To make sense of "free verse" in theory or in practice, the study of prosody - the function of rhythm in poetry - must be revised and rethought. In Free Verse: An Essay on Prosody, Charles Hartman develops a theory of prosody that includes the most characteristic forms of twentieth-century poetry. Hartman examines nonmetrical verse, discusses the conventions that have emerged in the absence of meter, and shows how these conventions can work prosodically. By analyzing the work of Williams and Eliot - the prosodic masters among the early modernists - Hartman traces their influence on more contemporary poets. In his exploration of the means by which a poet controls the reader's temporal experience of poetry. Hartman presents an invaluable treatment of the concept of verse.
In this engaging, accessible memoir, Charles Hartman shows how computer programming has helped him probe poetry's aesthetic possibilities. He discusses the nature of poetry itself and his experiences with primitive computer-generated poetry programs and — illustrated with sample computer-produced verses — traces the development of more advanced hardware and software. The central question about this cyber-partnership, Hartman says, "isn't exactly whether a poet or a computer writes the poem, but what kinds of collaboration might be interesting." He examines the effects of randomness, arbitrariness, and contingency on poetic composition, concluding that "the tidy dance among poet and text and reader creates a game of hesitation. In this game, a properly programmed computer has a chance to slip in some interesting moves.
Following the tenacious imagination through all its methods and obsessions, this brilliant new collection by a poet who is also a critic of jazz form and free-verse prosody speaks to the very core of all lyric concerns. Charles O. Hartman's poems are cool and dizzying, a dark, witty fusion of jazz sensibility and computer-generated texts. The title poem, dedicated to the late Bud Powell, interleaves an extended monologue with blocked prose, sonnets, and lyrics. In the center of the book, free verse and metrical forms ravel and unravel in a moving exploration of the spoken word. The final long poem is a meditative satire on computers, colonialism, and the pressures of history. With innovative grace, Glass Enclosure confronts our very systems of understanding, the languages that enclose us even as they reveal the world.
Verse is a seminal introduction to prosody for anystudent learning to read or write poetry, from secondary tograduate school. Discusses iambic pentameter and other kinds of metricalverse, scansion, rhythm and rhyme, free verse, song, and advancedtopics such as poetic meter, linguistic approaches to verse, andthe computer scansion of metrical poetry Written in a clear, engaging style by a poet and teacher withmore than 30 years of experience teaching the subject Supplemented by a user-friendly website with student exercisesand additional resources
In this engaging, accessible memoir, Charles Hartman shows how computer programming has helped him probe poetry's aesthetic possibilities. He discusses the nature of poetry itself and his experiences with primitive computer-generated poetry programs and — illustrated with sample computer-produced verses — traces the development of more advanced hardware and software. The central question about this cyber-partnership, Hartman says, "isn't exactly whether a poet or a computer writes the poem, but what kinds of collaboration might be interesting." He examines the effects of randomness, arbitrariness, and contingency on poetic composition, concluding that "the tidy dance among poet and text and reader creates a game of hesitation. In this game, a properly programmed computer has a chance to slip in some interesting moves.
To make sense of free verse" in theory or in practice, the whole study of prosody--the function of rhythm in poetry--must be revised and rethought. Stating this as the issue that poets and critics have faced in the past century, Charles Hartman takes up the challenge and develops a theory of prosody that includes the most characteristic forms of twentieth-century poetry. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Following the tenacious imagination through all its methods and obsessions, this brilliant new collection by a poet who is also a critic of jazz form and free-verse prosody speaks to the very core of all lyric concerns. Charles O. Hartman's poems are cool and dizzying, a dark, witty fusion of jazz sensibility and computer-generated texts. The title poem, dedicated to the late Bud Powell, interleaves an extended monologue with blocked prose, sonnets, and lyrics. In the center of the book, free verse and metrical forms ravel and unravel in a moving exploration of the spoken word. The final long poem is a meditative satire on computers, colonialism, and the pressures of history. With innovative grace, Glass Enclosure confronts our very systems of understanding, the languages that enclose us even as they reveal the world.
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