Thank you, Judy. I esteem your observations.
2009/6/18 Judy Prince <[log in to unmask]>
> David, U R a bloody nut. thx for the fun, as ever. initial uprights, oh
> yeah.
> joodles
>
> 2009/6/18 David Bircumshaw <[log in to unmask]>
>
> > kasper
> > I think It vARies iN itS IMPORtance.
> > for sure. there is some;thing c
> > logged/ in how people R
> > ATTached to those initial uprights, consistencies etc but I always (well
> in
> > once in a while)
> >
> > as myself I mean ask myself
> >
> > did People in the 18th century think in all those mercantile-capitalised
> > Nouns? do Germans likewise?
> >
> > best
> >
> > bright and shiny in the morn
> >
> > dave
> >
> > 2009/6/18 kasper salonen <[log in to unmask]>
> >
> > > I have a personal interest in this general subject, since I stopped
> > > capitalising quite soon in my poetry. I've also thought a lot about
> that
> > > phenomenon, in poetry in general but mostly as it applies to what I
> > > produce.
> > > I might come up with a more sober answer when it isn't three o'clock in
> > the
> > > morning.
> > >
> > > KS
> > >
> > > 2009/6/16 Anny Ballardini <[log in to unmask]>
> > >
> > > > I found the following by browsing on the net:
> > > >
> > > > Alberto Rios, Department of English, Arizona State University
> > > >
> > > > http://www.public.asu.edu/~aarios/resourcebank/capitalizing/<
> > > http://www.public.asu.edu/%7Eaarios/resourcebank/capitalizing/>
> > > >
> > > > American poets often stopped capitalizing their lines beginning
> loosely
> > > > with
> > > > the second half of the 20th Century, a period generally associated
> with
> > > > free
> > > > verse.
> > > >
> > > > Why poets even did this has essentially been lost to us, beyond the
> > > > historicity of being able to say that poets just always did this.
> > > >
> > > > The idea of a breath being taken, or a dramatic point being made, may
> > > also
> > > > be a useful consideration in trying to understand line breaks.
> > > >
> > > > by Darksied on everything2:
> > > > http://everything2.com/title/Capitalization%2520in%2520poetry
> > > >
> > > > capitalization stems from the necessity to
> > > > emphasize<http://everything2.com/title/emphasize>particular words or
> > > > phrases on paper that were accented by the speaker that
> > > > the stories were taken from.
> > > >
> > > > This way of looking at an author's works was brought about by E. E.
> > > > Cummings<http://everything2.com/title/E.%2520E.%2520Cummings>at a
> time
> > > > when there was a formatting standard being developed. It was he
> > > > that aided in stopping that trend <
> http://everything2.com/title/trend
> > >.
> > > >
> > > >
> > > > Undoubtedly the most complete answer is by Baron Wormser and Daivd
> > > Cappella
> > > > in Teaching the Art of Poetry
> > > >
> > > >
> > > >
> > >
> >
> http://books.google.com/books?id=oBj4n3Fb0dMC&pg=PA85&lpg=PA85&dq=poetry+capitalization+why&source=bl&ots=5ChRHSShYW&sig=ddI93g8rKc8TukRQDEJVFMQjI-E&hl=en&ei=Lng3St_hOo6c_AbotOjdDQ&sa=X&oi=book_result&ct=result&resnum=10#PPP1,M1
> > > >
> > > >
> > > > In fact, the convention of capitalizing the first word of a line was
> > not
> > > > firmly established until the late fifteenth century when William
> Caxton
> > > > became the first printer of books in England. The capitalizing of the
> > > first
> > > > word in a line hearkens to the roots of the word "verse" (from the
> > Latin
> > > > "versus") which refers to the furrow a plow or hoe makes in a field.
> > One
> > > > row
> > > > in a field turns back to another row ("versus" literally means
> > "turning")
> > > > and the lines of a poem were likened to such rows. The beginning of a
> > > "row"
> > > > in a poem was noted by a capital letter. Indeed a poem typically
> > returns
> > > to
> > > > the left margin so that the lines are uniform the way the rows of a
> > field
> > > > are uniform. This may seem far-fetched but it is a convention to
> which
> > > the
> > > > majority of poets have subscribed over centuries. They like how the
> > > capital
> > > > letter declares a new line; how it increases the sense of the ine as
> a
> > > > distinct, rhythmic unit; and how it promotes a uniformity that igves
> > the
> > > > poem a decidedly polished look. No vagaries need apply.
> > > > Many poets to not adhere to this convention. [...]
> > > > This attitude toward capital letters in poetry, has become common and
> > was
> > > > pioneered by e.e.cummings in the 1920s.
> > > >
> > > > --
> > > > Anny Ballardini
> > > > http://annyballardini.blogspot.com/
> > > > http://www.fieralingue.it/modules.php?name=poetshome
> > > > http://www.lulu.com/content/5806078
> > > > http://www.moriapoetry.com/ebooks.html
> > > > I Tell You: One must still have chaos in one to give birth to a
> dancing
> > > > star!
> > > > Friedrich Nietzsche
> > > >
> > >
> >
> >
> >
> > --
> > David Bircumshaw
> > "Nothing can be done in the face
> > of ordinary unhappiness" - PP
> > Website and A Chide's Alphabet
> > http://www.staplednapkin.org.uk
> > The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
> > Leicester Poetry Society: http://www.poetryleicester.co.uk
> >
>
--
David Bircumshaw
"Nothing can be done in the face
of ordinary unhappiness" - PP
Website and A Chide's Alphabet
http://www.staplednapkin.org.uk
The Animal Subsides http://www.arrowheadpress.co.uk/books/animal.html
Leicester Poetry Society: http://www.poetryleicester.co.uk
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