WHEN thou must home to shades of underground,
And there arrived, a new admirèd guest,
The beauteous spirits do engirt thee round,
White Iope, blithe Helen, and the rest,
To hear the stories of thy finish’d love
From that smooth tongue whose music hell can move;
Then wilt thou speak of banqueting delights,
Of masques and revels which sweet youth did make,
Of tourneys and great challenges of knights,
And all these triumphs for thy beauty’s sake:
When thou hast told these… Read More
HARK, all you ladies that do sleep!
The fairy-queen Proserpina
Bids you awake and pity them that weep
You may do in the dark
What the day doth forbid;
Fear not the dogs that bark,
Night will have all hid.
But if you let your lovers moan,
The fairy-queen Proserpina
Will send abroad her fairies every one,
That shall pinch black and blue
Your white hands and fair arms
That did not kindly… Read More
Allen Ginsberg’s January 1980 Naropa class on Basic Poetics continues with transcription of one-on-one conversation that appears to take place after the formal end of the class
AG: Pat (sic), did you ever read that – (Thomas) Campion‘s treatises on the music and poetry?
Student (Pat (sic)) : I’ve read the Observations in The Art of English Poesie
AG: Is that the one that takes up quantitative.?
Student (Pat): Yeah
AG: Do you have a copy of Campion ? Could you prepare a little summary of his ideas on quantity…You know what he says about that?
[Allen is temporarily distracted … Read More
Allen Ginsberg’s January 1980 Basic Poetics class continues (in preparation for future notes on John Dowland) AG; Apparently, I have.. the “Fine Knacks For Ladies“ that you gave me the recording? – I have some (John) Dowland around and I had that so I’ll try and bring in a… I was going to try and get Charlie (Ross – sic) to bring in a phonograph today. Were there any others on that beside the “Fine Knacks For Ladies” ?
Transcription of Allen’s “Basic Poetics” class, from 1980 at Naropa, continues. The previous tape (tape 9 of 35) is missing and this tape comes in (towards the end of a class) with an in-class performance]
Allen Ginsberg’s remarks on Basil Bunting’s lectures continues – see here, here and here
AG: So Louis Zukofsky, in modern times, was the most subtle person working with different measures and with a pure relation between musical forms and quantitative count and he was saying that the madrigal distorts words (because you’ve got several lines at once) and so words are not allowed to take whatever stress is appropriate to them in
AG: So then, the next thing would be the comparing of the time of the steps, the time it takes for steps, or the ratio of times of the steps, to count the syllables. In.. an orderly measure in dance would be the steps, in music, it would be the notes, in poetry, the syllables. A pattern of spatial rhythms,
Student: Is the “one-eyed Ford” something you just made up now?
AG: No , the “one-eyed Ford” is a famous American-Indian twentieth-century.. It’s a great line! – It’s one of the great lines in America .. of the, as-yet, unacademicized poetry. The many many versions of the “one-eyed Ford” song (South-West – Oklahoma, actually – I heard it last year… last heard it (with Harry Smith) in Anadarko, Oklahoma) – “My one-eyed Ford”! – It’s a great … Read More
AG: Some of the ideas that (Basil) Bunting was laying out, I would like to lay out here because they’re just very interesting. He was saying that, first of all, English poetry was sung up until the 17th century. All the poets wrote for singing
including, of all people, John Donne! – Donne was sung. He was put to music by a fellow named Ferrabosco of that era (do you know anything about that?) –
Well, apparently Donne was actually sung. Donne is usually taught nowadays as
if he… you know.. he has one or two