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01/08/2013 22:48
Arduity home page J H Prynne Geoffrey Hill Paul Celan John Ashbery Charles Olson Keston Sutherland John Matthias Ezra Pound Simon Jarvis David Jones Geraldine Kim Wallace Stevens Difficulty toolkit Allusion Ambiguity Annotation Paying Attention The Meaning Problem Poetic Risk Explaining Difficuly Difficult Subjects Difficult Words Obscurity and Difficulty Difficulty and Surprise The State of Poetry Difficulty resources Critical difficulty Difficult theory Difficult examples The 'ism' problem Your contribution Frequently asked questions About arduity
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I cannot think any more of going out into all that, will stay here With my quiet schmerzen. Besides the storm is almost over Having frozen the face of the bust into a strange style with the lips And the teeth the most distinctive part of the whole business It is this madness to explain... What is the matter with plain old-fashioned cause-and-effect? Leaving one alone with romantic impressions of the trees, the sky? Who, actually, is going to be fooled one instant by these phony explanations Think them important? So back we go to the old, imprecise feelings, the Common knowledge, the importance of duly suffering and the occasional glimpses Of some balmy felicity. The world of Schubert's lieder. I am fascinated Though by the urge to get out of it all, by going Further in and correcting the whole mismanaged mess. But am afraid I'll Be of no help to you. Good-bye. This wry and clever response to the readerly quest for meaning or intention should be kept in mind as it deflates the self-importance and pomposity of such a venture. Some have argued that all of Ashbery's work can be read as an investigation and exploration of poetic meaning but I think the above emphases on absence(s) and the jumps 'from abstract into positive' have characterised most of his output since the above poem was published in 1966. Reading this for the first time certainly enabled me to be more relaxed about my reading and consequent understanding of poetry and, together with the Prynne quote below, has changed the way in which I try to make sense of what is before me. The first read through now asks 'does this work' rather than 'what does this mean', I concede that I have my own entirely subjective view of whether a poem works or not but this does at least give me a usually more productive means of entry.
I think this underlines that poems may be radically ambiguous, that the second line can refer to the action of forceps and to the placement of electrodes, that the silverglare can refer to light that the baby sees as it is born and the glare created by the electric shocks inside the brain as they pass from one temple to the other, that the rest of your sleep can refer to the time that a baby spends in the womb and to the sedation used whlst ECT is administered, and that birthday can refer to the day of one's birth and to the day when (as a result of ECT) the depression lifts and the patient is once again able to live a reasonable life. This doesn't preclude other meanings or intentions- 'temple' and 'silverglare' could point us towards religion for example but it does underline the need to be able to tolerate multiple
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themes and meanings. In reading difficult verse, Keston Sutherland has written of the need to pay attention to difficult verse and to undertake the 'work of interpretation'. Whilst this would seem reasonable, I think it is important that readers do not allow interpretation to detract from the enjoyment of reading the poem. There are those poets that do require a degree of work (Prynne, Celan, Hill) but this work should be pleasurable and readers should not be deterred if the 'meaning' remains hidden from them. Interpretation consists of several tasks, the most important of which is to work out what is being said. This isn't always easy and readers may find it useful to (for the want of a better term) improvise, to run a particular phrase or allusion around their heads in different ways until a solution that makes some kind of 'sense' is arrived at and then to compare this with other parts of the poem to see if there is any kind of congruence or 'fit'. The other part of interpretive work involves looking up words and references that the reader is not familiar with. An attentive reading of 'TEMPLECLAMPS' will reveal that: there are two sentences; the first sentence introduces the clamps and; indicates where they are placed; the second sentence describes what the clamps do and; the trace or mark that they leave behind and; makes a prediction; someone is being addressed; it is (as ever with Celan) not clear who this 'you' might be; It is up to the individual to decide how far to pursue references and when to stop. My own recent reading of David Jones' 'The Anathemata' has forced me to acknowledge huge gaps in my knowledge base (Welsh language and culture, Malory, the history of London, the Catholic liturgy etc.) and some of these I have begun to pursue in order to get more from the poem. Difficult poets are fond of using collage and montage as means of expression and it is important to be able to recognise these devices when working out poetic intention and meaning. Difficult poets on the Meaning Problem. J H Prynne (the most difficult poet currently writing in English) has said recentlyThe discourses of modernism in Western poetics make steeper descents into subintelligibility; and in my own case I am rather frequently accused of having more or less altogether taken leave of discernible sense. In fact I believe this accusation to be more or less true, and not to me alarmingly so, because what for so long has seemed the arduous royal road into the domain of poetry ("what does it mean?") seems less and less an unavoidably necessary precondition for successful reading. Paul Celan in the 1958 Bremen Address saidA poem, as a manifestion of language and thus essentially dialogue, can be a message in a bottle, sent out in the - not always greatly hopeful - belief that somewhere and sometime it could wash up on land, on heartland perhaps. Poems in this sense too are underway: they are making towards something. Both poets seem to be implying the same thing. Prynne is suggesting that the quest for meaning shouldn't get in the way of experiencing the poem whilst Celan hopes that his poems will 'reach' some readers but recognises that this won't always be the case and in any case poems make a journey through the world. Conclusion. The search for meaning in poetry is important, we do need to try and work out what is being said and why. It is also important to accept that meaning is only one aspect of poetry and should not be given absolute priority. The other thing to recognise is that meanings change over time, that our view of the meaning of'Paradise Lost' is radically different from what it was in the 17th century. It is infinitely rewarding to pay attention to difficult verse provided that we understand that a sense of meaning won't always be attained. Anyone who wants to write about his or her experience with this kind of material should contact John Armstrong bebrowed@gmail.com. >
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