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• W284760876 abstract "In his comments on writing of poetry, William Gilmore Simms frequently proclaimed absolute necessity that good poet use as reinforcement or, his own words, as echo ... of (Good Verse and Prose 328). Just as often, he was very frank criticizing who fail do so, or, even worse, who sacrifice sound. As Simms declared, aim of poet should be create verse in which sound, instead of being chief, shall be a subordinate object,--the mere echo, as should be, of sense. The violation of this important poetic credo provided underlying basis for one of Simms' pet peeves: use of merely for sake of rhyme. Of George H. Colton, author of long narrative poem Tecumseh, or West Thirty Years Since (New York: Wiley & Putnam, 1842), Simms wrote: our author intent on no better business than rhyming, and, accordingly, that moral and natural history, as well as common are made yield this single and superior object (Tecumseh--A Poem 301). He continues that otherwise with poets of a different --that is, writers with genius. Shakespeare, Wordsworth, and Byron, rhyme a very good thing, and they found so, and made a thing of glorious and fearful power. They did so by always keeping carefully in its place and to its single purpose, which the giving of force and effect thought--to truth. Simms goes further say that reason and common are required furnish basis for poetry (301). The poet work hard, and study closely He must merely `look into his own heart,' but ... strive look into hearts of others He should avoid the stiltish style and all affectations style sins best exhibited popular magazine literature of both America and Britain. The literature therein neither nor wholesome and, instead, is too much of flash order ... has too much of mere literary dandyism, or literary rowdyism, or literary toadyism Popular magazine verse has given over sense, tone, stern character, [and] enduring principles for current fads and rages. Conversely, it only direct, simple, natural, true--as these are above fashion, and disdain caprice--that defy fluctuations of time, and survive changes of conventional taste Simms writes that high and enduring models like Shakespeare, Milton, and Pope are which shalt believe and that in Talfourd, or Tennyson, or Carlyle, or Emerson ... thou shalt not believe (305). Rhyme for sake of one such prime example of bad conventional taste. Simms points out several specific places Colton's poem where sense [is] sacrificed sound Of Colton's line, For many a wound him took wing Simms concludes: This surely a shocking paltering with ... plain for sake of a miserable rhyme! (303). Wing must with spring no matter poet's lack of making wounds take wing. To a young poet who had sent him a copy of a new volume of verse, Simms wrote: Your rhymes are too frequently iterated, so as become monotonous. You forget that mere decoration of thought, and not be suffered occupy its place (Letters III, 169). Such statements as these prove convincingly that Simms had thought matter through and that he had become acutely aware of proper uses of and consequent dangers of its abuse. Within lines themselves, Simms was also aware of effective yoking of and as a means create good verse. Like Alexander Pope An Essay on Criticism (1711), Simms advocated proper attention meter and value of sounds of individual words. As an example of latter, he wrote a correspondent 1848, praising a line of verse before him: words sonorous murmurs admirably convey idea of billows of a river breaking against rocky shores. …" @default.
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• W284760876 date "1999-03-22" @default.
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• W284760876 title "Sound and Sense in Simms' Poetry" @default.
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