I would almost agree. I think the poetry is in the resonant intervals between words and phrases, as in music. Eliot could control the rhythms with great brilliance because he practiced so much (3 hrs/day?), but he found getting the words was like squeezing toothpaste out of a tube (BBC interview or panel discussion I think?).
Richard Seddon <[log in to unmask]> wrote:
>Hopefully this is not old hat to everyone.
>I think to have poetry in the dramatic genre you have to have something besides a scene and a few words encased in quotation marks.
>That said, I think the drama in TSE's poetry occurs in the reader's mind and not on the page. TSE's poetry provides a kernel of an idea that blossoms in his reader's mind into a vignette that then approaches drama.
>Much as in Pound's Imagism, TSE uses powerful metrical language to trigger dramatic sequences in his readers' minds. To someone just reading the words and not letting his/her mind react to them, this results in a disjointed fractured often jumbled mass of individual poems and that, of course, was not what TSE intended.