Vol.1 (07) - Why is this Poem so Obscure?

Why is this Poem so Obscure?

Ferrick Gray

The Yellowed Page

Volume 1, Issue 7

As a reader of poetry, no doubt you have come across one or more poems that troubled you in the manner that you found them quite obscure. In other words, you had difficulty understanding what the poet was on about or actually writing about. Rest assured you are not alone.

The fact is, this is not uncommon, even from poets we enjoy. There always seems to be that one poem (at least) that we have difficulty reading. Readers of your poetry may experience the same. Why is this?

Vol.1 (07) - The Importance of READING Poetry

The Importance of READING Poetry

Ferrick Gray

Poetically Speaking

Volume 1, Issue 7

For decades, children have been taught to read silently. One can understand the reasons for this exercise, but it certainly does not help us understand or necessarily appreciate what we read. The advantage is that there is silence, but there are many disadvantages associated with this common and insistent practice.

Vol.1 (06) - Points from T. S. Eliot’s “Ezra Pound His Metric and Poetry”

Points From T. S. Eliot’s “Ezra Pound: His Metric and Poetry”

Ferrick Gray

The Yellowed Page

Volume 1, Issue 6

Scott-James commented on Pound’s work that he us ed unfamiliar meters whilst scorning the limitations of form and meter. However, this was what Pound was all about. One needed to practice the adaptability of meter to mood. Not only this, one required a trained ear and to use a variety of meters with the original use of language.

Vol.1 (05) - More Riming Couplets Please!

More Riming Couplets Please!

Ferrick Gray

The Yellowed Page

Volume 1, Issue 5

It is without a doubt that the riming couplet has been a useful construct in formal (classical) poetry. It has been altered and adapted over the centuries, but today there is a tendency not to give a great deal of praise or time to this once popular form.

Of course, there is still the push from the vers libre ¹tribe that the formalist we may say, are no longer required and should be put out to pasture. The most common reasons are that the verse is archaic and unoriginal.

Regardless of ill-informed comments, it is with great confidence that we can say the perfection of the riming couplet (also referred to as the heroic couplet) finished with Dryden and Pope. The two were not identical in their method of composition, but Pope was inspired by the work of Dryden and so learnt a great deal to perfect his own style.

Vol.1 (04) - What is Poetry?

What is Poetry?

Ferrick Gray

The Yellowed Page

Volume 1, Issue 4

In all honesty, this is the age-old question for which there is no answer. Many people have tried, but no-one has succeeded. Yes, all have failed. The point where failure begins is when personal opinions come into the discussion, debate or in some cases argument.

What poetry is to you or me is what we may call a personal taste. But is this taste something that is naturally acquired or fed to us from an early age? Perhaps it is that we learn to feed ourselves later in life with a more palatable diet. For some that would be no poetry at all.

Vol.1 (03) - Comments on Eliot's “Reflections on vers libre”

Comments on Eliot’s “Reflections on vers libre”

Eliot’s article appeared in “The New Statesman”
Volume 8, March 3, 1917, pp 518-19

Ferrick Gray

The Yellowed Page

Volume 1, Issue 3

Eliot's essay concerning vers libre is extremely important. One may even say that it is ground-breaking because it puts to rest the so-called free verse movement. At least I would have thought so, but the believers still push on in their ignorance, thinking that if you make enough noise then someone will listen.

Vol.1 (06) - Whāt Has (Mother) Nature Done?

Whāt Has (Mother) Nature Done?

Ferrick Gray

Poetically Speaking

Volume 1, Issue 6

for Poetry Showcase

This sonnet is from Thĕ (Study of) Trees. It is included here with additions, corrections, and improved scansion notation, which will appear in the second edition.

The Spenserian¹ sonnet is unique in that the quatrains are interlocked by their rime. The rime scheme is given by abab bcbc cdcd ee with the volta always occurring at the final couplet. The sonnet is sometimes classified as Italian because it only has five rimes. However, the Italian sonnet does not have a rime-connection between the octave and sestet, of which Spenser’s does with the c-rime. Spenser’s form was not very popular, but it is very beautiful.

