‘A Certain Noise’
Approaching the ‘Music of Poetry’
Bibliographic Data
| ID | 21883231 |
|---|---|
| Authors | Jed Rasula (corresponding author) |
| Year | 2022 |
| Volume | 12 (2022) |
| Pages | 12-33 |
| Publication date | 2022-12-30 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Word and Text - A Journal of Literary Studies and Linguistics (JOURNAL) |
| Journal identifiers | ISSN: 2069-9271 • E-ISSN: 2247-9163 |
| Publisher | Universitatea Petrol-Gaze din Ploiesti (PUBLISHER • RO) |
| DOI | 10.51865/jlsl.2022.02 |
| OpenAlex | W4320013355 |
| Language | EN |
| References cited | 13 |
This article considers T. S. Eliot’s preoccupation with ‘the music of poetry’, a subject he addressed throughout his career. It was a certain ‘music’ to which the first readers of The Waste Land responded in the poem. This music, I argue, is not a matter of melodious sounds or acoustic mimicry. Rather, it is to be discerned in ‘a certain noise’ (Joseph Brodsky’s phrase), an underlying pulse. In order to examine this rhythmic prompt, I look at the graphic manifestations of another poet, Henri Michaux, who wrote lines of poetry and, in equal abundance, drew and painted maelstroms of lines that often share the page with the poems. These graffiti-like emanations provide us with a visual rendering of the ‘music of poetry’
Art · Graffiti · Linguistics · Literature · Phrase · Poetics · Poetry · Subject matter · Visual arts · Computer Science · Modernist Literature and Criticism · Philosophy · Poetry Analysis and Criticism · Psychology · Samuel Beckett and Modernism
| Citation velocity | historical |
|---|---|
| Highly cited | No |