Apr 30, 2015


I read a funny one the other day, about ambiguity in poetry. I don't remember where I saw this little piece on the beauty of poetry, that it lies in nearly infinite ambiguity, and I couldn't find it again. But I remember the opening spot-on. The writer quoted the first line of a Wallace Stevens's poem "The Snow Man," which Yvor Winters considered one of the greats of the language. The line goes, "One must have a mind of winter..." The writer thought this a beautiful line because to him it is nearly infinitely ambiguous. It can mean just about anything to anybody. But the line isn't ambiguous or open to endless personal interpretation in the least. Certainly, the line is open to endless application in individual lives, in the mind of each person reflecting on Stevens's idea, as all writing is, but it has one clear and obvious meaning. The poem is about human interaction with the world, and in context the line is meant to point out that a human would have to be something wholly other than a human to feel and know the natural world, which gives us so little direct knowledge of itself to us that it seems like ice and snow. Now, what that "message" or "point" or "communication" might mean in your life is for you to decide. But the meaning of the line and nearly every word in the poem is perfectly clear. It was amusing to see a writer defending that rusted ol' saw that the ambiguity of poetry is what makes it beautiful and great by offering a line that's as clear as glass.

Feb 26, 2015

Philip Levine

The American poet Philip Levine died this month. He was a graduate student of Yvor Winters's in the last years of Winters's life in the mid-1960s. Levine was published all over the place during his career. I read his work often in The New Yorker over several decades. I like some of Levine's "poems," if poems they are. He claimed that he wrote a lot of his poetry in syllabic verse, verse that has the same number of accented syllables in each line (and as many unaccented syllables as the poet wishes) in each variable stanza. To my moderately practiced reading eye and ear, I have seen syllabic verse, Levine's included, too often devolve into nothing distinguishable as verse at all. Levine, in my judgment, almost always wrote prose broken up into lines, what I call "prosetry." He wrote mostly descriptive poetry that was vaguely melancholy in the way of the modern artist. A lot of his work was "prosetic musing," a ubiquitous sort of poem that meanders about from topic to topic by association: "look at this, look at that, this happened, then that happened," and so on -- until the poet runs out of gas, which seems to the only acceptable kind of ending to this sort of prosetry, to run out of gas and roll slowly to a stop with two tires on the shoulder. I was naturally drawn to Levine's work because, as he did, I grew up in the Detroit area. His descriptions of various events and places of his early life are occasionally interesting, but nothing significant. He could turn a nice phrase a few times in every musing, but that was about it, which might be plenty for anyone. I never saw any influence of Winters in his work (except that claim about syllabics, which Winters was interested in as an experimental verse form) or read anything that helped me understand what he got from Winters.

Jan 15, 2014

Good First Lines

Good first lines from Yvor Winters's criticism:

"Before attempting to elucidate or to criticize a poetry so difficult and evasive as that of the best moderns, it would appear wise to summarize as clearly as possible those qualities for which one looks in a poem. We may say that a poem in the first place should offer us new perceptions, not only of the exterior universe, but of human experience as well; it should add, in other words, to what we have already seen. This is the elementary function for the reader."

Those are the fine opening sentences of "The Morality of Poetry, from Primitivism and Decadence. which was republished in In Defense of Reason. And to that I saw "Amen."

I've been out of regular circulation here for quite a while, but I've been bulding up the energy for another run at this blog. We'll see what comes about.

Mar 29, 2012

The Stupidest

I must emerge from my hiatus to say that David Orr's new book on contemporary poetry, "Beautiful and Pointless," just about has to be the stupidest piece of writing on poetry I have ever seen. Orr is a sometime reviewer of poetry for the New York Times. He even took a few wild swings at Yvor Winters's poetry in a short NYT piece about a decade ago. The kindest thing I can think of to say about Orr's new book -- and I am trying to be kind -- is that it is simply wrong on both counts. Poetry nowadays is rarely -- extremely rarely -- beautiful, and it isn't pointless, either. Orr spends a good deal of space trying to explicate poems from recent times, but you have to wonder why. Aren't they pointless?

