On Thu, 29 Jan 2004 21:56:50 +0000, cris cheek <[log in to unmask]>
wrote:
>thanks, glad you liked the poem. I agree, it moves from a repressed to a
>more mobile anger, the early more frost-bitten compounds - out of a
>Beowulf riff that remains a thread yet - taking flight. All that
>hilariously earnest mead-hall masculinist bonding and longing - I mean.
>
Did a bee fly into the House of Commons at one end and would have flown
out the other if not for a feline? (oh, I never noticed before that feline
rhymes with beeline. Well, anyhow)
>My sense is that the lines work, for me, over a
>three second span YET that presupposes very little temporal turnaround
>for enjambment.
I know, I'm a slow reader in every way. Everyone recites poetry too fast
and as for the theatre it's just a blur.
>Three played against fours can be a sprung square, so that dat dat dat -
dat
>dat dat- dat dat dat - dat dat dat are sprung across a four on the floor.
>More commonly experienced in African and Latin musics. The other way of
>playing it would be as a fast four beat played over a slow four beat with
>emphasis brought onto the third of the fast quartet - like you hear in
>Fela Kuti.
I'd forgotten about your musical interests. Did you know I used to be a
big Franco TPOK fan, I had dozens of his albums ? I can't really follow
the distinction between the two ways of laying three across four and I
wish I could (I need trad. musical notation if what you are saying can be
represented in it), but that is exactly what I meant, the speech rhythm
running alongside a beat and expressively slithering across it but not
matching it.
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