May 18 2009 – The explication of the sonnet, hopefully, has been tweaked and improved.
I was looking for another poem to analyze. Since there’s been so much interest in my post on Donne’s Death Be Not Proud, I thought I would look at another of his Holy Sonnets, the famous Batter My Heart. The first thing I did was to Google the sonnet. And here’s what I found out: All of the sites I have looked at so far, offer readers a “modernized” version of the sonnet. Not only is the spelling modernized, but also the punctuation.
This is a disaster.
Here’s why: The Elizabethans used spelling and punctuation as signposts (spelling hadn’t been standardized) indicating how their lines should be read. Unfortunately, modernizations of the sonnet overlook this, misunderstanding the reasons Elizabethans wrote and spelled the way they did. It wasn’t haphazard. The end result is that all the modernizations I’ve seen so far, completely and devastatingly erase the clues to Donne’s intentions.
So, I’ve used an Oxford edition of Donne’s Poetical Works which retains the original spellings and punctuation. It falls just short of being a facsimile edition. This is the version I’ve scanned and once we go through it together, it will all make sense.
Note: [June 4 2009 – As I sit at the Dartmouth Bookstore] Another edition which respects Donne’s punctuation and your ability to get it, is the Everyman Library’s edition of The Complete English Poems. Astonishingly, the Norton Critical Edition of John Donne’s Poetry does not. Dickson edits the poem inconsistently, choosing to note some of Donne’s markings while ignoring others, all while giving the reader no indication that he is doing so. I don’t recommend this edition and if instructors want you to buy it, point out the poor editing or point them to my website.
Note, if any of this terminology is unfamiliar to you, you might consider reading my post on Iambic Pentameter and the Basics, first. I’ve also spent aless time explaining the reasons why an Iambic Pentameter poem should be read as such. My previous posts, such as my previous post on Donne, go into more of the historical reasons for conservative readings of meter.
First, by way of comparison, here is the modernized version (as typically found on the web) side by side with the “facsimile”. I’ve highlighted the crucial punctuation, in the original, missing in the modernization.
In each of the highlights, the apostrophes indicate the use of Synalophea, a form of elision where, “at the juncture of two vowels one is elided” [Sister Miriam Joseph: Shakespeare’s Use of the Arts of Languagep. 52]. Without these indications no modern reader of poetry, having grown up on free verse, would suspect that something was missing. They would simply read the lines as anapests, completely ignoring the meter and Donne’s intentions. So, they would read the third line as follows:
That I| may rise, |and stand, |o’erthrow |me, and bend
When it should read something like this:
That I| may rise, |and stand, |o’erthrow |me’nd bend
There’s room for debate as to whether this sort of slurring or elision works. There were readers in Donne’s own day who frequently scratched their heads. But what’s indisputable, is that Donne intended us to elide these words. He was writing Iambic Pentameter – still a new meter. So many anapests in the span of a single sonnet would have been derided as incompetent. In my last post on Donne, examining his other Holy Sonnet, Death be not Proud, you’ll find the following:
Ben Jonson was quoted as having said: “Donne, for not keeping of accent, deserved hanging.” Even two hundred years later, literary historian Henry Hallam considered Donne the “most inharmonius of our versifiers, if he can be said to have deserved such a name by lines too rugged to seem metre.” Right up to 1899, Francis Thompson was describing Donne’s poetry as “punget, clever, with metre like a rope all hanks and knots.”
Thomas Carew, a contemporary, wrote in his elegy to Donne:
Our stubborne language bends, made only fit
With her tough-thick-rib’d hoopes to gird about
Thy Giant phansie
Carew praised Donne’s meter for it’s “masculine expression”. Dryden, on the other hand, wished that Donne “had taken care of his words, and of his numbers [numbers was a popular term for meter] eschewing in particular his habitual rough cadence. (For most of these quotes, I’m indebted to C.A. Partrides Everyman’s Library introduction to Donne’s complete poems.)
The Holy Trinity Masaccio, 1426-27 Fresco, Santa Maria Novella, Florence, Italy.
In Donne’s 14th Holy Sonnet, “thick ribb’d”, spondaic lines like “but knocke, |breathe, shine” or “to break, | blowe, burn” were the lines that troubled readers the most. Yet lines like these are what Donne needed to convey the energetic emotional conviction behind his rhetoric – anger, contempt, desperation, etc…
Back to the differences between the old and new printings:
Notice how Donne spells usurped as usurpt. This wasn’t because he didn’t know how to spell. He was telling us that the word was to be treated as bi-syllabic, not tri-syllabic. In other words, it shouldn’t be pronounced usurpèd. He apostrophizes betroth’d for the same reason. He doesn’t want us to pronounce it as betrothèd. Now, you might object that since no one pronounces it like this anymore anyway, why preserve this spelling. The reason is that you will miss the words that he does want us to pronounce tri-syllabically – like “beloved fain”.
Yet dearely’I love you,’and would belov|èd faine,
So, it’s not that he remembered how to spell beloved, it’s that he wanted us to pronounce the -ed ending. And it’s the reason why “responsible” modern editions add the accent grave over the è when they modernize the rest of the spelling. Now, on to the sonnet. Here it is:
The First Quatrain: Batter me!
As with modern day religious leaders, Donne’s carnality and spirituality were never far removed. Donne, at least, wasn’t hypocritical about it. He made great poetry out of the conflict.
Batter my heart, three person’d God; for, you
As yet but knocke, breathe, shine, and seeke to mend;
That I may rise, and stand, o’erthrow mee,’and bend
Your force, to breake, blowe, burn and make me new.
Three-person’d God refers to the holy trinity. The battering ram was an old, if not ancient, weapon by the time Donne wrote his sonnet, but it was still a very effective and violent weapon – possibly the most terrifying weapon of its day. If the battering ram was out and it was battering your portcullis, and if you were out of hot oil, you were in a lot of trouble. So, Donne’s battering was probably the most violent and terrifying weapon he could conjure. No battering ram, by the way, could be effectively used by one person. Donne remedies that by referring to God as three-personed. In the illustration at right, though the perspective is somewhat confused, you will notice that three soldiers are using the first of the battering rams.
Batter me! – Donne cries to God. All you do is try to mend. Mend, in Donne’s day, had the sense “to repair from breach or decay: Like the mending of highways” [ Shakespeare-Lexicon: A Complete Dictionary of All the Works of the Poet. Schmidt.] It also, as today, has the sense of improving and making better. But it’s the first sense that Donne was playing on. He tells us that God is reparing the breach when he should be battering it down. In the first two lines Donne plays on paradoxical demands, subverting the reader’s usual expectations. Let God destroy; and by destroying, build. So that I can rise up and stand, says Donne, overthrow me, bend/use your force/your power, to break and blow (in the sense of a bomb or petar – used to blow up walls). Burn me (like the invader who burns down the besiged fortress) and rebuild me – make me new. This is an urgent sonnet.
Here’s how Bejamin Britten expressed the Sonnet in music:[Audio https://poemshape.files.wordpress.com/2009/05/batter-my-heart.mp3%5D
Note: This, by the way, is directly related to the much misunderstood expression – “hoisted by one’s own petard”. A petard was like dynamite, a kind of bomb.
Let it work;
For ’tis the sport to have the enginer
Hoist with his own petar; and ‘t shall go hard
But I will delve one yard below their mines
And blow them at the moon. [Shakespeare: Hamlet III, 4]
The Second Quatrain
The second quatrain continues the theme of the first, rounding off the Sonnet’s octave.
I, like an usurpt towne, to’another due,
Labour to’admit you, but Oh, to no end,
Reason your viceroy in mee, mee should defend,
But is captiv’d, and proves weake or untrue.
Donne compares himself to a “usurpt towne”. The word due, according to the Shakespeare Lexicon (the best dictionary for words in Shakespeare’s day), has as its second meaning “belonging” – to belong to someone. I am due to a woman [Err. III, 2, 81]. So, Donne is saying that he has been usurpt and now belongs to another (greed? carnality? temptation? we don’t really know yet…). And though he labors to admit God, his efforts are “to no end”.
Donne then characterizes Reason, his own reason, as God’s viceroy. A viceroy was understood as a substitute for the King. So, by this analogy, Donne sees himself as a city into which God has breathed reason – the (substitute or viceroy) of God (the King). But in Donne, God’s viceroy, who should defend Donne, is captive to another. He proves weak or untrue. In my scansion, I chose to emphasize the conjunction or. In terms of meter, Donne has placed it in a position which is normally stressed (the second syllable of any iambic foot). As I’ve written before: If one can read a foot as Iambic in poetry prior to the 20th Century, one probably should. In this case, stressing or adds another layer of meaning reinforced by the content. That is, it’s one thing for Donne to suggest that his reason is weake, but entirely another to suggest that his reason is untrue – a traitor. Being convicted of treachery in Donne’s day was treated as an especially heinous offense. A death sentence was usually a sure bet. Dismemberment, including having your dismembered parts nailed up for public display, was de rigueur. If the sonnet were spoken like a monologue, I might expect the actor to hesitate at or. “My reason is too weake or… oruntrue!” – spoken as with a sense of self-discovery or even self-loathing.
Save me! – Donne cries.
Yet dearely’I love you,’and would be loved faine,
But am betroth’d unto your enemie:
Divorce mee,’untie, or breake that knot againe,
Take mee to you, imprison mee, for I
Except you’enthrall mee, never shall be free,
Nor ever chast, except you ravish mee.
The structure of the sonnet is most like those of Sidney’s Sonnets. However, where there is usually a division between the third quatrain and a final epigrammatic couplet, Donne makes none. The final quatrain is enjambed. Its phrasing flows smoothly into the couplet. So, while I would normally treat the quatrain and couplet as discrete, I’ve reproduced the entire sestet as an indivisible whole. In this regard, the content of the sonnet more closely approximates that of a Patrarchan Sonnet.
Despite the possible betrayal of reason, God’s viceroy, Donne insists that, though he is “betrothed to God’s enemie, he “dearely” loves God and “would be loved faine” (faine means gladly). What’s interesting is that the analogy Donne uses to portray his relationship to God and his own will seems to change completely. No longer is he a city. He now compares himself to a desperate bridegroom – one who is betrothed to someone he does not wish to marry. Is this the volta? – a change of conceit?
C.A. Partride, in his notes to the Sonnet (The Complete English Poems), has this to say:
Man’s relations with God have been set forth in terms of marriage or adultery ever since the great Hebrew prophets, beginning with Hosea. It was within such a context that Donne described adultery as ‘every departing from that contract you made with God at your Baptisme… [p. 433]
Divorce mee! – Donne cries. “Untie or breake that knot again!” Recalling the martial analogies of octave, he cries: “Imprison me!” And now Donne revels in a sort of paradoxical delight. “Imprison me,” he cries, enthrall me (enslave me), and I “shall be free”! “Ravish me!” – Donne cries. “And I shall be chaste!”
But ravish, in its Elizabethan sense, carried a more violent connotation than now, the first two definitions being: 1.) To rob, to carry away by force; 2.) to deflower by violence. We are reminded of the sonnet’s first line, but now the martial imagery assumes a very different meaning. The heart is the “seat of love and amorous desire” [Shakespeare Lexicon]. The soul is a feminine attribute [Shakespeare Lexicon p. 1090]. The battering ram is phallic.
The octave takes on a new layer of meaning.
In one sense, Donne, his body and soul are one and the same.
In another sense, they are not. Donne’s soul is trapped within the body (the usurpt town) – usurpt by reason. And now we begin to comprehend the different characters in the sonnet:
Three person’d God – Whose overthrow Donne (orDonne’s Soul) desires. Reason – God’s viceroy, who has betrayed Donne. The Towne – Which is Donne’s Physical Being. His body. The Enemie – Fear. Or the fear of Death. Fear seeks to prevent God’s entry. The Betrothed – Donne’s soul. The Bridegroom who seeks God rather than Fear.
So… Weake and untrue reason has captiv’d Donne; has betroth’d him to fear. Donne, in the sense of his phsycial being, fears the very thing his soul desires – Death. The soul’s cry to God is a cry for death – freedom from her unwilling betrothal to the body. Do not mend but batter my heart! she cries. Free me from the body! – she cries. Donne gives voice to both characters – being both characters. The seeming violence of the soul’s rhetoric is best understood as expressing the immediacy of her desire – for the chaste union, death, that promises her liberation. Death’s consummation is understood, by the soul (by her) as a kind of erotic and spiritual ecstasy. But before the soul can be enthralled and freed, the body must be overthrown and broken. The body must be divorced from its betrothal to fear.
The sonnet, we realize, begins with the same cry that ends it – “ravish me”!
If you enjoyed this post, found it helpful or have more questions – please comment!
I have noticed that readers of my previous post on Shakespearean, Spenserian, Petrarchan Sonnet Forms have occasionally searched for further information on Sidney’s Sonnets. The first thing to know about Sidney is that his Sonnets predated those of Shakespeare, Daniel, Drayton, Donne, or Spenser. Spenser published his sonnets, Amoretti, in 1595, 9 years after Sidney’s death and four years after Sidney’s own Sonnets were posthumously published. Samuel Daniel’s Delia was published in 1592. Micheal Drayton’s Idea was published in 1594. Shakespeare’s Sonnet Sequence was published in 1609. My point in mentioning this is that Sidney’s Sonnets are written in a variety of rhyme schemes and his meter varies between Iambic Pentameter and Iambic Hexameter (also called Alexandrines). Shakespeare, Spenser, Daniel and Drayton all settle on a single Sonnet scheme. When Sidney was writing, the Sonnet was still an unestablished form.
The other aspect to consider is Sidney’s use of Meter. The works of Marlowe, Spenser, Shakespeare, Jonson, Chapman, Donne and others were still unpublished. Sidney wasn’t working with a pre-established meter. He was creating it in the act of writing it. What might appear to be eccentric or radical has more to do with his search for a form that satisfies his own aesthetics. Marlowe’s Tamburlaine, the first play that demonstrated what blank verse (iambic pentameter) was capable of, was performed a year after Sidney’s death.
Rather than offer up an in-depth analysis of any one of his sonnets (as is my usual habit), I’ll offer up an example of the different types along with some brief commentary. (All unmarked feet are iambic.)
Astrophil & Stella
There seem to be two versions of this sonnet. The version most frequently printed (and the one you’ll find most often on the net), reads the second line as follows:
That she (dear She) might take some pleasure of my pain:
My source is Richard Dutton’s edition of Sidney’s Selected writings (which I own). Dutton writes:
Atrophil and Stella was first published in 1591 in two quarto editions which appear to have had no sanction from any of Sidney’s family or friends. I have followed recent editorial practice in preferring the text given in the 1598 Folio of Sidney’s works, which there is good reason for supposing was supervised by his sister, Mary, Countess of Pembroke. It is the fullest of the early texts and includes songs as they are given here (some texts have none, others only some), lyric embellishments on the narrative running through the sonnets.
The book appears to be out-of-print, or I would provide a link.
Anyway, this is Sidney’s first sonnet from his sequence Astrophil and Stella. I’ve scanned it the way George T. Wright, Shakespeare’s Metrical Art, scans Sidney. (He didn’t scan this poem, but I’ve used his “methodry”.) What Wright does is to treat certain phrases as a double foot. So, in the first line, a standard reading would read the line as Iambic Hexameter with a trochaic first foot:
Loving | in truth, |and fain |in verse |my love |to show
This is well within the metrical practice of the day and so, at first glance, Wright’s method appears arbitrary (or at least it did to me). In other words, if Wright is going to read the first four syllables as a double foot, why not read the next four syllables as a double foot, or why not apply the same standards to Shakespeare’s sonnets?
Reading Sidney’s sonnets as a whole, however, reveals the reasons. Sidney’s variant feet always seem to come in pairs while the lines (within which they occur) remain strongly iambic. In his later sonnets, double feet can consist of two trochees, for example, an effect that would all but disappear from shorter Elizabethan poems – treated as incompetent. Sidney must have been well aware of the trends – that poets, like Spenser, Daniel and Drayton were increasingly favoring a strong Iambic Pentameter line. Sidney’s metrical experiments were not born out of ignorance or newness to the form. Sidney, after all, was the first English poet/critic to write a critical essay on Poetry – his Defence of Poetry.
He was experimenting with meter in a way that later poets couldn’t (as accentual syllabic verse became established and regularized). He was writing a line that was more typical of French Poetry, the Alexadrine, and trying to naturalize it (if not reconcile it) with accentual syllabic verse more natural to the English language. In the French poetry of the time, the Alexandrine was not as patterned as it was to become at the hands of the 17th century French Dramatists. There was a certain regularity, but it was “intensified and regularized” [Princeton Encyclopedia of Poetry & Poetics p. 30] after Sidney’s lifetime. So, the form of the Alexandrine with which Sidney was familiar, was a less patterned, syllabic line. That he was familiar with the Alexandrine is apparent from his Defence of Poetry:
Now for the rhyme [modern accentual verse], though we do not observe quantity, yet we observe the accent very precisely, which other languages either cannot do, or will not do so absolutely. That caesura, or breathing place in the midst of the verse, neither Italian nor Spanish have, the French and we never almost fail of.
So, to Sidney, the French Alexandrine was syllabic and characterized by division into two hemistichs “making it an apt vehicle for polarization, paradox, parallelism and complementarity.” [Ibid. 30] Notice, in the first sonnet, how many of his Alexandrines are broken, midline, by a caesura. For instance:
Pleasure might cause her read, || readingmight make her know,
The line is also characterized by anadiplosis, the repetition of read at the end and beginning; and the parallelism – all characteristics of the French Alexandrine (though equally characteristic of English poetry). And there is also the parallelism of meter – each having a double foot (trochee-iamb). Sidney seems to be combining syllabic (French Influence) with accentual syllabic (English Influence) verse in a strict dodecasyllabic line. He’s trying to anglicize the French Alexandrine – remake it into an English meter having characteristics of both the French and English verse.
What was Sidney’s aim in all of this?
The variant double feet seemed to give Sidney some flexibility in the patterning of his syntax. In the person of Astrophil, Sidney’s “cries, curses, prayers, and resolutions” [Wright: 73] are aptly expressed in the flexible meter of his double foot:
I sought fit words|
strang|ers in my way
help|less in my throes
Rather than reinvent the wheel, I’ll let Wright sum up Sidney’s purposes, which he does well:
Through such arrangements of meter and phrasing, Sidney finds a convincing tonal correlative for the psychological states of the Petrarchan lover and opens up iambic pentameter to a whole new order of English Speech. Compared with the earlier uses of Iambic Pentameter for narrative, dramatic, and even lyric verse, Sidney’s discovery of the meter’s powers is revolutionary. The next step, as we can see in retrospect, will be taken by Shakespeare, who pours new life into the relatively inert dramatic poetry of his age by adapting and developing to a much finer pitch and for incomparably grander purposes Sidney’s art of expressive metrical speech. [Ibid. 74]
You might wonder why Wright is talking about Iambic Pentameter when the first of Sidney’s Sonnets is written in Alexandrines. Of all Sidney’s sonnets, however, there are only five other examples (this combined with Shakespeare’s Iambic Tetrameter Sonnet, should all but dispel the myth that sonnets are, by definition, written in Iambic Pentameter). Sidney may have been dissatisfied with Alexandrines, or more attracted to the developing decasyllabic lines of Iambic Pentameter. The rest of his sonnets are decasyllabic. That said, he carries over the technique of the double foot into his decasyllabic sonnets. In our day, his decasyllabic sonnets would easily fall within the confines of Iambic Pentameter. That is, most would readily identify them as Iambic Pentameter.
