# Fancies versus fads/The Romance of Rhyme

FANCIES VERSUS FADS
The Romance of Rhyme
THE poet in the comic opera, it will be remembered (I hope), claimed for his esthetic authority that "Hey diddle diddle will rank as an idyll, if I pronounce it chaste." In face of a satire which still survives the fashion it satirized, it may require some moral courage seriously to pronounce it chaste, or to suggest that the nursery rhyme in question has really some of the qualities of an idyll. Of its chastity, in the vulgar sense, there need be little dispute, despite the scandal of the elopement of the dish with the spoon, which would seem as free from grossness as the loves of the triangles. And though the incident of the cow may have something of the moonstruck ecstasy of Endymion, that also has a silvery coldness about it worthy of the wilder aspects of Diana. The truth more seriously tenable is that this nursery rhyme is a complete and compact model of the nursery short story. The cow jumping over the moon fulfils to perfection the two essentials of such a story for children. It makes an effect that is fantastic out of objects that are familiar; and it makes a picture that is at once incredible and unmistakable. But it is yet more tenable, and here more to the point, ​that this nursery rhyme is emphatically a rhyme. Both the lilt and the jingle are just right for their purpose, and are worth whole libraries of elaborate literary verse for children. And the best proof of its vitality is that the satirist himself has unconsciously echoed the jingle even in making the joke. The metre of that nineteenth-century satire is the metre of the nursery rhyme. "Hey diddle diddle, the cat and the fiddle" and "Hey diddle diddle will rank as an idyll" are obviously both dancing to the same ancient tune; and that by no means the tune the old cow died of, but the more exhilarating air to which she jumped over the moon.
The whole history of the thing called rhyme can be found between those two things: the simple pleasure of rhyming "diddle" to "fiddle," and the more sophisticated pleasure of rhyming "diddle" to "idyll."' Now the fatal mistake about poetry, and more than half of the fatal mistake about humanity, consists in forgetting that we should have the first kind of pleasure as well as the second. It might be said that we should have the first pleasure as the basis of the second; or yet more truly, the first pleasure inside the second. The fatal metaphor of progress, which means leaving things behind us, has utterly obscured the real idea of growth, which means leaving things inside us. The heart of the tree remains the same, however many rings are added to it; and a man cannot leave his heart behind by running hard with his legs. In the core of all culture are the things that may be said, in every sense, to be learned by heart. In the innermost part of all poetry is the nursery rhyme, the nonsense that is too happy even to care about being nonsensical. It may lead on to the more ​elaborate nonsense of the Gilbertian line, or even the far less poetic nonsense of some of the Browningesque rhymes. But the true enjoyment of poetry is always in having the simple pleasure as well as the subtle pleasure. Indeed it is on this primary point that so many of our artistic and other reforms seem to go wrong. What is the matter with the modern world is that it is trying to get simplicity in everything except the soul. Where the soul really has simplicity it can be grateful for anything—even complexity. Many peasants have to be vegetarians, and their ordinary life is really a simple life. But the peasants do not despise a good dinner when they can get it; they wolf it down with enthusiasm, because they have not only the simple life but the simple spirit. And it is so with the modern modes of art which revert, very rightly, to what is "primitive." But their moral mistake is that they try to combine the ruggedness that should belong to simplicity with a superciliousness that should only belong to satiety. The last Futurist draughtsmanship, for instance, evidently has the aim of drawing a tree as it might be drawn by a child of ten. I think the new artists would admit it; nor do I merely sneer at it. I am willing to admit, especially for the sake of argument, that there is a truth of philosophy and psychology in this attempt to attain the clarity even through the crudity of childhood. In this sense I can see what a man is driving at when he draws a tree merely as a stick with smaller sticks standing out of it. He may be trying to trace in black and white or grey a primeval and almost prenatal illumination; that it is very remarkable that a stick should exist, and still more remarkable that a stick should stick up or stick out. He may be similarly enchanted with ​his own stick of charcoal or grey chalk; he may be enraptured, as a child is, with the mere fact that it makes a mark on the paper—a highly poetic fact in itself. But the child does not despise the real tree for being different from his drawing of the tree. He does not despise Uncle Humphrey because that talented amateur can really draw a tree. He does not think less of the real sticks because they are live sticks, and can grow and branch and curve in a way uncommon in walking-sticks. Because he has a single eye he can enjoy a double pleasure. This distinction, which seems strangely neglected, may be traced again in the drama and most other domains of art. Reformers insist that the audiences of simpler ages were content with bare boards or rudimentary scenery if they could hear Sophocles or Shakespeare talking a language of the gods. They were very properly contented with plain boards. But they were not discontented with pageants. The people who appreciated Antony's oration as such would have appreciated Aladdin's palace as such. They did not think gilding and spangles substitutes for poetry and philosophy, because they are not. But they did think gilding and spangles great and admirable gifts of God, because they are.
