Opinion: ‘Rhymes’ by Zach Weinersmith

John Milton was perfectly capable of expressing himself in rhyme, as in his Petrarchan sonnet on his blindness, When I Consider How My Light Is Spent. Paradise Lost attracted a lot of criticism for its boring lack of rhyme (as well as a lot of unthinking religious approval for its wretched matter). At the front of the second edition of his Paradise Lost in 1674, John Milton defends his books-long use of blank verse:

“The measure is English heroic verse without rime, as that of Homer in Greek, and of Virgil in Latin—rime being no necessary adjunct or true ornament of poem or good verse, in longer works especially, but the invention of a barbarous age, to set off wretched matter and lame metre; graced indeed since by the use of some famous modern poets, carried away by custom, but much to their own vexation, hindrance, and constraint to express many things otherwise, and for the most part worse, than else they would have expressed them. Not without cause therefore some both Italian and Spanish poets of prime note have rejected rime both in longer and shorter works, as have also long since our best English tragedies, as a thing of itself, to all judicious ears, trivial and of no true musical delight; which consists only in apt numbers, fit quantity of syllables, and the sense variously drawn out from one verse into another, not in the jingling sound of like endings—a fault avoided by the learned ancients both in poetry and all good oratory. This neglect then of rime so little is to be taken for a defect, though it may seem so perhaps to vulgar readers, that it rather is to be esteemed an example set, the first in English, of ancient liberty recovered to heroic poem from the troublesome and modern bondage of riming.”

Tell that to Geoffrey Chaucer; his Canterbury Tales is longer, rhymed, more varied and more engaging. As Samuel Johnson wrote, “Milton formed his scheme of versification by the poets of Greece and Rome, whom he proposed to himself for his models so far as the difference of his language from theirs would permit the imitation.” And that’s the problem: Greek and Latin poems are simply not appropriate models for a Germanic language’s poetry.

One of the benefits of rhyme is that it prevents a writer from rambling on fluffily and indefinitely, the way anyone capable of writing blank verse can do. Indeed, when you look at a modern poet’s recent collection you are likely to see short, tight half-page pieces that rhyme, and longer, looser multi-page pieces that don’t. I invariably prefer the former. I find them more enjoyable to read, more succinctly expressed, easier to appreciate, more fun to remember and quote. The others are just lazy, uninspired fillers, or politico-religious pamphlets where zeal has replaced poetry… cf. Paradise Lost.

Illustration: ‘Rhymes‘ by Zach Weinersmith, who publishes a Saturday Morning Breakfast Comics (or SMBC) cartoon daily. He is the author of several brilliant and provocative books, including the previously reviewed ‘Shakespeare’s Sonnets: Abridged Beyond the Point of Usefulness‘.


7 thoughts on “Opinion: ‘Rhymes’ by Zach Weinersmith

  1. Julia Griffin

    Have you actually read Paradise Lost, Robin? You have, of course – but your description of it makes that seem hard to believe …
    We all love rhyme. Byron loved rhyme, but he knew the value of Paradise Lost.

    Liked by 1 person

  2. Robin Helweg-Larsen Post author

    Of the poetry we studied for A Levels in England (I remember a lot of Chaucer, Donne, Pope, Wordsworth, Arnold, Eliot, Frost, Cummings), Milton’s Paradise Lost was by far the least engaging. “It rhymes not,” which allows it to blather on longer than it otherwise would. Give me a good sonnet any day.

    Liked by 1 person

  3. Julia Griffin

    Hmm. Do you feel the same way about all blank verse? How about Hamlet’s soliloquies? Boring, non-rhyming blather, the lot of them …

    Liked by 1 person

  4. Robin Helweg-Larsen Post author

    I think English plays, specifically, were improved by losing rhyme (and rhyme is completely counterproductive for a novel). Lope de Vega and Calderón, Corneille and Racine and Moliere… all more artificial, less realistic, than Shakespeare. (Rhyme in plays is still appropriate for a musical, of course.) And blank verse is still useful for learning any long rhetorical piece and can make it engaging. I think Paradise Lost being recited from a pulpit would be admirable, and suitable for churchgoers.

    Liked by 1 person

  5. Julia Griffin

    Please, for an experiment, just try reading aloud to yourself Satan’s address to the sun at the beginning of Book IV (the first part M wrote, apparently – when he was still thinking of casting the work as a play). If you still don’t get it, then never mind.

    Liked by 1 person

  6. Julia Griffin

    Then I guess we can’t really communicate about poetry.
    Fit audience though few, as M said.
    Your loss, alas – not his.

    Liked by 1 person


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