Josephine Miles, Poetry and Change

REVIEW Josephine Miles, Poetry and Change Robert F. Gleckner Blake/An Illustrated Quarterly, Volume 9, Issue 4, Spring 1976, pp. 133-136 133 The elements of this final design, however, are often subtle, difficult to talk about, though modern linguistic study (to which Professor Miles acknowledges a major debt) helps us to discriminate Josephine Miles. Poetry and Change. Berkeley, "not merely obvious visual surfaces but auditory Los Angeles, London: University of California echoes, semantic associations, structural Press, 1974. 243 pp. $10.75. similarities which may work below the surface but are also implied in the surface richness" (9). With a sense of these, "the articulatable parts Reviewed by Robert F. Gleckner of language," we can "see and hear more, . feel more, of the poem's entity" (11). Style, then (in which Professor Miles includes not only From 1964, when she published Eras and Modes in use of language but also "style of moral judgments" English Poetry3 to her 1973 essay on "Blake's Frame and "style of attitude toward the reader"), is a of Language" Josephine Miles has been grappling product of a "number of small recurring selections with the problems facing all who wish intelligently and arrangements working together," a process of to study the language of poetry and prose. Her "creating and reshaping expectations which design work has ranged from the early Renaissance to contrives" (16). British and American writing of the twentieth- century, including a number of young poets writing The change in poetry observable through the today. This book is a compilation of ten of her years operates perforce within rather severe previously published essays, substantially un- limits, so that any writer must be read not only altered, plus excerpts from Eras and Modes and in context of the language and literature he shares, Style and Proportion: The Language of Prose and his acceptances and assumptions and what he does Poetry, shaped into what is intended to be a with them, but also of an array of "cultural and coherent study of change in literature, with professional determinations" (17). The surface particular emphasis, as the subtitle informs us, design of his work carries the reader in the on "Donne, Milton, Wordsworth, and the Equilibrium direction of expectation, the implications of its of the Present." subsurface alternatives in the direction of change and variation. Similarly, in order to know a The first section of the book, comprising poet's style "we need to know not only disposition three chapters, sets out "Present concepts of or arrangement of what materials, but also choices parts and wholes in their linguistic and artistic from what materials--the prior givens, the limits norms" (5) and includes tabular material on the and potentialities of thought and attitudes major vocabulary of selected poets and on the already weighing the available materials as well proportions of adjectives, nouns, verbs, and as the accustomed manners. The loaded materials connectives in the work of sixty specific poets and manners are met and confirmed or counteracted from Wyatt and Surrey to Lowell and Gunn, and in by the specific loadings of the specific artistic sixty prose writers from Ascham and Holinshed to structure of the specific artist work" (25). Wain and West. Part II, with chapters on Donne, Milton, Blake, eighteenth-century prose, So far so good. As I say, there is little to Victorian prose, and E. A. Robinson, is intended quarrel with here--and if there is not a lot that to relate both individual writers and contempora- is new, Professor Miles' presentation is clear and neous groups of writers to the temporal developments suitably remindful. From here on, however, there established in Part I by means of the agreements are difficulties—perhaps partly (though not solely) and variations these writers maintain in language. because the book's attempt to assimilate previously And Part III is intended to give us "some sense published essays into a coherently progressive for the present of where we are moving" (5)— argument is only partially successful at best. The despite the implication of a lack of "moving" in crucial statistical Chapter III aside (I shall modern times indicated in the subtitle. return to it later), the book as a whole tends to resolve itself less into an essay on "poetry and Professor Miles adopts certain basic change" than a revision of the generally accepted assumptions about language that are difficult to nature of the "Donne Tradition" and its "influence" quarrel with. The poet, first of all, is a sharer, on modern poetry. Along with Donne there is also in both his language and his culture, "accepting a good deal of Milton but, contrary to the titular and explaining the sensory values of the aesthetic