Interpreting Sonnet 1
In his own day, though, his meter was much more experimental than that – miles apart from the sonnets Spenser was writing. I think it always helps to appreciate a poet (one that might seem staid by today’s standards) by trying to read them as their contemporaries read them. And speaking of which, I quick word on interpreting the sonnet:
That the dear She might take some pleasure of my pain:
This line works on many levels because of the word pain. It means, in its least ribald sense, that Stella might take some platonic pleasure from the effort/pain of writing the sonnets. But Sidney’s intentions are hardly platonic. Pain was also a reference to orgasm (as it is now). So… Sidney is slyly suggesting that, if only his Sonnets achieve their aim, she might take some pleasure (her own orgasm) from his orgasm. If you think this far-featched, then I would recommend a book like Filthy Shakespeare. The Elizabethans saw life very differently than we do. Death and sex was ever present. Life, in all its glory and decay, was intimate. They weren’t nearly so prudish about the realities of life as we have become – which isn’t to say that prudishness didn’t exist. The Elizabethans were all too ready to find sly humor in the crudities of life – much to the dismay and denial of our more puritan contemporaries.
reading might make her know
And what does Sidney mean by know. Does he simply mean that she will know that he loves her? Hardly. The phrase to bibically know someone comes from this era. To know someone possessed the double sense of having sex, just as it does now. So…Sidney is saying that if she reads his sonnets, she might come to know him, have sex with him. He is continuing the playful double-entendre of the previous line.
Knowledge might pity win, and pity grace obtain
The first quatrain closes, appropriately, with the attainment of grace. Grace continues Sidney’s double-meaning – grace as pity, beneficence, release from sin, sexual release, release from sexual obsession, lust and desire through the exercise of the same. It’s all there. From this point, Sidney plays on the conceit of his imagination/invention as a wayward student looking for inspiration in all the wrong places. Fool, says Sidney’s exasperated muse in the closing couplet, just shut-up and write from your heart.
As an aside, compare Sidney’s Sonnet to Shakespeare’s Sonnet 76, ostensibly on the same conceit of “writer’s block”:
Why is my verse so barren of new pride,
So far from variation or quick change?
Why with the time do I not glance aside
To new-found methods and to compounds strange?
Why write I still all one, ever the same,
And keep invention in a noted weed,
That every word doth almost tell my name,
Showing their birth and where they did proceed?
O, know, sweet love, I always write of you,
And you and love are still my argument;
So all my best is dressing old words new,
Spending again what is already spent:
For as the sun is daily new and old,
So is my love still telling what is told.
One gets the feeling that Shakespeare had read and re-read Sidney’s Sonnets, frequently inspired by many of Sidney’s own ideas.
On the Variety of his Sonnets
Lastly, worth noting is that although Sidney is writing in the Petrarchan tradition, he has already adopted and anticipated the much more Elizabethan, brilliantly argumentative, form that was to quickly evolve into the English/Shakespearean sonnet. The Elizabethans weren’t romantics. They reveled in the brilliantly turned argument, quick reparté, ingenius conceit, and wit. Every one of Sidney’s arguments are witty engagements with figurative language, simile, metaphor. Out of 108 poems, 93 of them are written with the closing, epigrammatic couplet typical of the English/Shakespearean Sonnet – of these, all but 5 are decasyllabic (or a loose Iambic Pentameter). The dramatic sting of the couplet’s closing summation, toward which the argument of the entire sonnet drives, is clearly a form that appealed to Sidney, as to most of his contemporary Elizabethan poets. They loved nothing more than the display of wit in rhetoric and debate. Formally, though the meter of Sonnet 1 is written in Alexandrines, the closing couplet typifies the majority of his sonnets. All that changes, between these 83 sonnets, is the rhyme scheme leading up to the closing couplet.
Sonnet 1 – Three Interlocking Sicilian Quatrains: ABAB ABAB CDCD followed by a heroic Couplet EE. Sonnet 2 – An Italian Octave made up of two Italian Quatrains ABBA ABBA followed by an interlocking Sicilian Quatrain CDCD and a heroic couplet EE.
These two variations comprise the lion’s share of the 93 Sonnets ending in a couplet. The rhyme scheme of Sonnet 1, as mentioned before, comes closest to the Shakespearean Sonnet, saving its epigrammatic couplet for the close of the sonnet. The whole of the sonnet feels driven toward the concluding couplet. Sonnet 2 is a sort of hybrid between Petrarchan and English Sonnets. The nested couplets in the first and second quatrain make the first octave feel more self-contained, more like a Petrarchan Sonnet. Whereas the sestet (CDCDEE) is a sort of English Sestet [my own coinage] to the Italian Octave, acting as a sort of counterpoise (an English Sonnet reduced to a sestet).
And here is yet another Sidneyan experiment – a sonnet composed in Identical Rhyme. It’s form is, outwardly, comparable to Sonnet 2, but the final couplet is altered in the name of Elizabethan wit.
ABBA ABBA ABAB AB
Now that of absence the most irksome night
With darkest shade doth overcome my day;
Since Stella’s eyes, wont to give me my day,
Leaving my hemisphere, leave me in night;
Each day seems long, and longs for long-stayed night;
The night, as tedious, woos th’ approach of day:
Tired with the dusty toils of busy day,
Languished with horrors of the silent night,
Suffering the evils both of day and night,
While no night is more dark then is my day,
Nor no day hath less quiet then my night:
With such bad-mixture of my night and day,
That living thus in blackst winter night,
I feele the flames of hottest summer day.
And again, as an aside, compare this to Shakespeare’s Sonnet 28
How can I then return in happy plight,
That am debarr’d the benefit of rest?
When day’s oppression is not eased by night,
But day by night, and night by day, oppress’d?
And each, though enemies to either’s reign,
Do in consent shake hands to torture me;
The one by toil, the other to complain
How far I toil, still farther off from thee.
I tell the day, to please them thou art bright
And dost him grace when clouds do blot the heaven:
So flatter I the swart-complexion’d night,
When sparkling stars twire not thou gild’st the even.
But day doth daily draw my sorrows longer
And night doth nightly make grief’s strength seem stronger.
(One gets the feeling that Shakespeare was measuring himself against Sidney.)
The second form, unfortunately in the minority, is typified by Sonnet 80.
The Sidneyan Sonnet
Sidney’s efforts to infuse his meter with the “expressive speech” (passion) finds its way into his decasyllabic sonnets. I call them decasyllabic because it’s not clear that Sidney, himself, would have considered these sonnets as Iambic Pentameter. He was trying to do something different – at least if judged against his contemporaries. While they are well within the confines of modern Iambic Pentameter, it would be several generations before so many variant feet would again occur in a single linewithin the space of a sonnet. Only Donne would come close. Lines like:
Since best wits think || it wit || thee to admire
Nature’s praise, vir||tue’s stall; ||Cupid’s cold fire
Breather of life||, and fast||’ner of desire
Loathing all lies,|| doubting this flat||tery is
On the other hand, lines 1,4,5,8,9, 13, and 14 are firmly Iambic and Pentameter. So, while his sonnets might not have been considered Iambic Pentameter in his own day, Sidney was using Iambic Pentameter as a basic pattern from which to vary. As Wright points out, when Sidney returns to the normative meter, he does so firmly and unequivocally – as though he were compensating for the variant patterns.
This sonnet form (the Sonnet above) was, to my knowledge, was first used by Sidney (probably created by him) and never used again. It’s every bit as interesting, to me, as the Shakespearean or Petrarchan form, and more interesting than the Spenserian Sonnet. It does something very unique. The couplet assumes the role of a sort of epigrammatic volta, the embodiment of the Petrarchan turn, neatly hinging the subject matter. This Sidneyan form clearly demarcates the sonnet into two parts – the Octave, a hinging heroic Couplet, and a summarizing quatrain.
The form is, perhaps, the most legal-like, attorney-esque form in all of poetry – perfectly suited to the Elizabethan temperament of discourse, reason, balance, thesis and antithesis. The heroic couplet aurally reinforces the turn in disquisition – subliminally. To my sensibility, it’s a beautiful effect. The Octave and final Quatrain’s envelope Quatrains (meaning they each envelope a heroic couplet) enforces the sense that they are self-contained arguments. The heroic couplet of the volta therefore feels less like a summation than a hinge between two distinct parts.
Intepreting Sonnet 80
Sonnet 80 stretches the notion of the conceit almost to the limit – verging on fetish (by modern standards). In the first line he is addressing Stella’s lip – the idealized woman’s lip. Swell with pride, he says. (The bawdy implication in these lines shouldn’t be overlooked.) The woman’s lip is a thing to be admired by “wits” (like himself). It is the praise of nature, virtue’s “stall” (in the Elizabethan sense being a seat of dignity – again, a certain bawdiness is hard to overlook). It is the place where heavenly graces “slide”. The word slide was every bit as suggestive in Elizabethan days as now.
Just which lip is he talking about?
Slyly, Sidney doesn’t tell us. He both knowingly suggests and deliberately misdirects. In the next quatrain the idealized woman’s lip is the new Parnasus, where the Muses (the Greek goddesses of art) bide; sweetener of music and wisdom’s beautifier. All fairly innocent stuff. But is it? Which muses? Then he knowingly suggests his real meaning.
Her lip is the “breather of life” – the entrance to the woman’s womb and the giver/breather of life. Her “lip” is the fastener of desire where beauty’s “blush” in Honour’s grain is dyed. Indeed. And don’t miss the pun on dyed – or died – the woman’s sex being the place of death/orgasm.
I can imagine that some readers will strongly, if not vehemently object that I’m reading too much into this Octave. Possibly, but I don’t think so. 30 years of Elizabethan Drama followed these sonnets and the language in these plays is stuffed with innuendo, puns, and outright crudities, making it clear that this was a culture that reveled in bawdy sexual humor and full-blooded suggestiveness. Some things don’t change. Many of their puns are still alive and well in our own day, belted out by everyone from Madonna to, less subtly, rappers. There was a reason the Puritans promptly shut down the stage some thirty years after Shakespeare’s death. Shakespeare, himself, was considered too sexually coarse by the restoration poets that followed (ironically – since many of them weren’t any less suggestive).
Anyway, Sidney, as if suspecting that he may be skirting obviousness – becomes somewhat more platonic with the Hinge Couplet:
This much my heart compell’d my mouth to say,
But now spite of my heart my mouth will stay…
Loathing lies, fearing/doubting that his sonnet would simply be interpreted as flattery, he seeks to discover the truth. His mouth won’t be satisfied (is resty or restive) to discover how far (whether or not) Sidney’s praise falls short. Sweet lip, he writes, you teach my mouth with one sweet kiss.
Interpret that how you will.
Again, compare Sidney’s Sonnet 80 to Shakespeare’s Sonnet 128 – I, for one, am hard pressed not to notice many parallels. Music appears in both sonnets while Shakespeare, like Sidney before him, delights in personifying the different parts of his own and his lover’s body. In Sidney, it’s the heart, the mouth, and lip. In Shakespeare, it’s the fingers, the hand and lips. Both sonnets end with a kiss.
Oft, when thou, my music, music play’st,
Upon that blessed wood whose motion sounds
With thy sweet fingers, when thou gently sway’st
The wiry concord that mine ear confounds,
Do I envy those jacks that nimble leap
To kiss the tender inward of thy hand,
Whilst my poor lips, which should that harvest reap,
At the wood’s boldness by thee blushing stand!
To be so tickled, they would change their state
And situation with those dancing chips,
O’er whom thy fingers walk with gentle gait,
Making dead wood more blest than living lips.
Since saucy jacks so happy are in this,
Give them thy fingers, me thy lips to kiss.
To all and any… if this post was helpful, was enjoyable, or if you have further questions or suggestions, please comment!
April 23 2009: My One Request!I love comments. If you’re a student, just leave a comment with the name of your high school or college. It’s interesting to me to see where readers are coming from and why they are reading these posts. :-)
Great Poetry, to me, is like great wine. It takes a lot of wine-tastings to recognize, describe and appreciate great wine. There’s a whole vocabulary and I confess, I don’t know it. I wish I did. So, if someone wants to recommend a good blog or site for the art of wine tasting, let me know. This is my version of the same for poetry.
At the Poetry Foundation I’ve been involved in an interesting discussion on John Donne’s Sonnet: Death be not proud… As part of the discussion I started searching the web to see what others had written. (I especially wanted to find readings and performances.) But, to my astonishment, I saw that everyone was misreading the poem!
As it turns out, this Sonnet (like Shakespeare’s Sonnet 116) is one of the most misread sonnets in the English Language.
Julian Glover offers a (sort of) period performance in front of a suitably medieval fireplace. Glover was trained with the Royal Shakespeare Co. and, of all actors, should know how to perform Iambic Pentameter. But, astonishingly, Glover misreads it. He’s not alone. I couldn’t find a Youtube performance that reads the Sonnet correctly.
DEATH be not proud, though some have called thee….
They all pronounce the word called as monosyllabic. It’s not. It’s disyllabic – pronounced callèd. Here it is, performed correctly in a composition by Benjamin Britten (who music’d all of Donne’s Holy Sonnets). The performance is by Ian Bostridge and clicking on the CD’s image will take you to Amazon:
However, if that’s not evidence enough, here’s something from a composer much closer to Donne’s lifetime – G.F. Handel:
…and His name shall be callèd Wonderful, Counsellor, the Mighty God…
If you listen carefully, you will notice that Handel, and presumably his librettist Charles Jennens, treated callèd as a two syllable word. While the pronunciation of the past tense –èd was rapidly fading from common parlance, it was still alive and well in poetic convention even a hundred years after Donne’s career. In Donne’s own day, when language was much more in flux, this older pronunciation could be found in common parlance too. For this reason, since spelling had not been standardized in Elizabethan times, poets frequently, though not always, used spelling to indicate whether the –ed should be pronounced. In Donne’s case, rather than spelling called as call’d or calld, which was frequently done with other words, he left the e intact.
Here are some other examples from a facsimile addition of Shakespeare’s Sonnets:
Powre instead of Power flowre instead of flower alter’d instead of altered conquerd instead of conquered purposd instead of purposed
In all these examples, the e has either shifted position or has been removed and in all these examples, the e was not meant to be pronounced. On the other hand, consider the following:
Sonnet 116 ever-fixed mark Sonnet 92 assured mine Sonnet 81 entombed in men’s eyes Sonnet 66 disabled
In all these examples, the e was left intact. Modern day editors, in an effort to make sure the words are pronounced correctly, write them as follows: ever-fixèd mark; assurèd mine; entombèd in men’s eyes; disablèd.
They also modernize the spellings of words like conquerd (since there’s no longer any risk that a reader will mispronounce conquered as conquerèd). The end result is that reader’s aren’t exposed to the kinds of devices Shakespeare and others used to signal pronunciation.
Here is a scansion of Donne’s poem. Purple indicates a spondaic foot. Red indicates a trochaic foot. These colors are my own invention. As far as I know, I’m the only one to use this sort of scheme.
July 27 2009: Me reading the poem
I’ve had some requests to read this poem the way it might have sounded in Donne’s day. So. Mea culpa. I apologize profusely to all actors who can wear an accent as though they were born to it. And I apologize to every reader who speaks the Queen’s English. You must be horrified. I invite any of you to send me a proper MP3, and I will dutifully add it to this post.
I accept all criticism.
Here’s the reason for my effort.What may sound like slant rhymes in our day, eternally and die, were probably much closer, if not identical, in Donne’s day. While nobody can recreate the accents of the Elizabethans, we can make educated guesses based on the kinds of words they rhymed. According to what I’ve read, many scholars think that the London accent of Elizabethan times may have actually sounded just a touch more American than British – think of the classic Pirate’s accent in movies. London was a sea-faring city.
I’m trying out my second recording. I tried too hard with some of the accent. I think I’ll try again, maybe later today.
So, let’s go line by line. The first line, like Shakespeare’s Sonnet 116, seems to give modern readers the most trouble – readers unaccustomed to reading Iambic Pentameter. Here is how many readers read it:
This makes the line Iambic Tetrameter with three variant feet: a headless first foot, an anapestic second foot, and a feminine ending. Historically, Donne would never have written a line like this as part of a sonnet, let alone as the first line. There is no Elizabethan who wrote anything like this in any of their sonnets. Just as in music, there were conventions and rules. Iambic Pentameter was still relatively new and poets wanted to master it, not break it. The reading above, a thoroughly modern reading, would have been scandalous and ridiculed.
Here is another version I have heard among modern readers:
This makes the line Pentameter, but not very Iambic. Every single foot is a variant foot: a headless first foot, trochaic second third and fourth, and a spondaic final foot. Donne would have been ridiculed as incompetent. Some readers, continue the trochaic reading through to the end (making the line Trochaic Pantemeter) :
No Elizabethan poet would have offered up a trochaic final foot – let alone a trochaic line within the span of a Sonnet. The trochaic final foot, with an Iambic Pentameter pattern, didn’t show up regularly until the start of the 20th Century. Between these three scansions there are variations but these examples cover most of them. Some of the misreadings occur because readers simply aren’t used to reading meter, and some because readers, misreading callèd, simply don’t know what to make of the line.
What is worth noticing in all these readings is that DEATH receives the stress. As modern readers, we want to read the sonnet as though Donne were addressing a character on stage. Hey, Death! But that’s not the story meter tells.
As I’ve written elsewhere: A masterfully written metrical poem has two stories to tell – two tales: one in its words; the other in its meter. The meter tells us that the subject of Donne’s sonnet is Death’s Pride. it’s the verb be that receives the iambic stress, not DEATH (though DEATH should still receive more emphasis than otherwise). The reason be receives the stress is because this is a sonnet about DEATH’s disposition, his pride, his state of being.
DEATH be | not proud, | though some | have call|ed thee
Recognizing called as disyllabic allows us to read the line iambically – more easily making sense of the first two feet.
The Second Line
The second line is still problematic for modern readers:
Mighty |and dread|full, for, |thou art | not so,
The stumbling block is usually the fourth and fifth foot, which readers are apt to read as:
Mighty |and dread|full, for,| (thou art|notso),
And this precisely how Glover reads the line. No, no, no,no… One might concede the trochaic fourth foot as a matter of interpretation, but never a trochaic final foot, not in Elizabethan times – not even Milton, in the entirety of Paradise lost, writes a single trochaic final foot (unless we anachronistically pronounce the word).
In poetry of this period, if one can read a foot as Iambic, then one probably should. Even though it’s possible that Donne read the fourth foot as trochaic, all we know for certain is that he was writing Iambic Pentameter and that the verb art is in a (stress) position. Besides stress, Glover’s reading misses Donne’s argument. Placing stress on the verb art echoes the first line’s be. There is a parallelism at work, a kind of Epanalepsis wherein a word or phrase at the start of a sentence is repeated at the end of the same or adjoining sentence:
DEATH | be |not |proud
Thou |art |not |so
In both cases, the verb “to be” receives the emphasis. Donne is addressing Death’s being which, he will argue, is a non-being. The play on the verb “to be” and being may or may not be a part of Donne’s intentions, but the idea is present in the poem and, perhaps, gains some credence by Donne’s stressing of the verb “to be” in both the first and second line – which, besides the meter, is another reason I choose to stress the verb be over the inactive noun DEATH.
