But an artist is, by the very nature of creation, pledged to give form to formlessness; even the process of disintegration must be held within a pattern. This pattern is distorted and broken by Eliot's jumble of narratives, nursery-rhymes, criticism, jazz-rhythms, Dictionary of Favorite Phrases and a few lyrical moments.
I want to do two things: The stance involves, for example, a change beyond, and larger than, the technical, and may, the way things look, lead to a new poetics and to new concepts from which some sort of drama, say, or of epic, perhaps, may emerge.
Then the poem itself must, at all points, be a high-energy construct and, at all points, an energy-discharge. This is the problem which any poet who departs from closed form is specially confronted by.
And it involves a whole series of new recognitions. Thus he has to behave, and be, instant by instant, aware of some several forces just now beginning to be examined.
It is much more, for example, this push, than simply such a one as Pound put, so wisely, to get us started: Or so it got phrased by one, R. Creeley, and it makes absolute sense to me, with this possible corollary, that right form, in any given poem, is the only and exclusively possible extension of content under hand.
There it is, brothers, sitting there, for USE.
Now 3 the process of the thing, how the principle can be made so to shape the energies that the form is accomplished. And I think it can be boiled down to one statement first pounded into my head by Edward Dahlberg: It means exactly what it says, is a matter of, at all points even, I should say, of our management of daily reality as of the daily work get on with it, keep moving, keep in, speed, the nerves, their speed, the perceptions, theirs, the acts, the split second acts, the whole business, keep it moving as fast as you can, citizen.
And its excuse, its usableness, in practice. Which gets us, it ought to get us, inside the machinery, now,of how projective verse is made. If I hammer, if I recall in, and keep calling in, the breath, the breathing as distinguished from the hearing, it is for cause, it is to insist upon a part that breath plays in verse which has not due, I think, to the smothering of the power of the line by too set a concept of foot has not been sufficiently observed or practiced, but which has to be if verse is to advance to its proper force and place in the day, now, and ahead.
It is the king and pin of versification, what rules and holds together the lines, the larger forms, of a poem. I would suggest that verse here and in England dropped this secret from the late Elizabethans to Ezra Pound, lost it, in the sweetness of meter and rime, in a honey-head.
The syllable is one way to distinguish the original success of blank verse, and its falling off, with Milton. It is by their syllables that words juxtapose in beauty, by these particles of sound as clearly as by the sense of the words which they compose.
In any given instance, because there is a choice of words, the choice, if a man is in there, will be, spontaneously, the obedience of his ear to the syllables. The fineness, and the practice, lie here, at the minimum and source of speech. O western wynd, when wilt thou blow And the small rain down shall rain O Christ that my love were in my arms And I in my bed again It would do no harm, as an act of correction to both prose and verse as now written, if both rime and meter, and, in the quantity words, both sense and sound, were less in the forefront of the mind than the syllable, if the syllable, that fine creature, were more allowed to lead the harmony on.
With this warning, to those who would try: Listening for the syllables must be so constant and so scrupulous, the exaction must be so complete, that the assurance of the ear is purchased at the highest—40 hours a day—price. For from the root out, from all over the place, the syllable comes, the figures of, the dance: I say the syllable, king, and that it is spontaneous, this way: But the syllable is only the first child of the incest of verse always, that Egyptian thing, it produces twins!
The other child is the LINE.Other articles where Projective Verse is discussed: Charles Olson: in his landmark essay “Projective Verse” () that poetry was a form of “energy transferred from where the poet got it” to the reader.
In distinction from the “closed form” of conventional poetic metre, Olson proposed an “open field” that “projects” organically from the poem’s . Olson's essay "Projective Verse" originally appeared in ; by the Projective Verse theory was widely acclaimed as the dominant new concept, and it had great prestige through the sixties.
Charles Olson was an innovative poet and essayist whose work influenced numerous other writers during the s and s. In his influential essay on projective (or open) verse, Olson asserts that. Charles olson projective verse essay.
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"Verse now, ," wrote Charles Olson in his famous essay, "Projective Verse," "if it is to be of essential use, must, I take it, catch up and put into itself certain laws and possibilities of the breath, of the breathing of the man who writes as well as of his listenings.".
Charles Olson’s influential manifesto, “Projective Verse,” was first published as a pamphlet, and then was quoted extensively in William Carlos Williams’ Autobiography (). The essay introduces his ideas of “composition by field” through projective or open verse, which is a.