On Tue, 4 Mar 1997, Robert Sheppard wrote:
> I am experimenting with the sonata structure. The repetition of words
> seems to me to be very close to the equivalent of rhyme for
> wordcounted (isoverbal, remember) texts. But what I'm tyring to do is to
> overdetermine those repetitions (the words themselves are derived from
> other texts of mine so they reach out to other texts in the network) so
> that they occur more often and create another pattern of repetiton within
> the poems and between them, there are six. So that the closed nature of
> the pattern should not be equivalent to its form, that it develops in other
> dimensions, formally.
- keep us posted, please. When Bunting turned to the sonata he
deliberately used the early sonata as his model (rather than the big
classical one) as being more appropriate to his idea of linguistic/poetic
form. Most commentators make horrible assumptions in leaping from music to
poetry, thus:
(groups of notes) ---> ("theme") ----> (intellectual idea)
-whereas I'm sure BB meant, as you seem to,
(groups of notes) ---> ("theme") ----> (linguistic groups)
- so you get whole dumb readings of "the renewal theme" "the birth theme"
etc, where what you really want is to track rhythmic associative groups
through, or in your case perhaps rhyme.
No surprise to disclose that I've taken musical forms as starting points
in my own work too - usually earlier ones from voiced counterpoint. Only,
ov kors, once the process is started I tend to splurge outa said forms,
paint over the frames and the walls too. I also have this weakness for
hybrid analogy.
__________________________
Sonnets, somebody mentioned, without actually saying, or did they, Gilbert
Sorrentino's _The Orangery_ , a book which I return to frequently and keep
directing folks towards. & from the same author, an expression which may
be taken as guiding principle in the adoption of imported form : "Fail,
fail if you must, but in terms you are helpless within."
So it goes.
best
Ric
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