THEORY of the LYRIC Jonathan CullerCaton Dar soc oe seus Georgetown University Library JUN 16 208 Contents An Inductive Approach Iyricar Gewe Theories ofthe Lyric 39 0 5Introduction tric poetry ha long history in the West bt an uncertain generic tans. The great compart Bar Mier concudes, Lyris isthe bane dation genre for the poetics or systematic trary asumpsons of eultaree throughout the world Only Western pots dirs. Even themajor iain that have oo shown a net to develop aye postin he nunc naan) have demonstrably based theres of ere on Ipc ansumpsiona” And head, “The fet thingto be id oflyrie po ‘tic ptemsis hat they ardpot mimes’) One might argue tat ti for ‘quite comingeat easons—the at that Aisle wrote eats on ‘metic poe, poezy 2 an iniation of action, and nt onthe ther po tifa that were central to Greek claret Wetern eran theory Ina elected the ican ntl the romantic en, reset an aisel Janeous election fminor forms, despite the onrshng tyre inane Rome, the Mie Ages and he Renaissance. Lyric was ally made one tre fundamental aes ding the romantic period, when mere vig ‘rou and highly developed conception ofthe individ abject made it posible a concave fee asimati an imitation afte experience of {he subj. Distinguished by it made of exancnon, where the poetspeaks in roprie parson, iyi econ the subjective for, with drama sepia sheratly the bjctive an the mixed forms, spending on "he thorn. Hegel gives the alles expression tothe romantic theory of ‘he lsc, whose distinguishing fete ithe centaty of sbjetey ‘uming to consciousness ofiuelfhusugh experience ad efecton The Iyrepoetaborb int himeel th exeral xd and stamp tithes ‘soniciouen andthe nity of he poem is provided by thse, ‘This conection of thei, a represent of sujet experience, while widely ciseminaedandinfetia no longer great orn {inthe academic word Icha een replced by a aia which ens the Ipc ness mimesis ofthe expecence ofthe pot huts vepresntaton fhe action oficial speaker in ths acco the ei pe by ‘person, whose situation nd motivation one needs to econo, Thi ‘as becom he dominant mde ia the pedagogy ofthe rein the Ago American world fot elsewhere. Seadens te sked, when catonting "poem, workout whois speaking, in what cumstances, to what end ano chart the ama of sites thatthe poem apa, Tn fle ‘he dramatic monologue which pts on tagea character sping tos ined sudizoce ro hit ores hasbeen made the mode ory, which become the tional imitation or representation of realwordd speech et. Ofcourse, many great poemsin the Eaglsh ation are dee gots monologues, adits posible to ead othe rics in thin way, bet ven in those case this model defects tention fom what i moe sn ust min owing ever in hoa rcs and puters on pos sic, oveiing tac: the reader lok fora speaker who canbe ete {sachancterin eva, whowe sain and motives one mua recon ‘This mode gives students lear task otitis extraordinary mid and lining leads to neglect ofthese etre ofmany yc which ate oto be ndinortnary spech ctf yn ound pt ‘erningto introns relations Lyre was once eel the experience of eratre st ieany cation, bith been eclipsed bythe ave, pera par beens We lickan adoquatetheory ofthe yi. Even inthe geo high hear, leapt the iteretin the igus naps of poetic anguage, there ‘ealscounts ofthelyric tended toe negitive oes designed to cnt it he eal object of there interes. Pom Miki! Bali, sated rc monolith thick gam ofthe sor Rend Barts rhs vic deny agg athe than npg within epost eprint pice oft twee rmanertero fn, orn teri la dels thor dace abot ro pox ingen tae Onereml she cota noet tel corer as to sexiness ocatin has bes the deep a saliig aes fh iat fils respond owes ‘ema nein intact beut i. ‘Teint impos fires sri be ing of erred a epee araiv by eing Poser inkrs int Wenn retain Cart mol i thelangtasion o enrgy steank eoat n ‘sth ogc me ft cota ees fy rey bo pra {djs Sethe galisa moe acura and capcom of he Ive do eaten Bod ore ore rc egege cnt hr tht se ply Ssena or prom w emia toabeter ode Theater ne fom anit eens fire fom fet cnr he re pra or ame tnd ca wht ita bake) oder properties t "oop ‘ing’ wing toh read acl, An