Classic and Contemporary Poetry: Explained

"On Some South African Novelists" by Ignatius Royston Dunnachie Campbell is a succinct and humorous critique of a certain group of writers, likely South African novelists, who are praised for their "firm restraint" in writing. Campbell’s use of equestrian metaphors to deliver his commentary is clever, and the poem operates on the tension between formality and spontaneity, with the speaker questioning the value of restraint when it is disconnected from real substance.

The poem opens with the line, "You praise the firm restraint with which they write—," immediately introducing the concept of literary discipline. The phrase "firm restraint" implies control, precision, and perhaps even a certain level of academic respectability. In this context, the writers in question are being lauded for their ability to write with control and discipline, suggesting they avoid excessive emotion or flamboyance. The speaker’s tone here appears to agree with this assessment, as evidenced by the next line, "I’m with you there, of course." This moment of agreement serves to lull the reader into a sense of shared appreciation for technical mastery.

However, the poem quickly pivots with the third line, "They use the snaffle and the curb all right," where the equestrian imagery becomes more apparent. A "snaffle" and a "curb" are types of bits used in horse riding to control and guide the horse’s movements, with a focus on discipline and careful handling. In the context of writing, these metaphors suggest that the novelists are employing techniques that keep their narratives tightly controlled, avoiding wild digressions or emotional excess. This continuation of the metaphor aligns with the praise for restraint, reinforcing the idea that these writers possess technical skill.

But the twist in the final line, "But where’s the bloody horse?" sharply undermines the praise that came before. The "horse" here is a symbol for the vital force of the writing—the energy, the substance, or the creative spirit that should underpin any narrative. Campbell’s critique is clear: while these writers may excel in controlling their craft, they lack the fundamental force that gives the writing its true meaning or emotional resonance. The use of the word "bloody" adds a layer of frustration and perhaps even humor, indicating the speaker’s exasperation with what he perceives to be a focus on form over content.

This clever turn reveals the heart of the poem’s critique. The novelists in question are skilled in the mechanics of writing, but that skill alone is insufficient if it is not accompanied by the "horse"—the substance that gives writing life and power. Campbell suggests that too much focus on form can render a work lifeless or sterile. The horse, wild and powerful, represents the emotional core, the creativity, or the raw energy that drives meaningful literature. Without it, the careful control of the snaffle and curb is pointless, as there is nothing to guide.

Structurally, the poem follows a straightforward ABAB rhyme scheme, which mirrors the balance between control and creativity that the poem discusses. The rhyme and rhythm are tight and controlled, just as the novelists' writing is described to be, which reinforces the theme of discipline. Yet, this structure also contrasts with the wildness implied by the missing "horse," underscoring the irony of the poem’s critique.

In conclusion, "On Some South African Novelists" offers a witty and pointed commentary on the balance between form and content in writing. Campbell’s use of equestrian metaphors allows him to humorously question the value of restraint when it is disconnected from the substance that gives writing its emotional or creative force. While the novelists may excel in controlling their craft, the speaker's exasperated question—"But where’s the bloody horse?"—suggests that their work ultimately falls flat without the vitality that true creativity requires. Through its brevity and humor, the poem delivers a sharp critique of writers who may prioritize form at the expense of feeling, suggesting that art, like riding, requires not just control, but something worth controlling.

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