Allen’s pedagogical insistence on quantative prosody, on the minutae of classical prosody, was something he came back to again and again with his students at Naropa (see, for example – one of many examples – here). In transcription, it makes, perhaps, for some somewhat tedious transcript – to hear the subtle and various distinctions he’s making, it really becomes necessary to listen closely to the audio (happily, here available). Allen does employ here a somewhat unique teaching method to lighten things up – … Read More
AG: [referring to an earlier Student poem] …the silence of dusk.. and.. the lights going on in the courtyard. See, it was the signal of the lights going on in the courtyard that made.. that locked it in that it was dusk. That’s why it’s pink light, that’s why these people were doing what they were doing (and then it was because the sun was going down,. the wind rising, and the steel cord was flapping against the flagpole). This is, you see, the uncanny suggestion, of, like, the whole atmosphere of … Read More
AG: Edmund Spenser is a colossus, and he’s so big that I think we’ll go around him Except, maybe, one or two, one or two little short things – the Epithalamion – a big Leviathan poem here, marriage poem. What I would suggest is that you go home and read it. It’s got a great stanza form, it’s got a great rhythmic form. So what we might do (here) is read just the first and last stanzas, just to get the stanzaic form get a taste.. Page 162 – I’m sorry..