aden go Sanit wd be herr eget ft “Amsorobac he etch fhe te rit ecsmptnofmichlrry rtsien nay eps aed nthe dice, the Rens ohne cary er och Cri ay bond cin mcinpson ea neg he itr ie praia ech er The pos fant Cree singing oF chanting with te scant sea sine on a ei ‘enon very difloet thE courier compo a ‘tf crsaton ong asset ends ying pea and 2 fomthe mde pos composing vere i hee pte by nnivriy pres How corl tee possi bean nc aye hat nconpaed he inempabe pes? “Thea anere aca chaloge, Te iis tape then svn ring and renting wo prednomor, ave rene i treo ht pent es steal pind dai change io‘rcamstances of prodacion and tanaminion. Horace, napting Grok ‘meters fr Lata vers, atpired join the company ofthe ie wae, te ‘sine canonically potsofancent Gree, een thogh the jor Geek yee closes to him in ime, Pindar, had died ovr goo year eal, Horace war as far removed fom Sippho a we ae ri Ptarch and farfiom Pindaras we arefiom Tess. Horace hawel was armodel pos fom Petrarch to Auden, and Pindr inspired thelyrictadiin ofthe ode in Wester Earop, The vty of the Ptarcan tradition right op 0 the wentth entry equi 0 comment ad Seppo became th model ofthe “pouza"in Victorian England. ara Pound’ atlempe to revive ‘Teoutadoue poetry mut be regard ances ti eis to ‘he pernenc ofan ongsingyrictradon, despite get aration inthe uation of ping and succeal poct Moreorer a striking tara the hisary of trary forms hat, on- lke social and poll history, iis reverb. We ennot rer ta lin Sciopolical eoaigurtions, at poets an revved for expt ose that ve a dormant for while "Poetscan at anytime ee ‘rect them in heigl form, a moderne version ona deeply ‘nu generic or interest manne: evn extn wlenoes ar ello very dormant Who could hae expected th villas nd the etna | trea st inthe tei etry? co fined to one historical period bt remain avaiable as posses in ie "ferent eras. A successful account ofthe lyric will highlight features that connect poemsin the rictradion with one another and wll lore pase deveripon ofthe evoliton nd tasfrmato ofthe eet ‘0 easy with either the romantic model or the mode oye dramatic ‘monalogue A theory ofthelyie wou among ober things ge some ‘hing of which owrtthe Bsr. A second, peeps even ore compelling respons othe istrict tigue of the posit of theory ofthe rice pedagogical Ist lent ate nt peeented with an adequnte modelo ec thy wl read coring to whatever inadequate models they have previously anni aed whether fom expt accounts or hang surmise. Asajor gol of this projec thea, isto develop conception fleets more adequate to the exparaion ofthe mot sucenl eet oflrcs ofl period ‘Weneud wo provide students and other renders witha beter model afte Intacton ‘ Iie in ner sae pi sich mor prepineexpins of yc ie aren fr inking et wil pro many Jocnaton spearn ee cmp edema nencogwort Ipicefpevnl expen ‘Aire gol io combat ht tak tobe an ume p= smrton fmch yr thoy ad pedagogy tht te on fang Ie it pode seiner, Ths ia reo erat n thin opty In prior ceri cen expected poems oech tn dig aden werent aed work ot the wor fier Ser ued roti he might pe iis Ine mers ests or ety ans nd tra or prvi songs bintrpretton inthe meer ene wasnt ieay ngeeen oth wenth ena ands and ery fave bon get h wore ft They old ei eee the cn nd dena coder extnnd pes of rnin ‘tho suing hat be oof cgagemen wil postr war pedi ‘smpreaen Innere preted poe unc eden eluent sop without ning tn wel eo inept fee wee hen oie‘ ad we ingem oohe cvtocosen pitt what eat en, cempsthem ot tong th ume adit ain and eel dere ote ‘Siconnterahip about ngewe engine nepentn, We ‘nigh do wl pode tt tht ines eg ling on Ire egw te rengn tnt pen exe inerpced has ccomyaned mimi fie tly Oem, wilal plover puns ete ott lean, much a onthe hp th lo. Serr tate orinerpret he wel ir owe shod be eed owt thy tea ad hc dra ca aetna tw be Bench fic seid terme fet gly il eter mye of engaging with pocms were not subordinated to interpretation.’ Poetics {odorata may eis spre in rcs, bata ery they ae qe ditt hy ome eats om oppo iro irene ements std ening Thi ay ee 1 wide ange facie orm Bop cic ich wee i Cover thor might he ent mptonateadig which| cogs the work hooghan interpretive language whether hamanit Marzi, pychornlyti, mythic, soiopalti,decnsuctve, his cord The glist discover ameaning nd thee artagelang ages ino whichis canbe taite. Hoty wok inthe oppo dice on aking what the coeesins cable this wor ore he sorts of mening and ec i doe fr ede edocs nt nempt to fd ameaning buioundertarlihe igus hata meaning po sible) ectniges that ong tothe generitradion Te practice, any, he oer Hen int ach ther, the pam ht low wl ply demonstrate. Akhogh thsi above alla rec in poets, een th ate ofl id trang po ie, dentro oingintrpetv remark wheaThareathought tha es worth. Stl am oar eo dereap ews ir senius interpreta 0 mucha aking oe fw hi otha on Seems to accomplish and eight othe tchrigues that Cam ex oig, Any, beth oct empaion therctdton fd the vary oi rons might ep encourage more rail and Penne enggenent wih oe, Tae ot trying to del thoy tht aay asian of sorethingin pier, wheter igus dposon oa dep pry Chic eed Norm eying to tl pope how o decide wheter ome ings acres wart fem eesoypercannial iy of the "Western aon ed seek ode thr oe etorent What rthe Inne tht ie thee pose? What ar the parameter on which they difie® Teake Rana workinghypothess that ee inaction and tat an aenptto desta lean th eta este of pera ‘thin ootonly eri fr a adn aden of eps themedves uteri aio oan undertndig oe agsin tn in andthe coment modiScadons ed expen fit. The fr ‘acs iden inthe cu do ot comix checkin odo {ding whi aly bt rather aeystemf purities thar ndeithe ‘ean nd tht ong to be bomen mind when eadig poem hat sayhee aration And fous may tes pn see preset alin ther ler ees: ae are etitedtolyrcslore, even when they ae epeily character of hy Nor do I bre fm views on how mach modern poetry should count ae: many weeny pondered hie fan is Psa lfo wigenochdaar oeeed sng wok ht eet et ring ire prince Eicon spin ection eas manig en [Sart tpesdcnner op ae Seton coeiad hatnewe Working om alec of he mot fou poem fe ile pe ods ad langage, th Birt chapter ets input oes oe Ipc The econ ke pth ntion oly ar eae and he history hiking shove his ere. Without indigent ncn of ser theo kth conoepi gers Binal ad eal on rosthtisbothdsrpin of Bes among et and contre of sical undesunding Tab comider more specie arguments htc isotagere oa dabioat ones hee. Chapter mates a umber of Aheortal scuns often seking tometer pene cspciou thot emer Hegel mind, prove tic ot prominerheory of thelist fundamental sujet form bars comnts sents thahave fen be ele In tempting 9 ‘movemineHeges theory recat gine Kite Ha ‘ge iigishs nian fom ena ore, To cin hat Ij ana Dou, frm of eon seein adr nd Jn particular hen identi the dedrartage of th mest prominent caenheary fr which ret th pm h speech eon eons ional natin of eso open, Poses 2 akcrnate model hat was a unanenlynomimat on- Secon dint gus ver zane rr fom Ct Sens the othe, makes the poea ct the ton represen fa expec fence or am eyet so mach a an atenpe oben eve) Thre, the poet allsins toa context ofritval regroud the question ofthe por ‘en ova stalin characters pelo chat, contrme by aos fs ofrepaion,nsading metrical pers, and wt is called ring truce ture the retarn atthe end to he requ ofthe ginning, Furth che } poets opie aricalating dsr, tallo itself imaginearesponse ‘oitsaloradressand work to consinte an ace lationship to what \ might be resistant and eer, even if ht relation rings dexrction as ‘ippensi tere. And nally, this poe, with te dee wppratus ofthe hre-andnow of sociation an ther retrial structtes, pe ‘entng elf san vee inatimethatrepeats erento ot ct pes nce that wll encefrth be one ofthe Fundamental poss oye ndlinks valet that mortal ine hat Jaeger Desrdacal ving on,” otto tome kind of tanscendene of morality ‘When we mone fm Greeeto Rome, we ner Horace, wh adapted Grok meters o Latin nd pire ta be placed among the nine brit et th enon Greek lyse poets a he sys inthe Sit fis Odes, “No other Ics has posse the iden of his gente 40 completely.” ‘writes Ralph Johnson in The Ida of Lyi Aldhovgh his poems are writen for craton in manuserit he presets melas singe © thelyealieming