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Reader Advisory: This Post May Contain *Poetry*!!!
!!!
Be prepared to:
LAUGH
CRY
EXPERIENCE TRUTH!!!
🙂
Photo: author: Asbestos; Src: WikiCommons; Licence: CC 2.0
That Place in the Thigh
That Place in the Thigh
(for my grandfather, Franklin)
you’ll turn the fans on, that
first night;
in the morning, the skies
will be flat,
the leaves listless, tattered,
zephyrs
wandering up the hills;
it isn’t autumn yet,
when you boil apples down in
sugar and vinegar—no, and
no new work yet, the pain fresh
and hungry—
you can’t tell the buddies, not really,
about this place, damp & ratty &
you don’t want to know what
your family might say, the gospel
choir downstairs notwithstanding…
and, after all, what is there to say; things happen.
in the evening, when the
sun turns the wires to silver ladders
and burns the brick wall blowzy
and shining,
you’ll wonder
about your boy, sharp as his mother,
(no belly of clouds)
and tough,
but for the
ineffable rage, the phone call with
the minister at your side, the frantic silence,
the wife’s dignity: “He’s out…does he
have your number?”
there is a final thought, the world
sliding down towards absence—you must
climb the words, one by one, knowing no
one is listening, that astray you have
known things people will remember: that
the floor of heaven is stone, that the man
who lives there wears your face,
that what we say is just what we
say, not what the
words might—
that you will not see until you see
your face scattered
and sprung,
hear
the sound of his feet on the
stairs, the short, polite knock—
the words will come to you
then, the
trains clattering away down the block,
your hair cropped and
the wine cooled all night—
and his words, too, unvictorious,
wrestled–uncontrite, limping &
named–
shaped, as if in bone-struggle (that
place in the thigh)
and
afterwards,
steaming on battered brick,
(heaven’s sluice)—
the rain, the
long sheets of rain.
#
–The Rag Tree
##
Photo: Oak Leaves; E. Herbst; WikiCommons
Hot Springs in Snow
There are worse ways to warm the spirit come January:
♦
Hot Springs in Snow
The air steams, the trees
bend and shed a mist of ice:
Your face blossoms joy.
–The Rag Tree
♦
The Dragons of Grammar
•
I suspect that grammar is often thought of as one of “the dismal arts” (which really isn’t a contradiction in terms), that is, as in the same category as, say, plumbing. And there is no denying that grammar lies somewhere deep in the guts of language–just listen to the names of its components:
1) Morphology; (links to RT’s page on subject)
2) Syntax;
3) Phonology;
♥
No wonder there’s a glamor issue here. But a recent remark by Wordgathering has inspired me to attempt to make the enterprise a little sexier, a likelier candidate for a tweet or two.
-
Morphology: deals with the units of meaning in language: words, parts of speech, intonation/stress, and how they work to build up meaning.
-
Syntax: deals with the way sentences are put together in a language. If a language is highly inflected, its syntax (or word-order) is fairly unimportant to meaning; if a language is not inflected (English, for example), word-order becomes vital to meaning.
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Phonology: deals with the music of a language, that is, the ways it uses syllables, rythym, gestures, and (oh mi gosh!) rhyme to articulate and enhance meaning. One might think of it as the scientific study of poetry.
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Phonetics: deals with the actual, physical production of language–how the mouth, sinuses, and throat act during speech. It is concerned with such things as acoustic properties, auditory perception, and neurophysiological issues.
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Semantics: deals with meaning as it is conveyed through words, phrases, signs, and symbols. It attempts to answer the question, how does language encode and convey meaning?
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Pragmatics: deals with the way context contributes to meaning. It focuses on such things as talk in everyday situations, implication, and ambiguity.
Peace on Earth
…and goodwill to all men!
♦
“They shall beat their swords into plowshares,
And their spears into pruning hooks;
Nation shall not lift up sword against nation,
Neither shall they learn war anymore.”
–Isaiah
♦
Image 1: Marianne Stokes, An Angel; Image 2: Dolledre. Src: Wikicommons
Hubble’s Christmas
Here’s a gift from Santa to widen an elf’s eyes…
(photo src: Hubble Telescope; NASA & ST-sci)
The IPA
As far as I know, there is only one alphabet that can represent in writing any sound spoken in any language: the International Phonetic Alphabet.
