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Hearing the Voice of Poetry. Nor would I be a Poet – It’s finer – own the Ear – Enamoured – impotent – content – The Licence to revere. A privilege so awful What would the dower be, Had I the Art to stun myself With Bolts of Melody! ( “I would not paint – a picture” - Emily Dickinson) - PowerPoint PPT Presentation
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Nor would I be a Poet –It’s finer – own the Ear –Enamoured – impotent – content –The Licence to revere.A privilege so awfulWhat would the dower be,Had I the Art to stun myselfWith Bolts of Melody!
( “I would not paint – a picture” - Emily Dickinson)
Joy AlexanderQueen’s University, Belfast
Hearing the Voice of Poetry
The Wedding GuestWoodcut by Gustav Doré, 1889
Click icon to add picture
Ferocious Alphabets Denis Donoghue. 1981. London: Faber and Faber.
Graphi-reader
The graphireader deals with
writing as such and does not
think of it as transcribing an event
properly construed as vocal and
audible. (p.151)
Epi-reader
Epireaders say to poems: I want to hear you. (p.152)
Reading Frost’s “Desert Places” islike reading Hardy’s “During WindAnd Rain” or “The Haunter”:youdon’t even think of language inany way that separates it from
thevoice and the feelings that have made the voice what it is.
(p.130)
The How of Literature Ruth Finnegan Oral Tradition, 20/2 (2005): 164-187
Literature is experienced in terms of itsimmediacy, in the temporal moment. This can come in a variety of forms: through embodied enactment, for example, or public theatrical display, or, more subtly, through the enperformancing of a written text, the“now” when the reader personallyencounters and re-creates it—“performs” it.
(p. 176)
You learn to read poetry by reading poetry.
You learn to read poetry by reading poetry.
Find as many ways as possible to get young people reading poems aloud for themselves.
l(a
leaffa
ll
s)onel
iness
e e cummings
She loves you, yeah, yeah, yeahShe loves you, yeah, yeah, yeahShe loves you, yeah, yeah, yeah, yeah
You think you lost your love,When I saw her yesterday.It's you she's thinking ofAnd she told me what to say.She says she loves youAnd you know that can't be bad.Yes, she loves youAnd you know you should be glad.
She said you hurt her soShe almost lost her mind.But now she said she knowsYou're not the hurting kind.She says she loves youAnd you know that can't be bad.Yes, she loves youAnd you know you should be glad. Ooh!
You learn to read poetry by reading poetry.
Find as many ways as possible to get young people reading poems aloud for themselves.
You learn to read poetry by reading poetry.
Poets write poems in such a way as to direct us to read them as they intend.
Find as many ways as possible to get young people reading poems aloud for themselves.
Influences: The power of T. S. Eliot.Seamus Heaney. Boston Review, October, 1989.
http://bostonreview.net/BR14.5/heaney.html
Re-construct:4 four-line verses (counting the title as a line).The only punctuation is one full stop, which is not at the end.
To a Poor Old Womanmunching a plum on the street, a paper bagof them in her hand. They taste good to her.They taste good to her. They taste good toher. You can see it by the way she givesherself to the one half sucked out in her hand. Comforted, a solace of ripe plumsseeming to fill the air. They taste good toher.
To a Poor Old WomanWilliam Carlos Williams
munching a plum on the street a paper bag of them in her hand
They taste good to her They taste good to her. They taste good to her
You can see it by the way she gives herself to the one half sucked out in her hand
Comforted a solace of ripe plums seeming to fill the air They taste good to her
We real cool. We left school. We lurk late. We strike straight. We sing sin. We thin gin. We jazz June. We die soon.
We real cool. We left school. We lurk late. We strike straight. We sing sin. We thin gin. We jazz June. We die soon.
We real cool. We left school. We lurk late. We strike straight. We sing sin. We thin gin. We jazz June. We die soon.
We real cool. We left school. We lurk late. We strike straight. We sing sin. We thin gin. We jazz June. We die soon.
We real cool. We left school. We lurk late. We strike straight. We sing sin. We thin gin. We jazz June. We die soon.
I’m real cool. I left school. I lurk late. I strike straight. I sing sin. I thin gin. I jazz June. I’ll die soon.
We real cool. WeLeft school. We
Lurk late. We Strike straight. We
Sing sin. We Thin gin. We
Jazz June.
Tone of last line:
(a) factual
(b) sad
(c) bitter
(d) other
THE POOL PLAYERS SEVEN AT THE GOLDEN SHOVEL
by Gwendolyn Brooks
We real cool. WeLeft school. We
Lurk late. We Strike straight. We
Sing sin. We Thin gin. We Jazz June. We Die soon.
reading/hearing the poem
reading/hearing the poem
pupil discovery rather than teacher talk
reading/hearing the poem
pupil discovery rather than teacher talk
inclusive – accessible to all
golden shovel
We die soon.We real cool.
golden shovel
We die soon.
A Harlem Pool HallThe Golden Shovel
We real cool.
golden shovel
Perhaps the kind of effort (as sacrifice or self-restraint)associated with listening in the classroom is the product of resistance, by teachers and pupils, to fixed outcomes. ('Listening, Juggling and Travelling in Philosophical Space,' J Haynes and K Murris, http://www.arasite.org/pwc.html)
To see things as the poet sees them I must share his consciousness and not attend to it; I must look where he Looks and not turn round to face him; I must make of himnot a spectacle but a pair of spectacles. (The Personal Heresy, C S Lewis and E M W Tillyard, 1939)
The first demand any work of art makes upon us is surrender, Look. Listen. Receive. Get yourself out of the way. (An Experiment in Criticism, C S Lewis, 1961)
“The ear is the only true writer and the only true reader.” Robert Frost.
“Keats is my guy, but Yeats has endless discovery. I read it out loud to myself because then it becomes comprehensible. I ask my kids’ teachers why they don’t have to learn poetry by heart. It’s a drag, a bit poofy, but boy, does it stay with you.”
Bob Geldof.
“I tell kids that poetry has to be part of education because it is the very point of education, as exam-passing is not.”
Les Murray.