Vol.1 (07) - The Rape of The Lock—Canto I

The Rape of The Lock—Canto I

Ferrick Gray

Working with Pope

Volume 1, Issue 7

This analysis uses the version from:

The Twickenham Edition of the

Poems of Alexander Pope

General Editor: John Butt

Volume II — The Rape of the Lock and Other Poems

The Five Canto Version of 1714

Edited by Geoffrey Tillotson

The Broadwater Press Ltd, 1963

Vol.1 (02) - Thoughts on T. S. Eliot's “Shelley and Keats”

Thoughts on T. S. Eliot’s “Shelley and Keats”

Eliot’s lecture was delivered at Harvard University February 17, 1933

Ferrick Gray

The Yellowed Page

Volume 1, Issue 2

I am a great admirer of Mr. Eliot’s work (Eliot from now on), both poetry, prose and critical essays. Albeit I do not find the enthusiasm for Wordsworth as he does, or at least to me appears to have, I hold great interest in work. I do find his comments about Shelley (which I doubt to be flippant) quite amusing on occasions. Nevertheless, there is some truth in what he has to say about Shelley; the man and his poetry.

Vol.1 (05) - Analyzing Shelley’s “Ozymandias”

Analyzing Shelley’s “Ozymandias”

Ferrick Gray

Poetically Speaking

Volume 1, Issue 5

Introduction

Ozymandias is brilliant! Yet it is not without its critics. There has been much debate over different aspects of this short poem. Is it a sonnet? Is it written in iambic pentameter? How do you pronounce Ozymandias? How many syllables are in Ozymandias? All these and other questions litter the Shelley table.

My purpose in this essay or paper, whatever you wish to call it, is to analyze each verse of the poem for metrical variations. I am not concerned with the content or what the poem is about, only the structure of the verses.

Throughout, I will use the term metrical substitution or just substitution to refer to an iamb replaced by another metrical foot. In some ways, this is quite misleading to the reader because the poet does not consciously substitute anything whatsoever. Indeed, the poet is not concerned with what metrical feet will appear, and generally, they would have little if any interest in the business of scansion.

Vol.1 (04) - Dos and Don'ts when using Heroic Couplets

Dos and Don’ts when using Heroic Couplets

Ferrick Gray

Poetically Speaking

Volume 1, Issue 4

Heroic couplets have been a useful and successful vehicle in formal poetry. They have a uniqueness to them that is pleasing in both a visual and an auditory sense. The heroic couplet became popular through the influence of the likes of Dryden and Pope.

The Heroic Couplet defined:

1. Paired lines with the same rime.
2. Both lines are written in iambic pentameter.
3. Common themes of a lofty nature, such as heroes, gods, kings, queens, (religious) quests, and the like.

The last point is almost forgotten today, and is no longer a fixed need. From this point on, where proper, I will refer to the heroic couplet as couplet.

Vol.1 (03) - The Poet's Voice

The Poet’s Voice

Ferrick Gray

Poetically Speaking

Volume 1, Issue 3

How many times have I said this? Ha! Be yourself, and do not try to be someone else. I mention this in my essay Charging Poetry with Meaning, but I will elaborate further on what follows.

There are many people who would like to write poetry. Unfortunately, there are far too many who think they already do. Most of these do not have a good grasp of the basics of formal verse and prefer to make excuses for their ignorance.

When writing structured or metrical verse, there are several stages of development. The would-be or hopeful poet will find themselves at most stages. They may be aware of their position, or they may be oblivious until pointed out.

Vol.1 (02) - What is this Thing called Meter?

What is this Thing called Meter?

Meter—Something modern poets try to avoid.¹

Ferrick Gray

Poetically Speaking

Volume 1, Issue 2

Music for Composition

When we talk of meter in accentual-syllabic verse, it is not something that should be obvious. If it is obvious, then your work will be of little interest. After listening to over-emphasized syllables, it will become dull and boring.

Vol.1 (01) - Charging Poetry with Meaning

Charging Poetry with Meaning

With a few words from Ezra Pound

Ferrick Gray

Poetically Speaking

Volume 1, Issue 1

Ways to Group Poetry

How would you group different styles of poetry? It seems that there are a whole host of ways of doing this. As we may suspect, as many ways as there are individuals. There will be three types of poetry, regardless of your method. Sure, there are!

One such general manner is to group it according to formality. The use of formal here means structured verse. Though not at all the well-dressèd-ness of the matter, it could well be. This is one of my preferred methods.