elation to the tadion. One ois mot mous odes arash danger flr. de ndtv dpproch ” (Quis tn rc purine peru liquiugetodoibor rato, reba sub act? ‘si armel comam, thepex cca goons ee ‘muaonque doe bye aspern nig aequon vets eimune tetera ras {uleemper vacua, semper abi fill misr guio intmpata nie! me tabula seer ‘ose pais indicat vida suspends poten eatimesta aris deo, ‘Whatstinyougsedrenhedinpefnes Ishugging you now, Pysha, on aed ores hep a yourlvely ee? Foro re youting up your blonde baie? Youtesodegartand singe. Many hetine sel vxp at your itlesses nthe changing gn sod beamaaed at set roughened by Ble winds, bnutnow in allenocence be exo your gles aay nd imigines yousivas salle, alvasloveabis, not nowing abot teachers bene Tp poor devi who hen experienc fou nd se dled by our adic Ax forme, thetableton the tenpewallanounces hac ve ddiaed ay depp acer (a thegod who rules hes, [os15, 4am Davi Wes)The ode’ inal ine alld tothe cua that survivors of biprecks edict their clothes to Poseidon, a dons thie survivar ofthe storms of Jove “This poem wore “now” evoke a present f enunciation oe dis course btalto possibly sees, here and nowt es poem tat could ‘eid atthe Binal representation of apceh cad indeed it as een so ea, acs apeculte on the speaker elation to Pec, the dreumseaees ofthe uterance, andthe motives in adaesing her thas, ‘fe were dling wih characesinanosel“Wemeta peter” ries Wiliam Anderson, “who watches with inpresise eration an obvi ooresn named Pyriiaandan inexperienced young whose rane inunknownto the speaker Butithisa scene ofvoeutisn? Tespeech ‘ven tht the poem might tionally epresent is hard to eeconstruct. ‘Where docs t take ple, fr instance? And why would de spesker ay ‘his o Pye? Te the speser opposed to hae tumbled upon Py {na cave, being atnocouly pressed bya gracile youth unknown to im? Prom ot, bt we pot dat he encounters Py elsewhere the ret, rnc, ts hard to magi the motion fr te gae. sion, Wht li younger. Jalan you now?” Orifwe take chis ssavritlyhypebolic version ovo who areyou seeing hese day?” then ‘nishardeoimagine the circumstances or ational forthe comments Ua plow, which woul be beer adresse 3 young man. This espe cali irae given the order ofthe conus abot tis you lover one ‘might imine someane saying, “Tu sure he is arled by your radiance ‘now not elsng atthe fat wl rig storms ut the conere “Atay th time hell weep you fihlesznes” toughens” now sees much mot ike musing about the visas flo hen snuerancet the woman ona specif oeston The youn would seem tosakernare sense ifwetkei¢asan ato peti addraxwring which imagines the addres us itimagines the gre yout, wih i present ‘ctemet nd his fteredsppointnetsanact of pocticadess which ‘rrhaces in the representa vivid eect on the viiitude ofl ‘The poem ha alo ben ed hy cscs ua public eterance, of the sont tht would be ee at dinner vivid and knowing commen tar adresse toile audience The tore intent of She poo, a {48 Grepion Divs digpprbaton, ot ofthe bent tair, but Aad proach ° rather ofthe minature lover” Heisnaveand sow earner, who willbe disappointed many timen" Whom ds the poem sek to persuade or ‘warn? The lim out? Sincekeis ot addresed tall but pied a be ‘ofmany “miner” parapet all hoe pooe devil” who dott apt the sors that wil ome Ty cn be coneired a prt of the since which the poem would pensnde to adopt the tide that the speaking vole projects fknowledeable warines. Prt iselegant and atta be shunned: the youth shoud exjoy himself now, bute get too invabed fr reversal wil osu, fering wil flow, we shook vty ow, Here yi thes upon elf the tak of vividly igitiog a are the caries pest eons frie readers or hearer. In oar two examples fr the intricacy ofthe spostrophic gesture and, in Sappo's cae, the embedded prosopopoea (making the adreace speak) prevent poems fiom beingadequately ead saficsional ita Sin oa real-world speech set, but ofcourse the frst des produce 2 speakencharacer named Sappho an the second gives us an 1" whose jlgments te prescted as wider. The production of ft person ‘speakers sheen central to theyre radon such o that on ee ‘centargument by