Poetic Blasphemy Vol.III: The TOLM

Recently I was teaching a poem by Yeats that has always reminded me of a stretched sonnet.

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The light of evening, Lissadell, Great windows open to the south, Two girls in silk kimonos, both Beautiful, one a gazelle. Immediately after this, at the beginning of the elongated second section of the poem, Yeats writes:. Dear Shadows, now you know it all, All the folly of a fight With a common wrong or right. Very early the next morning I woke with the answer: The two young women are shadows now, but in saying so Yeats brings back his earlier line which blazed its light behind their silky young bodies.

The editorial and critical accounts published over the last thirty years do not pay enough attention to the Sonnets as poems. Often Shakespeare uses a more complex form of repetition than the couplet tie. In sonnet 7, the first quatrain Q1 contains the word looks, Q2 the word looks again.

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Q3 the word look and the couplet the word unlooked-on. The couplet tie which she also prints at the end of each commentary, of course contains the key word.

Frank Kermode · LRB

So far so necessarily technical, but let us see how it applies in practice in her discussion of sonnet 15 which, as with every sonnet, she prints both in the original Quarto form and in her own modernised version:. When I confider euery thing that growes Hold in oerfection but a little moment.

That this huge ftage prefenteth nought but fhowes Whereon the Stars in fecret influence comment. When I perceiue that men as plants increafe, Cheared and checkt euen by the felfe-fame skie: Vaunt in their youthfull fap, at height decreafe, And were their braue ftate out of memory. Then the conceit of this inconftant ftay, Sets you moft rich in youth before my fight, Where waftfull time debateth with decay To change your day of youth to fullied night, And all in war with Time for loue of you.

As he takes from you, I ingraft you new. When I consider every thing that grows Holds in perfection but a little moment, That this huge stage presenteth nought but shows Whereon the stars in secret influence comment; When I perceive that men as plants increase, Cheerd and checked even by the selfsame sky, Vaunt in their youthful sap, at height decrease, And wear their brave state out of memory: Then the conceit of this inconstant stay Sets you most rich in youth before my sight, Where wasteful Time debateth with Decay To change your day of youth to sullied night, And all in war with Time for love of you, As he takes from you, I ingraft you new.

And she further notes that in the Quarto spelling, the old-style s of sull- even resembles the f of — full. She concludes her account of sonnet 15 by pointing out: She has included a recording of some of the Sonnets read aloud, because the three other readings available are done by actors who??? Because it does not offer an argument that develops chapter on chapter, any account of it must explicate the initial approach and then consider a number of moments out of a multitude where the critic directs her formidable mind to the game these sonnets play.

Her manner of setting the Quarto next to the modernised text makes the experience of reading the sonnets a 5 new and radical one: But I forbid thee one moft hainous crime, O carue not with thy howers my loues faire brow, Nor draw noe lines there with thine antique pen, Him in thy courfe vntainted doe allow, For beauties patterne to fucceding men. Yet doe thy worft ould Time difpight thy wrong. Yet do thy worst, old Time: Hearing that deep guttural accent — an accent made deeper by the collied print of the Quarto text — I register the fourth line like this: This type of comment is an essential part of what I can only call the dramatic experience of reading Vendler: Prompted by this highly sensitive analysis, I would add that in the last line the letter v is triumphantly asserted so that we get the idea of vitality expressed in an almost tactile fashion.

The ageing of the sun in the poem seems to generate hom age , age , g old en pilgrim age. Fvll many a glorious morning haue I feene, Flatter the mountaine tops with foueraine eie, Kiffing with golden facc the meddowes greene; Guilding pale ftreames with heauenly alcumy: Yet him for this, my loue no whit difdaineth, Suns of the world may ftaine, whe heauens fun ftainteh.

Full many a glorious morning have I seen Flatter the mountain tops with sovereign eye, Kissing with golden face the meadows green, Gilding pale streams with heavenly alchemy; Anon permit the basest clouds to ride With ugly rack on his celestial face, And from the f6rlorn world his visage hide, Stealing unseen to west with this disgrace: Even so my sun one early morn did shine With all triumphant splendour on my brow; But out alack, he was but one hour mine, The region cloud hath masked him from me now. And she notes the internal rhyme with alack in line See, see, King Richard doth himself appear, As doth the blushing discontented sun From out the fiery portal of the East, When he perceives the envious clouds are bent To dim his glory, and to stain the track Of his bright passage to the Occident.

Alack, alack for woe, That any harm should stain so fair a show.

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