like an old proud king in a parable-a.j.m.smith

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The Yeatsian Presence in A.J.M. Smiths

Like an Old, Proud: King in a

Parable

From its initial reviews over a decade ago to the most recent study by Sandra Djwa,A.J.M. SmithsPoems New and Collectedhas been both celebrated and criticized for its

awesome (or troublesome) range of poetic variations. Not surprisingly, since this volume

alone constitutes the poets oeuvre, speculation has arisen as to whether only one hundredodd poems can support such a range and whether they can therefore establish Smith as a

skilled craftsman. Certainly the one hundred pieces show Smith to be a chameleon he

can viciously dismiss the vacuity of popular poetry, he can articulate his committmentto sing the lonely music or to encounter voluptuous death, and yet he can delight his

reader with such flippant remarks as:

McLuhan put his telescope to his ear;What a lovely smell, he said, we have here.

The question raised by the bewildering variety ofPoems New and Collectedis whether toassess the poems individually in their own terms or to attempt to discover whatever unity

lies at the core of the collection. Neither of these approaches has proved wholly fruitful:

the former has spawned only general comments, such as Munro Beatties observation thatLike an Old, Proud King in a Parable resembles the poetry of the later Yeats; 1 the

latter, as in Sandra Djwas analysis of Smiths corpus in terms of its metaphysical

themes,2 unavoidably loses eight of the other themes in the collection, thereby tending torob it of its multifarious vitality. It would thus appear desirable to approach each poem in

its own terms and then, having estimated in unique value, to ascertain where it fits intothe tenor of the collection. With this in mind, the following paragraphs offer anexamination of the Yeatsian presence in Smiths work through a close reading of the

poem most often placed in the later Yeats category, Like an Old, Proud King in a

Parable.

The early poems, and here it is essential to look beyond what Smith chose to collect,to Leda and the embarrassingly reverential For Ever and Ever, Amen, demonstrate

what the poet has recently called too much of an obviously Yeatsian quality.3 As

poems they do no more than express in lyrical form what Smith the graduate student

wrote of Yeats in his Masters thesis. While he was preparing his thesis during the winter

of 1925-26, W.B. Yeats was publishingAVision (1925) and writing the poems ofTheTowerwhich appeared in 1928. To the twenty-three year old Smith, Yeats represented a

master whose command of the language of poetry merged with his understanding andreaction against the beauties of the Pre-Raphaelites and the evils of realism and

Victorian art and literature in general.4 Smith was delighted when his Two Sides of a

Drum shared the pages ofThe Dialwith Yeats poems in 1926. It is possible to hear avaguely autobiographical tone in his portrait of Yeats as extremely sensitive to

nature . . . fortunately the desolate beauty and grey splendour of the country in which he
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spent the most impressionable years of his youth, for Smith himself celebrated the

desolate splendour of the Canadian north in The Lonely Land which was published

in The McGill Fortnightly Review during that thesis winter of 1925-26.5 The LonelyLand is not commonly approached from a Yeatsian perspective; yet the gap between

Yeats grey Galway coast and the wild swans at Coole to the grey grief, grey rock,

grey cloud-piled sky and the wild ducks cry of the original version of The LonelyLand is not a wide one. To an aspiring young poet who felt, to use Peter Stevens

phrase, bound by the diluted Romanticism of the older Canadian poets,6

and threatenedby Romanticisms power to disintegrate the poetic fibre, the study of Yeats represented aturning outward to a poet who had survived his own romantic tendencies, had, almost

dutifully, dealt with the native (Celtic) twilight and had emerged from it into what he

called in The Fisherman, the cold and passionate (and in Smiths terms more

identifiably cosmopolitan) dawn of his later work.