But the application of this distinction here is to the case of rhyme in poetry. And the application of it is that we should never be ashamed of enjoying a thing as a rhyme as well as enjoying it as a poem. And I think the modern poets who try to escape from the rhyming pleasure, in pursuit of a freer poetical pleasure, are making the same fundamentally fallacious attempt to combine simplicity with superiority. Such a poet is like a child who could take no pleasure in a tree because it looked like a tree, ​or a playgoer who could take no pleasure in the Forest of Arden because it looked like a forest. It is not impossible to find a sort of prig who professes that he could listen to literature in any scenery, but strongly objects to good scenery. And in poetical criticism and creation there has also appeared the prig who insists that any new poem must avoid the sort of melody that makes the beauty of any old song. Poets must put away childish things, including the child's pleasure in the mere sing-song of irrational rhyme. It may be hinted that when poets put away childish things they will put away poetry. But it may be well to say a word in further justification of rhyme as well as poetry, in the child as well as the poet. Now, the neglect of this nursery instinct would be a blunder, even if it were merely an animal instinct or an automatic instinct. If a rhyme were to a man merely what a bark is to a dog, or a crow to a cock, it would be clear that such natural things cannot be merely neglected. It is clear that a canine epic, about Argus instead of Ulysses, would have a beat ultimately consisting of barks. It is clear that a long poem like "Chantecler," written by a real cock, would be to the tune of Cock-a-doodle-doo. But in truth the nursery rhyme has a nobler origin; if it be ancestral it is not animal; its principle is a primary one, not only in the body but in the soul.
Milton prefaced "Paradise Lost" with a ponderous condemnation of rhyme. And perhaps the finest and even the most familiar line in the whole of "Paradise Lost" is really a glorification of rhyme. "Seasons return, but not to me return," is not only an echo that has all the ring of rhyme in its form, but it happens to contain nearly all the philosophy of rhyme in its spirit. The wonderful word "return" ​has, not only in its sound but in its sense, a hint of the whole secret of song. It is not merely that its very form is a fine example of a certain quality in English, somewhat similar to that which Mrs. Meynell admirably analysed in one of her last beautiful essays, in the case of words like "unforgiven." It is that it describes poetry itself, not only in a mechanical but a moral sense. Song is not only a recurrence, it is a return. It does not merely, like the child in the nursery, take pleasure in seeing the wheels go round. It also wishes to go back as well as round; to go back to the nursery where such pleasures are found. Or to vary the metaphor slightly, it does not merely rejoice in the rotation of a wheel on the road, as if it were a fixed wheel in the air. It is not only the wheel but the wagon that is returning. That labouring caravan is always travelling towards some camping-ground that it has lost and cannot find again. No lover of poetry needs to be told that all poems are full of that noise of returning wheels; and none more than the poems of Milton himself. The whole truth is obvious, not merely in the poem, but even in the two words of the title. All poems might be bound in one book under the title of "Paradise Lost." And the only object of writing "Paradise Lost" is to turn it, if only by a magic and momentary illusion, into "Paradise Regained."
It is in this deeper significance of return that we must seek for the peculiar power in the recurrence we call rhyme. It would be easy enough to reply to Milton's strictures on rhyme in the spirit of a sensible if superficial liberality by saying that it takes all sorts to make a world, and especially the world of the poets. It is evident enough that Milton might have been right to dispense with rhyme without being ​right to despise it. It is obvious that the peculiar dignity of his religious epic would have been weakened if it had been a rhymed epic, beginning:—
Of man's first disobedience and the fruit Of that forbidden tree whose mortal root.
