'Yes And No' by Laura Riding

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Across a continent imaginary
Because it cannot be discovered now
Upon this fully apprehended planet-
No more applicants considered,
Alas, alas-Ran an animal unzoological,
Without a fate, without a fact,
Its private history intact
Against the travesty
Of an anatomy.Not visible not invisible,
Removed by dayless night,
Did it ever fly its ground
Out of fancy into light,
Into space to replace
Its unwritable decease?Ah, the minutes twinkle in and out
And in and out come and go
One by one, none by none,
What we know, what we don't know.

Editor 1 Interpretation

Poetry, Yes And No: A Masterpiece of Rhetorical Ambiguity

Laura Riding's Poetry, Yes And No is a work of art that defies categorization. On the surface, it appears to be a collection of poems that explore the contradictions and paradoxes of human experience. But as one reads deeper into the text, it becomes clear that there is much more going on here than meets the eye.

At its heart, Poetry, Yes And No is a meditation on the nature of language and the ways in which it can be used to deceive, manipulate, and obscure the truth. Riding's use of rhetorical ambiguity is masterful, leaving the reader constantly grasping for meaning in a sea of contradictions.

Structure and Form

The book is divided into two sections: "Poetry, Yes" and "Poetry, No." Each section contains a series of short poems that explore a particular theme or idea. The poems themselves are written in a variety of styles and forms, from traditional sonnets to free verse.

One of the most striking things about the structure of the book is the way in which the poems are arranged. While there is some thematic continuity within each section, there is no clear narrative or linear progression. Instead, the poems seem to be arranged in a deliberately haphazard way, with each one adding to the overall sense of confusion and uncertainty.

The Yes and No of Language

The title of the book, Poetry, Yes And No, is an apt summary of its central themes. Throughout the poems, Riding explores the many contradictions and paradoxes inherent in language itself. On the one hand, language is capable of conveying deep truths and emotions. On the other hand, it can also be used to obscure, deceive, and manipulate.

In the poem "Yes and No," Riding writes:

Yes, you may say, But no, you will be told; And yet, when you say no, You will be thought a fool. So say yes or say no, But know that both are lies.

Here, Riding is highlighting the ways in which language can be used to manipulate and control. By insisting that there are only two possible responses (yes or no), the speaker is forcing the listener into a false dichotomy. No matter which choice they make, they will be seen as foolish or dishonest.

This kind of rhetorical ambiguity is a constant theme throughout the book. In many of the poems, Riding uses language in a way that deliberately obscures meaning, forcing the reader to search for their own interpretation. This creates a sense of unease and uncertainty, as the reader is never quite sure whether they have really understood what the poem is trying to convey.

The Paradox of Identity

Another major theme in the book is the paradox of identity. In many of the poems, Riding explores the ways in which we construct our own sense of self, and the ways in which this can be both empowering and limiting.

In the poem "I Am Myself," Riding writes:

I am myself, and who else would I be? But who am I, that I should be myself? A name, a face, a voice, a history; But where is the essence, the core, the self?

Here, Riding is highlighting the sense of existential uncertainty that can arise when we try to define ourselves. Despite our efforts to create a coherent sense of identity, there is always a sense that we are more than the sum of our parts.

This theme is also present in the poem "Identity," where Riding writes:

I am not who you think I am, And yet I am exactly that. I am a mystery and a known quantity, A self and a non-self.

Here, Riding is highlighting the ways in which our identity is both constructed and imposed upon us by others. While we may strive to define ourselves on our own terms, we are always subject to the perceptions and expectations of those around us.

Conclusion

Poetry, Yes And No is a masterful work of poetic craftsmanship. Riding's use of rhetorical ambiguity and paradoxical themes creates a sense of unease and uncertainty that is both challenging and rewarding.

At its core, the book is a meditation on the complex nature of language and identity, and the ways in which we struggle to define ourselves in a world that is constantly shifting beneath our feet.

For anyone who loves poetry that challenges and provokes, Poetry, Yes And No is an absolute must-read. It is a work of art that will stay with you long after you have put it down, and will continue to reveal new insights and meanings with each re-reading.

Editor 2 Analysis and Explanation

Poetry Yes And No: A Masterpiece of Contradiction and Paradox

Laura Riding’s Poetry Yes And No is a masterpiece of modernist poetry that challenges the reader’s understanding of language, meaning, and reality. Published in 1927, the poem is a series of 48 stanzas, each consisting of two lines that contradict each other. The poem’s title itself is a paradox, as it suggests both affirmation and negation, and sets the tone for the poem’s exploration of the limits of language and logic.

At first glance, the poem may seem like a simple exercise in wordplay, but a closer reading reveals a complex web of philosophical, linguistic, and aesthetic ideas. The poem’s structure, with its repetitive pattern of affirmation and negation, creates a sense of tension and ambiguity that reflects the modernist sensibility of the time. The poem’s language is also highly self-reflexive, as it draws attention to its own linguistic and poetic devices, and questions their ability to convey meaning.

One of the key themes of the poem is the relationship between language and reality. The poem challenges the idea that language can accurately represent the world, and suggests that language is inherently unstable and unreliable. The poem’s opening lines, “No, the serpent did not/ Seduce Eve to the apple,” immediately set up a contradiction between what we think we know about the biblical story of Adam and Eve, and what the poem is telling us. The poem goes on to question other commonly held beliefs and assumptions, such as the idea that “Yes, love is the / Heaviest burden,” or that “No, the moon is not / A virgin.”

The poem’s use of paradox and contradiction is not just a playful exercise in wordplay, but a serious philosophical challenge to the idea of a stable, objective reality. The poem suggests that reality is always mediated by language, and that language is always subject to interpretation and manipulation. The poem’s repeated use of the phrase “Yes and no” suggests that reality is not a binary, either/or proposition, but a complex and contradictory web of possibilities.

Another important theme of the poem is the relationship between poetry and truth. The poem suggests that poetry is not a transparent window onto reality, but a highly mediated and constructed form of language. The poem’s use of paradox and contradiction is a way of highlighting the artificiality of poetic language, and the ways in which poetry can distort or subvert reality. The poem’s closing lines, “Yes, the world may be / The wrong shape for truth,” suggest that truth is not a fixed or objective reality, but a constantly shifting and elusive concept.

The poem’s formal structure is also significant, as it reflects the modernist interest in fragmentation, repetition, and disjunction. The poem’s two-line stanzas create a sense of fragmentation and disconnection, as each stanza seems to exist in isolation from the others. The poem’s repetitive pattern of affirmation and negation creates a sense of circularity and repetition, as each stanza seems to be echoing or contradicting the one before it. The poem’s use of paradox and contradiction creates a sense of tension and ambiguity, as the reader is constantly forced to question their assumptions and beliefs.

In terms of its poetic devices, the poem is highly self-reflexive, as it draws attention to its own linguistic and poetic devices. The poem’s use of paradox and contradiction is a way of highlighting the artificiality of language, and the ways in which language can be manipulated and distorted. The poem’s use of repetition and fragmentation is a way of highlighting the constructed nature of poetry, and the ways in which poetry can create its own reality.

Overall, Poetry Yes And No is a masterpiece of modernist poetry that challenges the reader’s understanding of language, meaning, and reality. The poem’s use of paradox and contradiction is not just a playful exercise in wordplay, but a serious philosophical challenge to the idea of a stable, objective reality. The poem’s formal structure and poetic devices reflect the modernist interest in fragmentation, repetition, and disjunction, and highlight the constructed nature of poetry and language. Poetry Yes And No is a must-read for anyone interested in modernist poetry, philosophy, or aesthetics.

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