Open Voicing

2013 ◽  
Author(s):  
Linda Gregerson
Keyword(s):  
English Language ◽  
16Th Century ◽  
Considerable Importance ◽  
Language Poetry ◽  
Poetic Voice

In the transit from Petrarch to the Petrarchan adaptations of Thomas Wyatt we see the birth of a rhetorical proposition that will come to be of considerable importance for English-language poetry in the 16th century and beyond. Experimenting with poetic voice as a symptom of character. Wyatt conjures the figment of an individuated speaking persona, one who is biased, irritable, and rhetorically unstable. Shakespeare will confer upon this project an emotional capaciousness that alters it forever, but the commitment to a radical instability of voice began with Wyatt.

The Urgency of Identity: Contemporary English-Language Poetry from Wales

1995 ◽  
Vol 69 (3) ◽  
pp. 591
Author(s):  
Peter Firchow ◽  
David L. Lloyd
Keyword(s):  
English Language ◽  
Language Poetry

Towards a theory of sporadic rhyming

2014 ◽  
Vol 23 (2) ◽  
pp. 101-117 ◽  
Author(s):  
Roi Tartakovsky
Keyword(s):  
20Th Century ◽  
English Language ◽  
Language Poetry ◽  
The Core ◽  
Core Characteristics

A surprising amount of 20th-century (and earlier) English-language poetry employs rhyme, but not the rhyme we normally think of, which marks the end of the line in metrical poetry, but a kind of half-intentional half-accidental rhyme that can appear anywhere within the text. This type of rhyming, which I term ‘sporadic’ and distinguish from ‘systematic,’ has illuminating potential as it relies on, but also departs from traditional rhyme functions. As such, it asks for a new theorization. In this essay I elaborate the core characteristics of sporadic rhyming, and then exemplify and qualify these through a series of readings.

PRETENTIOUS SCANSION, FASCIST AESTHETICS, AND A FATHER-COMPLEX FOR JOYCE: E. E. CUMMINGS ON SAPPHICS AND EZRA POUND

2013 ◽  
Vol 59 ◽  
pp. 178-198
Author(s):  
J. Alison Rosenblitt
Keyword(s):  
Classical Tradition ◽  
English Language ◽  
Ezra Pound ◽  
Language Poetry ◽  
English Verse ◽  
Father Complex

This paper considers a Sapphic poem written by E. E. Cummings: ‘the phonograph may(if it likes)be prophe’, which takes aim at Ezra Pound's relationship to the classical tradition and in particular at Pound's classicising use of quantitative metre. Cummings’ humourous but biting poem comments on Pound's literary ideas in the light of his fascist politics. Cummings’ poem constructs a layered discussion about ownership of the Classical tradition and about the privileging of the Classical aesthetic versus the English ear in English-language poetry. Thus Cummings offers both a critique of Pound and, implicitly, a literary argument concerning the role of the Classics in English verse.

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