Jan 152003
 

Part II: External Evidence
Part III: Scansion
Part IV: Public and Private Reading
Part V: Tenor and Vehicle
Part VI: Practice

“Poetry should be at least as well-written as prose.” –Ezra Pound

It should also be at least as well read. Poems are in words, words have denotations, and strings of words have, or ought to have, a logical meaning. The reader’s first obligation is to figure out what that meaning is. This is as true in poetry as in prose. The critic Cleanth Brooks devoted a famous book, The Well-Wrought Urn, to debunking what he called “the heresy of paraphrase,” by which he meant that the meaning of a poem is not identical with its paraphrase. Of course this is true — there would be no reason to write the poem if it weren’t; but I think even Brooks would concede that if we can’t approximate the poem in prose then we aren’t likely to get very far. Consider this poem from Thomas Hardy:

My spirit will not haunt the mound
Above my breast
But travel, memory-possessed,
To where my tremulous being found
Life largest, best.

My phantom-footed shape will go,
When nightfall grays,
Hither and thither along the ways
I and another used to know
In backward days.

And there you’ll find me, if a jot
You still should care
For me, and for my curious air;
If otherwise, then I shall not,
For you, be there.

Forget about the rhyme and the meter for the moment. Just lay it out in prose and ask yourself, what is Hardy talking about? The narrator refers to “his spirit” his “tremulous being,” and his “phantom-footed shape.” The narrator is imagining himself posthumously, as a ghost; once you realize this the other details fall into place. The “mound above my breast” is the dirt on his grave; he will come out “when nightfall grays” because that is when ghosts appear.

A prose paraphrase would go something like this: I will live, after I die, in the places that I loved and in the memories of the people whom I loved and who loved me. Only they, the living, can bring me, the dead, to life again.

Perhaps this seems obvious. Yet two highly intelligent and literate people to whom I have shown this poem have been utterly unable to make it out, and I know they would have easily deciphered a prose passage of equal difficulty.

Tomorrow I will talk about some of the things that are left out of the paraphrase.

Jan 152003
 

1. No psychologizing. Rachel Lucas was widely praised for this analysis of Michael Moore’s inner life. It was funny, and it might even be true. But it is irrelevant to Michael Moore’s arguments, which are bad, and even to Michael Moore’s behavior, which is worse. By their fruits shall ye know them. There is a scene in the very funny movie Office Space where one character, having been drawn by another into an absurd criminal scheme, turns to him and says, “You are a very bad person, Peter.” That’s what I think of Michael Moore: he’s a very bad person, who believes very stupid things. There the matter ends.

2. No attribution of motives. This is a related matter, and I’ve discussed it on a large scale with Bush and Iraq. Many of the loonier anti-war arguments, like the accusations about Bush avenging his father or setting up his Houston cronies with a sweet deal, rely on attribution of motives and can be dismissed out of hand. On a tiny scale it happened to me just yesterday. The usually superb Colby Cosh and I were arguing about Pulp Fiction and he accused me of pretending not to like it to be au courant. Now how would he know? And even if he were right the fact would neither strengthen Colby’s argument nor weaken mine.

3. No tribal pleading. Nothing is more tiresome than constant shilling for one party or the other. The lesson of Sid Blumenthal, once a respected and interesting journalist, later a Democratic party shill, and finally a hired flack, has been lost on such people. (Paul Krugman is at stage 2 of the Blumenthal trajectory.) Whoever is tempted to this should remember that it was his loyalty to certain ideas, one hopes, that made him loyal to a party, not the other way around.