Smiths thesis on The Poetry of William Butler Yeats indicates a close reading of

the Anglo-Irish poets Essays andAutobiographies.It systematically judges Yeats early

phases as Yeats himself had done and various echoes of the masters own comments

inevitably abound. Consider Yeats retrospective assessment ofThe Wanderings of Oisin

beside Smiths description of Yeats poetic development after that work. Here is Yeatsview:

Years afterwards when I had finished The Wanderings of Oisin, dissatisfied with itsyellow and its dull green, with all that overcharged colour inherited from the romantic

movement, I deliberately sought out an impression as of cold light and tumbling clouds. I

cast off traditional metaphors and loosened my rhythm, and . . . became as emotional as

possible but with an emotion which I described to myself as cold.7

Smith voices a strikingly similar view ofOisin in the thesis:

It is as though in his early poetry Mr. Yeats had dressed a tall queen in a shimmering robemade out of some fine coloured cloth decked with jewels and roses worked in gold, and

had set upon her head a golden crown and strapped richly-worked shoes over her feet,and had bid all men to bow down before her, and given praise to one who might be

Venus or the Mother of God. In his later poetry he has; undressed her and bid her stand

upon the rock, her hair tossed in the cold wind and her feet washed by the grey tide andher body bathed in the clear sunlight. There is no colour in this poetry now save grey. It is

always some scene of grey rock, grey sea, grey mist that is conjured up before the eye of

the mind. The dominant symbol is the hawk, proud and lonely high-flyer, winging over

the grey Irish shore and the lonely forest.8

Each passage charts in the development of Yeats poetry the aesthetic of IntellectualBeauty as Yeats used the term. Each passage expresses the need to pare the work of art

(poem or statue) of all but its quintessence while Yeats seeks the cold light and

tumbling clouds, Smith calls for a naked, grey and vital poetry.

Whether the scene conjured up by Smith in the above passage owes its inspiration, as

well as its imagery, more to Yeats descriptions of the Galway coast than to his own The

Lonely Land is difficult to determine and is of secondary concern to a more striking, and
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for the present discussion, more important feature of the passage: the analogy made in it

between poet / king and poetry / queen. The importance of the analogy resides in the facts

that it immediately recalls the characters and the act of divestment or abdication in Likean Old, Proud King in a Parable. The fact that the thesis simile draws the Yeats / king

and the poetry / queen parallels, the bitter king in anger to be gone phrase invites a

biographical reading of the poem in terms of Yeats unhappy abdication of his publicroles at the Abbey Theatre and else where. Divesting himself of the props of the stage

role (the hollow sceptre and gilt crown), he broke bound of the counties Green andretreated to the north, to the rocky Galway coast. There, with his bride, Georgie Hyde-Lees, he purchased Thoor Ballylee in 1917 and proceeded to make the old stone castle

habitable: he made a meadow in the northern stone. From there, until his death in 1939,

Yeats sang the difficult, lonely music of his later poetry. This last phrase captures the

Yeatsian spirit (as registered in his comment on Oisin)and cadence (the cold andpassionate dawn). Interestingly, it did not appear in either the 1926 (The McGill

Fortnightly Review)or 1928 (The Canadian Mercury)versions of the poem; it was first

incorporated into the poem when it appeared inNew Provinces (1936), well after Yeatspublication ofThe Towerand The Winding Stair.

The invocation of the Father in the poems last stanza, though reverential in tone,need not be confined to a strictly religious reading; indeed, other than the obvious

connotations of the parable form, the religious reading does not especially suit the matterof this poem. Smith is invoking the Father Yeats as his master craftsman and perhaps

even as his muse. The poet pledges himself:

And I will sing to the barren rock

Your difficult, lonely music, heart;Like an old proud king in a parable.

The separation of the personal adjective Your from its noun, heart leaves the reader

the length of the line to imagine that the difficult, lonely music belongs to the Fatherwho is still being addressed. The grammatical connection with heart at the lines enddoes not wholly negate the previously made association; in fact, the spiritual bond formed

in the poem would suggest that the distance between the Father Yeats and Smiths

heart is not great. Further, the spiritual tie instigated and confirmed by the genericalnature of Parable permits the last line to signify that the poet, Smith, will sing his

hearts song in the manner of the old, proud king, Yeats. In the light of this reading,

Smiths decision to introduce his last three volumes with Like an Old, Proud King in aParable becomes significant: standing like an invocation at the head ofCollected Poems

(1962),Poems New and Collected(1967) and The Classic Shade (1978), it recognizes the

inspiration and announces the aspiration of his poetical identity.

