[Caleb Murdock]

Timothy, welcome to Eratosphere.

I've become something of a dissenting voice on the metrical boards because I feel that the practice of metered poetry has become too narrowly focussed on rules, and that there are rhythms in the English language which can't be captured within those rules. As an example, I posted Hopkins's "Spring and Fall: To a Young Child" a while back. Although the syllable counts of the lines are fairly consistent (ranging from 6 to 8), the number of beats varies. In addition, some of Hopkins's accents require pronunciations that don't seem to fit any meter. Yet, this poem is nearly my favorite poem, and I consider it eminently successful. I should also say that I <u>don't</u> consider it to be free verse, as it has too many formal elements.

Some Eratospherians consider the poem to be poorly written, but that explanation is unacceptable to me -- it's simply too beautiful. Others apply the term "sprung rhythm" and leave it at that.

Where does this poem fit in the scope of formal verse?

Márgarét, are you gríeving
Over Goldengrove unleaving?
Leáves, líke the things of man, you
With your fresh thoughts care for, can you?
Ah! ás the heart grows older
It will come to such sights colder
By and by, nor spare a sigh
Though worlds of wanwood leafmeal lie;
And yet you wíll weep and know why.
Now no matter, child, the name:
Sórrow's spríngs áre the same.
Nor mouth had, no nor mind, expressed
What heart heard of, ghost guessed:
It ís the blight man was born for,
It is Margaret you mourn for.

(If the accented letters show up as boxes, please let me know and I will replace them.)

------------------
Caleb
www.poemtree.com



[This message has been edited by Caleb Murdock (edited July 05, 2001).]

[Timothy Steele]

Dear Caleb,

I, too, have always admired "Spring and Fall." Hopkins, however, evidently wished the poem to be read as a Sprung-Rhythm piece with four beats per lines. Hence the accent marks, designed to encourage us to read lines that seem ambiguous or short as having four stresses. (Lines one and three, for instance, we would almost certainly read as three-beaters, but for the guiding accent marks. Ditto, for "Ah, as the heart grows older" and "Sorrows springs are the same": take away the accent marks, and it's hard to hear four beats, at least immediately.)

Since it's sprung rhythm, the third-to-the-last line takes beats on the heavy and alliterated syllables--heart, heard, ghost, guessed. Hopkins assumed (reasonably, I think) that people familiar with accentual verse in general would understand the structure of that line.

One thing about Hopkins--some see this as a glory, some as a defect--is that we can't trust our own "natural" accentuation to lead us to his rhythmical intentions. We have to follow his diacritical markings--his accents, loops, pauses, and twirls--even when these appear to violate the testimony of our ears.

I hope this is helpful. The poem is a beauty.

Best wishes,

Tim Steele

[Tim Murphy]

Caleb, I recently heard a terrific tale involving this poem. Michael Donaghy, an American poet who resides in England, worked as a doorman on the upper east side of Manhattan, hailing cabs for the likes of Pavarotti, or in his own phrase, "finding a vehicle for the tenor." Doormen were prohibited to read on the job, so he hid his Hopkins in his hat. One day he doffed it to a swank lady who spied the contraband and recited this poem. She then took him up to her apartment and dialed the 92nd St. Y, from whom she bought him a season's subscription. This was in the early 70's, and Michael became a poet, one of our best.

[Caleb Murdock]

Timothy, thank you for your response -- I am glad that I am not the only one who likes the poem!

Despite the accent marks and your explanation, I find myself reading some lines with 3 beats and some with 5, but frankly that doesn't matter to me.

A follow-up question, if I may: has "sprung rhythm" become a recognized category of meter, or is that simply another way of saying "accentual meter"? Or should we use that term only to describe Hopkins's verse? If it is an actual category, how would you define sprung rhythm?

Tim, what a delightful story!

[robert mezey]

I think it does matter if you read some
lines as having three or five beats---it ruins
the rhythm of the poem. As Tim explained, every
line has four beats, although obviously Hopkins
makes you say some of the words oddly so that you
hear the four beats: Margaret, for example,
which no one would normally pronounce with two
accents. And by the way, the tetrameters are
mostly trochaic---I think only three lines are
not (I'd argue that the penultimate line is marked
to begin iambically but soon returns to trochees,
and the last line, though it begins with the same
two words, is firmly trochaic.) Once you accept
Hopkins' directions, it all sounds just fine, and
it is a gorgeous little thing.
Hey, Tim, greetings.

