Guest Post by Stephen Barber on “Poetry at Present”

A few weeks ago I posted my book summary of Poetry at Present, CW’s first published work of literary criticism. Now here is a guest post by the excellent CW scholar Stephen Barber, on that same book. You can read his article “Charles Williams as Literary Critic” here.

Poetry-at-Present-5441457-5When I started finding out about twentieth century poetry – we called it modern in those distant days – I soon picked up a basic narrative. The century had begun with few poets of real note, possibly only W. B. Yeats though his best work was later. Then along came Ezra Pound and T. S. Eliot and they got rid of poetic diction, romantic ideas, and regular metre. Free verse was now the thing, the emphasis should be on the image, and narrative was definitely out. The triumphs of this approach were to be found in Eliot’s The Waste Land and Pound’s Hugh Selwyn Mauberley.

There was, of course some truth in this account, which I have simplified to the point of caricature. What I did not realize until later was that it stemmed from one very influential book: F. R. Leavis’ New Bearings in English Poetry, published in 1932. It is hard to convey the dominance this man had over the university teaching of English in the U.K. for many years. Actually, I was never under his spell and reject most of his ideas. But that just shows how dominant they were.

What has this to do with Charles Williams? Well, Leavis’ New Bearings elbowed aside a book which up to then had been doing quite well as a handbook of modern poetry, Williams’ Poetry at Present.

Williams shows us what the world of poetry looked like before the Eliot revolution had really taken hold. One thing we learn from this is the number of good poets whose careers had begun before Eliot or Pound came along. Not just Yeats but also Hardy and de la Mare, whom Leavis does mention, but also A. E., Housman, who was a great name in those days, and Robert Graves. Williams did not consider any Americans – Eliot was naturalized British by then.

His view of these poets was almost the opposite of Leavis. He had, rightly, a good deal of time for Hardy and de la Mare but could make nothing of Eliot, on whom Leavis was quite strong. He also gave a good deal of space to poets who are nearly or wholly forgotten nowadays. It is hard to realize that Robert Bridges, remembered nowadays only for ‘London Snow,’ was then a power in the land, Poet Laureate, and with his poems in the Oxford Standard Authors series in his own lifetime. His Testament of Beauty had a short reign as the leading modern long poem until it was displaced by Eliot’s Four Quartets. I remember seeing discarded copies of it on secondhand book stalls in my student days. Even less remembered is Lascelles Abercrombie, whom Williams once worried he was too influenced by, and from whom he apparently got the idea of writing his Arthurian poems as a series of odes rather than as a single narrative. He also got into the Oxford series.

As for Williams’ criticism, it belongs to the impressionistic school of which C. S. Lewis was also an advocate. This was swept aside in the revolution brought about by Eliot, allied in this with I. A. Richards, which was not only a poetic revolution but a critical one as well. Leavis was a popularizer of this school, which emphasized close analysis and rejected the larger view of people like Williams and Lewis. Nowadays I hope we can see strengths and weaknesses in both approaches and there are of course others as well.

What interests me most about Williams’ criticism are the hints he drops about his own aims in poetry. What about this: ‘If all theological connotation, all dogma, all ordinary piety, could be emptied out of the word religion, then this poetry might be called religious poetry’. Which poetry? Apparently that of de la Mare. But really, more that of Charles Williams – not the poetry he had been writing but that which he would be writing in only a couple of years, the poems of the Taliessin cycle. Or this: ‘But magic and faery, and those old alchemical wisdoms in which [a poet] has found interest, what is their poetic value? It is perhaps the continual suggestion of other possibilities than the normal mind is conscious of’. Which poet’s name did I conceal in this quotation? It is that of W. B. Yeats, and here the remark is true both of him and of Williams’ own poetry, which I see as very much in the line worked out by Yeats.

Of course there are weaknesses, and to my mind these include the curious little poems which he appended to each essay under the equally curious title of ‘End Piece’. Each is a pastiche of the poet discussed, apparently intended as in some sense a criticism. In general they seem to me to fail in each aim, but there is an exception – the brilliant piece on Kipling. Here is the second stanza:

Caesar stood on the ramparts,
hearing how boatmen hear
the calling ghosts at midnight
and rise in haste and fear
those travellers o’er the straits to row;
saying ‘Where the ghosts go Rome may go.’

