Discovering the Music of Language, Part II
Posted on Saturday, August 28, 2021 at 11:01 PM
Consider writing and art for listening.
By Peter P.
Jacobi
When Leonard Bernstein, in one of those remarkable
public demonstrations of his, spoke of Beethoven and pointed to flaws in
the composer's technique, he was making an argument for writing to be
tested against the ears. Beethoven, said Bernstein, was not the most
inspired melodist or proficient harmonist or sagacious contrapuntalist
or talented orchestrator. But he knew, concluded Bernstein, he knew
better than anyone in the history of western music, what the next note
should be.
And that came from Beethoven's ability to listen. Now
remember, fate dealt him a blow. He could not, later in his life, hear
the actual sounds because of his deafness. But he had the ability to
enunciate his music and somehow truly hear it so that the flow of notes
-- the one-after-another of notes, as well as the coming-together-of
notes -- was somehow perfect.
The writer needs to reach toward
his own perfection, toward capturing the just-right next note, or word,
and most of us have ears with which to hear.
Be the listener,
first to what surrounds you and then to what springs from within you.
Read aloud. Listen. Is there sense to what you've written? Is there
flow? Is there a voice? Is there something that is distinctly yours?
Listen
to the late Elie Wiesel. "Let us repeat it once again," he writes,
concerned perhaps that we who read have not been listening. "Auschwitz
is something else, always something else. It is a universe outside the
universe, a creation that exists parallel to the creation. Auschwitz
lies on the other side of life and on the other side of death. There,
one lives differently, one walks differently, one dreams differently."
Those
words come together to teach and to warn, to imprint themselves on a
reader. Each word is there because it needs to be, because it fits,
because none other would serve as well. Wiesel listened.
The late
Stephen Spender in the making of a poem urged that poets aspire to
create a world through "a kind of language of our inner wishes and
thoughts ... a language of flesh and roses." And so, he could write:
How
can they call this dark when stars
That all day long the sun rules out
Show
brilliant at the ends of space?
Each word, again, has been
carefully selected, and the placement of each word has been just as
carefully designated. Spender listened.
A Melodic Flow
As
did that legendary writer for the New Yorker Joseph Mitchell when
he noted:
I often feel drawn to the Hudson River, and I have
spent a lot of time through the years poking around the part of it that
flows past the city. I never get tired of looking at it; it hypnotizes
me. I like to look at it in midsummer, when it is warm and dirty and
drowsy, and I like to look at it in January, when it is carrying ice. I
like to look at it when it is stirred up, when a northeast wind is
blowing and a strong tide is running -- a new-moon tide or a full-moon
tide -- and I like to look at it when it is slack. It is exciting to me
on weekdays, when it is crowded with ocean craft, harbor craft, and
river craft, but it is the river itself that draws me, not the shipping,
and I guess I like it best on Sundays, when there are lulls that
sometimes last as long as half an hour, during which, all the way from
the Battery to the George Washington Bridge, nothing moves upon it, not
even a ferry, not even a tug, and it becomes as hushed and dark and
secret and remote and unreal as a river in a dream.
Mitchell had
to watch and watch and watch again to capture his subject. But then,
having recreated the observations on paper, he had to hear the words to
make sure he had really captured the scene. He had. Mitchell listened.
In his passage, there is that sense of flow, of words, of words nesting
where they belong. No element is out of place. The words are like a
melodic line.
Listen!
It is the writer's
responsibility to listen, whether what ends up on paper is to be prose
or poetry. Rhythms that comfort or excite result. Flowerings of language
which entice or amaze result. Lessons which sink in and stick around
result. Inspirations which lift and enrich result. Fiction or nonfiction
which has meaning and imports results.
Scott Russell Sanders
recalls a moment out of childhood in an essay for the Gettysburg
Review. He had been taken to the funeral of someone he knew.
The
following Sunday, while a visitor preached, I stole from the church and
crept over to the parsonage. I drew to the edge of the porch, wrapped my
fingers around the spindles of the railing, and stared at the empty
rocker. Rev. Knipe will never sit in that chair again, I'd told myself.
Never, never, never. I tried to imagine how long forever would last. I'd
tried to imagine how it would feel to be nothing. No thing. Suddenly
chair and house and daylight vanished, and I was gazing into a dark
hole, I was falling, I was gone. I caught a whiff of death, the damp
earthy smell seeping from beneath the porch. It was also the smell of
mud, of leaping grass, of spring. Clinging to that sensation, I pulled
myself out of the hole. There was the house again, that chair. I let go
of the railing, swung away, and ran back to the church, chanting to
myself: He was old and I am young. He was old and am young.
The
music of death and life results. And what a gift that it is -- from you
to your waiting reader. Those, too, were words listened to, each noun
and every verb. So precise they are and so deftly combined. They have
cadence and texture.
Consider writing and art for listening.
A
classic article from a past issue in tribute to the late Peter J.
Jacobi, longtime EO writer and author of The Magazine
Article: How to Think It, Plan It, Write It.
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