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R,CHARD MONCKTON MILNES was born in the year - OUDL Home

R,CHARD MONCKTON MILNES was born in the year - OUDL Home

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170 Harley Granville-Barkerwhich wanders. The function of rhythm and rhyme is toabsorb this marg<strong>in</strong>al attention so that we may be whollysurrendered to <strong>the</strong> spell of <strong>the</strong> poet. He quotes Bergson:The object of art is to lull to sleep <strong>the</strong> active, or ra<strong>the</strong>r <strong>the</strong> resist<strong>in</strong>gpowers of our personality, and thus to br<strong>in</strong>g us to a stateof perfect docility, <strong>in</strong> which we realise <strong>the</strong> idea suggested to us,and sympathise with <strong>the</strong> sentiment expressed (to us).And very appositely, Mr Middleton Murry:Rhythm and metre... have <strong>the</strong> power of throw<strong>in</strong>g <strong>the</strong> reader<strong>in</strong>to a state of heightened susceptibility to emotional suggestion...<strong>the</strong> recurrence of a regular rhythmical beat has an almost hypnoticeffect; it completely detaches our attention from <strong>the</strong> world ofevery day.. .and if it is regular and monotonous enough, actuallysends us to sleep... .The poet's bus<strong>in</strong>ess is to take advantage of<strong>the</strong> tendency, and <strong>in</strong>stead of lett<strong>in</strong>g it reach its logical physicalconclusion, by an <strong>in</strong>f<strong>in</strong>ite rhythmical variation of <strong>the</strong> metricalbasis, to keep us <strong>in</strong>tensely aware. There is a background of metricalsameness separat<strong>in</strong>g us like a curta<strong>in</strong> from <strong>the</strong> practical world;<strong>the</strong>re is a richness of <strong>the</strong> rhythmical variation to make <strong>the</strong> world<strong>in</strong> which we are worthy of our most delighted attention.Yet, strangely enough, he does not cite poetic drama and<strong>the</strong> common experience of <strong>the</strong> <strong>the</strong>atre as <strong>the</strong> most patentpossible evidence <strong>in</strong> his favour 1 . Moreover, <strong>in</strong> <strong>the</strong> suggestion(but Sir Philip dissents from this) that it isrhythmical variation which keeps us <strong>in</strong>tensely aware andprovokes our ' delighted attention' lies one of <strong>the</strong> chief,though more recondite, secrets of <strong>the</strong> writ<strong>in</strong>g of dramaticverse; and ignorance of <strong>the</strong>se simple, fundamental factsof <strong>the</strong> art of speech and command of attention (<strong>the</strong> ABCof <strong>the</strong> <strong>the</strong>atre) is a chief cause of <strong>the</strong> literary dramatist'sfailure.What is wrong, from a dramatic po<strong>in</strong>t of view, withthis verse of Tennyson's? It is not, presumably, badverse <strong>in</strong> itself (I do not pretend to know what good verse,<strong>in</strong> <strong>the</strong> abstract, is, or if <strong>the</strong>re be any such th<strong>in</strong>g. But I1 Perhaps Mr Middleton Murry does; I cannot refer to his book asI write.

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