petrarch
wyatt:
objectification as instrument gives rise to a model of the social world.
what does it mean to dissasociate yourself from I/me repented! But the I became consolidated: when the speaker presents a Truth, something you would writein yout commonplace book. But this truth circles back to the model of the social world, because it suggests that you cannot trust anybody or anything.
humanism flips the logic: asks you to see that each retelling is in fact a new thing.
tracking petrarchisms across different poems, ages. after this, everyone was writing a sonnet sequence. in 1609, when shakespeare writes sonnets, he’s late to the fad.
ground your reflections on the specific text! this will refine your thinking, calibrate your thinkin to the level of the text.
they’re trying to force that latin shape: language experiment. connected to the idea of there being more guile. don’t ask what this is or means. reading by not reading: part of the humanist enterprise. That’s how the it works.
there is no undoing of deception; there is only more deception, there is no trust. little trust forever. that is the basic condition of the social world.
file: a very executive item; can produce; but the speaker is painted as a file, who is vulnerable. how does that make sense?
yet… line 9. what authorizes the volta?
why do you describe wasted years as LOST?
doesn’t explain WHO is weilding him as an instrument; there is a sense of a social world; things have happened to people. but they are completely unspecified. reason, youth, etc; social world. itnernal, psych characteristics also populate this social world as actors.
owen added never a file… this smooths out the meter.
rhyme is about your ear recognizing a return.
polysillabic rhyme : you don’t know what you’re doing. monosylabic are masculine and the poly are femenine.
how would a file be field? youd never file a file?
silvarhetoricae: rhetorical devices, + sources of uses of the figure.
polyptoton: twisting a word a lot in a sentence
makes more sense in latin, etc; because of case.
writing english verse: what would it mean to make english do what we see lating do?
rhetorical features
figure pointing. students would learn latin by learning those constructions, so thst they could write like what they were reading. predicated on the idea that there is an unornamentedd form. gaianst an idea of “plain style”: the idea of a strictly unornamented, communicative, denontative style. takes strongest form with the nascence of empiricism. orgnamental. wasteful, effeminate, capritcious. that was an operative metaphor in the reannaisance. these figures we wont discuss technically, not as a garment to thought, but as INATRUMENTS OF THINKING. what kind of htinking does hyperbole make possible, that cannot be thought by other means. think of: tht not prior to L, but a result; flip the priority.
the first time i read this poem i remember thinking about the specific, beat, about howwhen you’re reading it it lays and breaks and flips, like oliver’s musid, a game, a suspension, a way to keep you reading. it is a very sonorous poem, one that i hear. there is rhyme, and it is quite audible, but then it is also very loose, and “sloppy”. this time i noticed that it says the word me and the word, edye, objectifying and moving and becoming you like a little ship, or like a little coin toss, being moved around. i me repent is an interesting one, because it makes person and it makes subject, and then it plays with that too. i wonder what that is pointing at. i wonder if it is pointing at anything. it clearly could or could not be, but the interesting part about the reading was the discovery that the world is larger than just the little world within it’ that it could be pointing at something larger and beyond the space of the poem itself. there is a flip in the last third. yet this trust… yet and then it seems to recover. and me is no longer used. and the move stops being about “guile?” the words double… interesting, it is either important or not. youth is an agent, reason is an agent, I was made. There was never. did me lead and falsehood guiled. what is guile? guile beguiled.
older stoff below
history, literature, philosophy: the world of the renaissance was not interdisciplinary, but pre-disciplinary. a space where you can explore, and find out more.
i am only a poet, because i see poetry in everything. paradoxical: not because you only look at boxed-poetry, but because you look at everything and see it everywhere.
a question is the most difficult to formulate: demands that you begin to articulate what you don’t yet know.
kidnap phrases, maxims, etc; open them for recontextualization. transcription is already a repurposing.
free writing flips your sense of agency; the idea of freewriting is to try and invert that sense of agency and the source of thinking, to submit your mind and thought process to the movement of your hand.
when we fumble when reading a poem we are actually learning something about the poem.
what do you notice?
