“A Guide For Poits” by C. J. Dennis – A Deconstruction
July 12th, 2014 | C. J. Dennis, Poems for adults
My favourite Australian poet is C. J. Dennis, and one of my favourite poems of his is “A Guide For Poits”. It was first published in the Bulletin on 18th March, 1915 (nearly one hundred years ago!), and was subsequently published in “Backblock Ballads and Later Verses” (Angus & Robertson, 1918).
It is a long poem, and somewhat archaic in its expression at times, which means that this absolute gem is generally overlooked, or at least misunderstood, by most contemporary rhyming poets. This is a real shame, because the poem still has a great deal to offer contemporary practitioners of this somewhat exacting craft.
I will therefore attempt to explain – or deconstruct – the poem.
Dennis begins by outlining his general philosophy on the arts, and his reason for writing the poem. He makes the point that he does not see himself as an elitist in any way, but rather, would love to see a flourishing of community artists, so that inner city precincts such as “The Rocks” in Sydney, and Little Lonsdale Street in Melbourne, became centres of poetry and music. In a broad sense, with the development of government sponsored community arts projects, this has come to pass.
He explains that he would like to contribute to such a movement by sharing some of his poetry writing ‘tricks of the trade’. (Remember that shortly after this poem was written, his book “The Songs of a Sentimental Bloke” was published – easily the most successful book of poetry ever published in Australia.)
Dennis gets down to tin tacks in verse eight, instructing poets to choose a ‘swinging metre’ and ‘sling in a bit o’ slang to ev’ry line’.
The next few verses discuss various rhyming patterns. Verse nine covers the simple patterns of ABAB and AABB. Verse ten demonstrates AABA.
The next verse introduces an effect that Dennis is especially famous for – the short line. One of the common criticisms of rhyming verse is that the regular rhyme and metre can become a bit tedious – even soporific. Dennis is very sensitive to this. He often throws in a shorter line to give the reader a bit of a jolt, and grab their attention once more on the chance that it might have been waning. He also, in this verse, introduces a rhyming pattern he is once again very well known for – ABABCC.
In the following verse he demonstrates yet another rhyming pattern, this one quite unusual – ABABBA. (I wonder, though, if he has made an error here. I think he means the final line to rhyme with the first and third, but it actually doesn’t.)
He pauses in the next verse to make the point that it is very difficult to produce large volumes of such exacting rhyme unless you put in a lot of time practising!
The following verse is especially clever, explaining the added difficulty of finding triple rhymes, while also demonstrating them, with a rhyming pattern of AABABB.
He then extols in some more detail the virtue of the unexpected short line – while simultaneously providing a demonstration, once again.
The last three verses return to philosophy once more, as he laments a simple fact that all poets know – it is very hard to make money writing poetry!
These verses are worth quoting in full:
Aw, ‘Struth! It’s pretty; but you take my tip,
It gives a bloke the everlasting pip
‘Oo tries to live upon the game and gets…
Corns on ‘is brain an’ melancholy debts!
Wiv sweat an’ tears, wiv misery an’ sighs,
Yeh wring yer soul-case for one drop of bliss
To give the cold, ‘ard world; an’ it replies,
“Prompt payment will erblige. Please settle this.”
The rarest treasures of yer ‘eart yeh spend
On callous, thankless coots; an’ in the end
It comes to this: if you can’t find a muse
‘Oo takes in washin’, wot’s the flamin’ use?
The full text of the poem can be found here:
© Stephen Whiteside 12.07.2014