Archibald MacLeigh indicates his feelings about poetry in "Ars Poetica", in which he describes what a poem "should be". He exemplifies each comment with a subtle use of sound, imagery, or structure. The reader, thus, gains not only a feeling of *what* is being said, but realizes that the poem, itself, is an example of what "a poem should be."
The first point MacLeigh makes is that poems should be "mute... dumb... silent... [and] wordless." By this, he means that a poem should not give a strong argument. It should merely suggest. A poem is not a loudspeaker; it is a description that suggests a thought. For example, when MacLeigh uses "the flight of birds," he interuppts a six-line *AB* rime scheme. This, in itself, causes us to pay particular attention to that line, which describes a silent, wordless event. He also amplifies silence when he uses alliteration, describing a poem as "*s*ilent,... *s*leeve-worn *s*tone... where mo*ss* ha*s* grown." The long, quiet *s*'s re-enforce the lack of noise. He further describes a poem as "motionless in time." While this also holds another meaning, *motionless* connotates stillness, and, thus, silence.
The other meaning of that line is one of MacLeigh's other points. Poetry must be eternal, or "motionless in time." In the same vein, MacLeigh feels that poetry must have deep, slightly hidden meaning, which the reader will slowly realize over time. He implies this is an image that, itself, has deeper-than-superficial meaning. The image is of the moon rising and setting. He describes the poem as "night-entangled trees," and illustrates how the rising moon, a symbol of passing time, "releases" them, much as poetry is revealed slowly to us. He uses a sound device here, so that we are forced to read the line slowly. "twig... twig... entangled... trees" provide this effect. After he has revealed the basic idea, he speeds up the pace, using smooth 'm' alliteration to capsulize. As the moon sets, it "leaves [behind m]emory... [in] the mind." That is to say, the moon sets the moment we understand the full meaning of the poem. The author ends this section with a repetition of lines so that he can re-enforce this image, and, at the same time, bring it to a close.
In the last few lines, MacLeigh illustrates how a poem must suggest and note state. He concentrates on the idea that a poem should not state definite facts or definite lies; but instead ideas. "A poem should be... not true," nor false; it should create thought, MacLeigh expands further. "For... the history of grief," he offers "An empty doorway and a maple leaf;" not much in the way of tangibility, but his "empty doorway" is out 'open doorway;' he has evoked an image which is greater than any fact. To love, he gives "the leaning grasses and two lights above the sea." He does not judge, state, nor preach; he simply sets a mood: creates an idea.
Through a poem, MacLeigh has defined poetry. Poetry is not a loud, fact-filled code; rather it is a soft, suggestive idea.
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