>cris cheek <[log in to unmask]> wrote:
>
One might ask what is more an enactment of the
> >desirous in language than neologism and compound terms.
Neologism: That the reader must construct, at and just beyond the seeming
limit of any single language. That the dictionary is a hotbed of coupling.
An embodied turn, turning from this and that and then off.
Jane Holland wrote:
> >>quoting from murmur, since you looked at that poem:
> >
> >'cleave the tide, cleave the breath ------
> > (or howl i lean into the crying ear . . .)
> >
> > mocks me
> > --- decipherERRS
> >
> >drib the harm harness hurt I'
> >
> > d incursions -
> >
>
>Now this is interesting, and thank you for slowing me down and asking me to
>look more carefully
>at 'murmur', even if only in terms of the above extract. Taken in small
>segments, because it's as
>rich as a fruitcake, I can now hear the poem, whereas before I could only
>see the chaos. This is
>Wreck of the Deutschland territory and THAT I can understand, frequently
>being 'soft sift/In an
>hourglass' myself.
In Hopkins' dialogue essay on poetry - On the Origin of Beauty - he has this
idea of "parallelism" & he pursues it in close readings of antitheses -
including probably the best reading of a Coventry Patmore poem there is
("pat me more, Coventry" - Denise Riley) - But a lot of the things he says
there I've found very useful as applied to poetry such as Maggie O'S &
others
Hopkins essay:
http://www.log24.com/log/saved/HopkinsOnBeauty.html
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