I pitched my day's leazings in Crimmercrock Lane,
To tie up my garter and jog on again,
When a dear dark-eyed gentleman passed there and said,
In a way that made all o' me colour rose-red,
"What do I see—
O pretty knee!"
And he came and he tied up my garter for me.
'Twixt sunset and moonrise it was, I can mind:
Ah, 'tis easy to lose what we nevermore find!—
Of the dear stranger's home, of his name, I knew nought,
But I soon knew his nature and all that it brought.
Then bitterly
Sobbed I that he
Should ever have tied up my garter for me!
Yet now I've beside me a fine lissom lad,
And my slip's nigh forgot, and my days are not sad;
My own dearest joy is he, comrade, and friend,
He it is who safe-guards me, on him I depend;
No sorrow brings he,
And thankful I be
That his daddy once tied up my garter for me!
—Thomas
Hardy—"the Dark-Eyed
Gentleman", Time's Laughingstocks and Other
Verses
I've since finished Expansive Poetry ("Essays on the New Narrative
and the New Formalism"), but as I mentioned
before, I would like to get back to some of
the attacks on Ezra Pound and T.S.Eliot in that volume.
Richard Moore, who is no lightweight authority, uses Hardy's wonderful
"Dark-Eyed Gentleman" to set up an assault on the acknowledged pillars
of modern poetry. He shows how Hardy's work was couched in a tradition
while shrewdly undermining the ugliest aspects of that tradition. Moore
points out that Hardy, rather than rail on in the poem about the near
misogynistic standards of Victorian mores, chose to create a vivid
character who expressed the problem using a frank, affecting voice with
just the right amount of irony. So the point is that Hardy is an poet
of extraordinary skill and sensitivity? As a devotee of Hardy, I whole-
heartedly agree. After working this point about quiet revolution
through a wandering journey in Euripides, Shakespeare and others, Moore
arrives at his main task.
Moore starts by blasting Pound's "In a station of the
metro". The entire poem:
The apparition of these faces in the crowd:
Petals on a wet, black bough.
Moore scoffs at the slackness of the iambic hexameter of the first line
and at the second line, which he says "makes no metric sense at all".
He then goes on for almost two pages about how the poem shows contempt
for the conventions of English poetry by merely "alluding" to iambic
pentameter, rather than properly using it.
At this point I'm bewildered. Can this really be Richard Moore writing?
It seems obvious that Pound here is translating Chinese and Japanese
prosodic conventions into English accentual verse. But never mind the
eastern motor within this poem. One needn't know the first thing about
haiku in order to feel the power of Pound's 4 stresses per line.
The apparition of these faces in the crowd:
Petals on a wet, black bough.
Coleridge used the same 4 stresses non-syllabic in
Christabel. You need look no further than the famous opening lines:
'T is the middle of night by the castle clock
And the owls have awakened the crowing cock;
I can imagine Moore praising Coleridge as a metrical genius for the way
he mirrors the lines as anapestic tetrameters with iambic final feet,
but then how would he explain the "Tu–whit !— —
Tu–whoo !" of the next line? What are those, anyway? Two iambs
(surely no one would stoop to such scansion)? Two spondees? What of
the clue in the em dashes? (Christabel was a favorite of an old
girlfriend of mine, and I remember her reading it aloud. She was no
prosodist, but I remember that she nailed the crucial caesura in that
line.) How would Moore go on to explain the rest of Christabel?
(Forget for a moment that even Coleridge can't adequately explain "How
drowsily it crew")? Of course a discerning critic such as Moore would
appreciate the accentual meter for what it is. Why can't he see Pound's
poem the same way?