expectations, very little of Wordsworth. for his time" (3). Consequently he works with the "availabilities" of language, producing "patternings" At any rate, very early on (49) Professor which constitute the "clue in art" (4), discarding Miles establishes "the poetic tradition" as that what is outworn in language, initiating or of Sylvester, Milton, Wordsworth, Coleridge, emphasizing other linguistic availabilities as Swinburne, de la Mare, Muir, Nicholson and the new essentials to the norm. The range of these "newest American poets"—the tradition of "objective choices, she assumes, is relatively small, "there exactitude" that Pound called for, as opposed to being after all not so many fundamentally different ways to order and transform the language" (4). The poet selects among a fairly easily categorizable Robert F. Gleckner, Professor of English, University of "repertoire of transformations" (5), the result California, Riverside, is author of The Piper and the Bard: A Study of William Blake, editor of Romanticism: Points of being a "design" which does not cause but rather View, Selected Writings of William Blake, and the just- confirms "what is in the language" (8). published Complete Poetry of Lord Byron. 134 "emotional statement and general dimness," the than they are inherent in several of the originally vocabulary tradition of "sensory nature" and black, published essays. There are also some annoying white, leaf, water, light, love, night. The Donne tactical flaws. Her technique of quoting words, tradition, she says, has survived much more phrases, and clauses in staccato succession from obliquely: "His was rather a vocabulary of concept a single poem to illustrate its "procedure" or distinguished by its concern with time, cognition, basic structure is far less clear than she seems and truth, positive and negative"; his terms were to think, as are the too frequent full quotations of of "formal logic," "powerful descriptive relative passages and poems with virtually no accompanying clauses and active prepositions." "His are the comment or analysis. Some statements about poetry extremes of the century's norms" (66-67), with seem perfectly meaningless, or seem to say something Cleveland and Cowley being closest to him and important that doesn't come clear or are so obvious Sidney as his predecessor—though later Professor as to make one wonder why they were made. For Miles sees even Sidney as "far--from [his] basic example, "the poet keeps using certain main terms contexts" (81). She agrees that Donne is because they signify what one wants to consider" "metaphysical" (and goes to some pains to clarify (16); "one good way to read [the poem] is in its that much-vexed term) but almost seems to say that own terms of emphasis" (90). And finally, her he is virtually the only metaphysical--and that tendency to cite single words as somehow belonging critics like Eliot, Lewis, Brooks, Gardner, Martz, to, or being associated especially or even uniquely Archer, Mazzeo, Bredvold, Duncan, Bethel, Unger, with, individual poets is, to my mind, absurd. For Williamson, and Stein tend, in their acceptance of example, E. A. Robinson is said to "share" his verb Donne as the center of the metaphysical tradition, touch with Sill and Swinburne, his human with to see "parts rather than wholes" (73), thus quite Sterling and Stevens, his face and nothing with Poe incorrectly reading his influence on modern poetry. and Stevens, and his sick with modern poets of the Her argument here is that most, if not all, Donne mid-twentieth-century. critics have missed the "simplicities" of his language and structure or design in favor of their This brings me to the chapter on Blake, and own predisposition toward his complexities of to Blake generally in relationship to the image, figure, and theme (82). statistical findings of Professor Miles' Chapter III. While it is difficult to deny that "Blake's Professor Miles sees "our greatest modern is an extremist structure" (94), the generalizations metaphysical poet," and perhaps our only one, as about "Blake's Frame of Language" are suspect in Yeats--though she does include in certain ways in various ways. For example, she cites death, this category Warren, Cummings, Jeffers, the dark, daughters, children, mountains, man, fire, younger Rukeyser, Wilbur, and Rothenberg. "To and cloud as central "major terms," recurring garland the Donne tradition," she writes (148), throughout Blake's work. More accurately they "as the chief seventeenth-century tradition . recur throughout some of his work, and the is to garland a highly special and limited different measure of their recurrence is at least tradition in the twentieth-century." His "essential as important to understanding Blake, and Blake's metaphysical

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