Speaking to the Psaltery by W.B. Yeats
The work examines a method of presenting poetry that unites spoken verse with a controlled musical accompaniment. It opens with a declaration of a personal dislike for conventional singing and printed verse, replaced by an appreciation for the art of speaking poetry alongside a musical instrument. The speaker recounts an experience where a friend used a stringed instrument to modulate spoken words, preserving the natural rhythm and meaning of the verse, without transforming it into singing. This demonstration of controlled expression reveals a quality absent from typical public recitations or theatrical performances. The narrative then recalls a lifelong desire to have poetry performed in a manner reminiscent of ancient traditions, where verse was spoken to the accompaniment of a harp. It contrasts the speaker’s vision with common musical performances, where pronunciation or superimposed tunes compromise the integrity of the word. The discussion includes recollections of an encounter with a visionary who, despite an ignorance of conventional music, naturally employed two distinct, simple melodic modes—one for long lines and one for short—thus suggesting that the emotional power of poetry lies not in operatic singing but in a measured, songlike speaking. A further exploration addresses the experimental merging of poetic speech with musical notes. The author describes attempts to merge different rhythmic patterns—those inherent in the verse and the additional rhythm provided by music—often leading to discord. Influences from non-Western music, such as Tibetan and Arabic modes, are mentioned to underscore the potential for alternative melodic structures. The narrative then details the intervention of a musician who fabricated an instrument combining qualities of a psaltery and lyre, capable of producing all the chromatic intervals necessary for the speaking voice. This invention supports a specialized notation system that guides the speaker in elongating or hastening syllables to preserve the intended expressive quality of the verse. The work posits that this new art form, a union of controlled speech and subtle musical tuning, seeks to restore a lost quality in the performance of poetry. It suggests that modern recitative styles, overly dependent on external gestures and imprecise intonation, have replaced the delicate rhythmic interplay that marks truly intense literature. The text argues for a return to an art in which both performer and listener are trained to discern and appreciate these nuanced rhythms. It forecasts a future in which practitioners, organized in groups that value refined expression, preserve this method from degradation, ensuring that poetry is experienced as a dynamic and integral part of cultural life rather than as disembodied written words. Ultimately, the work is a meditation on the transformation of poetry into a living, audible art. It contrasts the mechanical recitation typical of modern dialogue with a sophisticated, measured delivery that aligns the natural music of the spoken word with the disciplined order of musical notes. This synthesis, the author believes, is crucial to restoring the profound emotional impact and aesthetic purity that poetry once possessed.
By W.B. Yeats · First published 1899 · Genre: Literary Essay, Prose Poetry, Literary Criticism · 2,592 words
First lines
I.
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Speaking to the Psaltery is listed on Textopian as a short story by W.B. Yeats, dated 1899 CE.
This source record anchors work identity, reading entry points, and catalog context for checking claims about the work.
- Work type: Short story
- Author: W.B. Yeats
- Date: 1899 CE
- Language: English
- Genres: Literary Essay, Prose Poetry, Literary Criticism, Modernist Experimental Literature, Performance Art Theory
- Length: 2,592 words
- Structure: 1 section, 12 paragraphs
- Reading fit: Difficult (College Level)
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Genres
- Literary Essay — An extended meditation on the interplay of spoken verse and musical notation that examines art, rhythm, and aesthetics.
- Prose Poetry — Lyrical language and structured rhythm imbue the text with qualities of poetry expressed in prose form.
- Literary Criticism — The work critiques traditional poetic forms by contrasting conventional singing with a measured, speech-like delivery of verse.
- Modernist Experimental Literature — Its unconventional fusion of musical notation, performance, and verse reflects experimental modernist approaches.
Tags
poetry · symbolism · mysticism · Irish heritage · mythology · nature · magic · romanticism · imagination · spirituality · allusion · elegance