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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 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. 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." |