demands—though not invariably—the utmost richness and fulness of musical effect. When rhyme is considered as an additional instrument of what may be called the poetic orchestra, it both loses and gains in importance. ”

“ Every one is talking—many poets, poeticules, and poetasters are writing—what they call "free verse." Let there be no mistake about one thing. Free verse that is flabby, in-organic, shapelessly obvious, is as much of a crime against poetry as the cheapest echo of a Masefield that any doggerel scribbler ever strummed. ”

“ With their exaggerated vanity, they have attempted to make of their craft a Masonic secret, iterating that a poet composes by ear alone; that rhythm is not to be analyzed, that rhyme is sacrosanct; that poets, by some special dispensation of Providence, write by inspiration, being born with more insight than other men ”

“ The art of poetry as practised in the English-speaking countries to-day, is in a greatly backward state. Among the reading public there are exactly three opinions generally held about it. The first, and by far the most popular, view is that all poets are fools and that poetry is absurd. The second is that poetry is an agreeable after-dinner entertainment, and that a poet is great because he has written quotable lines. The last and worst is that which strives to press the poet into the service of some philosophical dogma, ism, or fad. ”

“ Stress may be produced by accent. It may—and often is—produced by what is known as quantity, the breath required to pronounce certain syllables being more than is required on certain others. However it be produced, it is precisely this insistence upon cadence, upon the rhythm of the line when spoken, which sets poetry apart from prose, and not —be it said at the outset—a certain way of printing, with a capital letter at the beginning of each line, or an insistence upon end-rhymes. ”

“ Never was life lived more richly, more fully, with more terrible blind intensity than it is being lived at this instant. Never was the noble language which is ours surpassed either in richness or in concision. ”

“ Dancing, dancing, suddenly flickering and quivering
Like little feet or the movement of quick hands clapping,
Or the rustle of furbelows or the clash of polished gems.
The palpitant mosaic of the midday light
Colliding, sliding, leaping and lingering:
O, I could lie on my back all day,
And mark the mad ballet of the midsummer sky.
V
Over the roof-tops race the shadows of clouds ”

“ Swirling and falling,
Sucked into the oily
Blue-black surface
Of the sea.
We pounded on slowly;
From our bows sheeted
A shuddering mass of heavy foam:
Night closed about us,
But ere we were darkened,
We saw close in
A great gaunt schooner
Beating to southward.
Silently fell
The snow on the waters,
As we pounded north
In the winter evening.
(3) THE NIGHT WIND
Adagio lamentoso. ”

“ It gains because it is used intelligently as a device for adding richness of effect, instead of blindly as a mere tag at the end of a line.
The system which demands that the end of every line of poetry must rhyme with the end of some one preceding or following it, has not even the merit of high antiquity or of civilized adherence. In its essence it is barbarous; it derives from the stamping of feet, clapping of hands, pounding of drums, or like devices of savage peoples to mark the rhythms in their dances and songs. ”

“ Nevertheless, I believe that there would have been fewer mute inglorious Miltons, greater respect paid to poetry, and many better poets, if the poets themselves had stopped working through sheer instinct and set themselves the task of considering some elementary principles in their craft. In this belief, and in the hope of enlightening some one as to the aim and purpose of my work, I am writing this preface.
To begin with, the basis of English poetry is rhythm, or, as some would prefer to call it, cadence. This rhythm is obtained by mingling stressed and unstressed syllables. ”

“ It was Theophile Gautier, I think, who offered to teach any one how to write poetry in twenty-five lessons. Now this view has in it some exaggeration, but, at the same time, much truth. No amount of lessoning will turn an idiot into a wise man, or enable a man to say something when he is naturally one who has nothing to say. ”

“ We can have a rapid group of syllables—what is called a line—succeeded by a slow heavy one; like the swift, scurrying-up of the wave and the sullen dragging of itself away. Or we can gradually increase or decrease our tempo, creating accelerando and rallentando effects. ”

“ Is it any wonder that the public is indifferent, hostile, or befooled when poets themselves disdain to explain clearly what they are trying to do, and refuse to admit the public into the privacy of their carefully guarded workrooms? ”

“ There is a great deal to be learned from the French poets—Parnassians, Symbolists, Whitmanites, Fantaisistes—who have, in the years 1860 to 1900, created a new Renaissance under our noses. But above all, what will teach us the most is our language and life. ”

“ Now this rhythm can be made the same in every line of the poem. This was the aim of Alexander Pope, for instance. My objection to this method is that it is both artificial and unmusical. In the case of the eighteenth century men, it gave the effect of a perfectly balanced pattern, like a minuet or fugue. In the case of the modern imitator of Kipling or Masefield, it gives the effect of monotonous rag-time. In neither case does it offer full scope for emotional development.
I maintain that poetry is capable of as many gradations in cadence as music is in time. ”

“ We have the material with which to work, and the tools to do the work with. It is America's opportunity to lay the foundations for a new flowering of English verse, and to lay them as broad as they are strong. ”

“ Gradually we find the public attention dropping away from these juggling feats performed with stale form, and turning to what may be called the new balladist—the street singer who is content to doggerelize and make strident a once noble form. ”

“ The good poem is that in which all these effects are properly used to convey the underlying emotions of its author, and that which welds all these emotions into a work of art by the use of dominant motif, subordinate themes proportionate treatment, repetition, variation,—what in music is called development, reversal of roles, and return In short, the good poem fixes a free emotion, or a free range of emotions, into an inevitable and artistic whole. ”

“ Or we can follow a group of rapid lines with a group of slow ones, or a single slow, or vice versa. Finally, we can have a perfectly even and unaltered movement throughout if we desire to be monotonous. ”