-
Edward Lear and Modern Poetry
- Johns Hopkins University Press
- document
- Additional Information
Mr. Eliot began with the remark that the subject was essentially too difficult and abstruse a one for him, and that he could offer only a tentative suggestion of hardly more than the problem itself (
He used as the key note of his lecture the words of Walter Pater: “All art consciously aspires towards the condition of music,” so that perfection of poetry “seems to depend, in part, on a certain suppression . . . of mere subject, so that the meaning reaches us through ways not directly traceable by the understanding” (
Eliot told his audience that there are two types of poetry, one in which the words are used simply to give meaning, the other in which the words are used for their sonic effect, but in great poetry the words do both (
One of his themes was that modern “unintelligible” poetry derives from Lear as one of its sources. Lear, a contemporary of Lewis Carroll, the author of
Edward Lear, author of
There were a few neatly juggled observations − about the more adult appeal of Lear’s nonsense in comparison with Carroll’s, and about the probability that a child who prefers Lear’s verse to Carroll’s has a sense of poetic appreciation − about the relative merits of Lear, who says something poetic even when he expresses an intent to make no sense, and Swinburne, who expresses an implied intent to make sense, but says nothing poetic about the emotional conception of poetry as “musings”; art in contrast with the more detached conception of poetry as a resolving of emotional and critical functions (
Both poets suppress some elements which we ordinarily expect in “normal” poetry, in order to enhance our enjoyment of other elements. All “obscure” poets such as those of today always isolate some element. Carroll isolates the intellectual elements while Lear isolates the pure poetry, or musical element, and appeals to the child in the adult. Carroll is metaphysical while Lear is romantic (
Eliot defined four classes of poets where the question of meaning arises: those who mean something, those who think they mean something, those who don’t mean anything, and the obscure poets. He then read selections from and drew comparisons between Lear and Tennyson, Swinburne, Mallarmé, W. H. Auden, and Lewis Carroll (