The Merchant of Venice - Act III (Transcription)

The Merchant of Venice - Act III‌

A Transcription of Shakespeare's Play by Ferrick Gray

Poetry Showcase

Volume 2, Issue 9

July 25

Prefatory Remarks

Concerning Elision and Contraction

(continuing from Act II)

Considering whether elision or contractions are appropriate in poetry leads to some debate. I will admit that in some instances they are appropriate, and this depends upon the poem. In others they are distracting, and often used to keep the meter. In the following, I have chosen to remove most elided forms and contractions. Those that remain make more sense to the narrative. Rather than repeat passages, the scansion and pronunciation of names follows that given in Acts I and II.

The Lost Hotels of Paris

by Jack Gilbert

Ferrick Gray

Snippets

Volume 2, Issue 4

July 16

Comments concerning Five Verses

Ginsberg came to my house one afternoon
and said he was giving up poetry
because it told lies, that language distorts.
I agreed, but asked what we have
that gets it right even that much.

I remember receiving the poem, The Lost Hotels of Paris through a mailing list for poetry. Mostly the poems that are sent to me are dull and uninspiring, but this was different.

I recall at the time (many years ago) that I had not heard of Jack Gilbert, and as a result had not read any of his poetry. This does not surprise me at all, somehow poets at the time vanished or seemed to disappear to a remote place on the earth to write, and nothing much was heard from them. It is very different now, and as it happens now I get sent all manner of things pretending to be poetry from people. No Gilberts or Ginsbergs in those.

The Merchant of Venice - Act II (Transcription)

The Merchant of Venice – Act II‌

A Transcription of Shakespeare's Play by Ferrick Gray

Poetry Showcase

Volume 2, Issue 8

July 3

Prefatory Remarks

Concerning Elision and Contraction

(a continuation from Act I)

Considering whether elision or contractions are appropriate in poetry leads to some debate. I will admit that in some instances they are appropriate, and this depends upon the poem. In others they are distracting, and often used to keep perfect meter. Frequently it is the anapest that will become the substitution for the iamb and at times the bacchic. It is a matter of prior reading that will have the rhythm come true. In the following, I have chosen to remove most elided forms and contractions. Those that remain make more sense to the narrative. Rather than repeat passages, the scansion and pronunciation of names follows that given in Act I.