[Caleb Murdock]

Robert, it indeed doesn't matter to me that I hear a range of 3 to 5 beats. In fact, that makes me like the poem all the more, because I like the variety from line to line. Assuming that we speak the language a little differently from Hopkins, the question then becomes, can this poem still be considered metered even though it doesn't have a consistent number of beats, feet or syllables per line? I think it can. It does have one thing which is more-or-less consistent: the length of time it takes to say each line. You will notice that the two lines which have 6 syllables -- the 11th and 13th -- both contain words which take longer to enunciate.

Timothy, I have a bunch of pet theories that I am hesitant to burden you with, but let me tell you at least one of them:

I believe that the human ear loves the sound of variety within a context of regularity. A line can be measured in many ways: the length of time it takes to speak it, the number of syllables, the number of feet, the number of beats, the relative width and narrowness of the syllables -- even the number of pauses. Lines which are entirely regular in every respect tend to be boring. The secret to exciting poetry, I believe, is to establish some kind of regularity, and then vary the other elements (according to the meaning). When the elements are made to play against each other, tension is created -- and tension is exciting! This poem contains a great deal of tension, which is perhaps why I love it so much.

[robert mezey]

Yes, yes, Caleb, all true; truisms in fact.
Of course the lines are varied---that's
almost always true of good verse in strict
meter. But if you're hearing 3-beat and
5-beat lines, you're mishearing the poem.
Hopkins clearly intends four beats a line
and expects your ear to hear that.
And, although unusual, it is possible to
write great poetry in unvaried lines---or
very little varied. One example is Chidiock
Tichborne's beautiful elegy for himself on
the eve of his execution, in which just about
every line sounds the same, straight iambic,
most of the phrasing exactly parallel, even the
caesuras falling in the same place in every
line.

[HowardWeinberg]

Robert

Thank you for mentioning Tichburne's beautiful<u>Elegy on the Eve of His Execution</u>.

For those who wish to (re)read it, it may be found here: http://www.cs.rice.edu/~ssiyer/minstrels/poems/144.html

[Caleb Murdock]

It's nice to know that I'm thinking at a level of truisms.

I read Tichborne's elegy not long ago and remember thinking that it wasn't sonically interesting. To each his own. When it comes to rhythm, I'm like a cokehead who can't get excited by just a joint.



[This message has been edited by Caleb Murdock (edited July 09, 2001).]

[Timothy Steele]

Bob, good to hear from you--and to share thoughts with you and others about Hopkins.

And, Caleb, yes, "sprung rhythm" has made it into dictionaries, though even there, the association is with Hopkins. For instance, the current unabridged Random House Dictionary says of the term: "a poetic rhythm characterized by the use of strongly accented syllables, often in juxtaposition, accompanied by an indefinite number of unaccented syllables in each foot, of which the accented syllable is the essential component [term introduced by Gerard Manley Hopkins (1877)]."

Hopkins himself, it bears repeating, wanted to make his metrical intentions as clear as he could, and employed accent marks, even in his more conventional poems, to insure that readers would not be confused as to the number of beats per line. For instance, in the (by his standards) relatively conventional sonnet, "As kingfishers catch fire," he places an accent over "I" in line 9 and "grace" and "grace" and "that" in line ten to make absolutely clear that line 9 is a headless pentameter and line 10 a brokenbacked one (i.e., a metrically unaccented syllable is dropped after a grammatical pause within the line). I can't both capitalize the "I" and give the accent, so pardon the lower case cummingesque first-person pronoun.

í say more: the just man justices;
Keeps gráce: thát keeps all his goings graces;

One thing we forget (or I sometimes do) is that Hopkins himself put many more diacritical marks in his mss. than are in the published texts. Editors from Bridges forward have (rightly, I think) believed that reproducing all his marks would make his texts unreadable. The downside of this, however, has been that we don't always remember how very exacting--for better or for worse, ingeniously or fanatically--Hopkins was.