Varieties of Poetic Syntax

Donald Davie shares with Fenollosa this belief that poet and grammarian are on one side opposing logicians. While poetry has been demeaned at times as nonsyntactical or ungrammatical, Fenollosa makes the point that the poet is "an ideal grammarian who has broken for good the alliance with logic" (253). Grammar seems to develop itself through a cosmic sanction occuring while writing poetry; syntax as music obeys (in the transitive sentence) a law of nature, rendering its own 'form of thought'. Many have their own mode of writing and we talk about form in class sometimes. Some people write and descide the form afterwards (while typing), some people allow the poetry to dictate its own form as it spirals out of poet onto page; most are somewhere inbetween, allowing the poem to dictate its form and be dictated upon by the poet's conscious projection as to what the poem will carry (for us). Can a poem be projected upon? -- Syntax as music -- The poet utilizes grammar to his/her advantage to make music out of structure. Symbolist theories support the grammatical inquiries of poets since grammar will parallel forms of thought and forms of thought best [a verb] parallel forms of non-mental existence -- that is, the well of poetic substance so dive deep. For me the question has always been more the forms of non-mental existence, where and how, and always through the grammatical means, the poet, grammatically perfect in cosmic sanction. To truely appreciate others is to recognize cosmic sanction in a more experiential existence, a conscious interplay with grammar.

Poetic syntax as a skeleton on which to hang, like skin and meat, the poetric elements of imagery or rhythm. Poetic syntax the frame of the poem, neutral only within poems wherein the skeleton or syntax is neither well nor ill-proportioned. Most poems deal with neutral skeletal structures or syntax in poetry versus poetic syntax. Poetic syntax is merely an extension of the poem itself manifested in Pound's Cantos which exist as invertibrates, lacking syntax though not without cause. Poetic syntax does not contribute to critical machinery , rather serves as one of the several sources of poetic pleasure (255).

THE FIVE VARIETIES OF POETIC SYNTAX:

SUBJECTIVE - Key words are "form of thought". Poetic thought. Experience. The subjective piece wants to follow the poet's experience. Through syntax this happens. In "This Lime-tree Bower my Prison" the function of the work happens in two ways. Coleridge wants to express what has been lost, however in starting a sentence with "I have lost" and continuing onward with seemingly no end, the poem shows itself amoung others that the imagination will not be lost. Connections in grammatical sense will mimic a logical link in the thinking/feeling experience of reading a poem. As a poet, the question, ?How do my connection between words affect my readers? Images will come out of images where before the logician would want all images to arise from verbs. "The true voice of feeling" found in syntax. The articulations of subjective syntax will take over in the absense of projected verse.

DRAMATIC - The distinguishing point between dramatic syntax and the prior ( objective syntax) is the origin of the form of thought, as in dramatic syntax coming from another mind other than the poet's. Dramatic syntax happens in plays though is rare due to the aptitude of the dramatic nature to be applied to the ear whereas syntax, the page. Repititions of words function as lashings of a whip "tickly Commodity, / Commodity, the bias of the world, / The world, who of itself is peised well... " (266).

OBJECTIVE - How syntax follows a form of action through the world at large, not limited to any one mind. Concerning itself more with concepts known to man which syntax can work with through changing word order like changing order of time, and rightfully though in the time of a sentence, which to Fenollosa, carries a plot. Syntax with a mimetic function to cling closely to the experience behind it. Much more wholistic than syntax like mathematics, that is more like a skeleton with no meat.

SYNTAX LIKE MUSIC- Wherein a feeling to each form in not specified. As in music, in syntax like music, a common feeling does not associate itself but rather is the presentation of the human feelings as they are born without attachment to one specific feeling. A much more spontaneously becomming child who does not grasp onto sadness, yet changes indefinately as the experience. Thus the thought is followed through the poet's mind, however not defined in syntaxical form. One part of the struggle portrayed, though towards no end. Merely to supply one part of a larger whole, not able to pin down the totality of the experience, for there is not such totality. Lines carry the music quality that tells the reader what to feel. Words a musical tones. Refered to as the figure of grammar. Implying substitution of words to create same meaning/feeling.

SYNTAX LIKE MATHEMATICS- The poem is the poem's subject and does not address the reader. The poem functions to please us only through pleasing itself. Meaningless poems since the structure of the poem is meant to be the interesting point of the poem, not anything the poet has to share besides the mechanical nature of the poem. Differs from other kinds of syntax in giving poetic pleasure. A crowded category.

