By 前田 富祺, 野村 雅昭
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However, he would have known the Laforguian mode of early Eliot when he wrote 28 Pound’s Psychological Hour early poems. Its words indicate that the small world created by the couple has been disturbed, and that this disturbance has reached the speaker in the form, perhaps, of their non-appearance: ‘the air is alive with that fact’. The contrasting epithet and noun also serve to mock faintly ‘Their little cosmos’. What has shaken the couple is hinted in the phrase ‘their parts of the city’—where ‘parts’ implies that the pressures of the diﬀerent social strata in London conﬂict in them: ‘they are played on by diverse forces’.
The repeating form also means that the third-line end-words of each stanza beat out, as if inexorably, the relation between the protection of game and rural depopulation: ‘bent’, ‘stint’, ‘stint’, ‘rent’, ‘rent’, ‘emigrant’. None of these is a full rhyme as encountered in the separate quatrains, yet the full rhyme of ‘bent’ and ‘rent’, linking two aspects of the Duke’s power, binds the three verses. Meanwhile, the end words with unstressed syllables indicate a contrary motion. First, there is an apparently uncomplaining endurance: though the pasture is gone ‘to heather’, if the housewife is thrifty ‘she’ll keep the house together’.
Does the following quatrain from ‘The Complaint of the Morpethshire Farmer’ make the same political statement as the four lines quoted above? 8 Or does this one from ‘Gin the Goodwife Stint’? 9 Bunting was fond of insisting on the pre-eminence of sound in poetry. The second quatrain quoted above is three trimeters and a dimeter (the second line); it half rhymes on the ﬁrst and third, fully on the second and fourth lines; it alternates stressed and unstressed terminal syllables. Comparison with the four unrhymed free-verse lines from ‘They say Etna’ reveals an audibly more focused sound in the later poem.