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Critical Rhythm the Poetics of a Literary Life Form

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Critical Rhythm the Poetics of a Literary Life Form Literary Studies Glaser “What does it mean, and what has it meant historically, to participate in verse’s Culler rhythmic patternings? This volume, with incandescent and defamiliarizing rhythms of its own, takes up rhythm as the central, ever-fugitive term in debates over sound and sense, the visible and the audible, the history of prosodic discourses, and methodological approaches to reading and performance. Reaching beyond the LIFE FORM A LITERARY THE POETICS OF Critical Rhythm Critical Rhythm metrical constraints of foot prosody to powers of rhythm generally left underexplored in Anglo-American criticism, the formidable array of scholars gathered here open up resonant inquiries into empirical, historical, ontological, phenomenological, and allegorical dimensions of rhythm in English-language verse of the past two centuries.” The Poetics of a Max Cavitch, University of Pennsylvania hythm constitutes an untapped resource for understanding poetry. Amid debates Literary Life Form Rover formalism, historicism, and poetics, this book reveals rhythm as a de- familiarizing aesthetic force yet an unstable concept. Distinct from the related terms to which it’s often assimilated—scansion, prosody, meter—rhythm makes legible a range of ways poetry affects us that cannot be parsed through the traditional resources of poetic theory. Rhythm has rich but also problematic roots in nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice and even identity. Warning against taking rhythm to refer to a given form, the essays press beyond poetry handbooks’ isolated descriptions of technique in order to ask what it means to think rhythm. Rhythm, the contributors show, happens relative to the body and also to language— two categories that are distinct from the literary, the mode through which poetics is usually analyzed. Beyond articulating what rhythm does to poetry, the contributors undertake a genealogical and theoretical analysis of how rhythm as a human : experience has come to be articulated through poetry and poetics. The resulting work helps us better understand poetry both on its own terms and in its continuities with other experiences and other arts. Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones, Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins, Haun Saussy BEN GLASER is Assistant Professor of English at Yale University. JONATHAN CULLER is Class of 1916 Professor of English and Comparative Literature at Cornell University. : : : : Lazar Fleishman and Haun Saussy Fordham University Press New York www.fordhampress.com : . ( , , – ). , , . . , . ’ ­ . - Ben Glaser and Jonathan Culler, Editors Critical Rhythm FF7387-Glaser.indb7387-Glaser.indb i 111/20/181/20/18 88:38:06:38:06 AAMM verbal arts: studies in poetics Lazar Fleishman and Haun Saussy, series editors FF7387-Glaser.indb7387-Glaser.indb iiii 111/20/181/20/18 88:38:07:38:07 AAMM Critical Rhythm Th e Poetics of a Literary Life Form ben glaser and jonathan culler, editors Fordham University Press new york 2019 FF7387-Glaser.indb7387-Glaser.indb iiiiii 111/20/181/20/18 88:38:07:38:07 AAMM Copyright © 2019 Fordham University Press ThiAll s work rights is licensed reserved. under No parta Creative of this Commons publication Attributi may beon- NonCommercial-NoDerivativesreproduced, stored in a retrieval 4.0system, International or transmitted License. in any form or by any means—electronic, mechanical, photocopy,Copyright recording, © 2018 Fordhamor any other—except University Press for brief quotations in printed reviews, without the prior permission All rights reserved.of No the part publisher. of this publication may be reproduced, stored in a retrieval system, or transmitted in Fordhamany form University or by any Pressmeans— has electronic,no responsibility mechanical, for the perphotocopy,sistence or accuracy recording, of orURLs any other—for external except or forthird- briefparty quotationsInternet websites in printed referred reviews, to in withoutthis publication the prior and permission does not guarantee that any ofcontent the publisher. on such websites is, or will remain, accurate or appropriate. Fordham University Press has no responsibility for the perFordham sistence orUniversity accuracy Pressof URLs also for publishes external its or books third- in party a varietyInternet of websites electronic referred formats. to in Some this publication content that and appears does not in guaranteeprint may that not any be content available on insuch electronic websites books. is, or will remain, accurate or appropriate. Visit us online at www.fordhampress.com. Fordham University Press also publishes its books in a varietyLibrary of electronic of Congress formats. Cataloging-in-Publication