Pl Allen Miler tryin what lls yc com ‘siounestothelyrie sequen inuaratedhy Cattle, and exer ‘od Het bythe Lata love elegy where poems dsontnooualypojestan Internally conflicted spars speaee.” Realig the sequence We pat together pear with confit inne life and contador rece Sone on the experience flow Teasers mplanibieto derive thes rom the dinconinaoos oabjeet, emerging fom yc equenes, since Greek pis precede the sequence, ‘most yes are not part of sequences, and the consumption fete se quenesis afm efvademic study more than ofc eading, which has lay supe sequences for favorite poems. But let ue consider the ‘pening poem of Petrarch Canon his woud changing sequence: Voickncolateinsime rel euono snp ond mrve Looe insula primo ven exe sandra in parte tuo de ue ena,dase silencio pang et ao00 fialevanespeansee van dolore, ore sn chi per prov intendaamore, ‘pero wove pit non ce erdono. Mabe veggioor eae ppol ato iol fi gras tempo, ondesovene ice eden mec venggns tel mio rangi verges 8a, peter; snore chisramente che quant piace a mondo 8 reve oe a You who her within dese sated vere, ‘he sound ofsigh on which fed my bear, inmy fist errant youl days, when inparewas not the ian Lam ody, Forallthe mederio which Lworp andapea, ere ais hop ed van ser, heed pty and iene, from thee wh Know love though experience Yerleecleaty now Chav become fora longtime the ako people around otha itoen makes me ashamed ofa td the feito vans is shane, td rene, andthe clerks ‘bawdy oy ibs eating dram, [Trans Movs, odie) ‘This sone! ddsees te eds hough beloved oto tema common in this collec, which ctblices che cormenion of ‘hesbrene beloved (sd bene ern complet fades x invaca ion). Initeaddres tothe readeritevokethe tempor oflyri, inked to an unlcated preset of dacourte—"You who hen” and “the man Tam"—thepresnt ofcourse dominates past ofancoote"Lytihete infigued, very aceuatay, as what the Purarchan wsdenn et became, Aetna Spach ” {Grp ote posi comp pri, pe ad ‘ering, zelating inner and outer works. While this poem declares the Sng tin expres one per nd an ‘trae smd oder ng eg pode, She lpn fancy eh ee cleo St tingle chang on es pobiof conn, pri pe ado (Seger onchinges tempi ramen exer Tee techno reason neo ieten rng opr onc ori xen hh strpos aida expernes ene red ed wh ara pope late emer “tng tothe vase ape oft sud or mac of ch combi Sonia pom engl desl cocina fw Jeb ose mich be ce ste fy ope epi bat ‘inte abu he ery ntsc sche ‘ross the pom resented ce orimay noise heen prone ne ic "Simemelens naomi epg” Ge geo rey two) Ths pons pone compl gles cnlweltyon ec evr pony qe bn pe cy tees lon i etn fot gure ‘lPegwende das noe used Bore le ike Frye vn penny ec ea Bre were doers cin Se peer aed tobe mes specid hina tn predcton epic dori prensa trai barr chon ay dey ete {Dak trees nes ane, Te cng ote por, Secu pend respi sydney ‘onthe aig ns mpl, Whie th ec peer cadens arly eon foing athe ar te an ‘Shrhope dpa hve conse ot cnn snd bc ‘pba etOnth oc an ints pap wpe {hans penese mode oly ase On ete STcethe phasis been enh ny ftps thst ine seme te duach tcl te cette a i patie ported tdbecome nt ftv presentation but mor pot in keping with ean inction ofthe yc eid dacourse” etrarchan ic sequence pret complex speaker end, despite the ene conventional proce by the absequet tradition fle po ‘ry, could be wed to apport the romani model oye asintnse resion ofthe subjeet9nner experiens. Such sequencer aremore olen ‘end according tthe imple model hatha sceedet and now dome Snes ri peggy: the rica fiona vepreseation ofa speech act byaperona net the poet. But depts the preaupsionsoflyrie theory ofthepastvo centres, many rcs do ot pret speaker character Inisecately requirement ofthe geve. Letus tara wa poem unques ‘only Iyrie without a Snstpeson speaker, oe of Goat's mos fi smouspoeme re so mein Sahin Kaaba Rida thn, Ridin der Heiden, Wiarssjangund morgen, Lefer sel es ahs seh, Sas mitveen Fede, sg Mii, Ridin, Rosi tt, ‘Rin af der Heiden. be npecichbece dich, ‘Rk ao deride. Risen practic ache dich, Dall engdekst aa mich, Und ich ls nih en Rak, Ral, Rien et, Rosin wf der Heiden ‘Una