The Third Line
This line offers up another curve ball for modern readers. Many will read it as a Tetrameter line (see the Youtube videos):
Green, as with all my scansions, represents an anapestic foot.
So, with many modern readers (including Glover again), we’ve already introduced two tetrameter lines within the first three lines. No metrical pattern is established and Donne’s Sonnet is effectively remade as a rhyming free verse poem.
Again, if you were scanning this poem, warning flags should be flying. No Elizabethan poet, within the confines of Sonnet, ever varied the number of feet from one line to the next. Never.
A masterfully written metrical poem tells us two stories: If we read the third line as Iambic Pentameter, the meter begins to tell us something. This isn’t a sonnet to be recited, meditatively, in front of a fireplace. This is a sonnet, god damn-it, of vehemence – an argument asserted forcefully. The Elizabethans were a fierce and gameful bunch and Donne was famed for his sermons.
For, those | whom thou | thinks’t, thou | dost o | verthrow
There is derision and defiace in those words! This is a sonnet of defiance. Consider the first two lines in light of the what the meter is telling us:
DEATH be |not proud, |though some |have call|ed thee
Mighty and dreadfull, for, |thou art |not so,
For, those, whom thou think’st, thou dost overthrow,
Observe the repeated thou’s. Donne is almost spitting the personal pronoun. You think you’reso great? Is that what you think?
The Fourth Line
This line is perhaps the least problematic of the first quatrain, but the fourth foot is still apt to trip up modern readers. Readers may want to read it as follows:
1 2 3 4 5
Die not,| poor death, |nor yet |canst thou |kill me
We know already that the trochaic fifth foot can’t be right. If one reads the fourth foot as trochaic, then the reader is not only subverting the meter of the poem, but the tale the meter is telling us, the vehemence and defiance of them. Yet again, Donne throws defiance in DEATH’s face with another thou.
DEATH be |not proud, |though some |have call|ed thee
Mighty and dreadfull, for, |thou art |not so,
For, those, whom thou think’st, thou dost overthrow,
Die not,| poor death, |nor yet |canst thou |kill me
After the third stressed thou, I find it hard not to read derisionin Donne’s verse. This is no fireside chat. This is a sonnet by a man obsessed with death; who, several weeks before his death, posed in his own death shroud for the making of his final monument.
The Second Quatrain
The second quatrain is the least problematic for modern readers. One could read the third foot of the third line as spondaic – both best and men receiving, essentially, the same stress.
And soon|est our |best men |with thee |doe goe,
More to the point is the change in tone from the first quatrain. There is less a feeling of derision and more a tone of confidence and certainty. The meter, accordingly, is smoother and confidently asserts itself. It’s hard to read the four lines as anything but Iambic Pentameter. The first foot in the second line, which I’ve marked as being spondaic, could also be read iambically. There us an almost jubilant certainty in content and meter.
In terms of content. A common conceit was to consider sleep a kind of death. This is what Donne means when he refers to rest and sleep as death’s “pictures”. Sleep and rest are false “pictures” of death, imitations. Sleep and rest were considered healing and restorative. So, says Donne, if sleep and death are but an imitation (a picture) of death, then death itself must be all the more healing and restorative. Much pleasure, he writes in the wise, must flow from death, “much more” than the false pictures of rest and sleep. Brave men must go with death, but it is their soul’s delivery.
The Third Quatrain
The third quatrain illustrates what made Donne’s meter rough and inelegant to his contemporaries. Ben Jonson was quoted as having said: “Donne, for not keeping of accent, deserved hanging.” Even two hundred years later, literary historian Henry Hallam considered Donne the “most inharmonius of our versifiers, if he can be said to have deserved such a name by lines too rugged to seem metre.” Right up to 1899, Francis Thompson was describing Donne’s poetry as “punget, clever, with metre like a rope all hanks and knots.”
Thomas Carew, a contemporary, wrote in his elegy to Donne:
Our stubborne language bends, made only fit
With her tough-thick-rib’d hoopes to gird about
Thy Giant phansie
Carew praised Donne’s meter for it’s “masculine expression”. Dryden, on the other hand, wished that Donne “had taken care of his words, and of his numbers [numbers was a popular term for meter] eschewing in particular his habitual rough cadence. (For most of these quotes, I’m indebted to C.A. Partrides Everyman’s Library introduction to Donne’s complete poems.) It was lines like the following that they were referring to:
Th’art slave to Fate, Chance, kings, and desperate men
The very lines that we, as modern readers, relish and enjoy.
In his own day and for generations afterward, these lines were idiosyncratic departures. I scanned it the way Donne’s contemporaries would have tried to read it – which is possibly the way Donne himself imagined it. I do know that he was working within the confines of an art form that was still fairly new and that too much departure from metrical pattern wasn’t seen is innovative but as incompetent. Anapestic variant feet, within the confines of a sonnet, were rare. To have three anapestic feet within one quatrain would have been extremely unlikely.
The first line is the easiest to read as Iambic:
Th’art slave | to Fate, | Chance, kings, |and des|p’rate men
Since most of us pronounce desperate as disyllabic (desp’rate), reading the last foot as Iambic (rather than anapestic) probably isn’t a stretch.
If the elision of thou art to th’art seems farfetched, here’s some precedent by Donne’s contemporary Shakespeare:
Hamlet V. ii
As th’art a man,
Give me the cup. Let go! By heaven, I’ll ha’t.
Taming of the Shrew I. ii
And yet I’ll promise thee she shall be rich,
And very rich; but th’art too much my friend,
And I’ll not wish thee to her.
Taming of the Shrew IV. iv
Th’art a tall fellow; hold thee that to drink.
Here comes Baptista. Set your countenance, sir.
One might object that Donne hasn’t elided Thou art and therefore means for us to read the first foot as anapestic, but this doesn’t acknowledge poetic practice during his own day. (It’s also possible that he did, but that the printer didn’t correctly reproduce Donne’s text.) In the first line, when Donne didn’t accent callèd, he omitted the accent first, because they didn’t use the grave accent, and secondly, because it was assumed that readers would properly read the word. The Elizabethan audience knew how to read Iambic Pentameter. And since literacy was limited to a fairly limited and educated class, this was a safe assumption. Likewise, and given the strong (and new) expectations surrounding Iambic Pentameter, it was assumed that the reader would elide Thou art to read Th’art. Generally, if a first word ends with a vowel and the second begins with a vowel, and if an Anapestcan be reduced to an Iamb by doing so, one probably should. These were the poetic conventions of the day. Poets expected their readers to understand them. Even modern speakers naturally elide such words without a second thought.
And pop|pie’r charmes | can make |us sleepe |as well,
This reading may seem controversial but it’s not so farfetched. Say “poppy or charms” over and over to yourself and you will find that you naturally elide the vowels. It’s simply the way the English langauge is spoken. Donne takes advantage of this to fit extra words into his meter.
I’m not trying to regularize Donne’s meter.
The point of studying meter, to me, isn’t to fit the poetry to the meter, but to see how understanding meter can teach us something about the poem and how the poet might have exploited it.
Even if we elide all the feet as I have suggested, Donne’s practice still stretches the conventions of his own day. His lines still have an anapestic ring to them. The elision can’t make the extra syllable wholly disappear. He still doesn’t quite keep the accent and still, as Jonson said, deserves hanging. My reason for scanning it this way is to give modern readers an idea of how Donne probably imagined the sonnet.
And better then thy stroake; why swell’st thou then;
Ostensibly, the word swell refers to DEATH’s pride, but Donne also plays on the image of the bloated corpse, a common site in Donne’s plague-ridden day.
The Final Couplet
The final couplet offers a few more opportunities for tripping up. Modern readers are apt to read the lines as follows:
One short sleepe past, wee wake eternally,
And death shall be no more; death, thou shalt die.
This reading, though, misses the emphasis of Donne’s closing and triumphant argument. If read with the meter, watch what happens:
One short sleepe past, wee wake eternally,
And death shall beno more; death, thou shalt die.
Donne’s emphasis is on short. This is not an eternal sleep that awaits us but a short one before we wake eternally. But it’s in the second line that the importance of the meter really makes itself felt. Donne reminds us of the opening lines, of his emphasis on the verb to be:
DEATH | be |not |proud
Thou |art |not |so
And he adds:
DEATH | be |not |proud
Thou |art |not |so shall | be | no | more
Donne defies Death’s being, making him no more – a no being. It’s not me who will die, says Donne to DEATH, but thou. Thou shalt die!
A Note on the Structure
The structure of the poem is probably most closely related to Sidney’s Sonnets, in terms of Rhyme Scheme, and Shakespeare’s Sonnets (or the English Sonnet) in that 3 quatrains lead to a final, epigrammatic couplet. With typical Elizabethan rigorousness, Donne hammers out his argument. The effect is a little different though. Each of the quatrians encloses its own couplet (see the brackets). The effect subliminally dilutes the power of the final couplet while strengthening (to me) the unity of the sonnet. The rhyme scheme, which limits itself to only 4 distinct rhymes, as opposed to Shakespeare’s 7, also lends to the poem a feeling of organic wholeness and clarity. One can only speculate why Donne chose this rhyme scheme, unique among all the other sonnets being written during his day. For a look at the other sonnets being written in his day, see my post on Shakespeare, Spenserian and Petrarchan Sonnets.
If you enjoyed this post, found it helpful, or have a question, please comment!
The Ode to Autumn was the last of the famous odes Keats wrote – and some would argue his greatest. Helen Vendler, a “close reader” who can turn limericks into three hundred page dissertations and the bar room drunks who wrote them into towering geniuses, wrote an exhaustive book on Keats’ odes. Even if two thirds of her analysis is sheer conjecture, her ebullience and knowledge makes her every sentence worthwhile. You may be no closer to knowing what Keats actually intended, but you can safely skip your MFA.
Vendler writes, for example, that Keats “must have” remembered Coleridge’s Frost at Midnight. Evidently she could find no correspondence suggesting this to be true but, who knows, maybe she’s right.
Therefore all seasons shall be sweet to thee,
Whether the summer clothe the general earth
With greenness, or the redbreast sit and sing
Betwixt the tufts of snow on the bare branch
Of mossy apple trees, while the nigh thatch
Smokes in the sun-thaw; whether the eave-drops fall
Heard only in the trances of the blast,
Or if the secret ministry of frost
Shall hang them up in the silent icicles,
Quietly shining to the quiet moon.
Vendler then proceeds from the conjectural “must have” to “Keats borrowed” in the next paragraph. So… without clearcut documentation, take what Vendler writes with a grain of salt. Whether or not Keats ever read or knew of Coleridge’s poem should remain conjecture. Nevertheless, what the similarities between these two passages tells us is that the Romantic Era had begun. This was the beginning of the age that emphasized the pastoral over and above the urban – an intuitive grasp of the world began to supercede the classical emphasis on reason. The world’s natural state was a central metaphor for the Romantics with its the inevitable cycle of creation and loss.
My main reason for mentioning Vendler, however, is her assertion that reaping serves Keats as a metaphor, throughout his poetry, for the act of writing:
As the act of conceiving poems is paralleled to natural fruitfulness, his books are the garners into which his grain is gathered. A teeming brain becomes a ripe field; the act of writing is the reaping of that field; to have written all the poems one has been born to write is to have gleaned the full harvest from that teeming brain; and to have compiled one’s poems in books is to have stored away riches.
The ode ToAutumn… contains Keats’ most reflective view of creativity and art… (p. 234)
Vendler’s entire chapter elaborates on this central premise. She may or may not be right about Keats’ intentions, but in this case at least, Keats’ own letters show that he liked to think along these lines. Vendler’s chapter is worth reading; and even if you don’t read Vendler, knowing this much might help you read the poem in a different light. Keats knows that autumn will inevitably destroy all that he’s found beautiful within the ode, but knows as well that Autumn has its music too – its song, its “wailful choir”, a part of its own dissolution and impossible without it. Autumn must achieve its fruition through its own dissolution. Bear in mind, as well, that Keats knew that he was likely to die when he wrote this poem. The symptoms of his tuberculosis were already underway. Keats once wrote that life was metaphor. Perhaps, with this ode, he is metaphorically describing his own dissolution and the harvesting of his mind – his poetry.
But there’s another possibility – one that possibly sends tenured professors, lit majors and the Helen Vendlers of the world into fits of apoplexy. And that’s that Keats may simply have been writing a beautiful poem. If there was any poet in the history of poetry who could write beautifully for the sake of writing beautifully, that was Keats. His skill with language and imagery rivaled Shakespeare’s. The writing of the “Ode to Autumn” may have given him a venue for an exquisite expression of poetic thought.
Indeed, in a letter to Reynolds written in September of 1819, Keats writes:
‘How beautiful the season is now–How fine the air. A temperate sharpness about it. Really, without joking, chaste weather–Dian skies–I never liked stubble-fields so much as now–Aye better than the chilly green of the spring. Somehow, a stubble-field looks warm–in the same way that some pictures look warm. This struck me so much in my Sunday’s walk that I composed upon it.’
It’s thought that Keats was referring to his Ode to Autumn. He was communicating an ineffable experience through sheer poetic expression. That is, he was communicating an experience, not meaning. Don’t underestimate the genius required to pull this off. The possibility doesn’t diminish the poem one iota. There is not a poet alive today who could accomplish the same feat (though I hope one shows up). By way of analogy – not every line of music in a suite by Bach or a concerto by Mozart conceals a subtext. It is music – meant to be enjoyed as music. Likewise. Keats’ “Ode to Autumn” may be a kind of music in words. The “point of the poem” is in the beauty of reading or reciting the poem – meant to be enjoyed as a poem. And this was, in fact, an aesthetic pursued by Keats – (see critics like W.J. Bate and R.H. Fogle). (The poem, in its language and imagery, becomes the embodiment of its own subject matter.)
It was also an aesthetic that Robert Frost referred to as “a revel in the felicities of language”. He used this phrase in reference to the late E.A. Robinson’s poetry, but it was a felicity he also claimed for himself. In my recent post on Interpreting Frost’s “Stopping by Woods”, I cover some of that ground. As it pertains to this post, the author Mark Richardson offers up the most pertinent comment:
Frost directs our attention not to the poem’s [Stopping by Woods] theme or content but to its form: the interlocking rhyme among the stanzas. He once remarked to an audience at Bread Loaf, again discouraging biographical or thematic readings of the poem: “If I were reading it for someone else, I’d begin to wonder what he’s up to. See. Not what he means but what he’s up to” (Cook 81). The emphasis is on the performance of the writer and on the act of writing. [p. 191]
Although we have no comparable comment from Keats (to my knowledge) it probably wasn’t necessary for Keats to make it. The whole aesthetic of poetry was different. The successful poem was frequently the one that was aesthetically beautiful – in content and style. In other words, how the poem was written was the message and content. In the case of Ode to Autumn, what makes the poem is it’s style and expression.
Remember, when reading “close readers” like Vendler and others, that unless the interpretation comes from the poets themselves, any interpretive reading is outright conjecture. Period. There is no reason to think that Vendler, in any of her analysis, reflects what Keats actually intended. Vendler spends over 50 pages of prose to unfold a one page poem. There’s not a professor alive who can persuade me that Keats thought all the thoughts Vendler ascribes to him. Not every single line has to mean something. But… there are other reasons to read Vendler’s book. You will learn a tremendous amount about the philosophical currents of Keats’s day, what Keats thought along those lines, and how they may relate to his odes.
In the scansion below, I’ve left iambic feet unmarked. The colors of the scansion are as follows: Trochaic Feet are reddish, Spondaic Feet are purplish, Phyrric Feet are yellowish.
On the Shape of the Poem
The first thing to notice, as to the form of the poem, is its division into three stanzas. These three stanzas, in turn, most likely find their inspiration in the Petrarachan Sonnet. Keats’ temperament (along with the temperament of the era) was ill-suited to the argumentative terseness which the Elizabethans preferred – most perfectly summarized in the Shakesperean Sonnet with the sting of its closing epigrammatic couplet. The Romantics were after a different aesthetic – one of intuition and, in some ways, gnosis.
The stanzas are almost like foreshortened Petrarchan Sonnets. Instead of two quatrains and a concluding sestet, Keats reduces two quatrains to one, and expands the sestet by one line – a septet. In the final stanza, there is even a kind of volta between the quatrain & the final septet, as though the whole of the poem were built on the Petrarchan model but in a much expended form.
The couplet isn’t held off to the end of the poem, as in a Shakespearean Sonnet, but is enclosed within the septet, discouraging the feel of discursiveness (the working out of an idea in the Shakespearean sense). The couplet nonetheless has the effect of subliminally grounding or halting each stanza before the final line. The whole of it produces a kind of nested, self-enclosed completeness – a calm and contemplative feel.
[I love the image at right – the statue of Keats. What a pity that he died so young!]
Writing the Ode to Autumn
The meter of the poem might seem conservative, but in Amy Lowell’s biography on Keats, she finds the following comment from one, Lord Houghton:
Uniformity of metre is so much the rule of English poetry, that, undoubtedly, the carefully varied harmonies of Keats’ verse were disagreeable, even to cultivated readers, often producing exactly the contrary impresssion from what he intended. (p. 500 – John Keats)
Lowell then discusses Keats’ compositional practice. I love it, being a poet. It’s an aspect of biography all too frequently overlooked by biographers who are not themselves (unlike Amy Lowell) poets.
In a letter to Taylor, a confidant of Keats, here is what Keats himself wrote about the composition of poetry:
In poetry I have a few axioms, and you will see how far I am from their centre. 1rst. I think poetry should surprise by a fine excess, and not by singularity; it should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance. 2nd. Its touches of beauty should never be half-way, thereby making the reader breathless, instead of content. The rise, the progress, the setting of Imagery should, like the Sun, come natural to him, shine over him, and set soberly, although in magnificence, leaving him in the luxury of twilight. But it is easier to think what poetry should be than to write it. And this leads me to
Another axiom – That if poetry comes not as naturally as the leaves to a tree, it had better not come at all.
There you have it, advice from one of the language’s greates poetic geniuses.
Lowell then provides a description of how Keats first wrote the poem (p. 503). I’ve recreated what the manuscript might have looked like based on her description (I’ve marked additions in Italics):
Who hath not seen thee? For thy haunts are many oft amid thy stores?
Sometimes whoever seeks (for theeabroad) may find Thee sitting careless on a granary floor
Thy hair soft lifted by the winnowing wind While bright the sun slants through the bushy barn Or sound asleep in a half-reaped field Or on a half reap’d furrow sound asleep
Dosed with red poppies; while thy sleeping hook Spares from some slumbrous
Spares some minutes while warm slumbers creep
At this point, Lowell tells us, Keats decides to rewrite what he’s already written:
Who hath not seen thee oft amid they stores?
Sometimes whoever seeks abroad my find
Thee sitting careless on a granary floor
They hair soft lifted by the winnowing wind
Or on a half-reap’d furrow sound asleep
Das’d with the fume of poppies while thy hook Spares for some slumbrous minutes the next swath Spares the next swath in all its twined flowers
This insight into Keats’ compositional practice probably won’t be of interest to anyone but other poets and even then, only to poets and readers interested in an older poetic style. One thing to notice is the italicized bushy in the 5th line of the first sketch. Apparently, or so Lowell tells us, Keats’ line read:
While bright the sun slants through the barn
But this line isn’t Iambic Pentameter. It’s missing one foot.It’s Iambic Tetrameter.