But, of course, poetry is a form of communication like any other, as we all know and as Yvor Winters and J.V. Cunningham explained with such wisdom and insight, except for these fools who want to carve out some mystical never-never-land for poetry. What they have done, Orr and his ilk, is so degrade poetry as to make it culturally meaningless, as is shown clearly in its ever declining status and importance as an art. Orr goes on and on about how we who read poetry just plain love poetry, and that that's the only reason we read it. He writes, as an analogy, that nobody asks what some rapper is trying to say with his rap. How utterly stupid. Lots of sensible people are trying to figure out what rappers are saying, because it is quite obvious that they are frequently, if not always, trying to say something, trying to make a point -- and on occasion trying to make very serious points.

Of course passionate readers love language and sharp turns of phrase (not that there are many to glean from the ugly poems quoted in Orr's book). But we know that language is a form of communication. Poets should be trying to say something to us with their beautiful language, for the truths of a poem are the culmination of our love for its language. In fact, poetry usually becomes ugly when poets get tangled up with these stupid theories of poetry's pointlessness. How sad! But let them write on, these pointless poets. I won't endeavor stop them. They are welcome to the drek they produce. But I won't say their work is poetry, or good poetry, or worth reading.

But, please, those who care, please keep writing good poetry, works of art that make points, and make them beautifully.

Oct 13, 2010

The Birds Begin to Sing

Have you taken any interest in Roger Scruton's new book, Beauty, which came out with some fanfare last year? One short essay among several that were published to promote the book drew my attention some time back, the piece on the desecration of the beautiful in the City Journal (spring, 2009). I had wanted to write about this short essay when it came out, but was distracted by other matters. The piece was entitled "Beauty and Desecration: We must rescue art from the modern intoxication with ugliness."

It's a hard-nosed look at the desire of artists to "throw dirt" on everything normally considered beautiful in life and thought, past and present. Scruton exagerrates quite a bit about how much dirt is being thrown and how often it's being thrown, but he appears to have at least a somewhat valid point. As we all know, a number of avant-garde artists have taken to desecrating anything and everything they can get their paint on (to mention just one artistic medium getting rather dirty nowadays). Scruton's answer to the problem, since the human desire to sense beauty remains strong, is not to return to the masters of the past who cherished the truly beautiful, however that might be determined, but to look anew for beauty in our lives, at least the kinds of beauty Scruton thinks are truly beautiful.

I have my doubts about Scruton's idea, however, since as laid out in the essay, and the book itself, the idea plays right into the hands of the romanticism that led to the break down in traditional conceptions of beauty in the first place — that led to the desire to make everything new, to break apart every trustworthy and trusted convention, to show that everything people thought was beautiful is dying or dead. Such general topics came up frequently, if obliquely, in the criticism of Yvor Winters. But before we get to Winters, though, here's Scruton on the ordinary beauties that have become commonplace in criticism in our age:

At the same time, philosophers like Shaftesbury, Burke, Adam Smith, and Kant recognized that we do not look on the world only with the eyes of science. Another attitude exists — one not of scientific inquiry but of disinterested contemplation — that we direct toward our world in search of its meaning. When we take this attitude, we set our interests aside; we are no longer occupied with the goals and projects that propel us through time; we are no longer engaged in explaining things or enhancing our power. We are letting the world present itself and taking comfort in its presentation. This is the origin of the experience of beauty. There may be no way of accounting for that experience as part of our ordinary search for power and knowledge. It may be impossible to assimilate it to the day-to-day uses of our faculties. But it is an experience that self-evidently exists, and it is of the greatest value to those who receive it.

When does this experience occur, and what does it mean? Here is an example: suppose you are walking home in the rain, your thoughts occupied with your work. The streets and the houses pass by unnoticed; the people, too, pass you by; nothing invades your thinking save your interests and anxieties. Then suddenly the sun emerges from the clouds, and a ray of sunlight alights on an old stone wall beside the road and trembles there. You glance up at the sky where the clouds are parting, and a bird bursts into song in a garden behind the wall. Your heart fills with joy, and your selfish thoughts are scattered. The world stands before you, and you are content simply to look at it and let it be.

