Print

Print


Carrol Cox <[log in to unmask]> wrote:     Asking "what went into (its) preparation" treats writing as though it
were the Boston Marathon.

   
  By "what went went into its preparation" I simply meant that the poet 
  must equip himself for the task. What I had in mind was the following 
  passage from Eliot's 'Tradition and the Individual Talent':  
   
  "I am alive to a usual objection to what is clearly part of my 
  programme for the métier of poetry. The objection is that the
  doctrine requires a ridiculous amount of erudition (pedantry), 
  a claim which can be rejected by appeal to the lives of poets 
  in any pantheon. It will even be affirmed that much learning
  deadens or perverts poetic sensibility. While, however, we 
  persist in believing that a poet ought to know as much as 
  will not encroach upon his necessary receptivity and necessary
  laziness, it is not desirable to confine knowledge to whatever
  can be put into a useful shape for examinations, drawing-rooms,
  or the still more pretentious modes of publicity. Some can absorb
  knowledge, the more tardy must sweat for it. Shakespeare
  acquired more essential history from Plutarch than most men 
  could from the whole British Museum. What is to be insisted upon
  is that the poet must develop or procure the consciousness of the
  past and that he should continue to develop this consciousness 
  throughout his career." 
   
  Of course, one also assumes in the poet what constitutes an 
  essential part of his poetic equipment. To quote from Rukeyser's 
  'The Life of Poetry':
   
  "The creation of a poem, or mathematical creation, involves
  so much sense of arrival, so much selection, so much of the
  desire that makes choice -- even though one or more of these 
  may operate in the unconscious or partly conscious work-periods 
  before the actual work is achieved -- that the questions raised are
  very pertinent. . . . The poet chooses and selects and has that 
  sense of arrival as the poem ends; he is expressing what it feels 
  like to arrive at his meanings. If he has expressed that well, his 
  reader will arrive at his meanings. The degree of appropriateness
  of expression depends on the preparing. By preparing I mean 
  allowing the reader to feel the interdependences, the relations, 
  within the poem.
   
  These inter-dependences may be proved, if you will allow the
  term, in one or more ways: the music by which the syllables
  resolve may lead to a new theme, as in a verbal music, or to a 
  climax, a key-relationship which makes -- for the moment -- 
  an equilibrium; the images may have established their own 
  progression in such a way that they serve to mark the poem’s 
  development; the tensions and attractions between the poem’s
  meanings may mark its growth, as they must if the poem is to 
  achieve its form."
   
  Of course, there's much more to it than just this :)
   
  Regards.
   
  ~ CR




 
---------------------------------
Access over 1 million songs - Yahoo! Music Unlimited.