‘Could a rule be given from without, poetry would cease to be poetry, and sink into a mechanical art. It would be μóρφωσις, not ποίησις. The rules of the IMAGINATION are themselves the very powers of growth and production. The words to which they are reducible, present only the outlines and external appearance of the fruit. A deceptive counterfeit of the superficial form and colours may be elaborated; but the marble peach feels cold and heavy, and children only put it to their mouths.’ [Coleridge, Biographia ch. 18]

‘ποίησις’ (poiēsis) means ‘a making, a creation, a production’ and is used of poetry in Aristotle and Plato. ‘μóρφωσις’ (morphōsis) in essence means the same thing: ‘a shaping, a bringing into shape.’ But Coleridge has in mind the New Testament use of the word as ‘semblance’ or ‘outward appearance’, which the KJV translates as ‘form’: ‘An instructor of the foolish, a teacher of babes, which hast the form [μóρφωσις] of knowledge and of the truth in the law’ [Romans 2:20]; ‘Having a form [μóρφωσις] of godliness, but denying the power thereof: from such turn away’ [2 Timothy 3:5]. I trust that's clear.

There is much more on Coleridge at my other, Coleridgean blog.

Monday, 25 January 2016

"It Is Intensely Sad" would be a pretty good title for a study of Larkin's verse, actually.



Larkin's 'Money' (1973) ends:
I listen to money singing. It's like looking down
From long French windows at a provincial town,
The slums, the canal, the churches ornate and mad
In the evening sun. It is intensely sad.
But wait a minute Phil: you don't actually mean 'it is intensely sad'. You mean 'I am intensely sad.' That's really not the same thing, Phil. That's really not that same thing at all. The street, the church, the whole provincial town is doing just fine, thank you, and has no responsibility for you mournfulness, standing at the French windows there. Ah, but that's you and your poetry in a nutshell, Phil, isn't it?

1 comment:

  1. Is "money singing" full of bonhomie and lifsglaede, though?

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