Is this not tripe? A band of sunlight "trembles there"? A bird "bursts into song"? Can a man as thoughtful and learned as Roger Scruton be serious? As nice and sweet as all this sounds, I believe that Winters would have thought Scruton's now commonplace distinction between concept and feeling, which arose from romanticism, too wide and sharp. Winters didn't think there is any unbrigeable chasm between sensing something to be beautiful and gaining insight into it, or even putting it to use (putting aside my longstanding puzzlement, which I have oft discussed, at why in our age critics and artists consider the usefulness of art so horrible). Winters seemed to combine thought and feeling nicely in his artworks and criticism, both of which are deeply powerful. Winters believed that the final cause of the literary arts is understanding, in what we now call a holistic sense — that is, embracing both concept and feeling, thought and emotion. (That is a "use," by the way, and I don't think there is anything the least ugly or dirty about being useful in such a manner.) Scruton's defense against dirt, as tremblingly admirable as it might appear on the surface, gives far too much ground to the romanticism that helped breed, in our late decadence, the desire to exalt ugliness, the unending obession with breaking all traditions, which Emerson, Winters's one-time bĂȘte noire, did so much to help make, in the early days of American culture, the shibboleth of modern culture.

Incongruously, the ugly dirt-throwing art often seems stronger as art than the trivial, trembling, mostly decorative "thereness" or "thisness" that recent poetry has sought to express. At least the dirt throwing is trying to say something, to help us understand some subject, rather then to wallow in trivial experiences like birds singing in trees and sun-rays falling. Winters was sharp on this point, once again in the long-ignored essay on John Crowe Ransom from In Defense of Reason. (Let me pause to note that this wonderfully insightful essay has occasioned almost no comment at all from other critics, even those directly engaged with or inspired by Winters, in the past 70 years).

At this point I must interrupt again [concerning Ransom's comment that Winters thought the only kind of poetic experience is ethical experience] to comment. I believe, to be sure, that ethical interest is the only poetic interest, for the reason that all poetry deals with one kind or another of human experience and is valuable in proportion to the justice with which it evaluates that experience; but I do not believe that a descriptive poem is negligible or off the real line of poetry. A descriptive poem deals with a certain kind of experience, an extremely simple kind, but one of real value; namely, the contemplation of some fragment of the sensible universe. This is a moral experience, like any other, and the task of the poet is to evaluate it for what it is worth.

Roger Scruton believes that artists should once again adopt the goal of art as pure descriptive beauty (in his manifestly shallow sense). But this idea has slowly wrought the damage that has led to the greater and greater loss of beauty in the literary arts, down to the dirt-throwing desecrations of the present age, as ever more artists have refused to seek understanding as the final cause of their art — the evaluation of experience, as Yvor Winters put it.

Nonetheless, Scruton's piece is worth reading. What is the role of beauty in a classical, moral theory of art as Yvor Winters roughly sketched it in his criticism? Winters didn't have enough to say on that important topic — in fact, he sometimes irritably dismissed the whole matter, as in the opening paragraphs of the "Preliminary Statement" to Forms of Discovery. I believe that the subject of beauty, however, needs much deeper study among classicists as the field of aesthetics has become prominent once again.

Sep 28, 2010


Late last year. Calvin Tompkins in the New Yorker. Sub-heading to an article about an artist:

"Urs Fischer's Inspired Sloppiness"

That could almost be a classicist's definition of the modern arts, from fiction to painting to sculpture to a lot of High-Cult music and, of course, obviously, to poetry -- even much of the so-called New Formalist poetry. The difference is that the classicist, and the Wintersian, sees the sloppiness as simply no more than that, sloppy, plain and simple -- that is, UNinspired sloppiness. (The photo is a shot of one of Urs Fischer's paintings at a recent gallery show somewhere.)