Williams had picked up from the Byzantine historian Procopius, probably at second hand and paraphrased here by Thelma Shuttleworth, a story that ‘Britain was an island of magic to which came spirits of the dead and other spirits. Fishermen might become aware of shadowy shapes in the boat, and be compelled to row to shore, or hear unseen boats land and then silence.’ And this stuck in his mind, to reappear later in an even more haunting form in ‘The Coming of Palomides’:

Julius Caesar heard of the sea
where trembling fishers are called to row
shadowy-cargoed boats, and know
friction of keels on the soundless coasts.
Julius pierced through the tale of ghosts,
and opened the harbours of the north.

In such ways Poetry at Present shows us Williams’ poetic workshop and is well worth a read.

— Stephen Barber


About Sørina Higgins

Sørina Higgins is a PhD student in English and Presidential Scholar at Baylor University. She also serves as Chair of the Language and Literature Department at Signum University, online. Her latest publication is an academic essay collection on "The Inklings and King Arthur" (Apocryphile Press, December 2017). Her interests include British Modernism, the Inklings, Arthuriana, theatre, and magic. She holds an M.A. from Middlebury College’s Bread Loaf School of English. Sørina blogs about British poet Charles Williams at The Oddest Inkling, wrote the introduction to a new edition of Williams’s "Taliessin through Logres" (Apocryphile, 2016), and edited Williams’s "The Chapel of the Thorn" (Apocryphile, 2014). As a creative writer, Sørina has published two books of poetry, "The Significance of Swans" (2007) and "Caduceus" (2012).
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1 Response to Guest Post by Stephen Barber on “Poetry at Present”

  1. David Llewellyn Dodds says:

    Stephen Barber mentions Robert Graves – between “Meta-Text Tedium” (with which I just, finally caught up, having, among other things, been rather quelled by “Tedium” in the title!) – and this post, I happened to catch up at last with Goodbye to All That by Robert Graves (after reading so much about it in the late Paul Fussell’s The Great War and Modern Memory (1975), years ago), though only in the 1957 revised edition (as reprinted by Penguin) rather than the 1929 original (with next to no idea exactly how much difference that makes).

    There, I found something of a complement to what Stephen Barber says here: “Williams shows us what the world of poetry looked like before the Eliot revolution had really taken hold” – for, so, in his own way, does Graves. For instance, in chapter 27, about life on Boar’s Hill in late 1919, “where John Masefield, who thought well of my poetry, had offered to rent us a cottage at the bottom of his garden.” He notes Edmund Blunden “also had leave to live on Boar’s Hill because of his gassed lungs”, adding a bit later, that a “number of poets were living on Boar’s Hill; too many, Edmund and I agreed. It was now almost a tourist centre, dominated by Robert Bridges, the Poet Laureate, with his bright eye, abrupt challenging manner, and a flower in his buttonhole”. Or chapter 28 (written in 1934), where he tells that T.E. Lawrence, come to Oxford on a seven-years’ Fellowship at All Souls’, “wanted to meet what poets there were, and through me came to know, among others, Siegfried Sassoon, Edmund Blunden, Masefield, and later, Thomas Hardy”. followed later in the same chapter by a vivid account of his own visit with Hardy, including: “In his opinion, vers libre could come to nothing in England. ‘All we can so is to write on the old themes in the old styles, but try to do a little better than those who went before us.’ ” And, in chapter 30, speaking of the period around 1925: “I knew most of the poets then writing; Walter de la Mare, W.H. Davies, T.S. Eliot, the Sitwells, and many more” though he soon adds, “I seldom saw Osbert and Sacheverell Sitwell now. When I did, I always felt uncomfortably rustic in their society”, but notes how they made friends with their “sister Edith. It was a surprise, after reading her wild avant garde poems, to find her gentle, domesticated, even devout. When she came to stay with us she spent her time sitting on the sofa and hemming handkerchiefs.”

    Perhaps it was good to read the 1957 version, and see how all these poets are still present as poets and as not apparently needing a lot of further explanation.

    It is, tangentially, also a good book for different, vivid, complementary glimpses of both the trenches in France and the Oxford during and after the war which Tolkien and Lewis knew, and the manor house of Philip and Lady Otteline Morrell in Garsington where Williams and Eliot met.


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