Auden uses this form a lot, and so does Yeats;
Earth, receive an honored guest,
William Yeats is laid to rest.
or
Under bare Ben Bulben's head
A tetrameter line, with first and last syllable stressed, so that it starts
out sounding trochaic and ends up sounding iambic.
I've always loved the effect.
But is there a name for it?
----- Original Message -----
From: "Joseph Duemer" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, January 23, 2007 8:22 PM
Subject: Re: Dipodic is...? (Re: is dipodic a no-no? )
> 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/
>> >> >
>> >> > 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]
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