At one time it was considered perfectly normal for the middle and upper class English to write poetry and to hold social evenings devoted to the latest poems. Interest in the poets of earlier times was seen as an essential part of this lifestyle and it was felt that no-ones education was complete unless they had a passing familiarity with the poets of the past and a working knowledge of the different styles of poetry then in vogue.
The outpouring of poetic works was prodigious and it was not considered out of the ordinary to have had your work published. Of course a lot of this was self publication or what we would now call vanity publishing and most of it has passed into that comfortable obscurity that is the home of mediocrity.
However some of that poetry has stood the test of time and the writers have earned themselves the title of "A Poet" (with capital letters!) and their work is poured over at schools and found in that mysterious library category; Literature. Poets such as Felicia Hemans [http://oldpoetry.com/oauthor/show/Felicia_Dorothea_Hemans ], George Gordon Byron [http://oldpoetry.com/oauthor/show/George_Gordon_Byron ], Caroline Lamb [http://oldpoetry.com/oauthor/show/Lady_Caroline_Lamb ]
What is often overlooked in this Poetic Pantheon is the place of the working class poets. Just like their more privileged compatriots but with less leisure in which to do so, significant numbers of those who earned their living in the mills and mines, the ships and shops, also had an interest in poetry. This interest more often took the form of reading or listening to recitals in concert halls, pubs, clubs and even in open air meetings, but there were a significant number who wrote. True that writing was often in the local language or dialect with its own words and phrasing, often using the rhythms of the workplace. That should not be surprising since education was not standardised and neither was language. True there was the King’s English but that was kept for formal transactions and most people of all classes were much more comfortable in their local and regional modes of speech since they very rarely needed to get involved in formal dealings outside their own class or to leave their own region. It was not until the industrial and the motor-age that greater mobility led to the real need for standardisation of language.
So these ‘working class’ poets would tell the stories of their own lives or those of their neighbours using their own language and that of their target audience. This did not make the poetry they produced any less meritorious than their more learned cousins. Indeed considering the conditions under which they wrote, their work is more creditable if not as aesthetically pleasing. Who would not count Robert Burns [http://oldpoetry.com/oauthor/show/Robert_Burns ] and William Barnes [http://oldpoetry.com/oauthor/show/William_Barnes ] as Poets (in capitals)? Some of them used their poetic success to tell of the hardship and social conditions of the time and to campaign for reform. People like Ben Preston, [http://oldpoetry.com/oauthor/show/Benjamin_Preston ] Edwin Waugh [http://oldpoetry.com/oauthor/show/Edwin_Waugh ] and Ben Brierley [ http://oldpoetry.com/oauthor/show/Ben_Brierley ]were in their way as effective in social reform as William Wilberforce and Elizabeth Fry. Indeed some would say their achievements were even greater given the fact they had to be bi-lingual in both types of English.
As with their more accepted contemporaries some of these vernacular poets did indeed blossom and bloom. Some for a brief while before passing away into their own niche in the realm of obscurity and others transformed into hardy perennials who deserve the same exalted stature of Poet. Indeed as the microscope of nostalgia examines the lifestyles of these, happily, bygone years the value and impact of the vernacular poet is being re-assessed and more of them are being brought out of obscurity and seen as well worth reading and study in their own right and a few are being acknowledged as Great Poets (double capitals)
The vernacular poet of the past is as worthy of respect and wider reading as are the vernacular poets of the present era such as Tupac Shakur [http://oldpoetry.com/oauthor/show/Tupac_Shakur ]
We should not decry the work of vernacular poets solely on the grounds of the language they use.
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This column, subject matter and conclusions, feeds into my belief that there are far too many writings dedicated to structure in poetry, making it more rigid...and i think even less popular. I don't know why there cannot be a profusion of poets,Poets, and poetry in this age...so many avenues for expression exist with the Internet and mas medias. I suspect part of the reason is the drive to make poetry more and more structured and less vernacular.
Rap music and its many offshoots...floetry, neo-soul...utilize poetry and rhythm...has enormous popularity despite [generally regarded]unsavory ideas, misogynistic tendencies, themes loosely gathered under the rubric of social irresponsibility. So here's is an idea that can help, vernacular composition...taking the body of poetry back to its roots, a thing created, developed and embraced by ordinary people in words that are easily understood, loosely structured as writers reach for expression; and presented in popular speaking styles. -
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Thanks for the nice words PK. If a writer has to adapt his normal language to write a poem he/she may reach a wider audience but it will not (normally) be his/her best work. "To thine own self be true"
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A great ...
poetic reflection of how it was and not far off the mark for how it will be forevermore ... Poetry must carry the voice of the poet and not an imitation of another's voice. This is a worthy column and I'm glad that you shared it! The links to the other poets are a nice addition as well ... j
y
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Thanks for the nice words.
I personally think what i refer to as vernacular poetry is the only true poetry but that seems out-of-step with most people.
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Excellent column Jim, very insightful!
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Bravo Jim, a well written column. Your insight and perspective make good reading.
The working class poet I feel would have had to work harder to polish his poetry due to time constraints as his leisure/recreation time would certainly have been minimal.
Your column puts me in mind of the many wonderful monologues written and performed in dialect for the enjoyment of local folk.This form of poetry did, and in fact still does bring so much enjoyment to many people today. (which includes both you and I).
Tupac, with his ability to reach the masses seems to have reached 'Hero' Status and cd's of his poetry readily available, which shows that there is still a market for his poetry. A sign of the times perhaps when 'class' isn't as important to most people as it once was and poetry - whatever it's form is enjoyed by the masses partly because of it's abundant availability. -
Good read. The Tupac reference is so on time. Poetry is for the "everyday man";many times, it is the "vernacular" poet that knows how to reach and express the common themes of the mass better than the academic bard. Robert Burns has been quoted from heads of state to bar flys. Perhaps Bob Dylan's lyrics should be included here--since there is such a fine line between lyrics and poetry.
This column points out the value of having an open mind. -
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Whilst I agree in principal that Dylan deserves wider recognition and have frequently used his words at poetry group readings I hope we can long delay adding Mr Zimmerman's work here. He is still breathing after all
Jim
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