Vol.1 (6) - An Epistle to Dr. Arbuthnot

An Epistle to Dr. Arbuthnot

Being the Prologue to the Satires

Ferrick Gray

Working with Pope

Volume 1, Issue 6

Version by the University Tutorial Press Ltd, Foxton 1950

What This Is and Is Not.

In a similar fashion to other analyses, this review will only consider metrical variations in the verses. However, the common substitution of a trochee for an iamb at the start of a verse will not be analyzed here. Some of Pope’s verses are what we call feminine, but I have not included all of them since many do not qualify as a metrical variation.

Pre-reading will always bring certain words to light as being slightly troublesome. However, this only occurs if the reader is intent on maintaining or forcing a pure iambic verse. In some cases, this is not possible. The metrical accent and speech stress do not align and give the reading a very unnatural sound and rhythm.

Vol.1 (5) - The Dunciad Book I—Verses 46, 77

The Dunciad Book I—Verses 46, 77

Ferrick Gray

Working with Pope

Volume 1, Issue 5

Vol.1 (01) - Review of “To Look Upon Eurydice” by Kenneth Daniel Wisseman

Review of “To Look upon Eurydice”

A Collection of Poems

by Kenneth Daniel Wisseman

Ferrick Gray

The Yellowed Page

Volume 1, Issue 1

The Book Proper

One of the first things you notice about this book by casually flipping through the pages is the quality of the book itself. The paper is smooth, and the text stands out well and is not small or difficult to read. Original artwork makes its appearance throughout the book, and some pages are embellished at the top with beautiful and original floral designs. Similar designs also appear beside the page numbers. Kenneth has spent a lot of time with the content and presentation to make sure the reader has the best quality book to hold for a pleasurable reading experience.

Vol.1 (04) - The Dunciad Book I—Verses 20, 37

The Dunciad Book I—Verses 20, 37

Ferrick Gray

Working with Pope

Volume 1, Issue 4

Vol.1 (3) - An Essay on Criticism

An Essay on Criticism

Ferrick Gray

Working with Pope

Volume 1, Issue 3

Introduction (or What This is Not)

This analysis is not exactly a critique, but in some ways it may well be. One would be daring to criticize a master such as Pope. However, this is about analyzing the metrical variations that Pope has employed in his work. In some instances, the verses do not seem to follow without our stumbling across certain words. When the construction of the verse is explained, we can see how the verse is to be read. For the most part, Pope is very consistent, yet there are still variations that require the reader to be alert. Often, we immediately look for the iambic rhythm, but this is not always the case, and the verse will not read well if we enforce this rhythm.

This analysis consists of the metrical variations used in the entire work. For the verses to be analyzed, I have also included the companion verse in the couplet that is being analyzed.

Substitutions of the first foot of a trochee for an iamb are not considered in this analysis, as it is a common substitution to take place, and generally, the reader will have little difficulty in reading the verse correctly. The verses being looked at are those for which the metrical accent does not match the speech stress if we assume a normalized pentameter line.

Vol.1 (2) - The Dunciad Book I—Verses 15, 17

The Dunciad Book I—Verses 15, 17

Ferrick Gray

Working with Pope

Volume 1, Issue 2

Verse 15

15 Laborious, heavy, busy, bold, and blind,
16 She rul’d, in native Anarchy, the mind.

Vol.1 (01) - The Dunciad Book I—Verses 11, 12

The Dunciad Book I—Verses 11, 12

Ferrick Gray

Working with Pope

Volume 1, Issue 1

Alexander Pope is a poet unsurpassed in skill, creativity, and wit. His expertise using what we may call the rimed couplet is beyond belief. His idol John Dryden also used this form, but Pope made it his own and perfected it. No one can dispute this fact.

Whether we call rimed couplets in iambic pentameter heroic couplets is a matter of definition. There has been a blurring of interpretations over the years. Heroic was at one time used to describe this form due to the translation of Greek epics by Dryden and Pope. It often referred to lofty themes such as G(g)od(s), kings, queens, religious quest, and the like. The resulting poems were also lengthy, thus epic or narrative. At one time, it was also considered that these should be closed couplet. Meaning that their sense did not extend beyond the two verses. So much for enjambment of couplets!