Yvor Winters had a good deal to say on what we could call sloppiness in his essay "John Crowe Ransom, or Thunder Without God" in In Defense of Reason. One interesting discussion that relates to the modern insistence on sloppiness comes in Part IX of that essay, "Meter and the Theory of Irrelevance." At one point in the discussion of a quotation from Ransom about "roughening" meter, which is, so Ransom said, pretty much pointless anyway, Winters enjoys himself poking at Ransom's ideas:

There is no relationship, then [in Ransom's theory], between meter and meaning; the meter, like the meaning, goes its own way, gathering irrelevancies to itself; but the two cooperate to this extent, that in interfering with each other they increase the irrelevancies of the total poem. Ransom at no point explains why we take pleasure in the irrelevancies of meter; he merely states it as axiomatic that we do so. He nowhere suggests the romantic theory that meter is a form of music, arousing the feelings by pure sound: indeed, his theory precludes the possibility of such an idea, for if meter can do this it is expressive of something. Ransom apparently assumes that we take pleasure in metrical irregularities for their own sake, as we might take pleasure (if we were so constituted) in the bumps and holes in a concrete sidewalk. Since the meter has no relationship to any other aspect of the poem, it is easy to see that the writing of regular meter will be merely a mechanical task and beneath the dignity of a true poet, who will take pains to introduce roughness for the mere sake of roughness:

"It is not merely easy for a technician to write in smooth meters: it is perhaps easier than to write in rough ones, after he has once started; but when he has written smoothly, and contemplates his work, he is capable, actually, if he is a modern poet, of going over it laboriously and roughening it." (quoted from Ransom's book The World's Body, p. 12.)
Things seem to have changed little since Winters's wrote in the 1940s. Sloppy irrelevance remains the goal, it appears. Most of the contemporary poetry I read nowadays (I follow Poetry and the New Yorker, and "Poetry Daily" and "Verse Daily" on the web) is so obstinately casual, so averse to formality, that "sloppy" hardly characterizes its lack of structure. I just read a bunch of Seamus Heaney's new book of poetry Human Chain, which William Logan rather generously reviewed in the New York Times last week. Like much of his "mature" work, this latest stuff from Heaney is just plain sloppy from end to end, though a nicely turned phrase does emerge from time to time amid the slops. Not many, alas, but a few.

Sep 27, 2010

Kirsch's Curse

Adam Kirsch's short piece on Yvor Winters, which first appeared in the 2003 Poetry Issue of the New Criterion, was back in the lit-news last year, since it became one of the principal essays in his collection of criticism, The Modern Element, which hit the shelves late in 2009. There were a few reviews of the book, most of which can be easily found through a search engine. Several of the reviews considered Kirsch's piece on Winters fairly closely and treated it as though it stands at the heart of the collection. That essay, entitled "Winters' Curse," makes most of the common charges against Winters's criticism: it's too narrow, too nasty, too reactionary, far too hard on Romanticism. I have long wanted to go through the short piece paragraph by paragraph, since its charges are mostly misrepresentations or misunderstandings of Winters's work, but haven't yet found the time, though perhaps the rather short essay is more important than I think. It keeps coming up in google searches as one of the top essays on Winters, and, therefore, could cause a good deal of trouble.

On the other hand, Kirsch is strongly appreciative of some of what Winters thought and practiced, and for that I was relieved. Like many other critics, he considers Winters's understanding of form and poetic meter to be consummate and well worth attending to, and I certainly hope that many more readers will take Kirsch's implied advice. He also takes the insightful view that whether you approve the results of Romantic theories in literature, no one can help you understand those theories and what happened in modern literature as a result of Romanticism better than Winters. Amen! So what is the Winters Curse? To be so right in so few areas but so wrong in so many others.

But Kirsch himself misunderstands Winters in many ways. For now, let me just say that narrowness is hardly a fair objection, since being narrow was the whole point of Winters's criticism. If you are a standard critic who accepts the "Standard Canon," as I call that very rough consensus on the great works of literary art, there is no purpose in being narrow. For your defintion of the canon is as shapeless and unprincipled as the canon itself, a mass of works misnamed "classics" for no reason but that they have become accepted in the consensus. But if you are a critic who is seeking to substantially revise the canon, to get a new canon adopted (or even considered), why would you not be narrow? Indeed, you would have to be narrow to properly define why a new canon should be adopted and what should be in it, wouldn't you? Of course you would.