But it is equally obvious that Milton himself would not have tripped on the light fantastic toe with quite so much charm and cheerfulness in the lines:—
But come thou Goddess fair and free In heaven yclept Euphrosyne
if the goddess had been yclept something else, as, for the sake of argument, Syrinx. Milton in his more reasonable moods would have allowed rhyme in theory a place in all poetry, as he allowed it in practice in his own poetry. But he would certainly have said at this time, and possibly at all times, that he allowed it an inferior place, or at least a secondary place. But is its place secondary; and is it in any sense inferior?
The romance of rhyme does not consist merely in the pleasure of a jingle, though this is a pleasure of which no man should be ashamed. Certainly most men take pleasure in it, whether or not they are ashamed of it. We see it in the older fashion of prolonging the chorus of a song with syllables like "rumty tumty" or "tooral looral." We see it in the similar but later fashion of discussing whether a truth is objective or subjective, or whether a reform is constructive or destructive, or whether an argument is deductive or inductive: all bearing witness to a very natural love for those nursery rhyme ​recurrences which make a sort of song without words, or at least without any kind of intellectual significance. But something much deeper is involved in the love of rhyme as distinct from other poetic forms, something which is perhaps too deep and subtle to be described. The nearest approximation to the truth I can think of is something like this: that while all forms of genuine verse recur, there is in rhyme a sense of return to exactly the same place. All modes of song go forward and backward like the tides of the sea; but in the great sea of Homeric or Virgilian hexameters, the sea that carried the labouring ships of Ulysses and Æneas, the thunder of the breakers is rhythmic, but the margin of the foam is necessarily irregular and vague. In rhyme there is rather a sense of water poured safely into one familiar well, or (to use a nobler metaphor) of ale poured safely into one familiar flagon. The armies of Homer and Virgil advance and retreat over a vast country, and suggest vast and very profound sentiments about it, about whether itis their own country or only a strange country. But when the old nameless ballad boldly rhymes "the bonny ivy tree" to "my ain countree" the vision at once dwindles and sharpens to a very vivid image of a single soldier passing under the ivy that darkens his own door. Rhythm deals with similarity, but rhyme with identity. Now in the one word identity are involved perhaps the deepest and certainly the dearest human things. He who is home-sick does not desire houses or even homes. He who is love-sick does not want to see all the women with whom he might have fallen in love. Only he who is sea-sick, perhaps, may be said to have a cosmopolitan craving for all lands or any kind of land. And this is probably ​why sea-sickness, like cosmopolitanism, has never yet been a high inspiration to song.
Songs, especially the most poignant of them, generally refer to some absolute, to some positive place or person for whom no similarity is a substitute. In such a case all approximation is merely asymptotic. The prodigal returns to his father's house and not the house next door, unless he is still an imperfectly sober prodigal. The lover desires his lady and not her twin sister, except in old complications of romance. And even the spiritualist is generally looking for a ghost and not merely for ghosts. I think the intolerable torture of spiritualism must be a doubt about identity. Anyhow, it will generally be found that where this call for the identical has been uttered most ringingly and unmistakably in literature, it has been uttered in rhyme. Another purpose for which this pointed and definite form is very much fitted is the expression of dogma, as distinct from doubt or even opinion. This is why, with all allowance for a decline in the most classical effects of the classical tongue, the rhymed Latin of the medieval hymns does express what it had to express in a very poignant poetical manner, as compared with the reverent agnosticism so nobly uttered in the rolling unrhymed metres of the ancients. For even if we regard the matter of the medieval verses as a dream, it was at least a vivid dream, a dream full of faces, a dream of love and of lost things. And something of the same spirit runs in a vaguer way through proverbs and phrases that are not exactly religious, but ratherin a rude sense philosophical, but which all move with the burden of returning; things to be felt only in familiar fragments … on revient toujours … it's the ​old story … it's love that makes the world go round; and all roads lead to Rome: we might almost say that all roads lead to Rhyme.
