Wim Van Mierlo, School of Advanced Studies, University of London
The
process that leads to poetic creation has since Shelley's Defence of
Poetry been divided into two distinct stages: inspiration and craft.
What is the place in this distinction of form? And of such formal
procedures as rhythm and prosody?
In my view, it
cannot be that form is simply a secondary matter in poetic creation;
after all, Renaissance poets seemed to think in iambic pentameter.
Robert Graves, who has defined the difference between inspiration and
craft most acutely in the twentieth century, agrees that at least
certain aspects of form are more than craft alone when he locates the
emergence of rhythm in the first stage of poetic creation.
Creation happens during the supra-logical reconciliation of conflicting
emotional ideas, but interestingly the unconscious workings of emotion
that produce poetry-in-the-rough is rhythmically formed in the mind of
the poem. Everything else is technically unformedthe phrasing [is]
eccentric, the texture clumsy, the syntax rudimentary, the
thought-connections ruled by free-associationand must be subject to
revision and refining during the secondary phase of composition using
common-place principles.
Graves's statement, of
course, is a statement about poetic practice, not that practice
itself. While creation is largely something that happens in the
mind, one can find the traces of the creative process in any surviving
drafts and manuscripts. It is against the manuscripts of a
select number of poemsprimarily by W.B. Yeats, with some brief allusions
to the poetry of Wilfred Owen and Graves himselfthat I want compare
these statements. My aim in this paper is not to draw
generalizations about the rhythmical inculcation during the composition
process, but to look at a few samples to see how the rhythmical and
prosodic practices of individual poets emerge during composition.
What one can readily observe is that even the roughest draft of a poem
is rhythmically formedat least to a degree. No poem comes into
being that does not have a sense of rhythm, and in that respect Graves
was right. (In Sailing to Byzantium, for example, the rhythm of
lines that are metrically regular echo through the draft stages, even in
some early segments whose imagery and themes proved to be an unfruitful
starting point.) Yet rhythm changes during composition, as it is
refined and adapted, but also as the poet discovers the functionality of
the rhythm and varies it to good effect. In that respect Graves,
perhaps, was not right. The composition methods of Yeats, Owen and
others (essentially of all poets who compose on paper rather than in
the head) reveal that writing is very much exploratory: it is a process
of discovery as much as it is a process of realizing intention or
inspiration. To reverse a common-place, writing a poem is not an
attempt to recreate the ideal poem first apprehended in a vision (the
so-called flash of inspiration), but to create something coherent out of
a series inchoate, fragmentary elements. When the poet begins to
write, he does not yet knowhe cannot foreseewhat the final poem will
look like. He achieves that final poem one step at the time. As to
rhythm, this is demonstrated in the trajectory that the metre follows
in composition: the rhythm from a line in an early draft of Sailing to
Byzantium (All in this landmy maker at his play) establishes the base
pentametric pattern that supports the poem (compare with the line The
salmon-falls, the mackerel crowded seas), but during composition the
metre increasingly becomes more daring, agitated (Helen Vendler's
description).
Form (in general) and rhythm (in
particular) thus do not merely belong to the domain of craft, but to the
domain of invention proper. When I read poetry, T.S. Eliot said, I put
myself in a kind of trance and move in rhythm to rhythm of the piece in
question. Yeats is famously known for canting his poem into
existence, and as his drafts show, as well as those of Wilfred Owen, the
poet is trying to move to a rhythm while he is writing, a rhythm
intuitively felt and expressed. In this paper, therefore, I will
aim to demonstrate what important role rhythm plays the creation and
shaping of a poem ab initio.