A couple of weeks ago, Andrew Crowther, the secretary of the W.S. Gilbert society, tweeted:
My initial reaction was that the reason for this was that Gilbert’s works are inaccessible to modern readers because he was sometimes a bit of chauvinist, and most publishers aren’t keen to push the works of another straight, white, male Victorian writer. Modern readers are looking for more diversity.
I was about to say this, but then I realized it wasn’t true–and my own literary interests showed why. (You can see my whole exchange with Mr. Crowther here.)
Specifically, I thought of H.P. Lovecraft, the early 1900s horror writer, whose influence on modern horror seems to be ever-increasing. His ideas creep into films like Alien and The Thing, his famous monster Cthulhu is the shorthand for Ultimate Evil in some parts of the internet, and there is an entire genre of horror named after him. Only yesterday I wrote a review of a horror novel clearly influenced by him.
And Lovecraft is way, way less accessible to the modern reader than Gilbert. Gilbert, as I said, was a bit of a chauvinist. Lovecraft openly sympathized with the Nazis. His letters, while in other respects brilliant and insightful, show a man prone to almost genocidal racial screeds, and his books often contain appalling racist diatribes and descriptions.
Everyone who reads and enjoys Lovecraft’s work ultimately has to grapple with this undercurrent of White Supremacist venom that runs through it. (For the record, here’s where I did it.)
So, if a racist Nazi sympathizer can have such an influence over modern writers, why can’t a lovable old Victorian dramatist have the same?
The answer is that Gilbert’s main claim to fame are the comic operas he wrote with Arthur Sullivan, and comic opera is out of fashion. In fact, not only is comic opera out of fashion, but the form of musical theater that evolved when it fell out of fashion is also out fashion.
Gilbert’s other famous work, the Bab Ballads, are witty, short poems in a style that is, once again, out of fashion.
Thinking about the Lovecraft v. Gilbert issue was what really brought home to me how out of fashion metered, rhyming poetry is. Because Lovecraft also wrote poetry, and yet, for all his influence, his poems don’t seem to get reprinted nearly as much as his short stories and novellas.
I have a collection that purports to be “The Best of H.P. Lovecraft” in front of me. It contains mediocre tales like “Pickman’s Model” and “In The Vault” , but not his great poem “Nemesis”. If Lovecraft had only written horror poetry, probably he would not have one-tenth the influence he does.
So, why did poetry fall out of fashion? I have no clue. It’s easy to memorize (that’s part of the point) and tends to be shorter than the sprawling novels that students in schools get assigned. And yet, poetry–or at least, rhyming and metrical poetry that adheres to rhyme schemes and other rules, is distinctly out of fashion.
(As an end note/bit of self-promotion: for those readers who like both Gilbert and Lovecraft, I once wrote a short horror story entitled “The Revival”, very much in the Lovecraftian vein set around an amateur production of Ruddigore.)