By Eavan Boland
"Boland bargains encouragement to ladies poets of the longer term. . . . Her bright imagery will beguile many."—Publishers Weekly, starred review
These inspiring essays from the prestigious poet Eavan Boland are either serious and deeply own, revealing the journey, ardour, and fight of changing into a girl poet. during this thematic sequel to her vintage Object Lessons, Boland lines her personal reviews as a lady, spouse, and mom and their influence on her poetry, and he or she seems to be to a global the place she will be able to swap the poetic prior in addition to the current.
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Extra resources for A Journey with Two Maps: Becoming a Woman Poet
Like others, she seems to have longed halfconsciously for a firmer distinction. George Saintsbury had provided one in 1912: "As the essence of verse-metre is its identity (at least in equivalence) and recurrence, so the essence of prose-rhythm lies in variety and divergence" (91, 450). Verse is defined by the presence of "verse-metre," which in 48 Free Verse and Prose turn depends on repeated rhythms. Saintsbury himself could afford to be casually generous toward oddities he turned up like the "prose-verse" of Ossian, Blake and Whitman: "An exceedingly hasty or untrained judgment may feel inclined to say, 'Oh!
This, however, is a princi ple of music, and the mention of music was heresy and anathema to Saintsbury" (93, 81). One solution would have been to realize—as Shapiro seems not to do—that the ques- 38 Accentualism, Isoehrony, Musical Fallacy tions raised by the concept of "equivalence" have only a sec ondary bearing on English verse, and to drop or revise the concept. The other would have been to embrace the musical, temporal, quantitative theory of Lanier. Lanier failed to understand that quantity is not a sufficiently definite element in the English language to support a meter.
8 A second mode is symmetry. Free verse rarely uses a sym metrical prosody in a primary way. It would give a poem too tedious a stability. But when such elements as accent function at all prosodically in free verse (as they usually do, because of the nature of the language), they often adopt a symmetry that seems to arise out of the actual line, unlike an imposed numer ical quota. An example of the symmetrical arrangement of accent, from a poem I will discuss later, is Williams's line, / X X X t Maybe it's his wife.
A Journey with Two Maps: Becoming a Woman Poet by Eavan Boland