Introduction
Cleanth Brooks is perhaps one of the most influential poets and literary critics of our age. He is widely known for his argument that poetry is an art of ‘language-making’, and that it is deeper, richer, and more informative than most other forms of artistic expression. In this article, we will discuss what poetry communicates, as per Brooks’ insights – analysing the structure and lyrical qualities of poetry to get a better understanding of its language-making abilities.
What is Language in Poetry?
For Cleanth Brooks, poetry is a language that carries meaning beyond its literal, everyday definition. He described poetry’s language as ‘non-prose’, with a “unified, organic structure” that necessitates its use in order to accurately convey the poet’s emotions and examine complex ideas in a vivid and poetic way. He argued that poetry’s language could not be explained using traditional grammar and syntax; rather, it speaks through the beauty of its phrasing and the flow of its language.
Poetry vs Prose
Brooks saw poetry and prose as distinctly different tools of communication. As opposed to the strict, logical, and objective nature of prose, poetry is functional in its ambiguity. By taking a deliberately vague approach to language-making, poetry can lend itself to exploring different levels of meaning. Brooks used the term ‘tension’ to explain this concept – an example of this would be a line of poetry: “Reaching out to touch the stars”. This phrase carries a literal meaning, but also implies an emotional or spiritual connection to a higher power.
Language with Multiple Meanings
For Brooks, the power of poetry lies not only in its ability to create a mood, but also to convey multiple meanings with a single phrase or image. This gives poetry its lyrical quality, as it can simultaneously express several interpretations for its reader. An example of this kind of double meaning can be found in WH Auden’s famous poem “Funeral Blues”, wherein the author writes, “The stars are not wanted now”. This phrase carries both literal and emotional meanings – it conveys the sadness of a lost loved one, but also conveys the futility of trying to bring them back.
Imagery in Poetry
Cleanth Brooks argued that one of the major functions of poetry was to create vivid imagery that could be used to communicate a wide range of ideas. To him, poetry was able to tap into a “collective unconscious”; a concept he believed could be tapped into by using striking imagery to evoke strong emotions from its audience. An example of this kind of imagery can be found in T.S Eliot’s iconic poem “The Waste Land”, in which he paints a dystopian landscape of a broken world.
Metaphors and Similes in Poetry
Cleanth Brooks argued that metaphors and similes were an integral part of the language-making aspects of poetry. He argued that the use of metaphors and similes added depth and complexity to a poem, as they allowed a poet to express a concept or idea in a vivid way. For example, the poet Emily Dickinson famously wrote, “I’m nobody! Who are you?”; a witty and profound use of metaphor to identify our shared sense of insignificance in the world.
Readability of Poetry
Cleanth Brooks argued that the readability of poetry was essential in conveying a poet’s message. He argued that the structure of a poem was essential in how the poem is interpreted, as well as how it is experienced. Brooks wrote that poetry needed to be crafted in such as way so as to create an “orderly and harmonious” reading experience, one that drew the reader in and allowed them to connect with the poet’s ideas.
Rhyme and Metre in Poetry
Rhyme and metre were integral to Cleanth Brooks’ understanding of poetry. To him, the use of rhyme and metre gave poetry a musical quality, and allowed poets to communicate their message in a more expressive and emotive manner. To him, the use of rhyme and metre was a way to add subtle emphasis and emotion to a poem, emphasising the poet’s message and allowing the reader to connect with the poem on a deeper level.
Use of Symbolism in Poetry
Symbolism was another concept Cleanth Brooks argued was integral to the language-making aspects of poetry. He argued that symbols allowed the poet to express a concept in a more meaningful way, and that the use of symbolism was an essential part of conveying an idea or emotion. An example of symbolism can be found in the work of Percy Bysshe Shelley, who wrote in his poem ‘Ode to the West Wind’ that he “hear[d] the writing of the noiseless snake”. Here, the serpent is used to symbolise rebirth and renewal, echoing the theme of the poet’s poem – namely, the idea of a new era being born by the power of the wind.
The Use of Alliteration in Poetry
Cleanth Brooks argued that alliteration was another extremely important tool in the hands of a poet. To him, the use of alliteration and sound-play was an integral of way of expressing complex, multilayered ideas in a poetic manner. An example of this can be found in Robert Frost’s poem “The Road Not Taken”, in which he writes, “Two roads diverged in a wood, and I—I took the one less traveled by”. Here, the use of repetition and alliteration helps to emphasise the idea of the poet – namely, the importance of taking a path less travelled, and the consequences that decision might hold.
The Role of Wordplay in Poetry
Cleanth Brooks believed that poets should use wordplay not only to add interest and complexity to their poems, but also to add emphasis and clarity. He wrote of the importance of carefully chosen words and their various interpretations to create a “subtle and complex network of meaning”. One example of this kind of wordplay can be found in William Shakespeare’s famed sonnet “Shall I Compare Thee to a Summer’s Day?”, in which he uses the word “summer” to denote both the season and the feelings of warmth and joy associated with it.
The Role of Nature in Poetry
Cleanth Brooks argued that the use of nature was another important element of poetic language-making – he argued that the incorporation of nature into a poem lent a certain kind of “order and beauty” that could be used to convey complex emotions and ideas. He argued that by using the beauty of nature in a poem, a poet could evoke emotions of awe, wonder and connection to the world around them. An example of the use of nature in poetry can be found in Robert Frost’s famous poem “Stopping By Woods On A Snowy Evening”, in which he paints a serene and peaceful setting – one that is full of possibility and hope, in spite of the cold and snow that surround him.
The Role of Metaphysical Poetry in Poetry Communication
Cleanth Brooks highlighted the importance of metaphysical poetry in communicating complex ideas. He wrote that metaphysical poets “frequently used complex, innovative and often paradoxical metaphors to explore philosophical ideas about God, nature and the human condition”. An example of metaphysical poetry can be found in the work of John Donne, who wrote in his poem “A Valediction: Forbidding Mourning” that “love’s not time’s fool”. This phrase implies that love is impervious to the passage of time, and can therefore stand the test of time – a complex and beautiful idea, expressed in a single line of poetry.
