1930-12-03 — Page 2

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THE EUROPE HOTEL, Ltd. Arthar E. Odell Managing Director,

PENANG

THE

HONGKONG TELEGRAPH.

POETRY SUBJECT OF LECTURE.

INTERESTING TALK BY MR.

W. W. HORNELL

An interesting lecture on The Roots of Convention in Poetry" was given by Mr. W. W. Hornet: (Vice Chancellor of the University) to a large attendance of members of the English Association which met at St. John's Cathedral Hall yesterday evening.

one ceptance.

-and

WEDNESDAY, DECEMBER 3, 1930.

conventions to be sure and their like. It did not deal with objects | ramifications

permutationser se but with objects as they ap were endless. But that was an-eared to us. It must paint the them not alas, other story. Their business washings as it saw with roots of convention in poetry, for the God of things as they were What was the problem that the poet who presumably saw them as they and to solve? he asked.

were, but for us mortals who saw hem not at all as they wore but simply as they seemed. The poet's. business was with appearances not

exactness would

Hummarily with the defini-which it-represajonal symbols spoke--Othello,

JIM

con-

•

nover

th

"Here on the one hand is what William James once called the looming welter"-everything from he fall of a leaf to the collapse of facts.

Art dealt in iilusion, proceeded the dollar, from the Peak of Hong- kong to Parnassun, from the mus- the speaker. A tree painted with Ings of MacWhirter to the tragedy redulous of King Lear. And there was the give the tree at all; painted n poet who felt it all and strove to Corot painted it it was more a tree catch it and fix it in words." than if it were a tree. It was the of art that its creations The banke convention of imagery essense In Introducing his subject, Mr.

Consider for a moment the Hornell emphasized that it was of had its roots in the essential limita-seemed more true than if they were ronts and not of beginnings that tions of the poet's medium, in the true.

no Blood in titanic grandeur of Shakespeare's herven that Bomething he was about to speak. Origins of fact that language itself convention did not concern him. immediate relation to the objects later

hat was a colossal of which Professor Bradley Macbeth, Lear, Dealing

of tion of convention he said he was

wax congeries using words which had not the re-of symbols which themselves, as Antony, those were not transcripts matest connexion with the things it happened, owed their origin and of reality, they were trær than if

innumerable afmilar they were. for which they stood. They meant growth to the

of pubstance The poet's truth which was pre- what they did mean because they transfers. For

meaning it. poetry was also the very stuff of sented through illusion was tingel were axepted "lior" had no more connexion words. And in its larger sense as with emotion. In that it differed with the animal it signified than did well, the Language of Poetry was fundamentally from that aspect of up inevitably of symbols-of truth which the scientists strove to

And because hippos" or "equus" or "cheva!" Orals for things in terms of jentel and fix. "pferd." The varying sounds veyed the idea of the creature to other things, for things in terms object of poetry in the words of their respective users, simply be of feeling, for feeling in terms of Wordsworth's pronouncement was cause, through immemorial usage, things. It was a language not of "truth-carried alike into the heart they were so understood. That was objects but of the complex relations of passion," one element of poetic convention-e-of objects, And the agency that illusion was a heightening of actual element in

moulded it was the ceaseless active fact.

apecial to poetry power that whe

What we might call the inngunge Mr. Hornell quoted another by referring to an artist who set to only in degree-imagination that of poetry in the larger sense (and work to paint a landscape. Out of feed the familiar and the strange, that included illusion) existed pre- the thing he felt and the thing heelsely under the same conditions as the limitations of his medium he

themselves. And word words had to construct a set of symbols saw the world within and the that would give to a plane the ap world without into the tertium quid meant what we meant them to mean

tii it, and that interpreted both.

and what we accepted them as mean- pearance of depth. lie

There were two worlds on the Ing and nothing else. It was con- it was accepted and depth was seen where it was not. In the same one hand, thought and affection,currence alone, not logle, that de way a dramatist who wrote a play passion, hell itself; on the other termined their signilleance. Con- had to somehow bring it about that what we have heard, what we have sent was not the be all and end all with CHIT 0504 and of speech. Illusion also meant what stage time should produce the im-seen

We knew our hands have handled--each it was meant to mean and what we Line. pression of rent that hours and months did not incomplete without the other accepted it us meaning.

After expressing a hearty vote but we accepted themch

the other. And

of thanks to Mr. Hornell, the Hon. that axisten! without surface had only two dimensions but poetry inediated between the two:Mr. B. H. Kotewall, who presided. next meeting we accepted it as representing three, or rather it brought the two to-announced that the The major conventions of art In-gether into one. And that was no would be held on January 6, at 5.30 H. C. Macnamara pm. when Mr. volved not only acceptance but also rhapsody but sober truth."

iveture Poetry built up a fabric out of would the acceptance of illusion,

"We are dealing with the con:-the relations of things different yet Judicions English." munication of ideas, perceptions, feelings anul impressions" continued involved a the speaker. That medium. The medium and the

did not cor thing communicated respond: stage time was not real time, a surface had no depth, words were not things. There were dif ferences between the relations In cach ense, but in sil one funda mental fact appeared. We accept- dan one thing smelling which was another and a different thing.

we knew

Convention and Concurrence.. Convention then, so far as art wax concerned, represented concur

And the fundamental con- reser. Ivention, of every art grew out of

medium. Conventions begot

ساز

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