AG: .Well, the feet would be the… well, basically, the number of stresses in a line would be the number of feet, basically, number of stresses, as distinct from syllables. And a foot would be a varied kind of feet (da-da, da-da, da-da, da-da) – Tyger, Tyger ( da-da, da-da – da-da da) – So there’s four feet in “Tyger, Tyger burning bright” (that’s four feet -right?) – I think the Greek word is “metron” maybe for measure..I don’t know, I’ll have to check that out – hard to find a Greek nomenclature … Read More
[“Water, water, I desire/Here’s a house of flesh on fire..”]
AG: (returning to an analysis of Robert Herrick) – “The Scare-fire” (on page two seventy four) – That’s all seven syllables – “Water, water, I desire/Here’s a house of flesh on fire/Ope the fountains and the springs,/And come all to bucketings /What ye cannot quench pull down /Spoil a house to save a town /Better ’tis that one should fall,/Than by one to hazard all. ” – (da-da da-da da-da da, da-da da-da da-da da, da,-da da-da da-da da, 1-2-3-4-5-6-7, 1-2-3-4-5-6-7, 1-2-3-4-5-6-7,)
I won’t go over it, except a couple of phrases in here – (page 260) [sic] -It’s a real good poem. It’s an interesting poem, and it’s well-written, and it’s very.. it’s full of energy, at a certain point – “I therefore will begin. Soul of the age!/ The applause, delight, the wonder of our stage!” – (he really gets with it)
AG: Strophe (is that pronounced strophee or strophe?)
Student: Strophee, I think
AG: Strophee – or Strophee/Antistrophee maybe – and Epode. So the anti-strophe or antistrophe would be simply a mirror image of it, perhaps responding, responding to the first statement, and then the epode would be a variation on the form, (not necessarily the same but making use of the similar kinds of lines). And it’s good for certain kinds of formal poems, or occasional poems, or political poems. Like, I wrote Plutonian Ode (but I wasn’t paying attention to the … Read More
AG: So, “..since our dainty age/ Cannot endure reproof,/Make not thyself a page/To that strumpet, the stage/But sing high and aloof,/Safe from the wolf’s black jaw and the dull ass’s hoof “ (that’s the end of that poem (by Ben Jonson) “On Himself” – “Ode to Himself”) – “Safe from the wolf’s black jaw and the dull ass’s hoof” (A lot of elitist poets have always liked that line as being an acme of put-down of vulgar public – it’s on page two-six-two of the..
Continuing with Allen’s 1980 Naropa lectures, he seems here under the impression that he’s annotating further the poems of George [sic] Herbert, These next poems , however, are, in fact, from Herbert’s older brother, Edward Herbert, himself (amongst other achievements) an accomplished poet.
AG: So there’s tone and pitch and then there’s the long and short vowel, and then there’s a light and heavy accent. So there’s… Actually, Greek meters did consist in there.. that’s something interesting, these guys, particularly(Ben) Jonson, knew Greek, Greek meters consisted, as modern classicists classify them, (modern classicists classify them, Greek professors classify them), as – stress, accent and quantity (and that’s a little confusing, what’s stress and what’s accent?) – But, usually.. the terminology which is used nowadays, which has been useful for Greek… terminology used for analyzing Greek poetics (which would be useful to … Read More