Clearly "In a station of the metro" is accentual, rather than accentual-
syllabic. It would take a truly tin ear to want to stress "of" and "in"
in the first line, just because it made them iambic, as it would to add
"like" to the beginning of the second, because it makes it approximately
iambic. Pound uses the copious unstressed syllables in the first line
to emphasize that he's starting from a very quotidian encounter
("quotidian" in the modern sense, as borrowed by English from medieval
Latin, rather the classical Latin adverbial expression, as used in the
title of this article). The second line explodes into the image as even
Moore acknowledges. The lack of unstressed syllables cuts the image
into the line as surely as a laser etching. Even the unstressed
syllables in the second line have a purpose. It occurs to me to think
of "on a" as saying "if you mistook that last word for a cheap-trick
trochee, just you watch what comes next".
I have always counted this poem as one of the triumphs of "free verse".
De gustibus non disputandem and all that–I can understand a
critic's not liking it, but I cannot understand a critic's insistence in
setting up such a blatant straw man of false prosody.
Moore then goes on to work on Eliot (I can just hear Robert Graves
goading him: "These be thy Gods, O Israel").
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
(from "The Love Song of J. Alfred
Prufrock")
Moore goes on about how this simile just does not appeal to him. Again
this is a matter of taste, and there's not much material for argument.
But he also claims that Eliot is being merely capricious and
manipulative by (ab)using such an outlandish trope. Surely Moore has
read the numerous critics, such as I.A.
Richards who recognized
Eliot's hearkening back to the
metaphysical conceit.
Surely he knows that Eliot himself wrote about his debt to the
Metaphysicals. Throughout Eliot's work, his exploration of the conceit
has always been his most personal application of the ideas he expounded
in "Tradition and the Individual
Talent". No news there. Surely
Moore would not dare castigate John
Donne for his extravagance in
trope. Should we invoke the Dean of St. Pauls in Eliot's defence?
Alas. It seems that Donne can only commiserate:
Who would not laugh at mee, if I should say
I saw a flaske of powder burn a day
(from "The Broken
Heart") (Note: the
italics are original (I think), not mine. I'm not sure why the
Luminarium doesn't italicize that phrase. All my dead tree texts do.
Ah well. Moore's attack on "Prufrock" again reads to me as from a
critic who probably knows better when he chooses to ignore the
precedents on which the poet is building. The critic doesn't want to
admit any mitigation of his attack on the poets supposed sullying of
tradition.
Many of the free verse fundamentalist followers of Pound and Eliot
seemed truly confused about the craft of those two. They thought that
Pound and Eliot helped free them from the supposed tyranny of form.
They clearly couldn't appreciate what great examples Pound and Eliot
were of the fact that free verse ain't no free lunch. It takes even
more craft to execute free verse well than it does to write in form, and
that craft right now must be learned rigorously from the metrical
tradition. As I've said, I agree with Expansive Poetry in its
denunciation of the movement that marginalized form in the middle 20th
century, but I find it unfortunate when a critic such as Moore makes the
same mistake as the free verse fundamentalists, even in pursuit of the
opposite argument.
[Uche Ogbuji]
She starts off humming the extremely haunting bars
that form the backbone of the song, and croons softly
through the verse that's ostensibly a love lyric, but
carries a very gothic edge to it because of the way
the minor key clutches at your ear. It's soft rock,
but hardly as forgettable as you'd expect from that
genre. It almost feels as if she's going to break
into major key for the chorus, but somehow it loses
none of its creepy feel despite the modulation. Lori
and I actually used to sing "We'll find our place in
time, in space and time..." when we heard it on the
series, because of the theme of the series, and the
fact that the lyric felt as if it should treat on
something at least as exotic as the space/time
continuum. Abizaid only hints at such a stretch when
she says "A place in time beyond the sun."
So gorgeous song, right? Time to go buy the CD,
right? 
And this passage, of course (and the rest of the blistering start of "Coded Language"), is but a prelude to Saul Williams tearing into his famous and raucous invocation of pan-cultural men gods, heroes and muses (including a few tin wreath wearers) new and old. Like most snippets I feature on 
Wicked stuff if you can see beyond the next DJ Kay Slay tape, but the problem was that Common's
fan base had always been the hard-core
underground crowd, and they were not amused at this transformation. See
Art of Rhyme's