While bright | the sun | slants through | the barn
So Keats, almost casually, adds the word bushy before barn. It was a terrible additionand an anemic adjective. Fortunately Keats didn’t keep the line. However, it goes to show how meter can guide the language and subject of the poem in ways that the poetry of free verse does not. Meter frequently forces the poet to rethink first thoughts, to plumb a layer of ingenuity in a way that free verse poets rarely plumb.
Another aspect which Lowell stresses is how Keats plays with the sounds of a given line. She conjectures that the line that began with: Spares from some slumbrous, was to heavy with the consonant m in both some and slumbrous. You can see Keats, she conjectures, tinkering with the line as he tries to eliminate the heavy alliteration.
Reading the Meter
There are only a couple of lines that will trip up a modern reader unfamiliar with Iambic Pentameter:
Instead, the modern reader would probably be tempted to read the line as follows:
Where are | the songs | of Spring? | Ay, where | are they?
In the first foot, this puts the emphasis on Where rather than are. A trochee in the first foot is an acceptable variant, in Keats’ day, but I suspect Keats meant us to read the line as iambic. Emphasizing are in the last foot, making the last foot a trochee, is an out-and-out no-no – especially in poetry of this time. Keats would never have written a line like this. Just remember Houghton’s comment on Keats’ variants which, by our standards, are dazzlingly mild. A trochee in the final foot would have caused apoplexy. If we read the last foot as iambic, as it should be, then the first foot makes more sense if it is also read as iambic.
Because it’s a lovely use of meter.
The shift in emphasis (with the same word) between the first and last foot is a virtuosic use of meter and just what we would expect from a poet of Keats’ caliber.
The only line that might be a stumbling block for modern readers is the following:
Readers in Keats’ day would have automatically pronounced the –ed in barred – (even if they no longer pronounced the ending in common parlance). Four hundred years before the full pronunciation of –ed was actually a part of everyday speech. However, the extra syllable never stopped being useful to writers of metrical poetry – and so the full pronunciation of –ed continued as an artifact, a poetic convention, right up to the start of the 20th century.
One last thing I can’t help but notice, having just analyzed Milton’s versifying, is how Milton’s metrical habits seem to have brushed off on Keats. Keats, at different stages of his short career, idolized Milton’s verse. Keats, like Milton, mostly limits trochaic variant feet to the first feet of the lines. Keats, on the other hand, shows a greater willingnes to vary the Iambic Pentameter pattern with Spondaic feet and Phyrrics. This flexibility is probably what Lord Houghton meant when he referred to Keats’ varied harmonies. It’s probably impossible to imagine ourselves back in the day, reading Keats’ poetry the way his contemporaries read them.
Suffice it to say, though these days his verse may seem conventional and conservative, in his own day his metrical style was as unique and unconventional as the language of his poetry.
Milton’s blank verse is exceedingly conservative and easy to scan. It’s a testament to Milton’s skill as a poet that his beautiful language and careful phrasing triumphs over his monotonous meter – in many cases subtly disrupting it without violating it. It’s a miracle, really. (For an example of a poet who didn’t pull it off, read Spencer’s Fairy Queen.) It was as if the experimentation of the Elizabethans, let alone the Jacobeans, had never occurred. Milton came of age in an exceedingly conservative era- poetically. Meter, in those days, was as dominant then as free verse now, and as unadventurous. Just the fact that Milton wrote blank verse (when everyone else was writing heroic couplets) was an act of defiance.
Most of the trouble surrounding Milton and scansion (for modern readers) comes down to differences in pronunciation – some of it has to do with historical changes; and some, if you’re American, has to do with differences in British and American pronunciation (especially problematic when reading Chaucer).
I cooked up a table that, with its “scientific” terminology, gives you an idea of Milton’s metrical habits and preferences. I haven’t gone line by line to exhaustively prove the accuracy of my table, but I can assert, for example, that Milton (despite claims to the contrary) never wrote a trochee in the final foot. Here’s an extract, to that effect, from my review of M.L. Harvey’s Book Iambic Pentameter from Shakespeare to Browning: A Study in Generative Metrics (Studies in Comparative Literature):
A more egregious example of misreading, due to changes in habits of pronunciation and even to present day differences between the continents, comes when Mr. Harvey examines Milton. Words like “contest” and “blasphemous” and “surface” (all taken from Paradise Lost) were still accented on the second syllable. “Which of us beholds the bright surface.” (P.L. 6.472 MacMillan. Roy Flannagan Editor.) Mr. Harvey, offering an example of a “very rare `inverted foot’” (the credit for its recognition he gives to Robert Bridges) gives the following line: “Of Thrones and mighty Seraphim Prostrate (P.L. 6.841) In fact, Robert Bridges and Mr. Harvey are both mistaken in reading the fifth foot as inverted and one need not be a seventeenth century scholar to recognize it. Webster’s International Dictionary: Second Edition, in fact, provides the following pronunciation key. (pros [stressed] trat [unstressed]; formerly, and still by some. Esp. Brit., pros [unstressed] trat [stressed]). Any laboratory of Americans, nearly without fail, would also misread this line, and so the danger of overwhelming empirical evidence!
On to my table… Each division represents an equivalent foot in an Iambic Pentameter line.
Here is one of my favorite passages, already alluded to in a previous post – Iambic Pentameter Variants – I. To simplify matters, I haven’t marked any of the Iambic feet , I’ve only marked variant feet or feet that, for one reason another, might be read incorrectly.
Elision, a standard practice in Milton’s day and more or less assumed whether marked or not, eliminates the vast majority of Milton’s “variant” feet.
Glorious, if treated as a three syllable word, would make the second foot Anapestic, not criminal, but if you can elide, you should.
This elision might make some metrists squirm. Given just how conservative metrical practice tended to be in Milton’s day, I would be inclined to elide these two vowels. Given how Milton can barely bring himself to so much as use a feminine ending in the final foot, I seriously doubt he expected readers to treat this foot as an anapest. My advice is to elide it.
The final example of elision, above, is the word Spirits. Interestingly, Milton seems to treat this word opportunistically. In line 466, for example, he treats spirits as a two syllable word. In other lines, throughout Paradise Lost and in the latter line, he treats the word as a monosyllabic word. This sort of inconsistency in pronunciation is found as far back as Chaucer, as with his pronunciation of the word sweete – sometimes one syllable, sometimes two. Such inconsistency is permitted once one has obtained a poetic license.
Reading with the Meter
Modern readers may sometimes be tempted to read as though they were reading prose. Sometimes, though, poets play the line against the meter, wanting us to emphasize certain words we might not otherwise. That’s the beauty of meter in poetry. Milton, as with all the great poets, was skilled at this sort of counterpoint:
In the line above, the modern reader might be tempted to stress the line as follows:
Mean, or in her summ’d up, in in her containd
This would be putting the emphasis on the words in. In free verse, ok, but not Iambic Pentameter and especially not with a metrically conservative poet like Milton. Milton wants us to put the emphasis on her. Maybe the line above doesn’t seem such a stretch? Try this one:
Any modern reader would put the emphasis on Bone and Flesh:
Bone of my Bone, Flesh of my Flesh, my Self
But they would be missing the point of Milton’s line – the closing mySelf! That is, it’s not the Bone or Flesh that amazes Adam, it’s that the Bone and Flesh are of his Bone and ofhis Flesh. His Self! This contrapuntal exploitation of the meter is a master stroke and to miss it is to miss Milton’s genius. If it’s read in this light, stressing the prepositional of might not feel so strained or artificial.
Pentameter at all costs!
Milton’s obeisance to the demands of Iambic Pentameter aren’t always entirely successful.
This, to me, is a reach, but it’s probably what Milton intended and even how he pronounced it. Practice it with studied e-nunc-i-a-tion and the line may make a little more sense. An alternative is to read the line as Iambic Tetrameter.
Given Milton’s metrical squeamishness, I seriously doubt that, in the entirety of Paradise Lost, he decided, for just one moment, to write one Tetrameter line. There are other alternative Tetrameter readings, but they get uglier and uglier.
That said, ambiguities like these, along with the examples that follow, are what disrupt the seeming monotony of Milton’s meter. His use of them defines Milton’s skill as a poet. Roy Flannagan’s introduction to Paradise Lost (page 37) is worth quoting in this regard:
Milton writes lines of poetry that appear to be iambic pentameter if you count them regularly but really contain hidden reversed feet or elongated or truncated sounds that echo meaning and substance rather than a regular and hence monotonous beat. He builds his poetry on syllable count and on stress; William B. Hunter, following the analysis of Milton’s prosody by the poet Robert Bridges in 1921, counts lines that vary in the number of stresses from three all the way up to eight, but with the syllabic count remaining fixed almost always at ten (“The Sources” 198). Milton heavily favors ending his line on a masculine , accented syllable, with frequent enjambment or continuous rhythm from one line to the next… He avoids feminine feet or feet with final unstressed syllables at the ends of lines. He varies the caesura, or the definitive pause within the line, placing it more freely than any other dramatist or non-dramatic writer Hunter could locate (199). He controls elisions or the elided syllables in words most carefully, allowing the reader to choose between pronouncing a word like spirit as a monosyllable (and perhaps pronounced “sprite”) or disyllable, or Israel as a disyllable or trisyllable.
Extra Syllables: Milton’s Amphibrachs (Feminine Endings & Epic Caesuras)
The amphibrach is a metrical foot if three syllables – unstressed-stressed-unstressed. In poets prior to the 20th Century it is always associated with feminine endings or epic caesuras. In the passages above, Milton offers us two examples, one in the second foot (by far the norm) and one in the first foot.
This would be an epic caesura. The comma indicates a sort of midline break (a break in the syntactic sense or phrase). Amphibrach’s, at least in Milton, are always associated with this sort of syntactic pause or break. Epic Caesuras and Feminine Endings are easily the primary reason for extra syllables in Milton’s line. Anapests make up the rest, but they are far less frequent and can be frequently elided.
This would be a much rarer Epic Caesura in the first foot. Notice, once again, that the amphibrachic foot occurs with a syntactic break, the comma.
Differences in Pronunciation
If you just can’t make sense of the metrical flow, it might be because you aren’t pronouncing the words the same way Milton and his peers did.
Most modern readers would probably pronounce discourse and dis’course. However, in Milton’s day and among some modern British, it was and is pronounced discourse’.
This one is trickier. In modern English, we pronounce attribute as att’ribute when used as a noun and attri’bute when used as a verb. Milton, in a rather Elizabethan twist, is using attributing in its nominal sense, rather than verbal sense. He therefore keeps the nominal pronunciation: att’tributing.
The arch-Angel says to Adam, as concerns Eve:
Dismiss not her…by attributing overmuch to things Less excellent…
It’s phenomenally good marital advice. In other words. Don’t dismiss her by just tallying up her negative attributes, to the exclusion of her positive attributes. There is more to any friendship, relationship, or marriage than the negative. Think on the positive.
Some of Milton’s metrical feet are simply ambiguous – effectively breaking the monotony of the meter. In the example below, one could read the first foot as trochaic or as Iambic:
I chose a trochaic foot – the first option. If this foot had been in the fifth foot (or the last foot of the line) I would have read it as Iambic. Milton doesn’t write trochaic feet in the fifth foot. In the first foot, however, trochaic feet aren’t uncommon and in this instant it seems to make sense. I don’t sense that there’s any crucial meaning lost by de-emphasizing by. Perhaps the best answer, in cases of metrical ambiguity, is to consider at what point in the line the ambiguity is occuring.
Similarly, I read the following line as having a spondee in the fourth foot:
One could also read it as trochaic or iambic. Iambic, given the metrical practice of the day, is far more likely than a trochaic foot – especially, given Milton’s practice, this close to the final foot. I scanned the foot as spondaic. Spondaic feet, in Milton’s day, were considered the least disruptive variant foot and so were acceptable at just about any point of the line.
My Favorite Passages
The passages excerpted above just about cover every metrical exigency you will run into in reading Milton. The other reason I chose them is because they’re, well, juicy. I love them. I especially like the following lines for their sense of humor (and, yes, Milton does have a sense of humor).
What boyfriend or husband hasn’t had this experience? No matter how rational we think we are, all our intellectual bravado crumbles to folly – men are from Mars, women are from Venus.
Did Adam & Eve have sex? Why, yes, says Milton, but it wasn’t pornographic. That came after the fall:
Lastly, and most importantly, is there sex in heaven (or do we have to go to hell for that)? Milton gives us the answer:
If you enjoyed this post and found it helpful, comment! Let me know. And if you have further questions or corrections, I appreciate those too.
Having noticed several searches on Frost’s Mending Wall (probably one of the most famous poems he wrote) I thought I would take a look at the poem. I’ve looked at several of my books on Frost and none of them extensively analyze the poem. The archetypal meaning of the wall is straightfoward and expounded on by the speaker of the poem. Perhaps the most insightful comment was Richard Poirier’s in Robert Frost: The Work of Knowing. Poirier makes the observation Frost’s “genius as a narrative poet is in part his capacity to sustain debates between people about the nature of the ‘homes’ which they very often occupy together.” Mending Wall is an ideal manifestation of that genius, just as Home Burial is.
As an aside, it is also worth noting how few poets take an interest in writing narratively or even in voices other than their own. In the most recent issue of Measure, a biannual journal that publishes “formal” poetry, I could only find one poem indisputably written in a voice other than the poet’s – “Moliere’s Housekeeper”. The overwhelming majority were first person with the remaining few being second and third person. Not a single poem was written in the manner of a debate between two separate voices. Robert Frost is truly unique in this respect.
Having just analyzed Frost’s Birches, I was struck by the difference, in metrical style, between Birches and Mending Wall. My first thought was that Birches must have been written later (if not much later) than Mending Wall. Where Mending Wall is extremely conservative in its use of variant feet, Birches shows a much greater freedom and flexibility. As is the habit with most poets , when young they will try to master the game strictly by the rules – both to learn the rules and to prove to themselves and to others that they have the right stuff. Frost himself bragged that his first book, “A Boy’s Will”, proved that he could write by the numbers. That done, he quickly learned how to bend the rules.
I still think that Birches must have come later but William Pritchard, Frost: A Literary Life Reconsidered, recounts that when Frost wrote to Bartlett (a publisher) in August of 1913 “about a book to be called, tentatively, New England Eclogues, made up of ‘stories’ form between one to two hundred lines, he sent along a list of eleven poems, one of which bore the title “Swinging Birches.” Pritchard, echoing another biographer (John Kemp) speculates that Frost didn’t include Birches in the first book because the tone, more philosophical “and sage”, would have set it (too much) apart from the other poems “rooted in the realism of experience”. Page 103.
So… I’ m left clinging to my theory on the basis of meter alone. Which isn’t a wholly reliable way to date poetry. But there you have it. One last interesting note. Lea Newman, who I mentioned in a previous post, writes in her book Robert Frost: The People, Places, and Stories Behind His New England Poetry, of a children’s story Frost wrote for Carol and Lesley. In reference to elves and a spell, she quotes the following passage from the story:
Their backs were to the wall so that when a stone fell off it they were taken by surprise. They hardly turned in time to see two little heads pop out of sight on the pasture side. Carol saw them better than Lesley. “Faries!” he cried. Lesley said, “I can’t believe it.” “Fairies sure,” said Carol.
What Newman doesn’t observe is that even here, two voices (Frost’s children) are in debate. One sees fairies, the other doesn’t. Not only were the seeds of magic and elves present in this children’s story, but also the presence of two distinct voices in debate. It’s easy to imagine how, rightly or wrongly, these first thoughts gradually evolved into the famous poem. Newman mentions, additionally, that Frost himself never firmly identified himself with one speaker or the other. There was a little of both speakers in himself – and the poem could in some ways be taken as an internal debate.
Here is what Frost himself said, 1955, at Bread Loaf:
It’s about a spring occupation in my day. When I was farming seriously we had to set the wall up every year. You don’t do that any more. You run a strand of barbed wire along it and let it go at that. We used to set the wall up. If you see a wall well set up you know it’s owned by a lawyer in New York — not a real farmer. This is just about that spring occupation, but of course all sorts of things have been done with it and I’ve done something with it myself in self defense. I’ve gone it one better — more than once in different ways for the Ned of it — just for the foolishness of it. [The Cambridge Companion to Robert Frostp. 231]
To show just how divergent the metrical usages are between the two poems, I’ve color coded the scansion of Mending Wall and Birches. Trochaic feet are in red, Spondees are purple, Anapests are blue, and Feminine Endings are green, Phyrric feet are yellowish.
Frost reciting Mending Wall:
The meter does little in terms of acting as counterpoint to the line. (The scansion, by the way, is based on Frost’s own reading of the poem.) One might conjecture that the regularity of the meter, if it wasn’t simply for the sake of writing Iambic Pentameter, was meant to echo the stepwise, regular, stone by stone mending of the wall. After all, there is no flinging of feet from the topmost spindle of a birch. There is no avalanching or crazed ice. There are no girls on hands and knees throwing their hair before them over their heads to dry them. The work of mending wall is slow, methodical, hand roughening work. This, of itself, may explain the careful regularity of the meter.
There are some nice touches worth mentioning, touches that might escape a reader unaccustomed to reading blank verse (Iambic Pentameter). First:
The temptation, including my own, is to read the first foot as Trochaic |But at|, but Frost clearly reads it Iambically. He reads the first foot quickly. It’s a craft that many “professional” metrists don’t take seriously enough – perhaps because they’re not poets themselves. The meter of poets who write metrically shouldn’t be taken for granted. All too often, it seems, metrists insist that the English language, as it is spoken on the street, trumps any given metrical pattern. Don’t believe them. A poet who writes metrically does so for a reason.
The sweetest metrical touch comes in the following line:
Most of us would read the third foot as |I could|, putting the emphasis on I, but Frost reads the foot Iambically and the pattern reinforces the reading. Putting the emphasis on could gives the line a much different feel, then if one emphasized I. To me, Frost’s reading sounds more mischeivious. Frost specialized in this sort of metrical subtletly, emphasizing words that might not normally recieve the ictus. It’s also a specially nice touch because just several lines before Frost used the word could as an unstressed syllable.
One could conceivably stress could in the line above, but that would be subverting the Iambic pattern.
Lastly, another effect of the regular iambic pattern is to especially contrast the first trochaic foot in the poem’s seminal line:
Some-thing | there is | that does | n’t love | a wall
It’s an effect that subliminally draws attention to the eye, catching the ear. It’s a line that disrupts the normal “foot on foot”, “stone on stone” pattern of the poem. And it is doubly effective because the line occurs twice. If the effect wasn’t noticed the first time, it will be the second time.
The author Mark Richardson, in one of my favorite books on Frost, The Ordeal of Robert Frost, finds that the two trochees in this first line and in the four lines “contribute subtly to the theme of these lines”.
Something| there is that doesn’t love a wall,
That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun,
And makes |gaps ev|en two can pass abreast.
“How much better”, he asks, “to describe a disordered wall than in lines themselves disordered.” To me, given that only 2 out of the 20 feet are variant metrical feet (and the spondee is really only marginal) I’m not persuaded that they’re all that disordered. I’m more apt to apply that observation to the following lines:
My apple trees will never get across
And eat the cones |under |his pines, |I tell him.
