History[ edit ] —
The Early Writtings of Vito Acconci. Published Printed in the United States of America 18 17 16 15 14 13 12 11 10 09 1 2 3 4 5 isbn Reprinted by permission of New Directions Publishing Corp.
A pattering sound cannot come from a block of wood. I wanted to represent the sound, not the person who was producing it, nor its metaphorical significance. It took me quite some time to come up with a solution: My solution was not to find a solution, but rather to enter into the crevice between sound and language and make countless little notes.
Our organizing theme was prompted by two fairly simple and self-evident propositions.
The first is that poetry the word comes from the Greek poiesis, a making or creation; in Medieval Latin, poetria, the art of verbal creation inherently involves the structuring of sound. What accounts for the large-scale indifference to sound structure in the current discourse on poetry?
Then, too, conventional prosodic studies cannot allow for the difference individual performance makes, much less for variants of individual and culturally determined reception. Wordsworth had no true subject except his own subjective nature, and very nearly all significant poetry since Wordsworth.
In the decades that followed — decades in which literature departments turned increasingly to Cultural Studies and Postcolonialism — the lyric paradigm, when it was invoked at all, remained the same.
Others because you did not keep That deep-sworn vow have been friends of mine; Yet always when I look death in the face, When I clamber to the heights of sleep, Or when I grow excited with wine, Suddenly I meet your face. Instead of rhyme, repetition: But the contributors to New Lyric Studies exemplify their particular theories of the lyric by citing individual cases.
But not just any short poem. For, as it turns out, all the exemplary lyrics discussed in this collection belong to the hundred-year period between and Indeed, generic classification has become much less important than the poeticity of the language itself.
To understand this shift, it will be useful to begin with etymology. Despite the efforts of later writers who were primarily poets and not composers, such as Swinburne, Hopkins, and Yeats, the lyric since the Renaissance has remained a verbal rather than a musical discipline, and the traces of its melodic origin have become largely vestigial.
The breaking of the bond between word and sound, which occurred during the fourteenth century, brought about a new double form called poetry. This form would combine the words of a language in writing and in speech such that they would be indissociable.
That other form which brings word and sound together has by no means disappeared; we call it song. A song is not a poem and a poem is not a song.
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