Further, as Kirsch just can't quite understand, Winters was seeking more than a new canon, but to define near perfection, greatness of an order far above the kind of work most poets and writers ever achieve. Naturally such a search would lead to what is perceived as narrowness.

Even further, why does anyone think that because Winters did not consider various poets to have written great poems that he did not think they were worth reading at all, that he thought that what they had written should never have been written? The implication is ludicrous. Winters himself read widely in poets that he considered less than great and many he considered downright bad. Though he failed to say it clearly enough, he didn't think there was a clear and wide distinction between the great (and very few) sheep of literary heaven versus the great mass of goats consigned to hell. There was no narrow gate for Winters. But he was trying to make a true canon, by which he meant not books that remain "fresh," as Pound said, but works that are truly supremely great.

Naturally, these would be few, for a true canon is a measure, the supreme standard by which we judge other works. He concentrated throughout his public critical career on these very best of the best — to the point of trying at the end of his life, as he faced death from cancer, to rewrite the literary history of English poetry by way of the poems he thought had achieved near perfection. But all along he failed to make clear that he wasn't trying to be a censor or an inquisitor (such analogies have been made against Winters by many hostile critics through the decades), but a critic trying to define and discover near perfection. That he would make mistakes seems inevitable. Even Winters thought so. Several times he confessed his own fears of being wrong in his bold judgments. But the narrowness arises from the work he set himself to. I applaud that work and think he was often right.

Amused by his alledged "narrowness," Kirsch laughs at Winters with his neat little analogy of Winters as King of his tiny literary Monaco. But that's exactly what a Wintersian should hope for, or at least what I'm hoping for: an enclave for modern classicism, as I have discussed on this blog a couple times (search on the word "enclave).

Now, as to this charge of "brutality," which Kirsch, like so many before him, levels at Winters: I must object again, briefly. The charge is simply biased against Winters. First, his disapproving comments on various poems and poets are hardly "brutal," an extreme word of moral judgement that simply does not match what he wrote. Second, I have read many a criticism of a literary work just as harsh and condemning as Winters's from authors and critics of every stripe, experimental, postmodern, traditionalist, etc. I have a book on my shelf, Literary Quotations, that contains a lengthy chapter of witty and cruel put-downs from all through the history of English literature (most of them from the past 100 years), many much harsher than anything Winters ever wrote. Some are so harsh that they could be considered libellous. And what, for example, of Mark Twain's endlessly repeated comment on the style of Fenimore Cooper? Somehow this does not make Twain in general "brutal." Why? Perhaps, simply, because modern critics agree with Twain (though I must pause to note that Winters found a lot to judge highly in Cooper, recounted in his wonderful essay on him in Maule's Curse, as republished in In Defense of Reason). Judging from my reading, it seems that someone is considered brutal when he happens to disagree with the popular mid-Cult critics of any time, with, that is, the hoary consensus. Therefore, it's time to put this nonsense about brutality to rest (as I have tried before).

I must end by praising Kirsch for questioning the achievement of John Ashbery, who has enjoyed perhaps the most ridiculously elevated career in the history of literature. That his poetry is considered poetry at all, let alone ever more often praised as the finest poetry of the 20th century in American literature, is cause for embarrassment — though, incredibly, unlike the fairy tale, our critical courtiers still cannot see that Emperor Ashbery has no clothes. Kirsch gingerly tries to justify his doubts about Ashbery's god-awful work, but if he had taken his own advice he could have made quick work of it. Winters explains where Ashbery came from in his various extended comments on Romanticism throughout his writings, but particularly in The Anatomy of Nonsense (third book in In Defense of Reason). I suppose every generation has its blind spots (to keep mixing the metaphors), though the love for Ashbery seems more like a full eclipse of literary sanity. Do I need to go through this? I hope not. But I think I do need to go through all that Adam Kirsch gets right and gets wrong about Yvor Winters some time, since, obviously, Winters is now being seen through his interpretive lens more often than almost any other.