How about "Don't, don't, don't, don't," from "Home Burial"?
----- Original Message -----
From: "Joseph Duemer" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, January 23, 2007 8:29 PM
Subject: Re: Dipodic is...? (Re: is dipodic a no-no? )
> Oh, man, I must be tired. Is that line from Lear? I can't find it online
> when I check.
>
> jd
>
> On 1/23/07, Joseph Duemer <[log in to unmask]> wrote:
>>
>> For a moment, I thought this was dipodic, but it's only trochaic, at
>> least
>> after the first line. And if the stanza is predominately trochaic, that
>> shifts the iambic toward the trochaic. Another example of metrical
>> tension.
>> (In any case, Auden's sentiments seem just. But who the hell was Paul
>> Claudel?)
>>
>> How, by the way, would you scan this line from Lear? "Break, break,
>> break,
>> break, break!"
>>
>> jd
>>
>> On 1/23/07, TheOldMole < [log in to unmask]> wrote:
>> >
>> > 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/<http://www.ualberta.ca/%7Edbarbour/>
>> > >> >
>> > >> > 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]
>> >
>>
>>
>>
>> --
>> Joseph Duemer
>> Professor of Humanities
>> Clarkson University
>> [sharpsand.net]
>>
>
>
>
> --
> Joseph Duemer
> Professor of Humanities
> Clarkson University
> [sharpsand.net]
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