Milton's revolt against rhyme must be read in the light of history. Milton is the Renascence frozen into a Puritan form; the beginning of a period which was in a sense classic, but was in a still more definite sense aristocratic. There the Classicist was the artistic aristocrat because the Calvinist was the spiritual aristocrat. The seventeenth century was intensely individualistic; it had both in the noble and the ignoble sense a respect for persons. It had no respect whatever for popular traditions; and it was in the midst of its purely logical and legal excitement that most of the popular traditions died. The Parliament appeared and the people disappeared. The arts were put under patrons, where they had once been under patron saints. The English schools and colleges at once strengthened and narrowed the New Learning, making it something rather peculiar to one country and one class. A few men talked a great deal of good Latin, where all men had once talked a little bad Latin. But they talked even the good Latin so that no Latinist in the world could understand them. They confined all study of the classics to that of the most classical period, and grossly exaggerated the barbarity and barrenness of patristic Greek or mediæval Latin. It is as if a man said that because the English translation of the Bible is perhaps the best English in the world, therefore Addison and Pater and Newman are not worth reading. We can imagine what men in such a mood would have said of the rude rhymed hexameters of the monks; and it is not unnatural that they should have felt a reaction against rhyme ​itself. For the history of rhyme is the history of something else, very vast and sometimes invisible, certainly somewhat indefinable, against which they were in aristocratic rebellion.
That thing is difficult to define in impartial modern terms. It might well be called Romance, and that even in a more technical sense, since it corresponds to the rise of the Romance languages as distinct from the Roman language. It might more truly be called Religion, for historically it was the gradual re-emergence of Europe through the Dark Ages, because it still had one religion, though no longer one rule. It was, in short, the creation of Christendom. It may be called Legend, for it is true that the most overpowering presence in it is that of omnipresent and powerful popular Legend; so that things that may never have happened, or, as some say, could never have happened, are nevertheless rooted in our racial memory like things that have happened to ourselves. The whole Arthurian Cycle, for instance, seems something more real than reality. If the faces in that darkness of the Dark Ages, Lancelot and Arthur and Merlin and Modred, are indeed faces in a dream, they are like faces in a real dream: a dream in a bed and not a dream in a book. Subconsciously at least, I should be much less surprised if Arthur was to come again than I should be if the Superman were to come at all. Again, the thing might be called Gossip: a noble name, having in it the name of God and one of the most generous and genial of the relations of men. For I suppose there has seldom been a time when such a mass of culture and good traditions of craft and song have been handed down orally, by one universal buzz of conversation, through centuries of ignorance down ​to centuries of greater knowledge. Education must have been an eternal viva voce examination; but the men passed their examination. At least they went out in such rude sense masters of art as to create the Song of Roland and the round Roman arches that carry the weight of so many Gothic towers. Finally, of course, it can be called ignorance, barbarism, black superstition, a reaction towards obscurantism and old night; and such a view is eminently complete and satisfactory, only that it leaves behind it a sort of weak wonder as to why the very youngest poets do still go on writing poems about the sword of Arthur and the horn of Roland.
All this was but the beginning of a process which has two great points of interest. The first is the way in which the mediæval movement did rebuild the old Roman civilization; the other was the way in which it did not. A strange interest attaches to the things which had never existed in the pagan culture and did appear in the Christian culture. I think it is true of most of them that they had a quality that can very approximately be described as popular, or perhaps as vulgar, as indeed we still talk of the languages which at that time liberated themselves from Latin as the vulgar tongues. And to many Classicists these things would appear to be vulgar in a more vulgar sense. They were vulgar in the sense of being vivid almost to excess, of making a very direct and unsophisticated appeal to the emotions. The first law of heraldry was to wear the heart upon the sleeve. Such mediævalism was the reverse of mere mysticism, in the sense of mere mystery; it might more truly be described as sensationalism. One of these things, for instance, was a hot and even an impatient love of colour. It ​learned to paint before it could draw, and could afford the twopence coloured long before it could manage the penny plain. It culminated at last, of course, in the energy and gaiety of the Gothic; but even the richness of Gothic rested on a certain psychological simplicity. We can contrast it with the classic by noting its popular passion for telling a story in stone. We may admit that a Doric portico is a poem, but no one would describe it as an anecdote. The time was to come when much of the imagery of the cathedrals was to be lost; but it would have mattered the less that it was defaced by its enemies if it had not been already neglected by its friends. It would have mattered less if the whole tide of taste among the rich had not turned against the old popular masterpieces. The Puritans defaced them, but the Cavaliers did not truly defend them. The Cavaliers were also aristocrats of the new classical culture, and used the word Gothic in the sense of barbaric. For the benefit of the Teutonists we may note in parenthesis that, if this phrase meant that Gothic was despised, it also meant that the Goths were despised. But when the Cavaliers came back, after the Puritan interregnum, they restored not in the style of Pugin but in the style of Wren. The very thing we call the Restoration, which was the restoration of King Charles, was also the restoration of St. Paul's. And it was a very modern restoration.
