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INTRODUCTORY REMARKS
69
view. It seems to me absolutely certain that metrical
motives play a principal role in Swinburne’s choice of words
and word-formations, and I wish to say a few words on
this particular point.
Word-music depends, of course, on two factors, metre
and sounds: and both are naturally and intimately
connected. Swinburne’s mastery over metre is perhaps the most
wonderful in the world’s literature. Some few metres he
undoubtedly prefers to the rest [as the metre of Dolores,
and that of England: An Ode]; but on the whole the metres
vary with the poems. Still, metres do not affect us very
much from our present point of view. It is certain that
some grammatical changes might be traced to this source,
as the very striking use of an for a (V, 88), or the -en
plural, or the -en past participles. It is furthermore certain
that the choice of words and the word-formations must
very often be influenced by the subtleties of metre (other
than the mere exigencies of rhyme), but to what extent,
and where, it is almost impossible to decide.
On the other hand, the music that is produced by
glidings and repetitions of sounds plays a role in these
matters which is not only of the utmost importance but
also clearly demonstrable in many cases. Of course the
extent of this influence will also always remain a thing
only known to the poet himself, and perhaps not even to
him. But when we find words new-created in such
connections as are shown by the prefix-formations of verbs,
we are obliged to recognize the influence of word-music
as a proved fact. I have also felt justified in assuming it
as a possible factor in several other cases, as will be
shown by the following paragraphs.
Swinburne’s genius, says Wratislaw, was ripened under
many alien influences: the Latin literature of the decadence,
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