Posts Tagged ‘I.A. Richards’
Quote of the Day
In its use of words poetry is just the reverse of science. Very definite thoughts do occur, but not because the words are so chosen as logically to bar out all possibilities but one. No. But because the manner, the tone of voice, the cadence and the rhythm play upon our interests and make them pick out from among an indefinite number of possibilities the precise particular thought which they need. This is why poetical descriptions often seem so much more accurate than prose descriptions.
Quote of the Day
Inventiveness, the bringing together of elements which are not ordinarily connected, is another sense [of imagination]. According to this Edison is said to have possessed imagination, and any fantastic romance will show it in excelsis. Although this comes nearer to a sense in which value is implied, it is still too general. The lunatic will beat any of us at combining odd ideas.
How to be ambiguous
Note: I’m traveling for the next few days, so I’ll be republishing a few of my favorite pieces from earlier in this blog’s run. This post originally appeared on May 22, 2013.
Writers are generally advised to avoid ambiguity. Clarity, as E.B. White observes, may not be a substitute for merit in writing, but it’s as close as we can get, so it’s good form for authors to state things as clearly as they can. It’s certainly the best rule to follow if there’s any doubt. Yet this does nothing to explain the fact that many of the works of art that affect us so deeply—from Hamlet to Vertigo to, yes, Mad Men—are founded on ambiguity. As in the case of most masterpieces, these can be dangerous examples for a writer to follow, but they’re also very tempting. Great fiction survives in the imagination because of the constellation of questions it raises in the reader’s mind, and the problem of balancing such uncertainties with a narrative that remains clear from moment to moment is one of the most difficult issues for a writer to face. And it soon becomes obvious, after writing or reading a few examples, that ambiguous language is not the best way to create a larger superimposition of interpretations.
As usual, we can get some useful insights by looking at poetry, the leading edge of language, whose lessons and innovations tend to filter down centuries later into prose. Poetry is often seen as ambiguous or obscure, but when you examine the greatest poems line by line, you find that this is an effect generated by the resonance of highly specific images—nouns, verbs, and concrete adjectives, all intelligible in themselves but mysterious as a whole. Take, for instance, the poem that I.A. Richards has called “the most mysterious poem in English,” Shakespeare’s “The Phoenix and the Turtle.” Each stanza stands with crystal clarity, and often something more, but the result has been interpreted as everything from a Catholic allegory to a veiled reference to the relationship between Sir John Salusbury and Queen Elizabeth, and as it stands, it’s a puzzle without an answer. A prefatory note spelling it out would have avoided much of this confusion, but in the process, it would have destroyed the magic.
Which leads us to a very important point, which is that ambiguity is best created out of a network of specifics with one crucial piece removed. It’s often been observed, for instance, that much of the mystery of Shakespeare’s plays emerges from the fact that he omits part of his original source material while leaving other elements intact. In the original Amleth story, there’s no confusion about the reasons for the lead character’s madness: he believes that his uncle is plotting against his life, so in order to protect himself and mislead his enemies, he pretends to be an idiot. Hamlet takes away this detail—Claudius doesn’t seem particularly interested in killing Hamlet at all until after he starts to act like a lunatic—and creates a tantalizing ambiguity in the process. The same is true of King Lear, in which the original source more clearly explains the king’s reasons for putting his three daughters to the test. The resulting plays are filled with concrete language and action, but the mystery remains.
And this is true of many works of art. We never know the origins of Montresor’s murderous vendetta in “The Cask of Amontillado,” but the story itself is so detailed that it practically serves as a manual on how to wall a man up alive, even as Poe denies us the one piece of information that most writers would have included first. (If Poe were alive today, I suspect that his editor would have begged him to flesh out the backstory.) Vertigo is the most mysterious movie ever made, but on watching it again, I’m struck by how much of it is grounded in specifics—the mundane details of Scotty’s life, the beautiful but realistic San Francisco settings, the way his obsession for Madeline manifests itself in trips to salons and department stores. Ambiguity, in other words, is only effective when the story itself is concrete enough to convincingly support multiple interpretations, which, in practice, usually means an even greater attention to clarity and convincing detail than if the line of the narrative were perfectly clear. A map that contains a single path can afford to leave the rest of the territory blank, but if we’re going to find our way down more than one road, we’ll need a better sense of the landscape, even, or especially, if the landmarks lead us astray.
Quote of the Day
[Poetic meter’s] effect is not due to our perceiving a pattern in something outside us, but to our becoming patterned ourselves.
