Time, that with this strange excuse
Pardoned Kipling and his views,
And will pardon Paul Claudel,
Pardon him for writing well.
----- Original Message -----
From: "Joseph Duemer" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, January 23, 2007 6:41 PM
Subject: Re: Dipodic is...? (Re: is dipodic a no-no? )
> Yes, even that old imperialist Kipling. I actually memorized reams of
> Kipling when I was a kid. He could really sling a long verse line around &
> keep it coherent. If we forgive Pound his fascism, or at least look the
> other way, we ought to do the same for Kipling.
>
> Coleridge? Quite simply one of the very greatest -- and saddest -- minds
> in
> English Poetry. I did a long biographical essay on his son Hartley many
> years ago for some reference work or other . . .
>
> jd
>
> On 1/23/07, Caleb Cluff <[log in to unmask]> wrote:
>>
>> Agree entirely. I defy anyone to read the first few lines of "Frost at
>> Midnight" and not know they are in the grip of a prescient mind.
>>
>> -----Original Message-----
>> From: Poetryetc provides a venue for a dialogue relating to poetry and
>> poetics [mailto:[log in to unmask]] On Behalf Of Alison Croggon
>> Sent: Wednesday, 24 January 2007 8:40 AM
>> To: [log in to unmask]
>> Subject: Re: Dipodic is...? (Re: is dipodic a no-no? )
>>
>> I don't understand this kind of generalised putdown. Coleridge is for
>> my money one of the most delightfully inventive of poets. Kipling and
>> even Tennyson (of whom I remain fond) have their moments too.
>> Whatever the problems with him, Kipling could write a storm - read
>> Said or Borges on his short stories. All poetry, no matter what shape
>> it is, presents a formal problem; what counts is what the poet does
>> with it.
>>
>> And back in the day, the language wasn't archaic. Just reading an
>> enormous tome on Dante which reminds you that in 1290 just writing
>> literature in Italian was totally radical. Milton's blank verse was
>> the leading edge of its time - his introduction to Paradise Lost is
>> aggressively brusque. Wordsworth and Coleridge brought "ordinary"
>> language into poetry. Etc. For me, these people still hold that
>> initial freshness, though you might have to scrape away a few
>> barnacles of perception to see it. Cultures always need to neuter
>> their artists so that, like good pets, they don't have troublesome
>> offspring.
>>
>> All the best
>>
>> A
>>
>> On 1/24/07, Douglas Barbour <[log in to unmask]> wrote:
>> > What a weird quartet. I used to think the way you say you do in that
>> > note, Kasper, but have changed somewhat. I mean, I can really admire a
>> > lot of the poetry of at least the last two, without ever wanting to
>> try
>> > the same thing. I suspect a lot of modern writers feel the same way
>> > about the great writers of the past.
>> >
>> > Doug
>> > On 22-Jan-07, at 7:05 PM, kasper salonen wrote:
>> >
>> > > Kipling/Tennyson/Coleridge/Browning
>> > Douglas Barbour
>> > 11655 - 72 Avenue NW
>> > Edmonton Ab T6G 0B9
>> > (780) 436 3320
>> > http://www.ualberta.ca/~dbarbour/
>> >
>> > Latest book: Continuations (with Sheila E Murphy)
>> > http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664
>> >
>> >
>> > the words come down on
>> > the white page a dream of snow
>> >
>> > at mid-Atlantic.
>> >
>> > Wayne Clifford
>> >
>>
>>
>> --
>> Editor, Masthead: http://www.masthead.net.au
>> Blog: http://theatrenotes.blogspot.com
>> Home page: http://www.alisoncroggon.com
>>
>>
>>
>>
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>
>
>
> --
> Joseph Duemer
> Professor of Humanities
> Clarkson University
> [sharpsand.net]
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