There is, however, a less specifically Yeatsian reading of the poem, stemming stillfrom the simile in the thesis on Yeats. The bitter king, bitter because deluded by the

trappings of poetical convention being imposed upon him (i.e. Smiths delineation of the

demands made on the Canadian poet to talk romantically of snowshoes etc.), must divesthimself of the gilt crown, the hollow sceptre, the doting but ultimately tyrannical queen

(oppressively emotional poetry). Rather than stalk about in anothers apparel, the poet

must start afresh, must renounce the comforts of the fat royal life, the easily made


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poetry embroidered by luxuriant but vacuous emotions. His act of breaking bound is

an act of defiance, an abdication of his public role in order to answer the heart that

carolled like a swan. This stripping away of foreign adornments is how Smithcharacterized the development of Yeats poetry in the thesis passage. It is integrated into

the poem as an expression of the poets hope to die out of the public mask and into the

naked, proud and lonely (thesis) self. The dialogue will no longer be conductedbetween king and court, but between self and soul, bridegroom and bride, intellect and

emotion.

In his 1939 memorial essay, Smith identifies two prominent themes in Yeats later

poetry which are not mentioned for obvious reasons in his thesis; the problem of theplace and usefulness of the poet in the modern world . . . a significant problem which

Yeats made dramatic because he was aware of a conflict in his own mind"; and his

natural inability to deceive himself for long at least so far as art was concerned.9 Therevision of Like an Old, Proud King in a Parable to include the image of the self

isolated with the self and making difficult, lonely music out of that confrontation,

demonstrates Smiths acceptance of the Yeatsian aesthetic in poetry: his pride acts both

as his greatest comfort and his harshest critic and his poetry of Intellectual Beauty is

born out of the struggle with that ambivalence.

It should perhaps be stressed that both the thesis passage and the poems title are

verbal acts of similitude rather than of identification. Thus, the poem does not demandthat the old proud king be identified as Yeats; in fact, it thrives on a simultaneous

relationship of the king figure with several characters (the clear advantage of simile over

metaphor being its capacity to relate several things at once). The king is 1) Yeats, a poet

who man aged to sing the difficult, lonely music of the heart, 2) a quasi-mythical beingwho renounces the urban court for the pastoral life, and 3) an ideal to which the poet

aspires. In this third capacity, the king figure is like Yeats fisherman in prey

Connemara cloth . . . Who does not exist, / A man who is but a dream for whom Yeats

determines to write one / Poem maybe as cold / And passionate as the dawn. In amoment of scorn at the thought of playing the public role and writing for my own race /

And the reality, the bitter poet travels imaginatively to a place / Where stone is darkunder froth. Similarly, Smith, refusing to play the role of a native poet painting nature

scenes in whatever words rhyme, vows to a man who exists only in a parable: I will sing

to the barren rock / Your difficult, lonely music.

Like an Old, Proud King in a Parable is undoubtedly one of Smitha most importantpoems: its placement at the head of his collections advises us that the poet still accepts its

credo and its poetical theory. It is even possible to discern a relationship between Smiths

understanding of the development of Yeats poetry from pure emotion to Intellectual

Beauty and his famous critical classification of Canadian poets into native andcosmopolitan traditions. Of the native tradition, for example, he argues that the

concentration upon personal emotion and upon nature, while it made for an easier

success, meant a serious narrowing of range and some times a thinning of substance.10Like Yeats, he criticizes such poetry for its lack of complete relevancy, and he traces

its demise in the light of this shortcoming: the tradition of romantic nature poetry

became brittle and glazed, and its imagery, which in the older poets had been genuinelylocal, tended to harden into convention. What was needed, Smith saw, was for poets to
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adopt a cosmopolitan, intelligent regard of the world around them: this would produce

the poetry of ideas, of social criticism, of wit and satire11whose unassuming and

undeceived outlook would pare the fat royal life and emotionally romantic poetry oftheir overloaded diction.

What clearly sets Like an Old, Proud King in a Parable apart from other too

obviously Yeatsian early poems is that it transcends its sources to become a sincere,

almost private, statement and a successful, self-contained poem. It is not a pastiche or amere exercise in anothers style. It echoes and shares Yeats ideas but never does it need

to rely on an identification with them: the poem has, does and will thrive without it. But,

as Walter Jackson Bate remarked in his study of Keats early poetry, We must evaluateinfluences to the degree that they release energies and allow one to go ahead on ones

own feet.12 As much as any image or theme, it was Yeats committed spirit that affected

Smith and, as Like an Old, Proud King in a Parable demonstrates, assured him that thestruggle to express Intellectual Beauty was a noble one. Such inspiration obviously

could have been culled from the work of various poets but here again, the enthusiastic

tenor of the Masters thesis suggests Yeats above all others as the initial muse.

