Shit
No. 3Other echoesInhabit the garden. Shall we follow?Quick, said the bird, find them, find them,Round the corner. Through the first gate, Into our first world, shall we followThe deception of the thrush? Into our first world.There they were, dignified, invisible, Moving without pressure, over the dead leaves,In the autumn heat, through the vibrant air, And the bird called, in response to The unheard music hidden in the shrubbery, And the unseen eyebeam crossed, for the roses Had the look of flowers that are looked at.
when i tried to paste the eliot bit up from cat's post it came out at prose. anyway, i want so badly to participate in the holderlin conversation right now, but i'm at school, so i don't have my books with me. i love all this talk about lines and poems and destinies of poems, and poems as real bits of ourselves. it's just so good to hear everyone's brains screeching together in melodious cacophony.
anyway, reading that bit of eliot really reminded me how much more important 'four quartets' is to my understanding of poetry. i was reminded of lauren's, er, synesthetic memories of holderlin. when i first read 'four quartets' it was springtime in berkeley, and i read the poem walking through the hills to class...it's quite a good walking poem actually. but all that stuff with the bird in the garden and all the talking children in the bushes, and especially the idea that there was some alternate time in the world, the "still point in the turning world" or whatever it says, oh how it hurt my mynde! God, I hope that quote is from eliot!
well, i like that there's German poetry in the air anyway. i'm still taking my time with faust, which has a similar kind of variability in the lines that steve was talking about. lauren, does this have something to do with the german interest in classical rhythms and all of that? i think i've read that they were much more influenced by, and capable of, writing in meters that were more closely able to mimic classical meters...
anyways, maybe i'll write some more about the topic at hand later today.
i had an argument with a student yesterday who emphatically insisted (3x) that 'atheism' did not mean 'denial of the existence of God.' it was so fun to be so right for once.
love you all, and i'm sorry i haven't written to you all enough recently. the business of america is business.
when i tried to paste the eliot bit up from cat's post it came out at prose. anyway, i want so badly to participate in the holderlin conversation right now, but i'm at school, so i don't have my books with me. i love all this talk about lines and poems and destinies of poems, and poems as real bits of ourselves. it's just so good to hear everyone's brains screeching together in melodious cacophony.
anyway, reading that bit of eliot really reminded me how much more important 'four quartets' is to my understanding of poetry. i was reminded of lauren's, er, synesthetic memories of holderlin. when i first read 'four quartets' it was springtime in berkeley, and i read the poem walking through the hills to class...it's quite a good walking poem actually. but all that stuff with the bird in the garden and all the talking children in the bushes, and especially the idea that there was some alternate time in the world, the "still point in the turning world" or whatever it says, oh how it hurt my mynde! God, I hope that quote is from eliot!
well, i like that there's German poetry in the air anyway. i'm still taking my time with faust, which has a similar kind of variability in the lines that steve was talking about. lauren, does this have something to do with the german interest in classical rhythms and all of that? i think i've read that they were much more influenced by, and capable of, writing in meters that were more closely able to mimic classical meters...
anyways, maybe i'll write some more about the topic at hand later today.
i had an argument with a student yesterday who emphatically insisted (3x) that 'atheism' did not mean 'denial of the existence of God.' it was so fun to be so right for once.
love you all, and i'm sorry i haven't written to you all enough recently. the business of america is business.
posted by jared | 9:52 AM
1 Comments:
Melodious cacophony is right -- if this isn't the free jazz equivalent of poetry discussion I don't know what is. Four instruments, each moving forward on its own, but also listening and reacting.
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