So far we might say that simple people do not like simple things. This is certainly true if we compare the classic with these highly coloured things of mediævalism, or all the vivid visions which first began to glow in the night of the Dark Ages. Now one of these things was the romantic expedient called ​rhyme. And even in this, if we compare the two, we shall see something of the same paradox by which the simple like complexities and the complex like simplicities. The ignorant liked rich carvings and melodious and often ingenious rhymes. The learned liked bare walls and blank verse. But in the case of rhyme it is peculiarly difficult to define the double and yet very definite truth. It is difficult to define the sense in which rhyme is artificial and the sense in which it is simple. In truth it is simple because it is artificial. It is an artifice of the kind enjoyed by children and other poetic people; it is a toy. As a technical accomplishment it stands at the same distance from the popular experience as the old popular sports. Like swimming, like dancing, like drawing the bow, anybody can do it, but nobody can do it without taking the trouble to do it; and only a few can do it very well. In a hundred ways it was akin to that simple and even humble energy that made all the lost glory of the guilds. Thus their rhyme was useful as well as ornamental. It was not merely a melody but also a mnemonic; just as their towers were not merely trophies but beacons and belfries. In another aspect rhyme is akin to rhetoric, but of a very positive and emphatic sort: the coincidence of sound giving the effect of saying, "It is certainly so." Shakespeare realized this when he rounded off a fierce or romantic scene with a rhymed couplet. I know that some critics do not like this, but I think there is a moment when a drama ought to become a melodrama. Then there is a much older effect of rhyme that can only be called mystical, which may seem the very opposite of the utilitarian, and almost equally remote from the rhetorical. Yet it shares with the former the tough texture of something not ​easily forgotten, and with the latter the touch of authority which is the aim of all oratory. The thing I mean may be found in the fact that so many of the old proverbial prophecies, from Merlin to Mother Shipton, were handed down in rhyme. It can be found in the very name of Thomas the Rhymer.
But the simplest way of putting this popular quality is in a single word: it is a song. Rhyme corresponds to a melody so simple that it goes straight like an arrow to the heart. It corresponds to a chorus so familiar and obvious that all men can join in it. I am not disturbed by the suggestion that such an arrow of song, when it hits the heart, may entirely miss the head. I am not concerned to deny that the chorus may sometimes be a drunken chorus, in which men have lost their heads to find their tongues. I am not defending but defining; I am trying to find words for a large but elusive distinction between certain things that are certainly poetry and certain other things which are also song. Of course it is only an accident that Horace opens his greatest series of odes by saying that he detests the profane populace and wishes to drive them from his temple of poetry. But it is the sort of accident that is almost an allegory. There is even a sense in which it has a practical side. When all is said, could a whole crowd of men sing the "Descende Cœlo," that noble ode, as a crowd can certainly sing the "Dies Irae," or for that matter "Down among the Dead Men"? Did Horace himself sing the Horatian odes in the sense in which Shakespeare could sing, or could hardly help singing, the Shakespearean songs? I do not know, having no kind of scholarship on these points. But I do not feel that it could have been at all the same thing; and my only purpose is to attempt ​a rude description of that thing. Rhyme is consonant to the particular kind of song that can be a popular song, whether pathetic or passionate or comic; and Milton is entitled to his true distinction; nobody is likely to sing "Paradise Lost" as if it were a song of that kind. I have tried to suggest my sympathy with rhyme, in terms true enough to be accepted by the other side as expressing their antipathy for it. I have admitted that rhyme is a toy and even a trick, of the sort that delights children. I have admitted that every rhyme is a nursery rhyme. What I will never admit is that anyone who is too big for the nursery is big enough for the Kingdom of God, though the God were only Apollo.