He only says, ‘Good fences make |good neighbors’. Spring is |the mischief in me, and |I wonder
In these lines, 5 out of the feet are variant. Two trochaic feet and three feminine endings. I think these lines make a stronger case for the juncture of meter and meaning. There is a sort of excitement and mischievousness in the tone of the speaker reflected, one could argue, in the disruption of the meter. As Frost reads it, these are the most irregular lines in the poems – the moment when the two men exchange words.
Interpreting Mending Wall: (June 19 2009)
I’m adding this section because I should have written it from the beginning. But what prompted me to write it is the fascinating reading from an acquaintance of mine. He is the Director of a New England private school and in his most recent newsletter, he wrote the following about the poem:
The more I read and teach this poem. the more I find the speaker to be a condescending jerk. After inviting the neighbor to repair the wall, a tradition that clearly brings the speaker pleasure, he then makes fun of him for caring about the wall. First he assures his neighbor that his apples trees will not cross the wall to eat his pine cones. Then he imagines making an even more preposterous suggestion — that it is “elves” and not frost heaves that have toppled the wall — but decides not to mention it since his neighbor is not clever enough to come up with such an idea on his own… He ends the poem with an insult, confiding to us that the neighbor is “an old stone savage armed”.
The point being made is that the speaker’s humor comes at the expense of his neighbor. “Wall mending becomes an opportunity not to talk with his neighbor, but to sneer at him.” This is prejudice, he adds.
My own take is that there is certainly some humor at the neighbor’s expense, but the speaker of the poem gives the neighbor the final word. In other words, the poem doesn’t end with these words:
He moves in darkness as it seems to me
Not of woods only and the shade of trees.
It ends with the aphorism – Good fences make good neighbors. This is what the reader of the poem walks away with. There is a weight and seriousness in this last line, like the stones being placed back onto the wall, that undercuts the speaker’s glib humor.
Tyler Hoffman, in his book, Robert Frost and the Politics of Poetry (another one of my very favorite books on Robert Frost and dirt cheap at Amazon), actually acknowledges some of my acquaintances reservations concerning Mending Wall’s speaker. Hoffman’s observes that Frost’s own conception of the poem initially confirms the impression of the speaker’s dismissiveness. Hoffman writes:
In 1915, when the tone [of the neighbor’s aphorism] is fresher in his mind, Frost advses that this instance should be heard as expressing ‘Incredulity of the other’s dictum’ (CPPP 689). But how much sarcasm is entangled in the in the speaker’s quotation of his neighbor’s statement? The tone is held in suspension, allowing us to imagine it is said with either a shrug or a sneer.
(…) none of the imaginable tones is flattering to the neighbor: when we hear it one way, we condemn him as smug and self-congratulatory; when we hear it another way, we write him off as a blockhead (“an old-stone savage armed”).
According to Hoffman, Frost’s acquaintance, Reginald Cook reported that Frost used to stress “I’d rather he said it for himself” in the lines:
I could say ‘Elves’ to him,
But it’s not elves exactly, and I’d rather
He said it for himself.
There were evidently tonalities and “sentence sounds” that Frost lost track of as a result of repeated readings. Hoffman relates that Frost himself said (in reference to the poem’s central aphorism): “You know, I’ve read that so often I’ve sort of lost the right way to say, ‘Good fences make good neighbors.’ See. There’s a special way to say [it] I used to have in my imagination, and it seems to have gone down. You say it in two different ways there.”
What’s interesting about Frost’s statement is that it confirms what many readers probably sense (or may not), that there is a shift in tone from the start of the poem to the finish. The speaker’s own attitude toward his neighbor changes. Does the poem end sarcastically or does it only begin sarcastically and end with a different sort of respect. It seems that the speaker of the Mending Wall wants his neighbor to be more playful or more open to a kind of intentionality in the world’s workings. Human beings do more than build barriers. We cannot separate ourselves from the vagaries of life that, sometimes, seem almost mischievous, tearing down our most ingeniously devised walls. The speaker wants his neighbor to say it for himself. But if one reads the poem in this sense, then it seems as though the neighbor really does move in a kind of darkness. He comes to represent that part in us that refuses to give ourselves up to a world we cannot, ultimately, control. It’s not exactly elves, but maybe something like elves. Call it impishness, perhaps.
But there’s another aspect to this poem, and that’s in knowing which character is really Robert Frost, if either. In the Road Not Taken, Frost describes the following experience:
I felt as if I was going to meet my own image in a slanting mirror. Or say I felt as we slowly converged on the same point with the same noiseless yet laborious stride as if we were two images about to float together with the uncrossing of someone’s eyes. I verily expected to take up or absorb this other self and feel the stronger by the addition for the three-mile journey home.
This sort of experience characterizes much of Frost’s poetry – Frost in conversation with himself, divided in his own beliefs and assertions. Many of his poems are like argumentative engagements with himself. Frost himself said as much:
“I make it a rule not to take any ‘character’s side in anything I write” [RF & The Politics of Poetry p. 108]
It’s a theme that Mark Richardson recognizes in his book The Ordeal of Robert Frost. Mending Wall, he writes: “perfectly exhibits the balance he sought between dispositions of conformity and formity. The speaker… allies himself with the insubordinate energies of spring…” Then Richardson adds:
…the association of the speaker with insubordinate natural forces should not be permitted to obscure an important fact, which has been often enough noticed: he, not the neighbor, initiates the yearly spring repair of the wall; moreover, it is again he, not the neighbor, who goes behind hunters who destroy the wall in other seasons and makes repairs. So, if the speaker is allied with the vernal mischief of spring and its insubordinations, he is nevertheless set against them in his efforts to make the stones of the wall balance and remain in place… [p. 141]
Driving the point home, Richardson closes his argument with the following:
The speaker of “Mending Wall” is obviously of two minds: at once wall-builder and wall-destroyer, at once abettor and antagonist of seasonal entropies…. The difference is that, unlike his benighted neighbor, the speaker of the poem does indeed go behind his own favored aphorism [Something there is that doesn’t love a wall] to play both sides of the fence. In short, the two opposed men in the poem fairly shape up into one, and his name is Robert Frost.
Here from The Cambridge Companion to Robert Frost, is Frost himself. Frost was responding to the president of Rollins College.
He took both my hands to tell me I had written a true international poem. And just to tease him I said: “How do you get that?” You know. I said I thought I’d been fair to both sides — both national [and international]. “Oh, no,” he said, “I could see what side you were on.” And I said: “The more I say I the more I always mean somebody else.” That’s objectivity, I told him. That’s the way we talked about it, kidding. That’s where the great fooling comes in. But my latest way out of it is to say: “I’ve got a man there; he’s both [of those people but he’s man – both of them, he’s] a wall builder and a wall toppler. He makes boundaries and he breaks boundaries. That’s man. [pp. 231-232]
George Monteiro, the essayists from whose article these quotes are taken, adds that Frost took Mending Wall “very much… as a fable.”
The Poet and his Poetry (September 25 2011)
Just as we change, the best poems change with us. When I return to Mending Wall, I read the poem in ways I didn’t before. I won’t claim that what follows represents Frost’s intentions, just that it’s another possible way to understand it.
One of Frost’s most engaging traits, to me, was his way of putting the overly inquisitive off his trail. His metaphorical gifts were such that he could talk about himself and no listener would be the wiser. In many of his poems he slyly (and not so slyly) discusses himself, his poetry, his readers, his critics and the pushy. He merrily described this facility in his poem Woodchuck.
My own strategic retreat
Is where two rocks almost meet,
And still more secure and snug,
A two-door burrow I dug.
With those in mind at my back
I can sit forth exposed to attack
As one who shrewdly pretends
That he and the world are friends.
All we who prefer to live
Have a little whistle we give,
And flash, at the least alarm
We dive down under the farm.
We allow some time for guile
And don’t come out for a while
Either to eat or drink.
We take occasion to think.
And if after the hunt goes past
And the double-barreled blast
(Like war and pestilence
And the loss of common sense),
If I can with confidence say
That still for another day,
Or even another year,
I will be there for you, my dear,
It will be because, though small
As measured against the All,
I have been so instinctively thorough
About my crevice and burrow.
It’s hard not to read Woodchuck as Frost’s sly confession regarding his attitude toward his poetry and the interpreting of it. All of his poems are like a two door borrow. He can pretend he and the world — his readers and critics — are friends, but get too close he’ll “dive down under the farm”. Don’t forget that Frost was at odds with a ‘world’ in which Free Verse was fast becoming the dominant verse form. Frost warily dodges the double-barreled blast of critics who suffer from “the loss of common sense”. Finally, we can read “crevice and burrow” as a sly reference to his poetry. He’s been instinctively thorough in his concealment and self-preservation.
Woodchuck isn’t the only poem to fit into this Frostian trick. If there was ever are more searing critique of modern verse than Etherealizing (and by extension Free Verse) then I don’t know it.
Etherealizing By Robert Frost
A theory if you hold it hard enough
And long enough gets rated as a creed:
Such as that flesh is something we can slough
So that the mind can be entirely freed.
Then when the arms and legs have atrophied,
And brain is all that’s left of mortal stuff,
We can lie on the beach with the seaweed
And take our daily tide baths smooth and rough.
There once we lay as blobs of jellyfish
At evolution’s opposite extreme.
But now as blobs of brain we’ll lie and dream,
With only one vestigial creature wish:
Oh, may the tide be soon enough at high
To keep our abstract verse from being dry.
If you read theory as a sly reference to Pound’s preface to the anthology, “Some Imagist Poets” (as I do) then the entirety of the poem effortlessly falls in place. If modern poets hold a theory hard enough, such as the Pound’s dictums concerning poetry, then they’ll be rated a creed, in the sense of a written body of teachings of a religious group generally accepted by that group — in a word: Dogma.
Continuing this interpretation, flesh, for Frost, is synonymous with meter and rhyme — the techniques of traditional poetry. Naturally our arms and legs will atrophy (our ability to write traditionally) and all that will be left of our poetry is “brain”. Frost’s prediction, in this respect, has proven true. Modern free verse poetry is seldom appraised for it’s skill in rhyme, meter or imagery, but largely its subject matter — in a word, brain. Two hundred years ago, a poorly written poem was readily dismissed no matter how elevated its content. Today, when the only thing that separates Free Verse from prose is ego, the poems of award winning poets are almost solely praised for their elevated and socially relevant content.
Frost compares such stuff to seaweed. With nothing left to the poetry but content (or brain) the daily tide (the vicissitudes of readers and critics) will hardly affect it whether the baths are smooth or rough. Frost is comparing free verse, and the subject matter of free free verse poets, to the amorphous jelly fish that moves whichever way the tide moves it. The jellyfish takes no stand, and can’t.
With one final kick in the rear, Frost compares the free verse poem to the blobs of brain who “lie and dream” with only “one vestigial creature wish”:
Oh, may the tide be soon enough at high
To keep our abstract verse from being dry.
What other poems follow this pattern? Read A Considerable Speck, where the pursuit of a mite is a droll reference to the creative process. It ends:
I have a mind myself and recognize
Mind when I meet with it in any guise
No one can know how glad I am to find
On any sheet the least display of mind.
Similarly, the poem For Once Then Something is Frost’s response to criticism (still made today) that his poetry is all shine and no depth. Click on the link of you want to read my interpretation. Frost’s poem Birches can also be read as an introspective consideration of the poet’s place in the modern world. In short, there is good precedent for reading Frost’s poems as sly and subtle revelations, commentary almost, on his sense of self as poet, artist and critic. The poem Mending Wall can be read in that tradition.
To start with, remember Frost’s statement that “I’ve got a man there; he’s both [of those people but he’s man – both of them, he’s] a wall builder and a wall toppler. He makes boundaries and he breaks boundaries.” Read the poem as Frost in two guises, as wall builder and wall toppler. Read the wall, perhaps, as a poem, not Mending Wall necessarily, but any poem.
Two sides of Frost, the poet, appear. There is the playful Frost, the one that wants to tease and reveal, and there is the coy Frost, the Woodchuck, who is instinctively thorough about his crevice and burrow. This is the Frost who wants to keep something out. He doesn’t know what, but something. Some kinds of poems, like walls, keep things out and keeps things in reserve and that is all the explanation needed. Nevertheless, there are readers who won’t be satisfied. They want Frost to tell them what his poems are really about. They want to take down the wall. They make “gaps even two can pass abreast”.
The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs.
The hunter and critic, says the cagey Frost, leaves not one stone on a stone, but would have the rabbit, the poem’s meaning, out of hiding to please the yelping dogs — the too inquisitive public. “Something there is that doesn’t love a wall,” says the cagey Frost, but some things are better untold or hidden. He says, good fences make good neighbors and we could just as easily take that to mean that a good poem, if the poet doesn’t give too much away, makes good readers.
But Frost is of two minds and the poem stands between them. The best poem, like the best wall, is made by both Frosts (though the alliance isn’t easy). One Frost, in a sense, is all apple orchard (the brighter wood with its associations of food, family and public) and the other Frost is pine (a darker, pitchier wood that is reticent and unrevealing).
We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
‘Stay where you are until our backs are turned!’
We wear our fingers rough with handling them.
The Frost that teases and revels in suggestion and misdirection will have his say — the Frost of the Apple Orchard.
Spring is the mischief in me, and I wonder
If I could put a notion in his head:
‘Why do they make good neighbors? Isn’t it
Where there are cows?
But here there are no cows.
Before I built a wall I’d ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
Something there is that doesn’t love a wall,
That wants it down.’ I could say ‘Elves’ to him,
But it’s not elves exactly, and I’d rather
He said it for himself.
The public Frost, the mischievous trickster, suggests Elves. He wants to know what the other Frost is walling in or out. What is he afraid of? What is he hiding? What is he afraid to let out? But no answer comes. The cagey, darker Frost will keep his secrets. Revelation isn’t in his nature. As if commenting on the meaning of the poem itself, he answers simply but also evasively, “Good fences make good neighbors.”
Read the poem this way and and we read a philosophy of poetry.
Read it like this and Frost is revealing something about himself. There are two sides and it’s in their uneasy truce that his poetry finds greatness. I don’t know if Frost was thinking along these lines when he wrote the poem, but he was a shrewd poet. This way of writing is something that shows up in his other poems.
A Comparison to Birches
In terms of the degree to which the meter differs between Mending Wall and Birches, I thought I’d post my scansion of Birches for comparison:
Something I mentioned in my previous post on Birches, is how the variant feet emphasize and reinforce the narrative of the poem. Having color coded the variant feet, Frost’s skillful use of meter is all the more visible. The most concentrated metrical variation occurs where the narrative describes motion – movement and spectacle. This is no mistake. Poets learning to write metrically (and there must be a few of them in the world) would do well to study Frost carefully.
If you enjoyed this post or have further questions, please let me know.
February 22, 2009 – After reading this post, you might enjoy a colorcoded scansion of Birches included with a scansion of Frost’s Mending Wall.
April 25, 2009 – Added audio of Frost reciting Mending Wall.
May 9, 2009 – Added notes about the poem and discussed Frost’s erotic bent.
….the poem is more about striking a balance between getting “away from earth” and then coming “back to it” than it is about overcoming fear. He told his former student, John Bartlett: “It isn’t in man’s nature to live an isolated life. Freedom isn’t to be had that way. Going away and looking at a man in perspective ,and then coming back… that is what’s sane and good.” In one interview in 1931, he extolled the virtues of “striving to get the balance.” He added, “I should expect life to be back and forward–now more individual on the farm, now more social in the city,” reflecting the pattern of his own life. (Robert Frost: The People, Places, and Stories Behind His New England Poetryp. 77)
So wrote Lea Newman in her introduction to Birches. The genius of the poem is in its beautiful and powerfully sustained use of a fairly straightforward extended metaphor – swinging birches as a metaphor for balance. Frost is careful not to over interpret that balance. It could be between earth and spirit, nature and civilization, childhood and manhood, love and loss. The reader will bring to the poem his or her own meaning – and it is this capacity of the poem that makes it a great poem, a work of genius.
For most readers there’s no hidden subtext beyond what’s grasped intuitively.
Those “straighter, darker trees,” like the trees of “Into My Own” that “scarcely show the breeze,” stand ominously free from human manipulation, menacing in their irresponsiveness to acts of the will.
I’ve read Birches countless times, and the feeling of an ominous menace never once crossed my mind. To read this kind of interpretation into the imagery requires some kind of context and there simply is none – not in two lines. And referring to “Into my Own”, as though the two poems were somehow related or created the context for such an interpretation, is nonsensical. But the bottom line is that there doesn’t have to be a symbolic undercurrent (or double meaning) to every single word or image. Close readers and academics love nothing more than teasing out interpretations, but just because it can be done, doesn’t mean there’s any objective validity to the interpretation. At some point, such exercises strike me as being more like parlor games.
Just because the other trees are darker doesn’t mean that they are ominous. Fact is, every single tree in the New England landscape is darker than the birch. And for the most part (and after a good ice storm) most other trees are, factually, straighter than birches. In The Wood Pile, Frost refers to the view as being “all in lines/Straight up and down of tall slim trees,” One need not read any more into Frost’s imagery than the simple fact of it.
But, naturally, if Lentricchia is going to invoke menace, he needs to explain why (to justify that interpretation). He writes that they are menacing in their “irresponsiveness to acts of human will”. I just don’t buy it.
At best, one would need to make the assumption that Frost’s use of the word dark always constituted some kind of menace when used in reference to trees or the woods. But in his most famous poem, Stopping by Woods on a Snowy Evening, Frost writes that “The woods are lovely, dark and deep”. Despite Frost’s use of the word lovely, this hasn’t stopped close readers from suggesting that Frost was contemplating suicide and that loveliness, far from being praise of the New England wood in winter, was a contemplation of the lovely, dark and deep oblivion that is suicide (or so they interpret it). Richard Poirer is among those who have made this suggestion. By the absence of a comma between the word dark and the word and he concludes that the “loveliness thereby partakes of the depth and darkness which make the woods so ominous.” The italics are mine. But Poirier’s reading could hardly be called objective. There is, in fact, no way of knowing what significance such punctuation might have held for Frost. However, Frost did have a thing or two to say about ominous interpretations. William Pritchard writes, in Frost: A Literary Life Reconsidered:
Discussion of this poem has usually concerned itself with matters of “content” or meaning (What do the woods represent? Is this a poem in which suicide is contemplated?). Frost, accordingly, as he continued to to read it in public made fun of efforts to draw out or fix its meaning as something large and impressive, something to do with man’s existential loneliness or other ultimate matters. Perhaps because of these efforts, and on at least one occasion – his last appearance in 1962 at the Ford Forum in Boston- he told his audience that the thing which had given him most pleasure in composing the poem was the effortless sound of that couplet about the horse and what it does when stopped by the woods: “He gives the harness bells a shake/ To ask if there is some mistake.” We might guess that he held these lines up for admiration because they are probably the hardest ones in the poem out of which to make anything significant: regular in their iambic rhythm and suggesting nothing more than they assert… [p. 164]
All of which is to say, Frost had little patience for self-pity or, by extension, suicide. One need only read Out, Out to get a sense of Frost’s personality. In short, one can contemplate the soothing darkness and loveliness of the woods without contemplating suicide. But you decide.