A Statement of Poetics

“Poetry contributes intense records to history”. Through tuning into the human tradition, "a voice which has developed among the sounds of natural things"[,] and thus escap[ing] the confines of a time and place" poetry proves "international", and more commonly associated, transcendent (20). Poetry, a cultural phenomenon, grows from "precise information on existence" and "information of its own existence, that is, the movement (and tone) of the words. Rhythm, pulse keeping time with existence, is the distinction of this technique (20). Poetry, an independent, cohesed with "precise information on existence" travels a space time continuum as light (20). When the light transfers to language, as in Zukofsky's "An Objective", there is an opening for the eased examination and directed mediculyzing of language within its own projected limits. Not to say the intellectual framework of language itself poetry, nor poetry, a thing in combination with historical epochs, separate from the projected limits within epistemological reality. Although “it is assumed that epistemological problems do not affect existence” (13). Objectification, (through perception), the lens, brings "the rays of an object to a focus; that which is aimed at", held within desire, "for what is objectively perfect, inextricable the direction of historic and contemporary particulars" (12). A contemporary particular, "the omission of names [,] is prompted by the historical method of the Chinese sage who wrote 'Then for nine reigns there was no literary production'''(12). Omission suggests the absences of "the consciousness of the 'objectively perfect''' as well as the absence of "an interest in clear or vital 'particulars'''(12). Poets rise to inspire through a muse-ic presentation, “writing [as] a reassertion of faith that the combined letters - the word - are absolute symbols for objects, states, acts, [and] interrelations" (14). Poetry arises from shapes, as “precursors of completed sound or structure” (12). As for the origin of writing inspired particulars "which is the detail not mirage, of seeing or thinking with the things as they exist", poetry is information coding its own existence, fused with "precise information on existence" (20). The manifestation of the focus of an object through perception first travels a space time continuum as light to birth poetry which originates in objective precision and discrimination since perception relative to particulars can produce something authentic within existence and historical significance.

Cited from Zukofsky’s “An Objective” and “A Statement for Poetry” found in Prepositions + printed by Wesleyan University Press.

Chinese symbology as a gateway to zen and well being, consciousness, like reality, flowing never ceasing

Chinese Medicine, as a healer, is an interest of mine. Elements of healing from Oriental point of view versus western empiricalism in comparison with eastern symbols denoting natural process versus phonetic symbols denoting the same. Again, the two cultures diametrically opposed. What value do you see in letters versus a value you see in symbols?

Perhaps the symbols hold nothing. From the vantage point of our americaness we are so alienated from the symbols we attach no meaning. Looking deeper, we begin, using this lovely right brain of ours, to intuit just why man is this symbol like a 'wishbone' and why "sees" is this view box with legs and "horse" is sort of like a view box with an extension and four plots below. Though, possible that withero we are using left brain empiricalism or these symbols are to be taken lightly and osmosed through our symbols for us to understand. The drilling of symbols to denote natural process in our attempt to assimulate to the chinese language grants little success when compared with the ease of integration when simply letting the symbols freely pass over our consciousness, attaching little or no meaning, simply appreciation and recognition. Healing from a Chinese point of view is very similiar. Less memorization and more real life survival intuitive proof of 'knowing' the elements in the chinese symbology in and of our cells.

Gesture and symbols as means for communication which in are "based upon a vivid shorthand picture of the operations of nature". Again returning to consciousness and the dichotomy between eastern and western structures of this consciousness. We use words, Chinese use symbols, a shorthand dipiction of what actually happened. If we can back up to the moment in time of creation where words/symbols came into being to express 'natural process' we see an immediate division between eastern and western (american) minds as to the expression of these 'natural processes'. Western (american) mind gave meaning to what where before arbitary letters and sounds -- phonetics. Eastern developed rather a pictural representation of the natural processes, a shorthand account of action. Western (american) developing letters which loose arbitariness and Eastern interpretation allows for a more intuitive and right brain based idealogy as to what constitutes language. More room for interpretation within symbols as to words, letters, sounds, phonetics. Is this true?

"The group holds more of a continuous moving picture" -- in reference to the symbols "man", "sees" and "horse". The Chinese point of view is that that all is in continuous motion in life. Western (american) thought tends to hold more of a conservatisim that all is fixed, less open to change.

"Watching things work out for their own fate" -- in reference to chinese symbology as opposed to american letters. For me, Chinese indicates, as usual, a wholistic approach. Meaning thus that within Chinese symbology, as noted: "the combin{ation} {of} both elements... the vividness of painting and ... the mobility of sounds..." (363). Wherein before, as mere readers of Western( american) thought we "juggle mental counters" which to me is indication enough to intuit western thought as more trying to "control" the interfaces of a reality (poetic reality, horse moving through midnight reality, any reality really) rather than ease up breath and let the reality pass through our consciousness. Perhaps an ambition from the birth of our country to stand up for ourselves and not take no Britain pain in the arse control. The foundation of our country is that of pure intent, though purity within the naivete of immaturity, more our people, much like today, rushed in too fast.. the Indians hold the "reality" of our lands and we, unable to see such truth and simplicity in god, rushed in to change the existing structure with our WORDS.

