[BNP/E3, 100 – 4–6][1]
Essay on Poetry
Written for the Edification of Would-be Verse-writers
By Professor Trochee[2]
When I consider the superabundance of young men and the great number of young women in the present century, when I survey the necessary and consequent profusion of reciprocal attachments, when I reflect upon the exuberance of poetical compositions emanating therefrom, when I bring my mind to bear upon the insanity and chaotic formation of these effusions, I convince myself that, by writing a good and convenient essay on the poetical art, I shall be greatly contributing to the emolument of the public.
Having, therefore, carefully considered the best and most practical way in which to open such a relevant discussion, I have most wisely concluded that a straightforward exposition of the rules and exceptions of poetry is the manner in which I shall present my most orthodox ideas to the patient readers. I have thought it useless and inappropriate to refer myself too often to the ancient critics on the art discussed, one of my reasons for so doing being that I am unacquainted with anything beyond their names. I must therefore ask my kindly readers to appeal, during the perusal of this composition, to their common sense, or to whatever mental faculty occupies in their brains the place taken in ordinary mortals’ by that quality.
[5r]
Firstly, I think it proper to bring to the notice the would-be poet a fact which is not usually considered and yet is deserving of consideration. I hope I shall escape universal ridicule if I assert that poetry should, be susceptible of scansion. I wish it, of course, to be understood that I agree with {…} in maintaining that strict scansion is not at all necessary for the success nor even for the merit of a poetical composition. And I trust I shall not be deemed exceedingly pedantic if I delve into the storehouse of time to produce, as an authority, some of the works of a certain William Shakspeare, or Shakespeare, who[3] lived some centuries ago and even enjoyed some reputation as a dramatist. This person used often to take off, or add on, one syllable or more in the lines of his numerous productions, and, if it be at all allowable in the age of Kipling to break the tenets of poetical good-sense by imitating some obscure scribbler, I should dare to recommend to the beginner the enjoyment of this sort[4] of poetic licence. Not that I should advise him to add any syllables to his lines, but the subtraction of some is often convenient and desirable. I may as well point out that if, by this very contrivance, the young poet, having taken away some syllables from his poem, proceed on this expedient, and take all the remaining syllables out of it, although he might not thus attain to any degree of popularity, he nevertheless would exhibit an extraordinary amount of poetical common sense. If the poem under question be dedicated to some nymph or naiad, this magnificent condensation may not please her, but do you merely remind her that, if she will not accept the re-
[6r]
mainder of the poem, that is to say, your name, her love for you is not the thing you expected.
There are not many other useful remarks that I can make upon scansion; I might, of course, spend nights and days in the process of demonstrating to you its various eccentricities, but, since that would only be wasting your patience and my time, I beg, therefore, to proceed {…}
[6v]
Introduction
Introduction
Introduction
Introduction aux études Gastronomiques Introduction
Études
Introduction Introduction
Introduction
Introduction
Introduction Introduction
Introduction Introduction
Denton
A Burla do Constitucionalismo
Denton
David David David
David Essay on Poetry
David Ginkel
Essay David
David Alexander
David debt
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David Denton
Denton Denton
[1] [BNP/E3, 100 – 4r]
poetic
[2] Por baixo da assinatura de «Professor Trochee» lemos, no original, a seguinte assinatura riscada: « By Doctor Pancratium».
[3] who /that\
[4] sort /kind\