Beyond the interpretation of individual words and lines, there is a larger philosophical debate within the poem that will flavor what readers bring to the poem. It happens in the opening lines:
But swinging doesn’t bend them down to stay.
Ice-storms do that.Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-coloured
As the stir cracks and crazes their enamel.
Soon the sun’s warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust
Such heaps of broken glass to sweep away You’d think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground,
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun. But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm, I should prefer to have some boy bend them
As he went out and in to fetch the cows–
The italicized lines bracket a digression that Frost characterizes as Truth. What does he mean? In fact, the differentiation Frost implies between Truth and his playful, imaginary fable of the boy climbing the birches, is central to the poem’s meaning. The world of Truth could be construed as the world of science and matter-of-factness – a world which circumscribes the imagination or, more to the point, the poetic imagination, Poetry. The world of the poet is one of metaphor, symbolism, allegory and myth making. At its simplest, Frost is describing two worlds and telling which he prefers and how he values each. “One could do worse than be a swinger of birches.” And by that, he could almost be saying: One could do worse than be a poet.
The underlined passage “You’d think the inner dome of heaven had fallen”, has been nicely interpreted as a reference to Ptolemaic astronomy (which believed that the planets and stars were surrounded by crystal spheres or domes). I like that interpretation and I can believe that Frost intended it. The inner dome and its shattered crystal shells like “heaps of broken glass” fit neatly within the allusion. But there is significance in the allusion. The Ptolemaic model of the universe was a poetic construct – a theory of the imagination rather than matter-of-factness. In this sense, Truth as Frost calls it (or modern science) has collapsed the inner dome of the poetic imagination and replaced it with something that doesn’t permit the poet’s entry. The shattered inner dome of the imagination (of the myth makers) has been replaced by fact – by science.
And in this light, the entirety of Frost’s description, climbing the birches, just so, and swinging back down, becomes a kind of description for the life which the poet seeks and values – the imaginative life of the poet:
…. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.
So was I once myself a swinger of birches.
And so I dream of going back to be.
It’s when I’m weary of considerations,
And life is too much like a pathless wood
Where your face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig’s having lashed across it open.
I’d like to get away from earth awhile
And then come back to it and begin over.
May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth’s the right place for love:
I don’t know where it’s likely to go better.
I’d like to go by climbing a birch tree….
The poet learns all there is to learn about “not launching out too soon”. He could be describing the art of poetry. You cannot swing from a birch without the right height. But if you also climb too high, if your ambitions exceed the matter of your poem, the birch will break . You must write your poetry, climbing carefully, with the “same care you use to fill a cup,/Up to the brim, and even above the brim.” But I don’t want to limit the poem’s meaning to just this. Frost is describing more than the poet, but a whole way of interpreting the world.
It’s the difference between the mind that seeks objective truths, irrespective of the observer, and the mind that perceives world as having symbolic, metaphorical and mythical significance. It’s the world of religion and spirituality. Its the world of signs and visions – events have meaning. In the scientific world view, nothing is of any significance to the observer: life is like a “pathless wood”, meaningless, that randomly afflicts us with face burns, lashing us, leaving us weeping. The observer is irrelevant. In some ways, science is anathema to the poet’s way of understanding the world. It’s loveless. And that’s not the world Frost values. “Earth’s the right place for love,” he writes. The woods that he values have a path and the birches are bent with purpose.
But having said all that, Frost also acknowledges a balance.
I’d like to go by climbing a birch tree
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
If we read him right, he seems to be saying that he prefers not to be too much in one world or the other. Let him climb toward heaven, both literally and figuratively, but let him also be returned to earth. Having written this much, Frank Lentricchia’s own interpretation of the poem’s divisions may be more easily understood:
….There is never any intention of competing with science, and therefore, there is no problem at all (as we generally sense with many modern poets and critics) of claiming a special cognitive value for poetry. In his playful and redemptive mode, Frost’s motive for poetry is not cognitive but psychological in the sense that he is willfully seeking to bathe his consciousness and, if the reader consents, his reader’s as well, in a free-floating, epistemologically unsanctioned vision of the world which, even as it is undermined by the very language in which it is anchored, brings a satisfaction of relief when contemplated…..
If I may be so bold as to interpret (and interpreting academese does take some boldness), what Lentricchia seems to be saying is that Frost’s philosophical stance does not arise from any direct experience (as stated in the poem). Direct experience would be “epistemologically sanctioned”. Epistemology, a word coddled and deployed by academics with fetishistic ardor, is the “branch of philosophy that investigates the origin, nature, methods, and limits of human knowledge.” So, to interpret, Lentricchia appears to be saying that Frost’s “vision/philosophy” is not “epistemologically/experientially” “sanctioned/based“. In short, Frost’s experience (and that of the readers) is that of the poet and poetry – the purely subjective realm of imagination, story telling and myth making.
Interestingly, those who criticize the poem for being without basis in experience (Lentricchia is not one of them) seem blissfully unaware that this is precisely the kind of knowing that the poem itself is criticizing and examining. That is, the poem is its own example of myth-making — the transformative power of poetry. Yes, says Frost, there is the matter-of-fact (epistemologically sanctioned) world, but there is also the poetical world – the world of metaphor and myth that is like the slender birch (and the poem itself). It can be climbed but not too high. The matter-of-fact world is good to escape, but it is also good to come back to.
“Mending Wall,” “After Apple-Picking,” and “The Wood-Pile” are centered on specific events that involve the speaker in dramatic conflicts and lead him to extraordinary perspectives. ¶ (….)however, “Birches” does not present a central dramatized event as a stimulus for the speaker’s utterance. Although the conclusion seems sincere, and although Frost created a persuasive metaphorical context for it, the final sentiments do not grow dramatically out of the experiences alluded to. (….) Frost’s confession that the poem was “two fragments soldered together” is revealing; the overt, affected capriciousness of the transitions between major sections of the poem (ll. 4-5, 21-22, and 41-42) indicates that instead of striving to establish the dynamics of dramatized experience, he felt he could rely on the force of his speaker’s personality and rural background. In early editions, a parenthetical question, “(Now am I free to be poetical?),” followed line 22, making the transition between the ice storm and the country youth even more arbitrary.
My own view is that rather than making the poem feel arbitrary, the question Now am I free to be poetical? makes Frost’s thematic concerns too explicit. The question too sharply defines the contrast between the matter-of-fact and the poetical. In short, Frost may have felt that the question overplayed his hand. (Some critics read this question as an affectation. I don’t. I read it as signaling the poem’s intent, a “stage direction” that Frost later removed.)
Frost was striving for balance both in poem and subject matter — between the poetical and the matter-of-fact.
Some readers have interpreted the poem as being about masturbation. George Monteiro, Robert Frost and the New England Renaissance, alludes to this interpretation in the closing paragraphs of his own analysis. (And if you have searched on-line, then you have probably found the same interpretation in some haphazard discussions.) But here is what Monteiro (in full) has to say:
If physiologically there is some sort of pubescent sexuality taking place in the “swinging” of “birches,” it is not surprising, then, that the boy has “subdued his father’s trees” by “riding them down over and over again” until “not one was left for him to conquer” and that the orgasmic activity should be likened to “riding,” which despite the “conquering” can be done time and again. One need only note that the notion of “riding,” already figurative in “Birches,” reappears metaphorically in Frost’s conception of “Education by Poetry,” wherein he writes: “Unless you are at home in the metaphor, unless you have had your proper poetical education in the metaphor, you are not safe anywhere. Because you are not at ease with figurative values: you don’t know . . . how far you may expect to ride it and when it may break down with you.” And what is true for metaphor and poetry is true for love. Frost insisted that a poem “run . . . from delight to wisdom. The figure is the same as for love. Like a piece of ice on a hot stove the poem must ride on its own melting.” Then it is totally appropriate within the metaphor of “swinging birches” that even the storm-bent trees should look to the adult male like “girls on hands and knees that throw their hair / Before them over their heads to dry in the sun.” No wonder, then, and fully appropriate it is, that when the poet thinks that his wish to get away from earth might by some fate be misunderstood such that he be snatched away never to return, his thought is that “Earth’s the right place for love.” At some level of his consciousness the pleasurable activity of “swinging birches” has transformed itself into the more encompassing term “love.” One might say, within the logic of this reading of the poem, that “Earth’s the right place for [sexual] love,” including onanistic love. The same sexual metaphor runs through the final lines of the poem as the mature poet thinks of how he would like to go but only to come back.
It’s an intriguing interpretation, but I don’t buy it. Frost was capable of writing about sexual themes, but there’s no precedent, elsewhere in his poetry, for such a sleight of hand. Just as any number of critics can convince themselves that Shakespeare was a lawyer, a homosexual, Edward de Vere, Francis Bacon, a woman, and even Queen Elizabeth, one can surely find evidence for just about any interpretive inference in just about any poem. Figurative language and metaphor, by definition, lend themselves to multiple interpretations.
The interpretation must remain, at best, purely speculative and very doubtful at that.
Then again, many modern critics and readers feel that the author’s intentions are irrelevant. Fortunately for the reader, the same rules apply to those critics and readers. Just because an interpretation can be made doesn’t mean they’re right or relevant. Again, you decide.
Robert Frost & the Blank Verse of Birches
I wanted to take a look at Robert Frost’s blank verse (Iambic Pentameter) and Birches is a beautiful example. I understand that this won’t interest most readers and many may find it irrelevant. The rest of this post for those who enjoy studying how meter can be used to masterful effect. If you’re one of those, be sure to comment. I would enjoy hearing from you. In an effort to avoid a book-length post I’ll read the poem 10 lines at a time. But first, here is the poem in its entirety along with my scansion. If you are new to scansion then take a look at my post on the basics.
As with The Road Not Taken, the other Frost poem I looked at, I listened to Frost read the poem before I scanned it. I actually would have been tempted to scan it differently before listening. The first line for example, I might have scanned:
When I |see bir|ches bend |to left |and right
That is, I might have been tempted to put the emphasis on When instead of I. Critics sometimes accuse metrists of unnaturally fitting a poem’s language to a metrical pattern. Read anapests, they say, don’t elide the anapest to read as an Iamb. What they forget though, is that poets who right metrical poems are themselves metrists. That’s why, when I read a line like To be or not to be that (is) the question, I prefer to put the emphasis on is. (It’s in keeping with the Iambic Meter). Similarly, listening to Frost, one can clearly hear him reading the meter. When I, he writes and reads.
Interestingly, Frost reads the fifth line as follows:
But swinging them doesn’t bend them down to stay As ice-storms do.
Instead of “Ice storms do that“. I like the printed version better because it varies the Iambic beat and makes the thought feel more like a colloquial aside. My guess is that Frost was reciting this from memory and that the Iambic alteration was easier to remember (which was partly blank verse’s advantage on the Elizabethan stage). The fifth line ends with an iambic feminine ending. And I just now noticed that I forget to mark morning, at the end of line 6 – corrected in the extract.
Up to this point, Frost has written an Iambic Pentameter that Shakespeare would have been recognized and accepted in Shakespeare’s day. The first four lines are strictly Iambic Pentameter. This has the effect of firmly establishing the meter of the poem. As long as Frost doesn’t vary too much, for this point on, the ear will register whatever he does as variations on an established Iambic Pentameter meter. I won’t say that Frost did this deliberately. In other poems, like The Road not Taken, he varies the metrical line from the outset. In this case, though, the effect is such that the lines stabilize the metrical pattern early on.
Ice-Storms and often (in line 6) are trochaic feet.
With line 7 one finds a nice metrical effect with As the |breeze ri|ses. The spondaic foot has the effect of reproducing the rising breeze – breeze being more emphasized than the, and ris-es being more emphasized than breeze. Unlike some, I won’t go so far as to say that Frost toiled for hours producing this effect, but he was probably aware that the natural progression of the language nicely fit the metrical pattern.
In his book on blank verse called Blank Verse (which I’ve been meaning to review) Robert B. Shaw provides his own scansion of this passage (or a part of it.)
Here it is:
It’s gratifying to see that we mostly agree. Where our scansion doesn’t match is probably because I’ve followed Frost’s own reading. For instance, Frost gives greater emphasis to the word shed than Shaw does and gives less emphasis to crust (in snow-crust) than Shaw. I wouldn’t call Shaw’s reading incorrect, simply different than Frost (because Shaw’s reading recognizes the overall iambic pattern – unlike the scansion of The Road Not Taken at Frostfriends.org – which I criticized elsewhere.
More to the point, the story which meter tells reinforces the content of the poem. The poem, which up to this point has been fairly standard iambic pentameter, disrupts the metrical flow just as the rising breezes disrupt the tree’s “crystal shells”. The dactylic first foot Shat-ter-ing – one stressed syllable followed by two unstressed syllables, upsets the ear’s expectation, disrupting the iambic flow. The final foot of this line – |the snow-crust – is called a heavy feminine ending. Whereas the usual iambic feminine ending ends with an unstressed syllable, a heavy feminine ending ends with an intermediate or strongly stressed syllable. This variant foot was wildly popular in Jacobean theater. Frost probably could have avoided it; but the use of it serves to further disrupt the metrical pattern – further mirroring the disruption of the “crystal shells”. All of this is an effect that is hard, and in some ways impossible, to reproduce in Free Verse.
The next line is one of the more metrically interesting:
I can’t tell, but Shaw either has forgotten to mark the second syllable of heaven, or he has chosen to elide heaven such that it reads heav‘n – making it a one syllable word. Frost pronounces it fully as two syllables. So… what makes this final foot interesting is in what to call it. Strictly speaking, it’s a tertius paeon – two unstressed followed by a stressed and unstressed syllable. Another way to read the line would be as a long line or hexameter line.
Hexameter lines can be an acceptable variant with an Iambic Pentameter pattern, but with a pyrrhic (weak) fifth foot and a trochaic (inverted) final foot, the feet seem too weak to support a hexameter reading (the extra foot). My preference is to read a line as being pentameter (having five feet) unless a line’s “feet” are strong enough to support hexameter.
Frost’s metrical habit is to see anapestic feet as a perfectly acceptable variant to iambic feet – frequently calling them loose iambs. With that in mind, my own reading is that Frost has substituted an anapestic feminine ending for an iambic feminine ending. To my ear, it’s an elegant variation – and not one found prior to Frost (to my knowledge). Frost will use this foot again later in the poem.
Of interest in the next two lines are the elision of They are to They’re. Some metrists, like George T. Wright, are criticized for too readily reducing anapests to iambs by the use of elision – as if he were philosophically opposed to anapests. If the poets had meant the lines to be read as iambs, the reasoning goes, they would have written them as iambs. If you’ve read my previous posts on meter you’ll know that, if I can, I tend to elide anapests to read as iambs. I learned this technique by reading Wright’s books on meter.
I feel a little vindicated noticing that when Frost reads or recites Birches, he pronounces (elides) They are as They’re – despite the fact that he hasn’t marked them as such. (Mind you, his lines would be perfectly acceptable variants if read them as anapests.) So, I don’t make this stuff up.
A last observation on these ten lines. It is interesting to note that balance Frost establishes between standard Iambic Pentameter and variant lines. The seventh and eighth line from the extract above are varied with trochaic and anapestic feet, but notice how both these lines are balanced by perfect Iambic Pentameter lines.
More so than the meter, the next ten lines are interesting for their Frostian colloquialism. Before Frost, no 19th Century Poet (or earlier unless they were writing Drama) would have stopped the poem mid-breath to say something like: But I was going to say. Up to this point, the poem’s tone could be considered fairly traditional, but Frost, as interrupts the elevated tone with colloquial banter: broke in, all her matter-of-fact, I should prefer, fetch the cows.
Note: There’s no denying the eroticism, by today’s standards, in the lines: “Like girls on hands and knees that throw their hair hair/ Before them over their heads…” I have a truffle pig’s nose for eroticism in poetry. Trust me. Read my analysis of Sidney and Dryden if you don’t believe me. However, I think it’s reading too much into this imagery if one takes it as the starting point for an erotic subtext in the entirety of the poem. Several reasons:
1.) In 1913, when this poem was published, what was tolerated in terms of sexuality and eroticism was worlds apart from now (or the Elizabethan Age for that matter). There was erotic literature, but it was very underground. Women couldn’t vote. They couldn’t swim at the beach unless they were, practically speaking, fully clothed. Miller’s Tropic of Cancer, published just over twenty years later, wouldn’t be permitted on American shores for another 50 years! Doggy style was not the first thing to pop into readers’ minds when they read this (or else the poem would have been banned). Pornographic language and imagery was practically non-existent in the public sphere.
2.) Frost himself was risk averse. He didn’t achieve any real recognition until he was in his mid-forties and he would not have risked his reputation if he had thought the image was too suggestive. He was nothing if not conscious if his own image as a sort of New England farmer/poet. And there’s is simply no other precedent for this kind of suggestiveness in any of his other published poetry. There is some poetry that remained unpublished however – humorous and one step removed from bathroom graffiti. Here’s an example:
The symbol of the number ten–
The naught for girls, the one for men–
Defines how many times does one
In mathematics or in fun
Go as you might say into zero.
You ask the heroine and hero.
This was about as close as Frost got to anything “erotic”. He joked about sex, one notch above crude, or treated sexuality as a dark undertow in the lives of men and women, The Subverted Flower for example.
3.) It’s too obvious. Even in his unpublished pranks, he was indirect. No where else is Frost ever so explicit about sexuality (if one insists on interpreting the line as such). Though some interpreters will probably still make the argument, I personally don’t buy it.
In terms of meter, only the very rare 19th century (or earlier) poet would have ended a line with a trochaic foot. Frost does so with baseball in the 5th line and will do so again later in the poem. His willingness to extend variant feet into places where they hadn’t normally been helps lend his poetry a colloquial feel. Frost isn’t willing to sacrifice the “sound of sense” for the sake of meter. But he also strikes a balance. Once again, notice that he brackets this line with perfectly Iambic Pentameter lines before and after. In the 9th line, he substitues an anapestic final foot for an iambic foot – a much freer variation than used by any poet in the generation preceeding him.
I scanned Line 8 as a headless line (the initial unstressed syllable is omitted) and the third foot as anapestic – in keeping with his willingness to substitute iambs with anapests. However, one can also read the line as starting with two trochaic feet:
I’m not philosophically opposed to this reading. Two trochaic feet at the start of a line is perfectly acceptable. The reason I prefer my own reading, I suppose, is because I hear the phrasing, not as trochaic, but Iambic – One| by one | he sub-dued. This is where the art of scansion comes into play; and I’m not going to argue that my preferred reading is the right one (in this case).
Notice how Frost echoes one by one with over and over – it’s a nice touch and works within the metrical patterning he allows himself.
The next ten lines come with one metrically ambiguous line – the 6th line.
I scanned the line as follows:
This makes the line pentameter and my hunch is that this is the spirit in which Frost wrote it.I notice that in his reciting of the poem, he is careful to give carefully it’s full three syllables. However, were it not part of a well established Iambic Pentameter poem, I would be tempted to scan the line as follows:
Essentially trochaic tetrameter. Either way, the meter echoes the hesitant and careful climbing of the boy. This line, of all the lines, most threatens the Iambic Pattern and, in that respect, most draws attention to what the boy is doing – climb-ing care-fully.
