POETRY IN NAMES.

Dominion, Volume 3, Issue 784, 6 April 1910, Page 4

POETRY IN NAMES.

Sir,—l have read 'with much interest the letters of "J.Q.X." and "X.Y.Z." on the subject of poetry in names. Both have stated much that is essentially true, yet neither, I think, has presented the whole truth. There is no doubt that the sounds of certain words, apart from their meanings appeal to certain persons. But the same sounds do not appeal to all persons. It is true that many people get their keenest pleasure from the sound of poetry; but it is equally true that to many the sound, itself is not satisfying. Anyone with a good ear could appreciate Homer and Milton read aloud, but surely their enjoyment would be greatly enhanced if they understood the meaning of the sonorous lines? There is, of course, a qualification to the statement ihaf tho meaning gives additional pleasure—tho meaning or association must not ( be repellaut. A foreigner might possibly find poetic beauty in such names as Billingsgate, Petticoat Lane, Wormwood Scrubs, Colney Hatch, but no Englishman could. With regard to Maori names of persons and places, there are many which to mo are beautiful sounds, but I am well aware that they may not be to others. As to their meanings! one must walk warily. Some have in them real poetry, some are best untranslated. Tho case for sound as against meaning is put with much force and humour by Mr. Crothors in lis. book, -"The Gentle

Reader," from which I quote the follow* ing:—"Suppose these lines from Tara* dile Losr be taken for study.' , ■ Thick as autumnal leaves that ptrow. tho brooks ' ■ . In Vallambrosa, whore th' Etrurian shades, High over-arched embower, or scaN tered sedge Afloat, when with fierce winds Orioa armed • '- . - - ' Hath vexed the Bed Sea coast, whose waves o'erthrow Busiris and his Memphian chivalry. '

"What an excellent opportunity this pre-i sents to the schoolmaster! 'Come now,' he cries with pedagogic, glee, -'answer.- me•> a few questions. Where is Vallambrosa? : What is the character of its autumnal foliage? Bound Etruria? What w sedge? Explain the myth of Orion. Point out the constellation on the map of the heavens. Where is the Ked Sea? Who was Busiris? By what other nami is he known? Who were the Uemphiaa chivalry?' "Here is material for exhaustive research in geography, ancient and mod*, era, history, botany, astronomy, meteorology, chronology, and archaeology.. Th* : industrious student may get almost as much information out of 'Paradise Lost* .'. as ttom one of those handy compilations - of useful knowledgewhich aie-soW.in tho ■ railway cars for twentv-five cents.' .'As for the poetry of Mil-ion, that is another matter. ■■-..:•.'

Now this is. very excellent, bat, for " myself, I do want to know something ' more-of the words than their mere sounds. In another place in-the same ' r b00k,.. Mr. Crothcrs'says:—"We usually ~■ ' accept .poetry as mental discipline.'-' It :'".■ is as if the poet said: 'Go to. now. I ;.. will produce a masterpiece.' Thereupon the conscientious reader answers:,. .'Very- ... well; I can stand it. I will apply my-'-' salf with all diligence, that by meansof it I may improve my mind.'" Of many' ." readers I fear this is true. But need it be. ■ true ? It seems to me that .poetry makes three appeals:—(l) The appeal- o£ sound, (2) the appeal of orderly arrange- " •' ment and • technical' beauty,- and C 3) tn'a appeal of the- thought . contained in tho words. Different people respond to these . -. appeals in different degrees, but surely '. no one who wishes really to appreciata •,. poetry can afford to neglect any one.,oJ ! i them.—l am, etc., ./ G.8.W.. ■. ' Blenheim, March' 29.'.