I came across this book, which I believe was initially published in 1966. It struck me as being rather conservative, and perhaps even a bit stodgy. It wasn't an effortless read by any means. However, during my perusal, I did manage to uncover some valuable perspectives on formal poetry.

These insights have the potential to be truly beneficial. I am hopeful that I will be able to fully internalize them and incorporate them into my own understanding and appreciation of poetry.

Despite its initial appearance of being a bit old-fashioned, this book has proven to have some hidden gems within its pages. It serves as a reminder that sometimes, even the most seemingly unassuming works can hold great value and offer new ways of looking at familiar things.

I look forward to further exploring the ideas presented in this book and seeing how they might influence my future encounters with formal poetry.

A Treasure Forever

Fussell's work is truly a treasure forever. Although he can be a bit fussy at times, it's clear why he is a theorist and a historian rather than an actual critic. His insights into poetry often seem touchingly facile. However, for anyone who wants to write or read poetry, his work contains a wealth of information presented in a fairly easy to digest format. This is quite rare in the field of prosodic theory. It offers valuable perspectives and knowledge that can enhance one's understanding and appreciation of poetry. Whether you're a budding poet or a passionate reader, there is much to gain from exploring Fussell's ideas.

Despite its limitations, his work remains an important contribution to the study of poetry. It serves as a starting point for further exploration and discussion, and it can inspire new ways of thinking about this beautiful art form. So, don't be deterred by the occasional fussiness or facile insights. Instead, embrace the wealth of information and let it enrich your own poetic journey.

What is desired is the closest possible approximation of absolute density. The texture of a poem must indeed be dense. When old-fashioned critics claim that in a poem every vein must be rifted with ore, that is precisely what they mean in their quaint manner.

Urban density was the decision made by our exalted elders for Eugene. They established an urban growth boundary to salvage the farmlands, wetlands, and wild places beyond. However, the Amazon headwaters fall within this urban growth boundary. Now, the question is how to save them? Capitalists encroach upon the wild mystery, demanding their pound of flesh, catch of fish, and corrupting industry. Maybe a hospital, a prison, a place for human beings to work or live, to make enough money to buy the next thing, already obsolete and long ago planned that way, to deflect radicalism arising naturally from working-class leisure. Lane County Commissioners budget in herbicides to kill weeds, rodent houses, insect nests, and feed reptiles, raptors, and their flighted, leathery cousins - bats.

I recently saw three eagles at the headwaters: two mature and one juvenile, gliding above the slough where herons rest lazily, visiting Canada geese assemble, and mallards splash down noisily. I think of Central Park, a place carved out of concrete misery.

There must be space for wildness in the density. Is it given by Fussell, or neglected? Does he nod to nature in his caveat: "the closest possible approximation"? Let's give him that.

"The texture of a poem must be dense." Perhaps poetry is a weaving. Let this weaving be a dense one, multi-layered and warming. But suppose a semi-permeable membrane is wanted, a substance that allows breath like a tea towel resting on rising bread or employed to filter coffee. I may not enjoy my unleavened bread with coffee-stained water as much as I love my wine, which must be racked time and time through holy cheesecloth, erasing bitterness from the flow of rich juice.

Take, and drink. This is my blood dense as water, 'cause that's what I'm made of. Mostly water, but also a fragrant summer breeze, making my breath after it flows over the spiked leaves of flowering mimosa - how fine and insubstantial their brilliant petals, like strokes from my pen.

In fact, it's so hot this summer that I prefer my clothing to be linen-light and loose-weaved, so the coastal wind can softly meet the sweat of my skin. Why density? Why this, only this dogma, with no other way to be?

If I strip in my yard, my breasts and belly sway gently; invisible particles bind my body, drawing soft boundaries as they careen through empty spaces - space makes me, yet Fussell commands I make artful density. Hard cheese, not Swiss or a spreadable brie. Only one sharp flavor may please his critical palate.

PRAISE GOD I'm still a redneck, nobody woman. I'll spread triple-cream Camembert on my flat crackers, sip champagne full of fun, empty bubbles, and give you the finger while I surrender to frothy, indulgent excess.

"Old-fashioned critics... quaint." Kinda like old-school chauvinism that praises only male poets and invokes a male reader? Mattie Peterson expends all her energy on rhyme, Emily belongs solidly (having been refined), Tess Gallagher for her opening, and Marianne Moore, the novelty who may demonstrate her superficial, feminine syllablism just to entertain jaded males - so far, these are my women, shyly inviting masculine criticism. So glad I'm here to amuse you, really. Can't think of anything else but that you might want and use me.

This article provides great assistance in understanding poetic devices.

It is not specifically targeted at beginners. However, if you have some acquaintance with meter, it offers a wonderful exploration of metric variation and stanza forms, accompanied by numerous examples.

Fussell states at the outset that it is not intended to instruct poets on how to compose better poetry. Instead, its aim is to assist readers in deriving greater enjoyment from the works they peruse.

I have discovered that it serves both functions admirably. It not only helps poets enhance their understanding of different poetic techniques but also enables readers to appreciate poetry on a deeper level.

Therefore, I would highly recommend this article to anyone with an interest in poetry, whether they are poets or simply enthusiasts. It provides valuable insights and practical examples that can enrich one's experience of reading and writing poetry.

I never would have learned how to scan poetry without this book. It is truly an essential resource for anyone interested in the art of poetry. At first glance, it may seem intensely boring, but once you delve into its pages, you will discover a wealth of good information on writing and scanning poetry.

The author has done an excellent job of presenting complex concepts in a clear and understandable way. The book covers everything from the basics of meter and rhythm to more advanced techniques such as alliteration and assonance. It also includes numerous examples of poetry from different eras and genres, which helps to illustrate the various concepts being discussed.

