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and Soltan isn't. For the life of me, I can't figure out her
politics, but she's pretty fabulous, so who gives a damn?"
(Tenured Radical)

Tuesday, August 07, 2007

"So giftedly bad he backed
unwittingly into genius..."



A longtime reader, Fred, insists that UD, having featured this year's Bulwer Lytton bad prose winners, should give equal time to bad poetry. Far as I know, there's not a bad poetry contest, but Fred suggests we pay attention along these lines to William McGonagall, especially because there's been a bit of news lately on the McGonagall front.

Arguably the worst poet in English ever, as well as one of the most-read (his works have been in print since 1902), McGonagall enjoys an enthusiastic though currently unhappy following in his native Scotland:

'The Scottish literary establishment has blocked plans for a memorial to him at the Writers Museum in Edinburgh alongside those honoring Robert Burns, Robert Louis Stevenson, and Sir Walter Scott.

"The decision to turn down a place for McGonagall was just snobbery pure and simple," said Bob Watt, chairman of the Edinburgh Friends of William McGonagall.

"These academics and arts big wigs don't like McGonagall because he's so accessible - he's the peoples' poet. To me he is one of the greats of Scottish literature. ..."

...Scotland's literary and artistic vanguard The Saltire Society confirmed it had vetoed proposals to honor McGonagall with a slab in the courtyard of the Writers Museums in Edinburgh.

"His work appeals to people because it gives them a sense of superiority. This is mockery rather than appreciation. So-called fans are in fact cruel because they make fun of McGonagall's ineptitude," said Paul Scott, vice-convenor of the society.'





The problem with Scott's argument is that there are plenty of way-venerated writers that we like to make fun of and feel superior to, including that object of infinite satire, Sir Walter Scott.... It doesn't seem to me that our feelings about a poet should determine whether we choose to give him or her a slab, but rather how good a poet that poet is. Far better for the Saltire gang simply to declare McGonagall wretched - a national embarrassment - and have done with it.

Should they want help making this argument, SOS will give them some.

Let us look closely at McGonagall's most famous work, The Tay Bridge Disaster.



Beautiful Railway Bridge of the Silv'ry Tay!
[Impressively oracular invocation of the subject via All Capital Letters.]
Alas! I am very sorry to say
[Pointless redundancy as he painstakingly fits his words to his meter.]
That ninety lives have been taken away
On the last Sabbath day of 1879,
Which will be remember'd for a very long time.
[The poetry-free line which concludes this stanza will be repeated throughout, a chorus of lament.]

'Twas about seven o'clock at night,
And the wind it blew with all its might,
[Note the infantile exact monosyllabic rhymes one after the other.]
And the rain came pouring down,
And the dark clouds seem'd to frown,
And the Demon of the air seem'd to say-
"I'll blow down the Bridge of Tay."

When the train left Edinburgh
The passengers' hearts were light and felt no sorrow,
But Boreas blew a terrific gale,
Which made their hearts for to quail,
[...for to quail... gotta work the meter...]
And many of the passengers with fear did say-
[Bizarre word inversions throughout in order to score an end-rhyme.]
"I hope God will send us safe across the Bridge of Tay."

But when the train came near to Wormit Bay,
Boreas he did loud and angry bray,
And shook the central girders of the Bridge of Tay
On the last Sabbath day of 1879,
Which will be remember'd for a very long time.

So the train sped on with all its might,
And Bonnie Dundee soon hove in sight,
And the passengers' hearts felt light,
Thinking they would enjoy themselves on the New Year,
With their friends at home they lov'd most dear,
And wish them all a happy New Year.
[Mentally challenged redundancy.]

So the train mov'd slowly along the Bridge of Tay,
Until it was about midway,
Then the central girders with a crash gave way,
And down went the train and passengers into the Tay!
[Exclamation mark!]
The Storm Fiend did loudly bray,
[Uses bray again because there are so few words ending in the ay sound.]
Because ninety lives had been taken away,
On the last Sabbath day of 1879,
Which will be remember'd for a very long time.

As soon as the catastrophe came to be known
The alarm from mouth to mouth was blown,
[Ugh.]
And the cry rang out all o'er the town,
Good Heavens! the Tay Bridge is blown down,
And a passenger train from Edinburgh,
Which fill'd all the peoples hearts with sorrow,
And made them for to turn pale,
Because none of the passengers were sav'd to tell the tale
[Oh fuck the meter.]
How the disaster happen'd on the last Sabbath day of 1879,
Which will be remember'd for a very long time.

It must have been an awful sight,
To witness in the dusky moonlight,
While the Storm Fiend did laugh, and angry did bray,
Along the Railway Bridge of the Silv'ry Tay,
Oh! ill-fated Bridge of the Silv'ry Tay,
I must now conclude my lay
[McGonagall concludes almost all of his poems by telling the reader firmly and explicitly that he is now ending his poem.]
By telling the world fearlessly without the least dismay,
That your central girders would not have given way,
At least many sensible men do say,
Had they been supported on each side with buttresses,
At least many sensible men confesses,
For the stronger we our houses do build,
The less chance we have of being killed.
[Ends with a helpful moral.]



Clearly McGonagall is forever venerated because he creates a rare mix of raw stupidity and total lack of artistry. As the title of this post suggests, few people have this ability. Reading McGonagall is as much fun as it must have been to listen to Monsieur Furex give his little speech each night in the bistro that George Orwell frequented when he lived in Paris. Orwell describes Furex in Down and Out in Paris and London:


[A]bout midnight there was a piercing shout of 'CITOYENS!' and the sound of a chair falling over.

A blond, red-faced workman had risen to his feet and was banging a bottle on the table. Everyone stopped singing; the word went round, 'Sh! Furex is starting!' Furex was a strange creature, a Limousin stonemason who worked steadily all the week and drank himself into a kind of paroxysm on Saturdays. He had lost his memory and could not remember anything before the war, and he would have gone to pieces through drink if Madame F. had not taken care of him. On Saturday evenings at about five o'clock she would say to someone, 'Catch Furex before he spends his wages,' and when he had been caught she would take away his money, leaving him enough for one good drink. One week he escaped, and, rolling blind drunk in the Place Monge, was run over by a car and badly hurt.

The queer thing about Furex was that, though he was a Communist when sober, he turned violently patriotic when drunk. He started the evening with good Communist principles, but after four or five litres he was a rampant Chauvinist, denouncing spies, challenging all foreigners to fight, and, if he was not prevented, throwing bottles. It was at this stage that he made his speech--for he made a patriotic speech every Saturday night. The speech was always the same, word for word. It ran:

'Citizens of the Republic, are there any Frenchmen here? If there are any Frenchmen here, I rise to remind them--to remind them in effect, of the glorious days of the war. When one looks back upon that time of comradeship and heroism--one looks back, in effect, upon that time of comradeship and heroism. When one remembers the heroes who are dead--one remembers, in effect, the heroes who are dead. Citizens of the Republic, I was wounded at Verdun--'

Here he partially undressed and showed the wound he had received at Verdun. There were shouts of applause. We thought nothing in the world could be funnier than this speech of Furex's. He was a well-known spectacle in the quarter; people used to come in from other bistros to watch him when his fit started.


So - fiction, poetry, or just plain rhetoric... We love it when it's truly stupid. But it must be done with verve. As Shaw said, "Style consists in force of assertion."