It Must Be Developed in Recited Lyric

Hopkins here has talked himself into a corner

Hopkins here has talked himself into a corner. He has presented poetry as so highly wrought an art that even he, the educated, aesthetically sensitive musical Hopkins cannot adequately perform his own poetry, and if that is so there is little chance for the existence of any audience or readership of poetry. He begins to move laterally away from this position: Neither of course do I mean my verse to be recited only. True poetry must be studied. As Shakespere and all Juicy Couture Necklaces great dramatists have their maximum effect on stage but bear to be or must be studied at home... so I shd. Wish it to be with my lyric poetry.

And in practice that will be enough by itself alone to any one who has first realised the effect of reciting; for then, like a musician reading a score and supplying in thought the orchestra... no further performance is, substantially, needed... Mr. Patmore never admired the Eurydice or any of my things, except some in common rhythm, for just this reason (I hope - and he himself suggested). Much the same is the case with plain chant music. Many of those who do not admire it have never heard it performed (or worse, have heard it murdered) and cannot conceive the performance; for to read and even play it, without the secret, is no good.

Overall his style in this passage, edged with qualifications, shows him struggling against relinquishing the idea of an ideal performance of poetry, but recognising the gap that he has opened up between the art and its delivery. He had allowed the broader option of imagined sound much earlier than this, in his comments on reading the Loss of the Eurydice: 'you must not slovenly read it with your eyes but with your ears, as if the paper were declaiming it to you'. (Hopkins to Bridges 21 May 187852).

It is the paper that declaims, not the reader's own voice. He writes next on other matters (among them his search for Thomas Campion's poem 'Rose-cheeked Laura' whom he remembers having read) but returns to his theme: By the bye, as prose, though commonly less beautiful than verse and debarred from its symmetrical beauties, has, at least possible to it, effects more beautiful than any verse can attain, so perhaps the inflections and intonations of the speaking voice may give effects more beautiful than any attainable by the fixed Juicy Couture Watch pitches of music. I look on this as an infinite field & very little worked. It has this great difficulty that the art depends entirely on living tradition. The phonograph may give us one, but hitherto there could be no record of fine spoken utterance. In drama the fine spoken utterance has been cultivated and a tradition established, but everything is most highly wrought and furthest developed where it is cultivated by itself; fine utterance then will not be best developed in the drama, where gesture and action generally are to play a great part too; it must be developed in recited lyric.

It Must Be Developed in Recited Lyric

By: endeavor19

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