the shaling nuts and mast that falleth from the tree, it is talking about the tree about a tree that had not been previously mentioned and it enriches the way i see the poem because before it existed in an abstract poetic space and then it was grounded onto a set of words whose meaning i do not fully understand but they seem to me to describe the great arcadian nature, a place beyond human corruption, and where nature follows its natural course without disruption or without having to be disrupted, and i am just now remembering the book that i read about the arcadia and the beauties it spoke of, but i will go back to focus on this poem, because it is the task at hand. the tree represents not a symbol but an illustration, a widening and refining of the scope in which we are working; the tree is a figure that you see as you walk by, and that you notice and think about as you hear the leaves crunching underneath and the little waving leaves letting the light through meekly. i do not know who actaeon is, but he walks the woods, and i do not know what is meant by the a hart of pleasant hue i wish that i were so. the doubling in the second bit is epic and poetic; it establishes a range, a spectrum, left for the reader to fill in the inbetween. the exclamation at the end is interesting and i had noticed it before in prometheus by goethe, it is the insertion of the agent, even though the agent is dominant and clear througout, even though the agent is embodying somebody else and explaining what somebody else did or would do, the agent is talking about themselves and their own lady and it is never clear if the lady exists, that is to say that by setting up the I Would it is clear that this is a work of imagination, a fantasy, an idyll, and so the tree isn’t an old and shrubby tree, it is a grand and magnificent tree, and it is a story that is being told, an adventure, an amazement, an injection into the reader.
whereas it does not match the beat (noticed as derek read
would and wood sound the same and that is important.
mo is incomplete, unsatisfying
the speaker is not actaeon but wishes they were.
pulling from a prior text, that you may or may not know, and rewriting it.
THE woods? which woods, do they exist? makes it shimmer, like you’re seeing it through a heat wave. wood has the shimmer because (a) homonym and (b) the.
i would introduces expression of desire. WHY DOES THE SPEAKER WANT TO BE ACTAEON? the desire to be unknown. freedom. (holy fucking shit)
something about being unknwon allows him to participate in the beautiful aesthetic land. and he is creating and desigining this imaginary world. but he never does speak it.
creates a possibility that he will be able to say something to her.
external rhyme and internal rhyme. it loops, circles around a center.
actaeon was transformed into a stag.
on body and soul!!
he gets murdered by his dog.
this rewrites the narrative by :ellison?
collective kn: think about what YOU bring to the table.
COMMONPLACE BOOK OPOSITE PAGES ARE LABELED WITH BINARY OPPOSITIONS
petrarchan love language: constitution through dynamic and opposites.
interplay of lyric subjectivity, through the pronoun i. thats what governs the selection today.
utilitarian readings … the act of transcription is an act of re making the text.
transcribing makes you notice
binary reduction shows a conservative worldview: obvious question: what abot grey?
splits time into present and past.
let no one touch me: sacred context to erotic context in the white do poem, from mary magdalene. transcribed phrases travel acccros time.
when you transcribe i, does that become you? do you inhabit?
when you begin with identification this divide reestablishes a sense of historical chronology and rpomximity. i thinkthats interesting. petrarch is frequently cited. as emergence of MODERN SUBJECTIVITY.is also to articulate yourself in relation to modern subjectivity. how is her silence a precondition for HIS costruction of the self.
you can begin with this decision ebtween the modern and the acneint, and build out from there what your angle of dissociation is. in this exapmle, gender. in pre modern world, there are also unexpected opprtunities to iidentify with thinga that hav not yet been categorized. you can find TRANS narratives in mmophorsis; these angles can happen differently for didff tecxts and diff readers.
what you care about is whats important. you want to identify what you like best, and why; why do you want to spend time with them? bring that agency of WHAT you value into seminar duscussion
ground your reflection in the language thats generating your thoughts. that level of specifitiy is important for the clarity of your thinkig.
who would write something like this, and for whom? this is the question thta i wasnt to answer, the question that i ask myself. because it obviously contains references to stories. this is the first element. does the poet expect these stories to be known, or not? because if he does, then they are but signals, toa known history; connecting himself, and apotehosis, and making his own love worthy of the legends. who is i? he is retelling the stories, in a pretty way, for sure; but why should he include himself? a listener would simply know that and not be more moved by the stori, for it is already fixesd in the brain. there must be something unfortunate, unreal, about the retelling’ and that all of these feelings are crowded onto one man, and the lessons and the morals all befall a single person mean that he cannot learn anything? that he has learnt it all? it connects back to experience, possibly, probablty, to showing that he has grown up. will the audience grasp this? i think i did, and i AM the audience. there is a sense in which the ending is already known, and he is therefore pushing himself into a tragic outfit, living only but the aesthetic life. this is the sign, the story. fatal. doomed. he does not name her, he names only her behavior; and this does not alwys match the gods; or it provides a multifaceted, incomprehensible difficulty, that he tries to make sense of but cannot. in this snese the multiplicity of stories shows that they cannot be made sense of, and the tools of the toolbox are left behind
drawibng froma unversaly story contradicts his own loneliness. why whould you use someone elses story to illustrate your own
this one image of an organ being removed from your body; if thats all we knew about unrequited love, what would we know?
focus on single images, without assimilating to love storeis. if this is all we knew, what woul
root your brain through the grooves of tthose iamges.