Bodies That Remember: Women's Indigenous Knowledge and

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On the other hand, while a predominantly sombre mood forms part of the unity of the tragic structure, concentrating on mood does not intensify the tragic effect: if it did, Titus Andronicus might well be the most powerful of Shakespeare's tragedies. It all depends on the pause - the natural pause, the natural lingering of the voice according to the feeling - it is the hidden emotional pattern that makes poetry, not the obvious form", D H Lawrence, letter to Edward Marsh "Forms are unlike those sent by the IR, they are not to be filled in" - Alan Rawsthorne "Form is regarded not as a neat mould to be filled, but rather as a sieve to catch certain kinds of material", Theodore Roethke, in "A Poet's Guide to Writing Poetry", Mary Kinzie, p.345 "form isn't a container (of content) but rather a rule for generating a possible 'next move'", Foreman, "How to write a play", p.229 "It has been suggested that free verse is inferior to metrical verse because it provides nothing against which to make variations. [Louis] Simpson's ear is so good that some of his poems suggest ... that free verse can be rewardingly varied by the occasional use of meter" - "Compulsory Figures", Henry Taylor, Louisiana State Univ Press, 1992, p.46 "Meter is perceived in the actual stress-contour, or the line is perceived as unmetrical, or the perceiver doesn't perceive meter at all", p.262 "The governing principle of much Persian poetry is circular rather than linear; rather than a logically sequential progression, a poem is seen as a collection of stanzas interlinked by symbol and image - the links being patterns of likeness and unlikeness, of repetition and variation - which 'hover', as it were, around an unspoken centre", Glyn Pursglove, Acumen 25, p.9 "As stress-languages, English and German allow for great flexibility in the formation of lines; the French alexandrine however is based on syllable count, and so effective versification becomes a matter of observing certain norms: the caesura dividing the two hemistichs, the avoidance of hiatus, the alternation of masculine and feminine rhymes, and so on", Marjorie Perloff, "Lucent and inescapable rhythms: metrical 'choice' and historical formation" "Aristotelian logic, the reigning mode until the time of Coleridge and Hegel, analyzes the forms of coherence found in completed acts of thought.

Pages: 252

Publisher: Syracuse University Press (January 30, 2012)


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