Overall, I would highly recommend this book to anyone who wants to improve their understanding and appreciation of poetry. While it may not be the most exciting read, it is definitely one of the most informative and useful.

808.1 F994p 1979

This particular reference, 808.1 F994p 1979, seems to hold a certain significance. It could potentially be a code or an identifier for a specific item, document, or perhaps a research study.

The "808.1" might refer to a particular category or classification within a larger system. It could be related to a specific field of study, such as science, technology, or humanities.

The "F994p" could be a more detailed subcategory or a specific code assigned to this particular item within the 808.1 category. It might provide additional information about the nature or characteristics of the item.

The "1979" likely indicates the year in which this item was created, published, or otherwise relevant. It gives us a temporal context and helps us to understand when this particular piece of information or object came into existence.

Overall, while the meaning of 808.1 F994p 1979 may not be immediately clear without further context, it holds the potential to unlock a wealth of information about a specific item or topic within a particular domain.

Fussell's work is not just a simple exploration of the definition of "iambic pentameter."

It is thick with information that delves deeply into this poetic concept and much more.

Coming from the tradition of close readers and New Critics, Fussell employs a detailed approach in his writing.

Throughout the book, he includes numerous analyses of poems.

These analyses not only help to illustrate the various aspects of iambic pentameter but also offer insights into the broader world of poetry.

Fussell's work is a valuable resource for those interested in understanding the intricacies of poetry and the techniques used by poets.

His in-depth exploration and analysis make this book a must-read for anyone looking to expand their knowledge of poetry.

Whether you are a student, a scholar, or simply a lover of poetry, Fussell's work is sure to provide you with a wealth of information and inspiration.

This remarkable book has truly been a game-changer for me.

It has provided me with a unique language that I can apply to several of my innate poetry-reading instincts. Through its pages, I have discovered a new way to express and understand the beauty and power of poetry.

Moreover, it has significantly heightened my sensitivity to sound. The cadence, rhythm, and musicality of the words have become more pronounced and enchanting.

Experiencing something like this has a profound impact. It sets apart the poetry scholars from the poetry enjoyers.

For those pursuing an MFA, this book is an absolute must-read, learn, and practice. It offers valuable insights and techniques that can enhance one's appreciation and creation of poetry.

It is a treasure trove of knowledge and inspiration that I will continue to explore and cherish.

This book was my very first teacher in the enchanting world of prosody. I found that everything within its pages was explained with remarkable clarity. As far as my exploration went, it was truly the only book of its kind.

Of course, Stephen Fry has now penned 'The Ode less Travelled'. Interestingly, although these two books do overlap on certain occasions, they also manage to complement each other in a rather unique way.

I wholeheartedly recommend reading both. By doing so, one can gain a more comprehensive and in-depth understanding of the fascinating realm of prosody. The different perspectives and insights offered by each author can enhance one's appreciation and knowledge of this beautiful art form.

Whether you are a novice or an experienced enthusiast, these books are sure to provide valuable inspiration and guidance. So, don't hesitate to embark on this literary journey and discover the wonders of prosody for yourself.

I mean my goodness.

Here is an article that, on the one hand, offers some fine information regarding the basic definitions of certain metrical and formal components. Indeed, you can also obtain such content through a simple Google search.

However, on the other hand, you’ll have to first overcome the presence of racist dog whistle language within it. This is truly a concerning aspect.

It’s quite disheartening to see that valuable knowledge is being overshadowed by such inappropriate and offensive language.

One would hope that in the pursuit of presenting useful information, the author would have refrained from using such divisive and hurtful language.

It makes one wonder about the overall intention and responsibility of the writer.

Perhaps with some careful editing and removal of the offensive elements, this article could have been a more valuable resource.

As it stands now, it requires a great deal of caution and critical thinking from the reader.

Revisiting the classic is truly a worthy endeavor. Our elders deserve the utmost respect as they have always worked harder than us and been more responsible in structuring knowledge.

That being said, I couldn't help but laugh at several lines. PF is indeed quite witty, but I also laughed at some of the boldness in schematic meaning assignation and the subsequent evaluative gouging. For example, the statement "What he produces is very nice, but his stanza surely lacks the dense organism that attaches to a permanent poem."

What intrigues me here is the idea that a relationship to meter and form is not only a relationship to permanence but also to meaningfulness in the world. He even claims that excellence of formal technique can rescue "poems from oblivion" (154). As an amateur theologian, I find this hard to believe.

And I'm not the only one bringing up theology. Regarding the departure from standard forms in 20th century literature, even Fussell gets almost theological. He states that "Some kind of meaningful repetition would seem to be required to save a poem from oblivion. The challenge to contemporary poetry appears to be a pair of unhappy alternatives: either to contrive new schemes of empirically meaningful repetition that reflects and, more importantly, transmits the color of contemporary experience; or to recover schemes that have reflected the experience of the past."

I, too, am seeking reconciliation, albeit of a different sort, I suspect. And so is the reader.

I don't always concur with some of Fussell's proclamations. However, on the whole, he offers a really nice introduction to the principles of prosody.

The precision of the book is indeed one of its great strengths. It provides detailed and accurate explanations, which can be very beneficial for those who want to understand the intricacies of prosody.

Nevertheless, it can also turn into a weakness at times. When it leads to black and white depictions of things that are not so clear-cut, it might limit the reader's perspective.

For anyone who has the ability to occasionally disagree with Fussell without feeling that those points of disagreement nullify everything else, this book can serve as a wonderful tool. It can be extremely useful for any writer or reader of poetry to learn about the crucial role of meter in English verse. It offers valuable insights and knowledge that can enhance one's understanding and appreciation of poetry.

Overall, despite its flaws, Fussell's work on prosody is still a valuable resource for those interested in the field.