Alternate Readings November 11th 2016: I’ve just been having an email exchange with the poet Annie Finch, one of the finest “formalist” poets currently writing. She has a Ph.D. and currently teaches poetry. She strongly takes issue with my reading of the line above (and the next one below) as headless (∧). For example, where I read:
(∧} And |not one |but hung limp,| not one |was left
Andnot | onebut | hung limp,| not one |was left
I’ve used gray-scale and italics to indicate the level of stress she assigns to each word. So, “not one” receives more stress than “And”, but not as much as the bolded words.
As I mentioned above, I chose to scan the poem the way Frost read it. This is not the only way to scan the poem; but since we have his recitation I thought it might be interesting to scan it the way he imagined it . Even in that respect my scansion is open to differences of opinion: Did Frost really emphasize a word as much as I’ve marked? That’s all subjective. Annie Finch’s reading, on the other hand, disregards the way Frost reads his poem. That said, I think her reading is equally valid and undoubtedly reflects the way she reads the poem. She writes:
“You mention that you based the scansion of the poem on Frost’s own recorded performance of it. I honor your interest in respecting Frost’s voice here, but this is really not a viable way to scan (his pronunciation of poems is so subjective that if scansion were dependent on the way a poem is spoken, meter would have ceased to exist long ago). “
I agree that Frost’s reading is subjective, but I’d assert that all readings are subjective and that meter has nevertheless survived, so why not inquire into Frost’s own metrical preferences? As regards that, though, Annie Finch stated her guiding principle at the outset of our exchange:
“As you will see throughout A Poet’s Craft, the SIMPLEST SCANSION IS ALWAYS BEST…” [Uppercase is her own.]
The book she refers to is her own. Her assertion that the simplest scansion is always the best leads her to write that my own scansion “is absurdly and needlessly complex.” I disagree and I don’t agree with her assertion if treated as an invariable rule (though it’s certainly useful as a guiding principle). In the case of Frost’s poem we can, at minimum, say that her “rule” leads her to read the lines counter to the way Frost reads them. Does that make her scansion wrong? No. I would, however, say that this demonstrates how scansion is less science than art. Do you care about how a poet reads his or her work? Does it matter when scanning? Does it matter if your scansion agrees with the poet’s? These questions are themselves debatable, but that they’re debatable is worth emphasizing. I don’t and would not claim that my scansion is the “correct” scansion—just my own spin on the matter. She adds:
“I notice you have marked three headless lines. I believe only one of these is a true headless line and should be scanned as such, the one that begins “one by one he subdued.” (and this also fits with the meaning of the poem at that moment–he is subduing the poem in this one act of great metrical defiance). Any other scansion distorts the line’s connection to the underlying iambic pentameter pattern, and furthermore the headless scansion is the simplest scansion of this line (by which I mean the scansion that has the fewest variations from the completely regular underlying model of iambic pentameter).
The other two lines you have marked as headless, the one beginning “and not one” and the one beginning “may no fate,” are not truly headless. A headless scansion of these two lines introduces needless complications and unnecessary variations from the underlying iambic pentameter pattern. In the “may no fate” line, the only justification I can see for your headless scansion is that it avoids a trochee in the third foot (“FULly”) but that trochee is not a problem that needs to be avoided, because there is a caesura immediately after it followed by a four-syllable word that creates two of the most unrelentingly iambic feet in the poem. Furthermore, the trochee “fully” in my opinion deserves to be scanned as such because it is a beautifully expressive prosodic example of willfullness and Frost deserves full credit for this magnificent piece of metrical variation. And finally, I feel it should be scanned to show the trochee because the trochee is I believe one of only two trochees in the poem that does not occur at a line-beginning or after a very strong caesura–and both of these wrenching, challenging prosodic moments express powerful verbal meanings of imposing will and overcoming the restrictions of reality (the other is “over” in the third foot of the line beginning “by riding them down”).“
I think the risk here is that she’s associating her own aesthetics with Frost’s. In other words: ‘My reading, not yours, is the one that credits his “magnificent piece of metrical variation”‘. The problem with this sort of assertion is that it’s a logical fallacy, somewhat like the “No True Scottsman” fallacy in the following sense: “No true appreciation of Frost’s metrical art would read these lines other than the way I’ve read them.” Needless to say, I disagree. I could just as easily make the same claims for my own readings, that they are necessary because they uniquely capture Frost’s “beautifully expressive” prosody, but that would be just as fallacious. Further, I certainly don’t think trochaic feet are to be avoided. My own reading, after all, includes a trochee. She writes in closing:
“And once you admit the poem really is in iambic pentameter, then any scansion of any line in the poem needs to use that as a starting point. The scansion needs to show how Frost was following, when he was following, the basic rules of iambic pentameter. If he wasn’t following them, then show that he wasn’t. But that is only possible when the scansion itself can be trusted to follow the rules.“
I would dispute her characterization of my reading as not showing how Frost follows the basic rules of Iambic Pentameter. A headless line is a variant foot and very much a normal variant among those “rules” that define Iambic Pentameter.
All that said, I include her comments to demonstrate how contentious these matters can be. (Admittedly, it’s a bit like arguing over how many grains of salt are in a teaspoon.) I also want to stress that I consider her reading equally valid. I’m of the belief that scansion, within limits, may be subject to interpretation. Just as there’s often no one way to interpret a poem, there is sometimes more than one way to scan a poem. But I invite readers to make up their own mind.
The next two lines follow a more normative pattern with trochaic and anapestic variant feet.
The most elegantly metrical lines follow with the 9th & 10th line of the extract:
Then he flungoutward, feet first, with a swish Kicking his way down through the air to the ground
The spondee of flung out beautifully reinforces the image by disrupting the metrical pattern, as does feet first. Kick-ing is further reinforced and emphasized by being a trochaic first foot. The word down, as Frost recites it, trochaically disrupts the meter again, more so than if it had been iambic.
Birches: “It’s when I’m weary of considerations.” This line is perfect iambic pentameter, with an extra metrical (feminine) ending.
Their statement is incorrect. This line is not perfect iambic pentameter. A perfectly iambic pentameter line would not have a feminine ending (an amphibrach) in the final foot. It would have an iambic foot (if it were “perfect” iambic pentameter). The correct thing to say would have been: This is a perfectly acceptable variant with an iambic pentameter pattern.
Notice the trochaic final foot in the 9th line – a thoroughly modern variant.
As with the other lines, I scanned the 10th line as headless to preserve an Iambic scansion and because I thought it most accurately reflected Frost’s own reading of the poem. (That is, the feeling is Iambic rather than trochaic. ) While scansion doesn’t, by in large, reflect phrasing, there is a certain balance to be struck; and I have tried to do so in these lines.
The fourth line is the most metrically divergent. I have scanned the line as Iambic Tetrameter with an anapestic feminine ending. The alternative would be to read it as follows:
If this is what Frost imagined, then my own feeling is that the scansion fails as such. The pyrrhic fourth foot is exceptionally weak, even for pyrrhic feet, while a trochaic final foot seems inadequate to restore the underlying Iambic Pentameter pattern after such a weak fourth foot. Given precedence for an anapestic feminine foot earlier in the poem, and in the final line, the line makes much more sense if read as Tetrameter with an anapestic feminine foot. I don’t see this as being outside the bounds of an acceptable variant. Interestingly, the line remains decasyllabic so that the ear doesn’t so much perceive a short line as a a variant line.
This line has been preceded by some richly varied lines. As is Frost’s habit, he grounds the meter with the iambically regular 6th and 7th line. To that end (in his recitation) Frost effectively reads Toward as a monosyllabic word, emphasizing the return to Iambic Pentameter.
The closing two lines are conservative in their variants. Frost has reaffirmed the Iambic Pentameter and he’s not going to disrupt it again. The message, at this point, is what matters. The meter reinforces the calm and measured summation. In the second to last line, the only variant is an anapestic fourth foot.
With the last line, the temptation is to read the first foot as One could| do worse, but Frost, in reciting the poem, once again reaffirms the iambic meter by emphasizing could. This sort of metrical emphasis, emphasizing words that might not normally be emphasized while de-emphasizing others that are more normally emphasized, is a Frostian specialty made possible by his use of meter. Free Verse can’t reproduce it. The last line, as Frost reads it, is regularly iambic until the last foot, at which point he elegantly closes with an anapestic feminine ending.
The final foot, with its anapestic swing and feminine falling off, could almost be said to imitate the swinging of the birch.
As far as this soliloquy goes, there’s a surplus of good online analysis. And if you’re a student or a reader then you probably have a book that already provides first-rate annotation. The only annotation I haven’t found (which is probably deemed unnecessary by most) is an analysis of the blank verse – a scansion – along with a look at its rhetorical structure. So, the post mostly reflects my own interests and observations – and isn’t meant to be a comprehensive analysis. If any of the symbols or terminology are unfamiliar to you check out my posts on the basics of Iambic Pentameter & scansion. Without further ado, here it is. (I’ve numbered the lines for the convenience of referencing.)
1.) The first line, in a single line, sums up the entirety of the soliloquy – as though Shakespeare were providing crib notes to his own soliloquy. There’s a reason. He wants to cleanly and clearly establish in the playgoers mind the subject of the speech. There will be no working out or self-discovery. Shakespeare is effectively communicating to us some of the reason for Hamlet’s hesitancy. The speech, in effect, is the reverse of the Shakespearean Sonnet that saves its epigrammatic summing up for the last line. The Shakespearean Sonnet, as Shakespeare writes it, is the working out of a proposition or conflict that finds a kind of solution in the epigrammatic couplet at its close.
Metrically, the first line is possibly one of the most interesting and potentially ambiguous in the entire speech. I chose to scan the line as follows:
To be |or not |to be: |that is |the question
But if you google around, you may find the line more frequently scanned as follows:
To be |or not |to be: |that is|the question
First to the disclaimer: There is no one way to scan a line but, as with performing music, there are historically informed ways to scan a poem. Shakespeare was writing within a tradition, was a genius, and knew perfectly well when he was or wasn’t varying from the Iambic Pentameter pattern of blank verse. To assume less is to assume that he was mindlessly writing a verse he either didn’t or couldn’t comprehend.
An actor has some latitude in how he or she wants to perform a line, but choosing to ignore the meter is akin to ignoring slurs or other markings composers provide in musical scores. Putting the emphasis on that subtly alters the meaning of the line. It sounds as though Hamlet were looking for the question, the conundrum, and once he has found it he says: Ah ha! That is the question. And this is how most modern readers read the line.
By putting the emphasis on is, in keeping with the Iambic Meter, the meaning of the line takes on a more subtle hue – as if Hamlet knew the question all along. He says: That is the question, isn’t it. The one question, the only question, ultimately, that everyone must answer. There’s a feeling of resignation and, perhaps, self-conscious humor in this metrical reading.
That said, William Baer, in his book Writing Metrical Poetry, typifies arguments in favor of emphasizing that. He writes:“After the heavy caesura of the colon, Shakespeare alters the dominant meter of his line by emphasizing the word that over the subsequent word is. ” (Page 14)
How does Baer know Shakespeare’s intentions? How does he know that Shakespeare, in this one instance, means to subvert the iambic meter? He doesn’t tell us. All he says is that “most readers will substitute a trochee after the first three iambs” – which hardly justifies the reading. Baer’s argument seems to be: Most modern readers will read the foot as a trochee, therefore Shakespeare must have written it as a trochee.
The word anachronistic comes to mind.
If one wants to emphasize that for interpretive reasons, who am I to quarrel? But the closest we have to Shakespeare’s opinion is what he wrote and the meter he wrote in. And that meter tells us that is receives the emphasis, notthat.
Note: Baer later mis-attributes the witch’s chant in Macbeth (Page 25) as being by Shakespeare- an addition which most Shakespearean scholars recognize as being by Middleton. Not a big deal, but this stuff interests me.
Anyway, I prefer an iambic reading knowing that not everyone will.
The line closes with a feminine ending in the fifth foot. For this reason, the line isn’t an Iambic Pentameter line but a variant within the larger Iambic Pentameter pattern. Compare the blank verse of Shakespeare to that of many modern Formalist poets. Shakespeare is frequently far more flexible but, importantly, flexes the pattern without disrupting it. Finding a balance between a too-strict adherence to a metrical line and too-liberal variation from it is, among modern poets, devoutly to be wished for. But modern poets are hardly unique in this respect, compare this to Middleton’s blank verse (a contemporary who collaborated with Shakespeare.) Middleton stretches blank verse to such a degree that the overall pattern begins to dissolve. He is too liberal with his variants.
2-3.) Both lines close with a feminine ending. They elaborate on the first part of the question- To be. The elegance & genius of Shakespeare’s thought and method of working out ideas is beautifully demonstrated in this speech. The speech as a whole stands as a lovely example of Prolepsis or Propositio – when a speaker or writer makes a general statement, then particularizes it. Interestingly, I was going to provide a link for a definition of Prolepsis but every online source I’ve found (including Wikipedia and Brittanica!) fails to get it completely right. (So much for on-line research.)
OK. Digression. (And this will only appeal to linguists like me.) Here’s a typical definition of Prolepsis as found online:
A figure of speech in which a future event is referred to in anticipation.
This isn’t wrong, but it’s not the whole story. Whipping out my trusty Handbook to Sixteenth Century Rhetoric, we find the following:
also known as prolepsis (not to be confused with praesumptio)
Susenbrotus ( 28 )
Scheme. A general statement which preceedes the division of this general proposition into parts.
Praesumptio is the other meaning of Prolepsis, which is what you will find on-line. So, I guess you heard it here, and online, first. Prolepsis has two meanings.
Anyway, Shakespeare takes the general To be, and particularizes it, writing : Is it nobler “to be”, and to suffer the “slings and arrows” of life? The method of argumentation, known as a Topic of Invention, was drilled into Elizabethan school children from day one. All educated men in Shakespeare’s day were also highly trained rhetoricians – even if the vast majority forgot most of it. Shakespeare’s method of writing and thought didn’t come out of the blue. His habit of thought represents the education he and all his fellows received at grammar school.
4-5.) These two lines also close with feminine endings. Shakespeare, unlike earlier Renaissance dramatists, isn’t troubled by four such variants in a row. They elaborate on the second part of the of the question – not to be. Or is it better, Hamlet asks, to take arms and by opposing our troubles, end both them and ourselves? Is it better not to be?
6-9.) Up to this point, there has been a perfect symmetry in Shakespeare’s Prolepsis. He has particularized both to be and not to be. Now, his disquisition takes another turn. Shakespeare particularizes not to be (death)as being possibly both a dreamless sleep (lines 6 through 9) or a dream-filled sleep (lines 10 through 12). So, if I were to make a flowchart, it would look like this:
In line 7, natural should be elided to read nat‘ral, otherwise the fifth foot will be an anapest. While some metrists insist that Shakespeare wrote numerous anapests, I don’t buy their arguments. Anapests were generally frowned on. Secondly, such metrists need to explain why anapests, such as those above, are nearly always “loose iambs”, as Frost called them – meaning that elipsis, synaloepha or syncope could easily make the given foot Iambic. Hard-core, incontestable anapests are actually very difficulty to find in Shakespeare’s verse. They are mitigated by elision, syncope or midline pauses (epic caesuras).
10-13.) Shakespeare now particularizes “not to be” (or death) as, perhaps, a dream filled state. This is the counterpart to lines 6-9 in this, so far, exquisitely balanced disquisition. For in that sleep of death what dreams may come – he asks.
14-27.) At this point, Shakespeare could have enumerated some of the fearful dreams attending death – a Dante-esque descent into fearful presentiments. But Shakespeare was ever the pragmatist – his feet firmly planted in the realities of life. He took a different tact. He offers us the penury, suffering and the daily indignities of life. We suffer them, despite their agonies, fearing worse from death. We bear the whips and scorns of time (aging and its indignities), the wrongs of oppressors (life under tyranny), the law’s delay, the spurns of office. Who, he asks, would suffer these indignities when he could end it all with an unsheathed dagger (a bare bodkin) to his heart or throat? – if it weren’t for the fear of what might greet them upon death? Those dreams must be horrible! And he leaves it to us to imagine them – our own private hells – rather than describe that hell himself – Shakespeare’s genius at work.
Line 15 presents us with a rhetorical figure Hendiadys. Interestingly, it’s in Hamlet that Shakespeare uses this figure the most:
For who would bear the whips and scorns of time?
The figure denotes the use of two nouns for a noun and its modifier. It’s a powerfully poetic technique in the right hands, and one that is almost unique to Shakespeare. Few poets were ever, afterward, as rhetorically inventive, adventurous or thorough in their understanding and use of rhetoric. It’s part and parcel of why we consider Shakespeare, not just a dramatic genius, but a poetic genius. He unified the arts of language into an expressive poetry that has never been equaled.
Line 16 presents us with some metrical niceties. I’ve chosen to use synaloepha to read The oppres|sor’s wrong as (Th’op)pres|sor’s wrong. I’m not wedded to that reading. One might also consider it a double onset or anacrusis (as some prefer to call it) – two unstressed syllables followed by a stressed syllable in the first foot. Interestingly, metrists have historically preferred to consider this anapest a special variant and so don’t refer to it as an anapest. As a practical matter (considering how the line is likely to be spoken by an actor) I suspect that the first foot will sound more like an Iamb or a loose Iamb – which is why I scanned it the way I did. Line 16 closes with the word contumely. I think that nearly all modern readers would read this as con-tume-ly. A glance at Webster’s, however, reveals that the word can also be pronounced con-tume-ly. The difference probably reflects changes in pronunciation over time. In this case, it’s the meter that reveals this to us. An incontestable trochee in the final foot is extremely rare in Shakespeare, as with all poets during that time. If you’re ever tempted to read a final foot as trochaic, go look up the word in a good dictionary.
In line 22 the under, in the third foot (under |a wear|y life), is nicely underscored by being a trochaic variant.
In line 25 the fourth foot echoes line 22 with the trochaic puzzles. This is a nice touch and makes me wonder if the reversal of the iambic foot with under and puzzles wasn’t deliberate – effectively puzzling the meter or, in the former, echoing the toil of a “weary life” and the “reversal” of expectations. But it’s also possible to read too much into these variants.
By my count, there are only 6 Iambic Pentameter lines out 13 or so lines (lines 14-27). The rest of the lines are disrupted by variant feet. That means that less than 50% of Shakespeare’s lines, out of this tiny sampling, are Iambic Pentameter. The Blank Verse of Shakespeare (an ostensibly Iambic Pentameter verse form) is far more flexible and varied than one might, at first, expect.
28-33.) These lines mark the true close of the soliloquy. “The native hue of resolution/Is sicklied o’er with the pale cast of thought.” Fear of the dreams that may inhabit death makes cowards of us all. Some modern readers might be tempted to read line 28 as follows:
Thus con|science does |makeco|wards of |us all
But the Iambic Pentameter pattern encourages us (when we can) to read feet as Iambic. In this case it makes more sense to emphasize does rather than make.
Thus con|science does |make co|wards of |us all
One thing worth noticing, and it’s my very favorite poetic technique and one that has been all but forgotten by modern poets, is anthimeria – the substitution of one part of speech for another.