Personism Manifesto Frank

"just go on your nerve... if someone's chasing you down the street with a knife you just run, you don't turn around and shout"

Give it up, i went to Mars last night and i don't know when i'll come back. it took me a minute a half to get recentered after all those martians, you know how they are.. they started prodding me and asking me questions with lights in my eyes and you know i couldn't answer any of their questions because i didn't know what tonge they where using it went clickety clickety like these keyboard tiles here stirring me back into the oblivion where the center gets turned around because martian gravity mixed with the density of the earth plane i resignated to resonate with creates the best vegan gravy i've ever had!

and i'm all mad! their emotions are blood. not heart pumping our systems full of attic expression where the stars are just painted on post mats after the modernists left, more so a dinner from last week and i was so hungry i ate it anyway and it was a dumpster filled with human soup some were skulls too even. my refreshment won't come because i already got grimey and there is no water in this martian climate just swampy dirt boot stomp.

of course i want you to get it. i want you to grap my fuckin head and slam it into the volcano breathing true nature until all the meat falls off your bones and into my soup. then i'll heat it up with the brains, put it on your skin,(already removed from your body) and toast it all up. that's how i would to make a deer skin anyway. martian skill lasts better when the center went away and the gravity's all different. you want it to be the same and maybe sometime sanity wil come to clean the stalls though in this generation i think we've all made the hit.

still not sure what yearning is, besides taking a ladle to the soup before the skulls came off the skeletons. who wants to wait, a skeleton is just you when you were still breathing only the spirit is somewhere else. since time's not linear i can do it now and it just does not matter. get married at 5 and bite mom's hand at 28 when saturn's not coming anyway because i told you the gravy's different and it just won't ever be the same.

abstractionoid

"Let Jesus do the Driving"

to note title:( funny since Jesus drives automobiles. .period., though adding --i think Angels come and will drive the car if we are going to crash. imagine this man driving a car in his rope sandals and stigmata-ed hands -- Him entering through our body, the spirit of his, when we've floated out of our body (since people on this planet leave their bodies a lot) at which point other spirits, deities, Angels will come into our cages (flesh bodies), or just come into the vicinity in which our flesh bodies reside, and intervene, i.e. save cars from crashing, poor decesions, or not also to note: meat. ) and furthermore, sometimes we should just evolve and not resist so much, to know we are cared for eternally in each moment as to let Him, denoting Christ Consciousness within), to drive my star powered automobile, analogous with this material life of mine a force only to evolve the soul. if it's all maya, and we know it, why play?

------------------------------------------------------------------------------------------------
(now for the real poem)
I N R I

I design my resignation to dominion
k Nowing i am all is organic source
Reality provides application of my Mastery over Maya
I guard my thoughts with my life, (a contrived agility)

like her, the one is class

You can either go there or
knot
Dimension, clear plane or
knot
Move, make happen or
knot
Where does stranger end or
knot
Speak, befriend, glee or
knot
If you are hungry you will or
knot
Twisted contrivation or
knot
libatory, bait, shun

Mi Manifesto channeled through Shelley post

As the White Albatross, a symbol of our own divinity crashes upon the turnpike of Industrial thought, so the detergents, an adherance to principle, lead down a trodded path lite by the lyre of distortion's inherant humanism. Beastiality, comunion with the spirits of pure instinctual function, denote freedom of contortion of fluids. Binding thus the lower octave of Mars with a primary brain of distinction of what consititues Base in a reality of etherism when i am otherwise, since this and all the framework of intellectual constructs imprint DNA encodement as the leaf upon the soiled pages of poetic time deterred once again in equality whence faces whince in sexual expression of the Hierophant.
Percy denotes freedom. Let it be so and always so, the poet a vessel to bring into convergence the etherial network of man which is and is not. Shall it be said the base material consciousness, a vibratory rate illusory existence like me on wine, lowered depressant to think inhibition denotes God sent will to perceive Saturn, the archeype of systems of man, a civilization that falls in time as though a dimension to love, just as the base gives fruit to the seed of which poetics come, Saturn, time and society shall only free us upon ourselves. In this existence where we do constitute our reality, we have made, collectively, a society based on the base. We rise as poets, surely, though as the wolves shall not circumceed the slowest of the pack lest he shall move faster, society keeps the base at now lest we shall come to a collective state of evolution higher relative to that of now. What this does for us is a gift. To buy time we pay in base desire the very material realm of existance that constitutes the nature of the base. Blessed be such banality for within such are the entrapments of man in which we contort our physical mind to wrap language into a Gyro and chow down on the meats of a labor very much so that relative to meat we create spells upon which human experiences the self. An open dimension for direct application, (Virgo) of the etherial, the poet, GOD, (Neptune) and through the realms of the material, the base phenomenon, we are the bridges to give words, a more direct standard to communicate wherein before were mere grunts and silence only.

traveling the astral in class, high after class now still

sometimes i feel like me
me is separated from my ego
anything that would associate itself as Isa
since Isa is just a form i take to incarnate here
on earth

i'm Isa of course
i work on shifting consciousness from ego
to soulevel to
make it worth the density taken on
with bodies
here

it's really all worth it
no separation no guilt
no struggle no strife
only with our bodies
they are good are moving good
and hard
and rough
likebraintanning
where skin does not tear

you cannot tear at friend's flesh
like at the deer
when the skinned skin pinned
against a tree to scrape with all
amazone purity
never ripping

an urge you cannot experience with men
there skin will rip
it's not as pure
the deer will take it
kali kali kali

durge

namo

namah

ah