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
JC: Well, I’m going to play a song that was a great.. one of
..Actually, I’m going to play this early Velvet Underground song and then I’m going to play a Phil Ochs song. For some reason,
Phil Ochs and The Velvet Underground have this weird connection for me. I mean.
they got me into poetry as much as Bob.. well more than Bob Dylan, and as much
as Frank O’Hara
tape resumes in media res.. class discussion of traditional and modernist metrics
AG:…. how many (syllables in the) French alexandrine?
AG: Twelve. And if you write in eight, eleven, or twelve syllables, pretty soon you develop an automatic body ear for being able to do it. Among moderns, Kenneth Rexroth‘s longer works are done by syllables – you’ll see a long column of poetic lines and they’re all six or seven or eight syllables. A number of poets worked with that. So that was Marianne Moore‘s way.
H.D. – Hilda Doolittle was a lesbian and … Read More
AG: To make a long story short, (Ezra) Pound went to Venice, (and) studied some classical languages and Renaissance, and Provencal poetries, specializing in two areas – one, where the language moved, from Latin to a provincial language, that is to say, where writers made the transition from writing in classical Latin to writing in French Provencal, or troubadour language, or.. what other languages?..in Italy, that was…
Student: It’s Provencal in the south of France, and koine for northern Spain and Italy.
AG: What was it called?
AG: [phonetically] ko-ee-nay
Student: K-O-I-N-E It’s a common language..
AG … Read More
AG: I’ve been thinking of what are the different considerations of mindful open-verse forms. And I made a very brief list (composed of elements we’ve already discussed) just as academic reference-points. If one were to analyze (William Carlos) Williams‘ versification, what are the different inclinations he has in mind when he’s putting the words down on the page, or re-arranging them on the page?
First, we had consciousness of syllables and syllable count, as he practiced, and his friend Marianne Moore practiced. That is to say, arranging phrasings on the page with four syllables, … Read More