A beer is for drinking. A sofa is for sitting. A poem is for… enjoyment? Edification? The imagination and expression of the indestructible order of the universe? Fart jokes?
According to Percy Shelley’s essay A Defense of Poetry, poetry “is the very image of life expressed in its eternal truth.” Stated another way, the work of a poet is to “imagine and express [the world’s] indestructible order.” The problem with trying to create a definition based on these statements is that they are both over and under-inclusive for what we commonly think of as poetry. They are over-inclusive because Shelley means that any expression of eternal truth is poetry regardless of form; he includes the the essays of Francis Bacon and the histories of Herodotus, Plutarch, and Livy as poetry. The content, rather than the form defines the poem according to Shelley. The definitions are also under-inclusive because a dirty limerick, lacking any spark of eternal truth, appears to fall outside of the category of poetry. This sort of content based, distinction seems inappropriate for an art form that includes some very strict formal categories.
Although content based distinction between poetry and non-poetry may not be appropriate, content based criticism of poetry makes a lot of sense. Aristophanes makes a particularly appealing case study for this analysis for two reasons. In the first place, the content of Aristophanes’ plays is superficially very sophomoric; he peppers his work very liberally with scatological and sexual humor. Secondly, despite the ceaseless stream of crude jokes, Aristophanes clearly thinks that there are much bigger things at stake. In an earlier post, I noted that he used the chorus in The Wasps to chide the Athenian audience for not appreciating the good advice that he had provided the city in his plays.
In The Frogs, Aristophanes has the character of Euripides state that the most important trait of the poet is his ability to improve the audience through his wise counsels. This point is taken up by the character of Æschylus and seems very much in line with the tone of the chorus in The Wasps. In the play’s contest between Euripides and Æschylus for greatest all-time tragedian, Æschylus gets the win based not on the beauty of his verse, but on the superiority of his practical advice.
Like the analysis of Shelley, this seems to over-emphasize poetry’s content at the expense of its form. But it is important to note that Aristophanes couches all of this within a work of poetry rather than in a lecture or treatise. He is adamant that he has some very important things to say, but he does so within the structure of his verse. The key, it seems, is the proper balance between form and content. Even the most important and valuable content, if not presented beautifully will not be well received. And the most beautiful verse, without some substantial content, will ring hollow. If the characters in The Frogs are right that the true measure of quality of a poet is his ability to improve his audience, it is clear that the greatest effect on the audience will come from the most skillful combination of form and substance.
Beer of the week: Grolsh Lager – Grolsh is best known in the US for its iconic swing-top bottles. It is also available, it seems, in more standard long-necks. Aside from the bottle, this Dutch macro is unremarkable. It is clear, pale gold with lots of carbonation. Light aroma of toasted grain. Not much to it, but not bad at all.
Reading of the week: The Frogs by Aristophanes – A large part of the disagreement between Æschylus and Euripides in this play is whether characters should be realistic or idealized. Æschylus argues that idealized characters make for better role models, and are therefore better suited to improve the audience. Euripides, on the other hand, favors realistic characters because they are more relatable.
Question for the week: Does even the most shallow or juvenile poem deserve the title of “poetry” by virtue of its form alone?