Consequently, one cannot help wondering how the Yeatsian and metaphysical strains

have blended. However far Smiths concern with that great metaphysical question of therelation between the spirit and the senses may be traced back to the metaphysical poets

themselves, as Sandra Djwa suggests,13a similar path down to Yeats through Blake isalso readily discernible. The immediacy of this metaphysical concern in Yeats A

Dialogue of Self and Soul, Byzantium, Among School Children, and the Crazy

Jane poems, perhaps suggested to him a portrait of Yeats as a modern metaphysicalwhose poetic dialectic achieved the beauty / of strength / broken by strength / and still

strong.

Clearly, we are only beginning to understand and document the complexity of the

question of inheritance and adaptation in Smiths poetry. It is the salient feature of Smith

studies as George Woodcock has advised us:

. . . originality, I can imagine Smith as saying, if he has not actually done so, is an

illusion of the half-baked pseudo-Romantic. Experience provides the raw material for all

writings, and experience is never wholly original; the experience of a literary manparticularly, includes all the books he has read and all the poems that good or bad

have sent the shivers down his spine.14

The poetry begins to gain resonance when Smiths understanding of his predecessors and

contemporaries is clarified; one suspects that the more we uncover of this nature the lessSmiths chameleon nature will strike us as troublesome.

A. J. M. Smith

.

A.J.M. SmithBorn Arthur James Marshall Smith
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Nov. 8, 1902

Montreal, Quebec

DiedNov. 21, 1980East Lansing, Michigan

Occupation professor

Language English

Nationality Canadian

Citizenship British subject

Alma mater McGill University

Genres poetry

Literary

movementMontreal Group

Notable work(s)The Death of the Phoenix and

Other Poems

Notable

award(s)

Governor General's Award, Lorne

Pierce Medal, FRSC

Arthur James Marshall Smith (November 8, 1902 November 21, 1980) was aCanadian poet and anthologist. He "was a prominent member of a group of Montreal

poets" -- the Montreal Group, which included Leon Edel, Leo Kennedy, A.M. Klein, andF.R. Scott -- "who distinguished themselves by their modernism in a culture still rigidly

rooted in Victorianism."[1]

Life and Writing

Smith was born in Montreal, but lived in Englandfrom 1918 to 1920, where he "studiedfor the Cambridge Local Examinations, and failed everything except English and

history (he later wrote)." In England he became aware of contemporary poetry: "he

frequented Harold Monroe's bookshop, then the citadel ofGeorgian poetry, and readmuch in the recent war poetsand the Imagists." [2]

Montreal Group

Returning to Montreal, Smith entered McGill University in 1921. While an

undergraduate there in 1924 he wrote for and co-edited theMcGill Daily LiterarySupplement; in 1925, as a graduate student, he andF.R. Scott founded theMcGill

Fortnightly Review, which billed itself as a "an independent journal of literature, the arts,

and student affairs edited and published by a group of undergraduates at McGillUniversity."[3] TheReview was "the first journal to publish modernist poetry and critical

opinion in Canada." [4]

"TheMcGill Fortnightly drew to it other young writers among them A.M. Klein, Leo

Kennedy, and Leon Edel on whom, as well as on Scott, Smith had an enduringinfluence."[2]

"While still at McGill," Scott later noted, "Smith had poems accepted by theDial, then in

the last days of its glory as an expounder of new aesthetic values, and which only a few
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years previously had printed Eliot'sWaste Land. Such an honour was a stimulus to our

whole group." [1]

Smith received his doctorate from the University of Edinburghin 1931.