How to be ambiguous
Writers are generally advised to avoid ambiguity. Clarity, as E.B. White observes, may not be a substitute for merit in writing, but it’s as close as we can get, so it’s good form for authors to state things as clearly as they can. It’s certainly the best rule to follow if there’s any doubt. Yet this does nothing to explain the fact that many of the works of art that affect us so deeply—from Hamlet to Vertigo to, yes, Mad Men—are founded on ambiguity. As in the case of most masterpieces, these can be dangerous examples for a writer to follow, but they’re also very tempting. Great fiction survives in the imagination because of the constellation of questions it raises in the reader’s mind, and the problem of balancing such uncertainties with a narrative that remains clear from moment to moment is one of the most difficult issues for a writer to face. And it soon becomes obvious, after writing or reading a few examples, that ambiguous language is not the best way to create a larger superimposition of interpretations.
As usual, we can get some useful insights by looking at poetry, the leading edge of language, whose lessons and innovations tend to filter down centuries later into prose. Poetry is often seen as ambiguous or obscure, but when you examine the greatest poems line by line, you find that this is an effect generated by the resonance of highly specific images—nouns, verbs, and concrete adjectives, all intelligible in themselves but mysterious as a whole. Take, for instance, the poem that I.A. Richards has called “the most mysterious poem in English,” Shakespeare’s “The Phoenix and the Turtle.” Each stanza stands with crystal clarity, and often something more, but the result has been interpreted as everything from a Catholic allegory to a veiled reference to the relationship between Sir John Salusbury and Queen Elizabeth, and as it stands, it’s a puzzle without an answer. A prefatory note spelling it out would have avoided much of this confusion, but in the process, it would have destroyed the magic.
Which leads us to a very important point, which is that ambiguity is best created out of a network of specifics with one crucial piece removed. It’s often been observed, for instance, that much of the mystery of Shakespeare’s plays emerges from the fact that he omits part of his original source material while leaving other elements intact. In the original Amleth story, there’s no confusion about the reasons for the lead character’s madness: he believes that his uncle is plotting against his life, so in order to protect himself and mislead his enemies, he pretends to be an idiot. Hamlet takes away this detail—Claudius doesn’t seem particularly interested in killing Hamlet at all until after he starts to act like a lunatic—and creates a tantalizing ambiguity in the process. The same is true of King Lear, in which the original source more clearly explains the king’s reasons for putting his three daughters to the test. The resulting plays are filled with concrete language and action, but the mystery remains.
And this is true of many works of art. We never know the origins of Montresor’s murderous vendetta in “The Cask of Amontillado,” but the story itself is so detailed that it practically serves as a manual on how to wall a man up alive, even as Poe denies us the one piece of information that most writers would have included first. (If Poe were alive today, I suspect that his editor would have begged him to flesh out the backstory.) Vertigo is the most mysterious movie ever made, but on watching it again, I’m struck by how much of it is grounded in specifics—the mundane details of Scotty’s life, the beautiful but realistic San Francisco settings, the way his obsession for Madeline manifests itself in trips to salons and department stores. Ambiguity, in other words, is only effective when the story itself is concrete enough to convincingly support multiple interpretations, which, in practice, usually means an even greater attention to clarity and convincing detail than if the line of the narrative were perfectly clear. A map that contains a single path can afford to leave the rest of the territory blank, but if we’re going to find our way down more than one road, we’ll need a better sense of the landscape, even, or especially, if the landmarks lead us astray.
I.A. Richards on rhythm and surprise
Rhythm and its specialized form, metre, depend upon repetition, and expectancy. Equally where what is expected recurs and where it fails, all rhythmical and metrical effects spring from anticipation. As a rule this anticipation is unconscious…Just as the eye reading print unconsciously expects the spelling to be as usual, and the fount of type to remain the same, so the mind after reading a line or two of verse, or half a sentence of prose, prepares itself ahead for any one of a number of possible sequences, at the same time negatively incapacitating itself for others. The effect produced by what actually follows depends very closely upon this unconscious preparation and consists largely of the further twist which it gives to expectancy…
This texture of expectations, satisfactions, disappointments, surprisals, which the sequence of syllables brings about, is rhythm. And the sound of word comes to its full power only through rhythm. Evidently there can be no surprise and no disappointments unless there is expectation and most rhythms perhaps are made up as much of disappointments and postponements and surprises and betrayals as of simple, straightforward satisfactions. Hence the rapidity with which too simple rhythms, those which are too easily “seen through,” grow cloying or insipid unless hypnoidal states intervene, as with much primitive music and dancing and often with metre.
Quote of the Day
Many of my colleagues…think a Banker has no business whatever to be a poet. They don’t think the two things can combine. But I believe that anything a man does, whatever his hobby may be, it’s all the better if he is really keen on it and does it well. I think it helps him with his work. If you see our young friend, you tell him that we think he’s doing quite well at the Bank. In fact, if he goes on as he has been doing, I don’t see why—in time, of course, in time—he mightn’t even become a Branch Manager.
—Unidentified banker on T.S. Eliot (as told to I.A. Richards)
Alec Nevala-Lee 