The origins of the IPA go all the way back to 1886, when a group of French linguists formed the International Phonetic Association. Working originally with an alphabet designed to represent any sound spoken in a European language, the Association redesigned its alphabet in 1888 so that it could be used to write any language.
Since its inception, the IPA has undergone several revisions, the most recent of which took place in 2005. But the core of the alphabet has remained unchanged for some time.
Hold onto your hats, folks. This alphabet does not look like anything you’ve ever seen before. Rather than providing a lengthy explanation, I’m just going to upload a chart containing the alphabet, so that people can get used to the look of it:
*
Ok, folks, take your time getting used to this: the IPA is the scientific approach to creating an alphabet, and was created instead of evolving over thousands of years, like the English Alphabet. There is certainly no need to master all of it; it does, however, indicate the range of sounds that people make. And I might as well say now that this is not the complete alphabet; I’ll post the other charts in one of my next few posts. RT
*
Chart source: Omniglot.com
The Black Pearl
•
The Black Pearl is the title of the only film we are pretty sure my grandfather starred in; it was a silent movie, and his leading lady was Leatrice Joy. According to granddad, the film was shot in New Orleans, we think possibly in 1925.
I never knew my grandfather; he died in 1941 and I was born in 1960. As I reported earlier in this blog, we found an interview he gave with the Baltimore Sun in 1913; several weeks ago, we found a second interview, this time given to the L.A. Times. This is the interview in which he mentions The Black Pearl.
Reconstructing his life has been made much easier by the fact that he was an actor on the live stage. On the other hand, finding still photos of him or other memorabilia has been made hard by the fact that the theater and screen life of the 20s seems to have largely disappeared. Some estimate that 75 percent of all silent films made have been lost, due mainly to the unstable medium (nitrate) the films were recorded on. Likewise, many of the theaters where he performed are no longer standing, or only their facades have been saved. I have not been able so far to find out anything about The Black Pearl, including whether or not it has survived.
More about our search for granddad can be found on my mother’s blog, Mood Indigo. The blog includes extracts from her childhood memoir and articles about political and entertainment figures of the time. It’s worth checking out…pre-war America was an amazing place (I didn’t even know that New Orleans had a movie industry in the 20s) that deserves to be better remembered than it is. RT
p.s. and contructive comments on improving her blog are always welcome!
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“Heart, you round me right”
Fellow blogger Cross-ties’ reflection on my reflection on the relationship between poetry and magic got me thinking once more on the topic; he referenced Gerard Manley Hopkins’ poem, “Spelt from Sibyls Leaves,” certainly one of the finest poems from the Victorian era. I offer the poem below, full as it is with Hopkins’ quirks and epiphanies:
•
32. Spelt from Sibyl’s Leaves
•
EARNEST, earthless, equal, attuneable, ‘ vaulty, voluminous, … stupendous
Evening strains to be tíme’s vást, ‘ womb-of-all, home-of-all, hearse-of-all night.
Her fond yellow hornlight wound to the west, ‘ her wild hollow hoarlight hung to the height
Waste; her earliest stars, earl-stars, ‘ stárs principal, overbend us,
Fíre-féaturing heaven. For earth ‘ her being has unbound, her dapple is at an end, as- 5
tray or aswarm, all throughther, in throngs; ‘ self ín self steedèd and páshed—qúite
Disremembering, dísmémbering ‘ áll now. Heart, you round me right
With: Óur évening is over us; óur night ‘ whélms, whélms, ánd will end us.
Only the beak-leaved boughs dragonish ‘ damask the tool-smooth bleak light; black,
Ever so black on it. Óur tale, O óur oracle! ‘ Lét life, wáned, ah lét life wind 10
Off hér once skéined stained véined variety ‘ upon, áll on twó spools; párt, pen, páck
Now her áll in twó flocks, twó folds—black, white; ‘ right, wrong; reckon but, reck but, mind
But thése two; wáre of a wórld where bút these ‘ twó tell, each off the óther; of a rack
Where, selfwrung, selfstrung, sheathe- and shelterless, ‘ thóughts agaínst thoughts ín groans grínd.
Gerard Manley Hopkins (1844-1889)
text source: www.Bartleby.com
P.S. Ms. Aubrey also has some insights on the period.
Teaching English
- Understanding, Mural by R. Highsmith; WikiC
