The native hue of resolution
Is sicklied o’er with the pale cast of thought
Sickly is an adverb that Shakespeare uses as a verb. In Sister Miriam Jospeh’s book, Shakespeare’s Use of the Arts of Language, she writes: “More than any other figure of grammar, it gives vitality and power to Shakespeare’s language, through its packed meaning, liveliness and stir. ” She herself goes on to quote another writer, Alfred Hart:
Most Elizabethan and Jacobean authors use nouns freely as verbs, but they are not very venturesome…. The last plays of Shakespeare teem with daringly brilliant metaphors due solely to this use of nouns and adjectives as verbs…. they add vigor, vividness and imagination to the verse… almost every play affords examples of such happy valiancy of phrase.
Finally, notice the imagistic and syntactic parallelism in “the native hue of resolution” and “the pale cast of thought”. It’s a nice poetic touch that adds emphasis to Shakespeare’s closing argument – our fears dissuade us from enterprises “of great pith and moment”.
Interestingly, even as Hamlet’s dithering ends, he never truly decides whether “to be or not to be”.
In my post on Shakespeare I wrote that a masterfully written metrical poem has two stories to tell – two tales: one in its words; the other in its meter. With the Prologue, meter tells us the story of Chaucer’s language and how he spoke it.
Iambic Pentameter & Blank Verse
In my previous post on Iambic Pentameter (The Basics), I quoted the opening to Chaucer’s Canterbury Tales, saying I would take a look at it in a later post. This is the later post. And here are the opening lines, once again.
Whan that aprill with his shoures soote
The droghte of march hath perced to the roote,
And bathed every veyne in swich licour
Of which vertu engendred is the flour;
Whan zephirus eek with his sweete breeth
Inspired hath in every holt and heeth
Tendre croppes, and the yonge sonne
Hath in the ram his halve cours yronne,
And smale foweles maken melodye,
That slepen al the nyght with open ye
(so priketh hem nature in hir corages);
Thanne longen folk to goon on pilgrimages,
And palmeres for to seken straunge strondes,
To ferne halwes, kowthe in sondry londes;
And specially from every shires ende
Of Engelond, to Caunterbury they wende,
The hooly blisful martir for to seke
That hem hath holpen, whan that they were seeke.
There are some sites that credit Henry Howard, Earl of Surrey, with first introducing Iambic Pentameter to the English Language. The confusion seems to stem from the difference between Blank Verse and Iambic Pentameter. Chaucer did not write Blank Verse. All of Chaucer’s Iambic Pentameter is rhymed – using a form called Open Heroic Couplets or Riding Rhymes. Judging by the literature left to us, Henry Howard was indeed the first to introduce Iambic Pentameter Blank Verse to English literature, but he wasn’t the first to introduce Iambic Pentameter. The first record we have of Iambic Pentameter is in Chaucer’s verse.
The trick to recognizing Chaucer’s use of Iambic Pentameter is in knowing how to pronounce the words. The first key is in recognizing that English is a Germanic language and that in Chaucer’s day the split between English and proto-German was still relatively fresh. Why is that important? Because in German all vowels are pronounced. There is no silent –e as in the English word Rose (as in the flower). The German word for Roseis die Rose. The word is the same in English and German. However, in German, it is pronounced something like Ros-uh (having two syllables). And in Chaucer’s day, this pronunciation still held sway in many English words. The other key is a familiarity with the Iambic Pentameter pattern. Knowing that Chaucer was writing Iambic Pentameter helps us to know which –e was silent, in which word, and which –e was not. (Note: Some modern editions appear to only include the -e in words in which it was pronounced.)
Also, this post isn’t about translating the text into modern English. The Gypsy Scholar provides a good translation and I’m all for supporting another scholarly blogger!
Now to the Scansion
From the very first line of the Canterbury tales, Chaucer shows us that he’s not going to be hide-bound in his use of Iambic Pentameter. His first line is a headless line with a feminine ending. (Now, having said that, there are some scholars who insist that aprill was originally spelled aprille and should be three syllables. I don’t buy it. But I’ve thrown in an interesting discussion at the bottom of the post to show to what degree scholars will debate such matters – and how it is only through meter that we have a clue.)
You might ask how a reader should know whether the final word soote is one or two syllables. Scansion doesn’t help us because we could just as easily read the word as being one syllable. (Pronouncing the e was not a hard and fast rule – as with droughte – some editions, I notice, omit the e in this word.) In the case of soote, the only reason we know is that Chaucer uses the word, midline, later in The Second Nun’s Tale: “The soote savour, lilie was hir name.” In this line, if we don’t pronounce soote as two syllables soot-uh, the iambic pattern will be broken.
Notice that perced should be pronounced percèd. In textual parlance, it shouldn’t be clipped. If we clip the pronunciation, the Iambic pattern will be broken. The tradition of pronouncing -ed words continued well into the Victorian Era.
Once again, bathed should be pronounced bathèd. Just as in modern english, we want the strong stress (or ictus) to be on the first syllable of every. Unless we pronounce bathed with two syllables, the iambic pattern will be broken. Every is also elided to read as two syllables, just as in modern English. Note also that we don’t pronounce the e at the end of veyne. If you did, you would introduce an anapestic foot into the line (two unstressed syllables before a stressed syllable) and Chaucer simply does not write anapests – which is helpful to know. (If someone does find one, I’m ready to stand corrected.)
The only real stickler is the word virtu which can be safely understood as virtue in modern English. In modern English however, it’s the first syllable which is stressed, not the second. An expertise on Latin and French is pushing the limits of my knowledge (I’m a carpenter for a living) but a little research shows us two things: the word comes from the Latin virtus (stress on the first syllable);but also that the Anglo-Saxons absorbed the word from the Normans (middle-French) and that even the proto-French had to do everything differently. That is, they accented the second syllable of the word, pronouncing it vertu. Because trochaic feet are very rare in Chaucer, and because we know the English language absorbed an astonishing number of French words (80% of our vocabulary) as a result of the Norman invasion (just a couple hundred years prior to Chaucer), we can safely say that the Iambic Foot is retained. When reading Chaucer, and when in doubt, always read it iambically.
These first four lines cover just about every exigency you will find in Chaucer’s verse.
The first of the four lines is interesting in that one might be tempted to scan it as a tetramter line, thus:
This would make the line, in effect, octasyllabic – an iambic tetrameter line. 400 years later this might be an acceptable iambic variant, but not in Chaucer’s day. The second interesting question is how to pronounce sweete – one or two syllables. Here are two possiblities if we pronounce sweete with two syllables:
In the first instance, the first foot is an amphibrach. This might go in Modern English, but an amphibrach is an all but unacceptable iambic variant in Chaucer’s day. If you read an amphibrach in Chaucer, you should find probably find another way to pronounce the word. In fact, in Chaucer’s day, Zephirus was pronounced with a long i – Zeph-i–rus. The second reading retains this pronunciation but gives us two inverted feet – two trochaic feet – in the first and second foot. All this to grant sweete two syllables. Since two consecutive trochaic feet just don’t happen in Chaucer’s meter, and since iambic feet are the rule – the first reading is most likely the way Chaucer heard the line – a headless line.
Interestingly, Chaucer seems to have pronounced sweete with either one or two syllables, depending on what he needed for the sake of the meter. In the Miller’s Tale one reads the two pronunciations even in the same sentence:
What do ye, hony-comb, (sweete) Al-i-soun,
My fair-e bryd, my (sweet-e) cy-na-mome?
In the first line, sweete is pronounced with one syllable, in the second, with two. So, like every poet after him, Chaucer wasn’t above inconsistency for the sake of meter. I personally like the effect that changing the pronunciation produces. It gives the speaker a sort of sly ingratiating tone as he flatters the girl – some things never change.
In the lines above, croppes and yonge are pronounced with two syllables to retain the meter. The line containing the words is headless. Sonne was probably pronounced with two syllables, making the ending a feminine ending. I say probably, because in other lines where the word sonne is in the middle, Chaucer treats it as a two syllable word: Now welcome, somer, with thy sonne softe.
Corages and pilgrimages both end the lines with feminine endings. The only word that is likely trip up a modern reader, trying to read according to Chaucer’s meter, is nature. As with virtu, nature is pronounced na-ture, the stress on the second syllable. If you check Webster’s, you will find that the etymology of the word places it with middle english and middle french – and as with virtu, middle french (as with modern French) tends to stress the second syllable in words like these. At the end of this post, I have provided a link to a performance of the prologue. Notice how the reader pronounces nature.
You can see that Chaucer’s lines are carefully iambic. For instance, you might have been tempted to pronounce the -e at the end of kowthe, but knowing that Chaucer was careful to preserve the meter you might rightly guess that the -e remained silent. The rest is fairly self-explanatory. The only word which might trip you up is Canterbury. Nowadays, in America at least, we pronounce the word as having four full syllables. But in Chaucer’s day (and the meter is our only clue) the word was apparently pronounced with three syllables – Cant-er-b’ry. Listen to the linked reading below. It’s somewhat similar to the modern day difference in the American and English pronunciation of secretary. Americans give it four syllables – se-cre-tar-y, the Brits give it three – se-cre-t’ry. Several of the lines end with feminine endings, a favorite iambic variant in Chaucer’s metrical toolkit, along with headless lines (though some don’t believe Chaucer didn’t write headless lines – see the note below).
Anyway, if I think of something I left out, I’ll add it.
If this post was helpful, let me know.
Now listen to it read. The wave file is linked from the following site which offers a pronunciation guide. Once Iambic Pentameter becomes second nature, though, you may find you no longer need pronunciation guides to the same extent. Enjoy.
A companion guide to this one is the Annotated To be or Not to be. Don’t forget to check out some of my poetry while you’re picking my brains – I do write some good stuff. And let me know if this was helpful or if, especially, there’s a question you would like answered. I have written other posts on Iambic Pentameter including guides to the scansion of Iambic Pentameter (with more examples from Shakespeare) and a look at Chaucer’s Iambic Pentameter. I just completed a guide to Shakespearean, Petrarchan and Spenserian Sonnets. I’ve also written a detailed guide to Haiku (if you’re interested). (Further links on other Sonnets are at the bottom of this post.) According to my Stats page, this has become one of my most popular posts; and no one is commenting! Just say hello or thanks – I like hearing from readers.
February 22, 2009 – If you enjoy Frost, you might like reading Birches along with a colorcoded scansion of Birches included in my post on Frost’s Mending Wall. To find all the posts I’ve written on Robert Frost, click here.
April 23 2009: One Last Request! I love comments. If you’re a student, just leave a comment with the name of your high school or college. It’s interesting to me to see where readers are coming from and why they are reading these posts. :-)
What possible use could scansion be?
A masterfully written metrical poem has two stories to tell – two tales: one in its words; the other in its meter. In Shakespeare’s hands, the meter tells us about the writer, the speaker of the sonnet – something we might easily miss.
Meter is of no use to free verse poets or reader’s of free verse. But to poet’s writing meter, it provides a tool, an extra layer of meaning, counterpoint and play. And to readers of metered poetry, knowing that there’s an underlying pattern informs the language and meaning of the poem. In the hands of a skilled poet (Shakespeare, Keats, Wilbur, Frost, Browning), the tension between language and meter is an art form.
I’ll look at other poets and poems, because it’s fun to do, like sleuthing, but I wanted to start with Sonnet 116 because it’s so famous and so frequently misread. These days, I suspect most readers, without a knowledge of meter, would read the poem as follows:
This reading would be acceptable if this were a free verse poem. Since there’s no metrical pattern in free verse one is free to put the emphasis (ictus) wherever one wishes (within reason) , depending on ones subjective interpretation of the poem. But, in Shakespeare’s day, so many variants in so short a space would have landed him in critical hot water with his contemporaries and with the reading public. (In his shorter poems, at least, Shakespeare was much more conservative, leaving the more daring flights of metrical variation to his contemporary, John Donne – who was, regularly, skewered for his turgid meter and blank verse.) But the first line’s two trochaic feet (Let me | not to ) would have been daring even for Donne – (trochaic feet are the reverse of iambic feet in that the stressed syllable is first and the unstressed second). Two such variant feet at the start of a sonnet was practically unheard of. Only one of John Donne’s Sonnets, the most controversial metrist of the day, could be construed to begin with two trochaic feet.
Yet even here, knowing that Donne was a skillful master of diction and meter, one could consider an alternate reading (and one should, whenever diction appears to run against a meter’s pattern):
Stressing the preposition of isn’t as awkward as it might seem. Even in modern speech we sometimes stress the preposition of – as in: Well, you know, part of the fun is getting drunk. It’s a sort of sly tone of voice which, in the case of Donne’s sonnet, fits with his argument. It’s a tone of voice Donne could be angling for, made possible only if one considers the meter. The same can be said of the second line. The temptation is to read Son as strongly stressed and Thy as weakly stressed. But in keeping with the tone of the first line, putting the stress on Thy reinforces that Donne is addressing “Father” and doing so with a direct, knowing tone of voice. There is no way to know whether this is actually what Donne intended, but the reading is reinforced by the poem’s Iambic pattern.
Likewise, there’s a tone to Shakespeare’s sonnet that we miss if we fail to take the meter into account. Here is how Shakespeare most likely expected his sonnet to be read.
January 10, 2011: I decided to bring this scansion “up to date”. As opposed to before, I’ve left all Iambic feet unmarked so the scansion is less cluttered. I’ve chosen to mark the “weak” Iambic feet, marked in yellow with weak stresses, as Pyrrhic feet, although others might be inclined to mark them as Iambic. The two feminine endings, ne|ver shaken and be taken are marked green. The Spondaic feet are purple.
The sonnet takes on a different tone and, to a certain extent, meaning. Where the first scansion has a sort of elegiac sound to it – a sort of contemplation on love – the second reading gives it a more inflected sound, as if the poet were writing with an unspoken agenda – (Shakespeare was nothing if not a dramatist).
For example, in the iambic version, the line sounds almost defensive: Let me not admit impediments – as if he were responding to some sort of accusation. Don’t accuse me of denying true love. Here is what I believe. In this wise, taking into account the pull of the iambic meter, we are already starting with a very different tone to the sonnet – in keeping with the other sonnets of his collection. They are all written as though in conversation – as though the speaker of the poet were responding to another speaker, or character, whose statements we can only hear through Shakespeare’s responses. Each one is like a monologue in a play.
Consider the change in line two:
The first is how a modern reader usually reads the close of the second line. The second reading follows the Iambic pattern of the sonnet. The second reading, putting stress on the verb – is – adds emphasis to Shakespeare’s argument, emphasis which a modern reading lacks.
At the start of the third line we have another choice:
While a pyrrhic foot isn’t unheard of in sonnets of the time, the iambic reading adds emphasis to the argument of the sonnet. Love doesn’t alter when it alteration finds. The emphasis almost lends a tone of sarcasm or perhaps scorn. Again, the iambic pentameter acts as a sort of prompter, hinting at how the sonnet should be read, in what tone and inflection.
Line five tends to be misread by inexperienced readers, especially when reading unaccented versions of the poem, which frequently print the word fixéd as fixed:
O no, it is an ever fixed mark.
The accented é indicates that the -éd of fixéd makes the word two syllables rather than one. Even in an unmarked edition, however, experienced readers of Iambic Pentameter, simply through familiarity with metrical poems, will quickly hear the missing syllable and instinctively read fixéd as two syllables.
The seventh line is the next that typically diverges between modern readers and the iambic pattern. The iambic reading renders that line as follows:
Notice that, once again, the verb is is accented. While modern readers might read this first foot as being pyrrhic (two unaccented syllables), accenting the verb adds emphasis to Shakespeare’s argument. No, he seems to be saying, it is the ever fixéd mark, it is the star. It almost feels as though he is disagreeing with someone who claims that love isn’t any of these things. And notice too, the -ery of every is elided, making it a two syllable word -though most modern readers would read it this way.
The eleventh line is the next where the emphasis differs between the iambic line and modern readers. Notice the emphasis on his implied by the iambic meter.
It’s the equivalent of saying: His brief hours and weeks won’t alter love! Once again, it’s a difference of emphasis. The iambic reading is more emphatic and more dynamic. Immediately following is a line that most would read as a variant iambic line – reading even as two syllables. Although Shakespeare doesn’t use syncope to change even to e’en, the tradition of eliding these words is well-enough established, especially in poetry of this period, that we can safely do so.
If a line can be read so that it conforms to an iambic pentameter reading, especially in poetry during this period (and for the two centuries following too) then it probably should be read that way. (Note: Robert Frost took to calling these feet loose iambs, by which he meant that a foot could conform to an iambic rhythm depending on pronunciation. It’s a useful term and reflects a convention that metrical poets have known about for hundreds of years.) Anyway, the elision of words in metrical poems is like the performance of trills in baroque and classical music. It was simply assumed that the reader (or performer in the case of music) understood the conventions of the day. Those conventions didn’t need to be spelled out. That was a long time ago, though. Nowadays, those conventions need to be relearned if one wants to read a poem the way it was read in its day. In a similar vein, and during the last thirty years, old conventional practices were relearned and rediscovered in classical music performance. These days, such performances are called Historically Informed Performances. Likewise, reading a Sonnet or Blank Verse passage with an awareness of the metrical pattern underlying it, might as well be called Historically Informed Readings.
[Just as an aside. Tooting my own horn. Helen Vendler states the following: “No reader, to my knowledge, has seen Let me not to the marriage of true minds as a coherent refutation of the extended implied argument of an opponent, and this represents an astonishing history of critical oversight.” Well, I’ve been reading this sonnet (most of them for that matter) in just this fashion for over 20 years. Her book was published in 1997. So, Helen, if you should read this blog, take comfort. You weren’t the first.]
So far, the rhymes have alternated ABAB, CDCD, EFEF. Now comes the final couplet, GG – a Shakespearean Sonnet. Shakespearean Sonnets heat the metal through the first 12 lines then, when the working out of the argument is white hot, he lays it to the anvil and strikes:
If this be error and upon me proved,
I never writ, nor no man ever loved.
My intention hasn’t been to interpret the poem, though some interpretation arises simply by reading it through the lense of meter. Many critics are troubled by the series of negatives in this poem and in its last line – never, nor, no. I’m not as troubled by the negatives. Shakespeare’s last line is almost a dare. I dare you to prove me wrong! Even in offering the possibility that he could be proved in error, he (almost sarcastically) refutes the possibility by offering the impossible retort that proving such an error would mean he never writ and that no man ever loved. Since we know already that he wrote and that men have loved, Shakespeare urges us toward the inevitable conclusion that he will never be proven in error.
The one metrical nicety to notice is in the final line. An iambic reading urges the following:
Notice the iambic emphasis on no. The modern reader might be tempted to gloss over the third foot as pyrrhic (see the “modern” scansion above), putting the emphasis on man. The iambic reading gives extra force to no, lending to the poet’s voice a kind of anger – as if both daring to be proven wrong and contemptuously dismissive of any effort to try. Go ahead, he seems to say, try! Prove me wrong! If you do, then no man ever loved! The equanimity of a modern reading, of an innocent love poem, vanishes. This is a sonnet with a transcendent axe to grind.
Reading the poem by the meter, we discover a very different kind of poem – one of refutation, of a speaker refuting an unspoken argument, not of impersonal definition. In this third post on Iambic Pentameter, I wanted to demonstrate just how powerfully a knowledge of scansion can inform and alter a poem’s meaning. If you have any questions or comments, please post.
February 4rth 2013: I was asked if I could read 116. What follows is about my 21rst try. I wanted to communicate the sense that this is half of an argument, like a speech in one of Shakespeare’s plays. See what you think:
I’ll be examining more poems as time permits – especially Robert Frost.