Some content that appears Data in printavailable may not online be available at https:// incatalog electronic.loc .books.gov. VisitPrinted us online in the at United www.fordhampress States of Ameri . com.ca 20 19 18 54 3 2 1 Library of CongressFirst Cataloging- edition in- Publication Data available online at https:// catalog . loc . gov. Printed in the United States of Amer i ca 20 19 18 54 3 2 1 First edition 153-71159_ch00_3P.indd 4 11/1/17 11:56 AM 153-71159_ch00_3P.indd 4 11/1/17 11:56 AM Contents Introduction Ben Glaser 1 Rhythm’s Critiques Why Rhythm? Jonathan Culler 21 What Is Called Rhythm? David Nowell Smith 40 Sordello’s Pristine Pulpiness Simon Jarvis 60 Body, Th rong, Race Th e Cadence of Consent: Francis Barton Gummere, Lyric Rhythm, and White Poetics Virginia Jackson 87 Contagious Rhythm: Verse as a Technique of the Body Haun Saussy 106 Constructing Walt Whitman: Literary History and Histories of Rhythm Erin Kappeler 128 FF7387-Glaser.indb7387-Glaser.indb v 111/20/181/20/18 88:38:07:38:07 AAMM vi / contents Beat and Count Th e Rhythms of the English Dolnik Derek Attridge 153 How to Find Rhythm on a Piece of Paper Th omas Cable 174 Picturing Rhythm Meredith Martin 197 Fictions of Rhythm Beyond Meaning: Diff ering Fates of Some Modernist Poets’ Investments of Belief in Sounds Natalie Gerber 223 Sapphic Stanzas: How Can We Read the Rhythm? Yopie Prins 247 Rhythm and Aff ect in “Christabel” Ewan Jones 274 Acknowledgments 297 List of Contributors 299 Index 303 FF7387-Glaser.indb7387-Glaser.indb vvii 111/20/181/20/18 88:38:07:38:07 AAMM Critical Rhythm FF7387-Glaser.indb7387-Glaser.indb vviiii 111/20/181/20/18 88:38:07:38:07 AAMM FF7387-Glaser.indb7387-Glaser.indb vviiiiii 111/20/181/20/18 88:38:07:38:07 AAMM Introduction Ben Glaser Winter, writes W. H. Auden, is a “time for the trying-out / Of new me- ters and new recipes, proper time / To refl ect on events noted in warmer months.” Th ose months follow a natural and unconscious rhythm: Spring-time, summer and fall: days to behold a world Antecedent to our knowing, where fl owers think Th eirs concretely in scent-colors and beasts, the same Age all over, pursue dumb horizontal lives On one level of conduct and so cannot be Secretary to man’s plot to become divine. Lodged in all is a set metronome: thus, in May Bird-babes still in the egg click to each other Hatch! (1–8) Th is metronomic clicking echoes the term famously chosen by Ezra Pound to forbid what he took to be the unnatural thud of overly metrical iambic rhythm: “As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.” Auden revisits the dic- tum and asks how poetic meter defi es the potentially limited rhythms of lived experience. His poem does more than imagine a diff erent, metrical temporality. Th e careful enjambment of “proper time” yokes “new meters” with winter, translating the syntactical yoking of cooking and meter—of life and art—into a metrical experience in its own right. Th at experience requires in turn another round of wintry refl ection; the poem is written in asclepiads, an Aeolic Greek meter built around a choriambic nucleus FF7387-Glaser.indb7387-Glaser.indb 1 111/20/181/20/18 88:38:07:38:07 AAMM 2 / ben glaser (–˘ ˘–). Auden refers to his poem as “accentual Asclepiadeans,” replacing the classical quantities of long and short with stress and unstress: / x / x x / / x x / x /. Th is import is out of joint not just with English’s more-or- less native iambics but with the usual stories about how meter’s abstracted pattern emerges from the welter of linguistic (and other) rhythm as natu- ral artifi ce, as a sensitive abstraction from the feel of an accentual tongue. To “refl ect” in such a meter is not to seamlessly or properly engage the native or collective rhythms of a linguistic and cultural heritage. It is to encounter rhythm (through meter) as a defamiliarized and defamiliar- izing force. In an earlier and more sanguine moment, however, when Auden is ed- iting an anthology to convince a suburban, commuting British public that they already like poetry and should do more of what they like, he depends upon a very broad sense of rhythm as both a social and aesthetic form: All speech has rhythm, which is the result of the combination of the alternating periods of eff ort and rest necessary to all living things, and the laying of emphasis on what we consider important; and in all poetry there is a tension between the rhythm due to the poet’s per- sonal values, and those due to the experiences of generations crystal- lised into habits of language such as the English tendency to alternate weak and accented syllables, and conventional verse forms like the hexameter, the heroic pentameter . Here “rhythm” means linguistic rhythm, physical or physiological rhythm, the idiolect or subjective stressing of “the poet’s personal values,” and fi - nally something closer to meter.
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