AG: Gone-A-Maying. She’s going out maying, she’s going out to… well, he describes it – getting up in the morning and going out and getting the dew on her hair and gathering hawthorne, white hawthorne, to … Read More
AG: “Delight in Disorder” is a very famous poem (on page two seven four). I think underneath there’s a little S & M shot there.
“A sweet disorder in the dress/Kindles in clothes a wantonness:—/A lawn about the shoulders thrown/Into a fine distrac-ti-ón,”— (he wants that eight syllables, this is eight syllables – because the only way he’s going to make that “distraction”, he … Read More
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 sing of brooks, of blossoms, birds, and bowers,/ Of April, May, of June, and July flowers. /I sing of May-poles, hock-carts, wassails, wakes..” – (you know “hock carts” that brought in the last corn of the harvest, … Read More
AG: So in order to strike a “second heat/ upon the Muse’s anvil”, using Robert Herrick as a model, I want now to enter onto the whole subject, not of length of syllables in a line, but the count of syllables in the line (because that’s something we haven’t really gone over, except, I think I’ve refered to it with Marianne Moore). And (Robert) Herrick is real interesting on that, and real simple. Once you pick up the hang of what he’s doing, you realize that that’s another way of getting your lines to have … Read More