{"id":2504,"date":"2013-07-13T01:42:03","date_gmt":"2013-07-13T01:42:03","guid":{"rendered":"http:\/\/localhost\/?p=2504"},"modified":"2013-07-13T01:42:03","modified_gmt":"2013-07-13T01:42:03","slug":"12-greek-and-latin-classical-metres-vol-27-letters-on-poetry-and-art","status":"publish","type":"post","link":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/01-works-of-sri-aurobindo\/03-cwsa\/27-letters-on-poetry-and-art\/12-greek-and-latin-classical-metres-vol-27-letters-on-poetry-and-art","title":{"rendered":"-12_Greek and Latin Classical Metres.htm"},"content":{"rendered":"
\n\n\n
\n\t <\/p>\n

\n\tGreek and Latin Classical Metres <\/font><\/b><\/b><\/p>\n

 <\/p>\n

\n\tAcclimatisation of Classical Metres in English
\n<\/b><\/b><\/p>\n

 <\/p>\n

In the attempt to acclimatise the classical scansions in English, everything depends on whether they are acclimatised or not.
\nThat is to say, there must be a spontaneous, natural, seemingly native-born singing or flowing or subtly moving rhythm. The
\nlines must glide or run or walk easily or, if you like, execute a complex dance, stately or light, but not stumble, not shamble
\nand not walk like the Commander’s statue suddenly endowed with life but stiff and stony in its march. Now the last is just
\nwhat happens to classical metres in English when they are not acclimatised, naturalised, made to seem even natively English,
\nalthough new. It is like cardboard cut into measures, there is no life or movement of life. . . . It was this inability to naturalise
\nthat ruined the chances of the admission of classic metres in the attempts of earlier poets
\n\t―we must avoid that mistake.           <\/p>\n

\n\t\t\t23 November 1933
\n\t<\/font><\/p>\n

 <\/p>\n

\n\tThe Hexameter in English<\/b><\/b><\/p>\n

\n\t <\/p>\n

Former poets failed in the attempt at hexameter because they did not find the right basic line and measure; they forgot that stress
\nand quantity must both be considered in English; even though in theory the stress alone makes the quantity, there is another kind
\nof true quantity which must be given a subordinate but very necessary recognition; besides, even in stress there are kinds,
\ntrue and fictitious, major and minor. In analysing the movement of an English line, one could make three independent schemes
\naccording to these three bases and the combination would give the value of the rhythm. You can ignore all this in an established
\nmetre and go safely by the force of instinct and habit; but for<\/p>\n

 <\/p>\n

\n\t\t\tPage-137<\/font><\/p>\n

\n

making so difficult an innovation as the hexameter instinct and habit were not enough, a clear eye upon all these constituents
\nwas needed and it was not there. Longfellow, even Clough, went on the theory of accentual quantity alone and in spite of their
\ntalent as versifiers made a mess ―producing something that discredited the very idea of the creation of an English hexameter.
\nOther poets made no serious or sustained endeavour. Arnold was interesting so long as he theorised about it, but his practical
\nspecimens were disastrous. I have not time to make my point clearer for the moment; I may return to it hereafter.                <\/p>\n

\n\t\t\t23 July 1932
\n\t<\/font><\/p>\n

 <\/p>\n

\n\tHexameters, Alcaics, Sapphics
\n<\/b><\/b><\/p>\n

\n\t <\/p>\n

Lines from [an early version of <\/i>] Ilion<\/i>,
\n\tan unfinished poem in English hexameter (quantitative)<\/p>\n

 <\/p>\n

\n\t<\/p>\n

 <\/p>\n

Triumph and agony changing hands in a desperate measure <\/p>\n

Faced and turned, as a man and a maiden trampling the grasses <\/p>\n

Face and turn and they laugh for their joy in the dance and each other. <\/p>\n

These were gods and they trampled lives. But though Time is immortal, <\/p>\n

Mortal his works are and ways and the anguish ends like the rapture. <\/p>\n

Artisans satisfied now with their works in the plan of the transience, <\/p>\n

Beautiful, wordless, august, the Olympians turned from the carnage. <\/p>\n

Vast and unmoved they rose up mighty as eagles ascending, <\/p>\n

Fanning the world with their wings. In the bliss of a sorrowless ether <\/p>\n

Calm they reposed from their deeds and their hearts were inclined to
\nthe Stillness. <\/p>\n

Less now the burden laid on our race by their star-white presence, <\/p>\n

There was a respite from height; the winds breathed freer, delivered.
\n <\/p>\n

 <\/p>\n

\n\t\t\tPage-138<\/font><\/p>\n

\n

\n\t\t\tBut their immortal content from the struggle titanic departed.<\/p>\n

\n\t\t\tVacant the noise of the battle roared like a sea on the shingles;<\/p>\n

\n\t\t\tWearily hunted the spears their quarry, strength was disheartened;<\/p>\n

\n\t\t\tSilence increased with the march of the months on the tents of the leaguer.<\/p>\n

\n\t\t\t <\/p>\n

\n\t\t\tThe principle is a line of six feet, preponderantly dactylic, but anywhere the dactyl can be replaced by a spondee; but in English
\nhexameter a trochee can be substituted, as the spondee comes in rarely in English rhythm. The line is divided by a caesura, and
\nthe variations of the caesura are essential to the harmony of the verse. <\/p>\n

An example of Alcaics from the Jivanmukta <\/i>(Alcaics is a Greek metre invented by the poet Alcaeus):<\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

But in English, variations (modulations) are allowed, only one has to keep to the general plan. <\/p>\n

\nSwinburne’s Sapphics are to be scanned thus:<\/p>\n

 <\/p>\n

\n\t\t\t<\/p>\n

 <\/p>\n

 Two trochees at the beginning, two trochees at the end, a dactyl<\/p>\n

 <\/p>\n

\n\t\t\tPage-139<\/font><\/p>\n

\n

separating the two trochaic parts of the line
\n\t\t\t―that is the Sapphics in its first three lines, then a fourth line composed of a dactyl
\nand a trochee.                 <\/p>\n

\n\t\t\tMay 1934<\/font><\/p>\n

 <\/p>\n

\n\t\t\tPage-140<\/font><\/span><\/td>\n<\/tr>\n<\/table><\/div>\n","protected":false},"excerpt":{"rendered":"

Greek and Latin Classical Metres   Acclimatisation of Classical Metres in English   In the attempt to acclimatise the classical scansions in English, everything depends…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51],"tags":[],"class_list":["post-2504","post","type-post","status-publish","format-standard","hentry","category-27-letters-on-poetry-and-art","wpcat-51-id"],"_links":{"self":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2504","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/comments?post=2504"}],"version-history":[{"count":0,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/posts\/2504\/revisions"}],"wp:attachment":[{"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/media?parent=2504"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/categories?post=2504"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/worksofthemotherandsriaurobindo.org\/index.php\/wp-json\/wp\/v2\/tags?post=2504"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}