I say what's there is there & its effect(iveness) &
affect-iveness-bility [via poet] are what matter more than
seek&classify. when an effect is classified (not classic-fied) it
drops & ceases to work, unless the classification is automatic (which
it tends to be) (at least for me) -- making poetics academic in a way
that is worth even doing so at all is HARD WOIK for the classifier. or
whomever else it may humbly concern
KS
On 7/18/06, Douglas Barbour <[log in to unmask]> wrote:
> No advice, but to say that for such as I this play tends to be
> intuitive, & thought of in different terms. I suspect linguists, &
> other such scholars, are the ones who would actively discuss such
> things. Poets just do it....
>
> I mean, do we then worry the emotive power of which vowels? If so, then
> head back to Christian Bök's Eunois, where, indeed, the use of words
> with only a single vowel for each section does have an emotional force,
> but wholly constructed, & completely anti-lyrical...
>
> Doug
> On 17-Jul-06, at 5:18 PM, Max Richards wrote:
>
> > I'm no further forward with Colin L Dean and Gamahucher Press, folks,
> > but having
> > idly emailed (about James's Turn of the Screw) a certain Dr Clayton
> > Burns whose
> > email to the editor of the tls was posted on his weblog, Dr Clayton
> > has emailed
> > me mentioning in the same breath, this:
> >
> > I am working on consonant and vowel gradation in poetry (there will
> > have to be a revision of practical critical terms since even the power
> > of
> > symbolic chiasmus in "Sailing to Byzantium," "The Sick Rose," and
> > "Design"
> > goes unnoticed). The /nt/ and /nd/ gradation in Cummings' "The
> > Cambridge
> > ladies" complements the long "a" and ash gradation ("Cambridge ladies"
> > and
> > "moon rattles like a fragment of angry candy"). "After Apple-Picking"
> > is a
> > good example of "e" gradation, "The Sick Rose" of "i," "Ode to a
> > Nightingale" of "o," and "Daddy" of "u." Since vowel gradation is so
> > common
> > in irregular verbs, you would have thought that by now critics would
> > have
> > noticed it in poetry. Shakespeare's sonnet 97 is a fascinating case.
> > Clayton.
> >
> > Hmm, I do seem to remember chancing on vowel gradation in poetry
> > discussions a
> > while back, without my getting involved. I should like to email back
> > at least a
> > half-informed response...if anyone on PoetryEtc has advice...
> >
> > Max at Cooee in Melbourne
> >
> >
> > ------------------------------------------------------------
> > This email was sent from Netspace Webmail: http://www.netspace.net.au
> >
> >
> 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
>
> Historical imagination gathers in the missing
>
> Susan Howe
>
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