A good critic should be like God in the great saying of a Scottish mystic. George Macdonald said that God was easy to please and hard to satisfy. That paradox is the poise of all good artistic appreciation. Without the first part of the paradox appreciation perishes, because it loses the power to appreciate. Good criticism, I repeat, combines the subtle pleasure in a thing being done well with the simple pleasure in it being done at all. It combines the pleasure of the scientific engineer in seeing how the wheels work together to a logical end with the pleasure of the baby in seeing the wheels go round. It combines the pleasure of the artistic draughtsman in the fact that his lines of charcoal, light and apparently loose, fall exactly right and in a perfect relation with the pleasure of the child in the fact that the charcoal makes marks of any kind on the paper. And in the same fashion it combines the critic's pleasure in a poem with the child's pleasure in a rhyme. The historical point about this kind of poetry, the rhymed romantic kind, is that it rose out of the Dark ​Ages with the whole of this huge popular power behind it, the human love of a song, a riddle, a proverb, a pun or a nursery rhyme; the sing-song of innumerable children's games, the chorus of a thousand campfires and a thousand taverns. When poetry loses its link with all these people who are easily pleased it loses all its power of giving pleasure. When a poet looks down on a rhyme it is, I will not say as if he looked down on a daisy (which might seem possible to the more literal-minded), but rather as if he looked down on a lark because he had been up in a balloon. It is cutting away the very roots of poetry; it is revolting against nature because it is natural, against sunshine because it is bright, or mountains because they are high, or moonrise because it is mysterious. The freezing process began after the Reformation with a fastidious search for finer yet freer forms; to-day it has ended in formlessness.
But the joke of it is that even when it is formless it is still fastidious. The new anarchic artists are not ready to accept everything. They are not ready to accept anything except anarchy. Unless it observes the very latest conventions of unconventionality, they would rule out anything classic as coldly as any classic ever ruled out anything romantic. But the classic was a form; and there was even a time when it was a new form. The men who invented Sapphics did invent a new metre; the introduction of Elizabethan blank verse was a real revolution in literary form. But vers libre, or nine-tenths of it, is not a new metre any more than sleeping in a ditch is a new school of architecture. It is no more a revolution in literary form than eating meat raw is an innovation in cookery. It is not even original, because it is not creative; the artist ​does not invent anything, but only abolishes something. But the only point about it that is to my present purpose is expressed in the word "pride." It is not merely proud in the sense of being exultant, but proud in the sense of being disdainful. Such outlaws are more exclusive than aristocrats; and their anarchical arrogance goes far beyond the pride of Milton and the aristocrats of the New Learning. And this final refinement has completed the work which the saner aristocrats began, the work now most evident in the world: the separation of art from the people. I need not insist on the sensational and self-evident character of that separation. I need not recommend the modern poet to attempt to sing his vers libres in a public house. I need not even urge the young Imagist to read out a number of his disconnected Images to a public meeting. The thing is not only admitted but admired. The old artist remained proud in spite of his unpopularity; the new artist is proud because of his unpopularity; perhaps it is his chief ground for pride.
Dwelling as I do in the Dark Ages, or at latest among the mediæval fairy-tales, I am yet moved to remember something I once read in a modern fairy-tale. As it happens, I have already used the name of George Macdonald; and in the best of his books there is a description of how a young miner in the mountains could always drive away the subterranean goblins if he could remember and repeat any kind of rhyme. The impromptu rhymes were often doggerel, as was the dog-Latin of many monkish hexameters or the burden of many rude Border ballads. But I have a notion that they drove away the devils, blue devils of pessimism and black devils ​of pride. Anyhow Madame Montessori, who has apparently been deploring the educational effects of fairy-tales, would probably see in me a pitiable example of such early perversion, for that image which was one of my first impressions seems likely enough to be one of my last; and when the noise of many new and original musical instruments, with strange shapes and still stranger noises, has passed away like a procession, I shall hear in the succeeding silence only a rustle and scramble among the rocks and a boy singing on the mountain.