New Provinces

In various editorial roles, Smith significantly contributed to promoting the poetry ofothers. With Scott and Kennedy he co-edited the "milestone selection of modernist

verse,"New Provinces, which was published in 1936 (although Smith's Preface was"rejected by the publisher as being too impatient with traditional Canadian poetry. The

'Rejected Preface' was resurrected in 1964, and was made an important feature of the new

edition ofNew Provinces published in 1976.")[5]

Critical success

In 1936 Smith became a professor at Michigan State College (now Michigan State

University) and taught there until his retirement in 1972.[6] "He became a naturalized

American, but spent all his summers in his country place nearMagog, Quebec.'[2]

Hebecame well known as both a scholar and an author of poetry, with many of his best

known works focusing on Canadian themes (for example his 1929 poem "The Lonely

Land," which was inspired by a 1926Group of Seven exhibition).[7]

As early as 1939, Smith applied for a Guggenheim Fellowship to support the preparationof an anthology of Canadian poetry.[1] In 1943 his first anthology was published: The

Book of Canadian Poetry, in which he argued that there was a distinctive Canadian voice.[4] The book was praised by literary criticNorthrop Frye, who called its publication "an

important event in Canadian literature. For instead of confining his reading to previouscompilations, as most anthologists do, he has made a first-hand study of the whole

English field with unflagging industry and unfaltering taste."[8]

TheEncyclopdiaBritannica says that The Book of Canadian Poetry, and Smith's later anthologies,"contributed greatly to the modernization of literary standards in Canada." [9]
http://en.wikipedia.org/wiki/T.S._Eliothttp://en.wikipedia.org/wiki/T.S._Eliothttp://en.wikipedia.org/wiki/The_Waste_Landhttp://en.wikipedia.org/wiki/The_Waste_Landhttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-yates-0%23cite_note-yates-0http://en.wikipedia.org/wiki/University_of_Edinburghhttp://en.wikipedia.org/wiki/University_of_Edinburghhttp://en.wikipedia.org/wiki/New_Provinces_(poetry_anthology)http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-4%23cite_note-4http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-4%23cite_note-4http://en.wikipedia.org/wiki/Michigan_State_Universityhttp://en.wikipedia.org/wiki/Michigan_State_Universityhttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-Biography.2FHistory-5%23cite_note-Biography.2FHistory-5http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-Biography.2FHistory-5%23cite_note-Biography.2FHistory-5http://en.wikipedia.org/wiki/Magog,_Quebechttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-edel-1%23cite_note-edel-1http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-edel-1%23cite_note-edel-1http://post.queensu.ca/~mayr/380_readings_smith.pdfhttp://post.queensu.ca/~mayr/380_readings_smith.pdfhttp://en.wikipedia.org/wiki/Group_of_Seven_(artists)http://en.wikipedia.org/wiki/Group_of_Seven_(artists)http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-6%23cite_note-6http://en.wikipedia.org/wiki/Guggenheim_Fellowshiphttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-yates-0%23cite_note-yates-0http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-alt-3%23cite_note-alt-3http://en.wikipedia.org/wiki/Northrop_Fryehttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-7%23cite_note-7http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-7%23cite_note-7http://en.wikipedia.org/wiki/Encyclop%C3%A6dia_Britannicahttp://en.wikipedia.org/wiki/Encyclop%C3%A6dia_Britannicahttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-8%23cite_note-8http://en.wikipedia.org/wiki/T.S._Eliothttp://en.wikipedia.org/wiki/The_Waste_Landhttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-yates-0%23cite_note-yates-0http://en.wikipedia.org/wiki/University_of_Edinburghhttp://en.wikipedia.org/wiki/New_Provinces_(poetry_anthology)http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-4%23cite_note-4http://en.wikipedia.org/wiki/Michigan_State_Universityhttp://en.wikipedia.org/wiki/Michigan_State_Universityhttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-Biography.2FHistory-5%23cite_note-Biography.2FHistory-5http://en.wikipedia.org/wiki/Magog,_Quebechttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-edel-1%23cite_note-edel-1http://post.queensu.ca/~mayr/380_readings_smith.pdfhttp://post.queensu.ca/~mayr/380_readings_smith.pdfhttp://en.wikipedia.org/wiki/Group_of_Seven_(artists)http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-6%23cite_note-6http://en.wikipedia.org/wiki/Guggenheim_Fellowshiphttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-yates-0%23cite_note-yates-0http://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-alt-3%23cite_note-alt-3http://en.wikipedia.org/wiki/Northrop_Fryehttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-7%23cite_note-7http://en.wikipedia.org/wiki/Encyclop%C3%A6dia_Britannicahttp://en.wikipedia.org/wiki/Encyclop%C3%A6dia_Britannicahttp://en.wikipedia.org/wiki/A._J._M._Smith#cite_note-8%23cite_note-8

like an old proud king in a parable-a.j.m.smith

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