der wie Kaabe bac "salina Heidens Raskin wettesch und sch, Half doch kein Wea und Ach, Mubtes shen een, A acto Aprach 2» ‘sli, Rein, Rain ot, Risin oder Heiden earn Rose ‘youth aie onetanding Lit roe onthe eat ‘Wasto youngand morning lovey He ran qickly to seitcloseup, Sov iwi mach. Linde rae, eo i rosered, Lite oe onthe beh ‘Theyouh si, Teak ou, Lite oon the eath™ Lite ee spoke “pick you, Sothat youl reer thisket ne, ‘And dort wana seri” Lil oe ite rove litle ore Linle oe on he sth And he wld yout eoke “Theiteroson the heathy Lie rested and prised, Buta “woe ano eed he, Shejost bad suri Literacies, leased, Tite ee onthe enh (Trans, Dav Weber] Here there tno Bt penn or character whos ates we ave to nstrct fe ake the evocation others in therein asadavesing ig tht implies nat of ensniation but nota wbjet ora chance. The emis riefanedot renantedin the past ery coma yiestue ture though the rue’ response tothe oubiraddres ifs aut of ancodotl apace toa distinctly poi one. And the repetition oftherefan ataches this story othe preset ine oflyric discourse in which theroseis repeatedly moked "The temporal sractre is quite complicated: the anecdote nthe past, recount a vet anda prediction whic projects 2 ftare—youl fo ‘er hinkofme”—shich wil bea eptiton ofthe past. And the poem, which ears chantngly in ach tase t the ron sites in wy sve igh cal pefenie what hs would inv, Refsnisanimporascansitent oy: festan insane ofthe rp ttn that Roman Jetobion mows tok to defn the pete funtion eflanguage: "the projection of the principle of equivalence fom the ais ‘of selection onto the axis of combintion” so ha esuvalence becomes the consinve deve ofthe sequence.” (The funtion of eqsvalence i he emphasized also by the consonance of “qrechen “brechee| “echen” and “yprch? “bch “ach? the key wor ofthe pot) Botabove ll refin drupe narrative an brings it bcktoa present of siscoare, ‘Though very diferent rom Sappho oto Apo tis poem also presents a complet fractures oad, asta apecty eects of presence, and x certain perormativty, asthe ear, vied to repeatthe "enn finish or hersefinthepesion ofthe “Knabe who adresses heros, an he poem produces the esa thatthe roped you wll always think ofme. In addition to this performative apc, of acon lishing wait names, the oom poons the eder asthe peer who repeats this ial disoure. This atc whece ie would be pine ess toask who ie speaking on what circumstances, The reader speaks the poor arate the discourse thatthe poe lls. Ae inl the oem posits through is torical euctures, an interpersonal elton ‘tween man ae nature (which ieurpetton in hi eri ily 0 render rosa, with stnario of deleraton ae castation) and where notre is invested with agency afc, ad sgn in exteavagant fashion, though on crcl realizes thi since te oem i delete and rmodestin appearance ‘Ournestexanpl, on ofthe most noe masters, Leopard's ‘Linfnito sppreaches the naturel wold in quite diferent feshion, Sempre cro miu questa calle Eqn tiepe che dn tna parte tactic Approach s Delain oriznti guard ccd Masedeno emirandonsrmina Spar dila a quell sorumai Silene profodsina qui, Tol peste mi go ov per poco Meee sen do stcic ta quate inte ual spar. Eomel veto Iefinio slensios questa voce Vocomparandn emi sori arn, Elemore wagons clapreente viel on dle, Coser quesa Immense song i pense mi: BY anutngae i dlein que ue hays dear tome was hissy hil And his hedge, whic cuts oem vee ‘Te farhrie on almost evry se, Butsting bere and asing else Space heen tht, nd seperhumn Silencesand prooundest it, inne formyl thatthe bet Tsalos ightead. Anas steno the wind Stoeming though these branches, [od mel Comparing atin lence okie, ‘Aa thy real oes tac, ‘And the dead enon ad the preset, ‘Ad living pt wow, So in the mis of this Tnmensiy my eoghe down ial, And shipweckin this ea settee ‘The opening line ad ender to expt the description of lore mat ural sting, but he poe rphaszes thatthe hedge on this hill locks ‘he horizon, 2o that with perception impeded iii thought tit in ‘vets (mi Sngo") the dsane paces, superman slenocand deep Git. Comparing the sound ofthe wind with this infinite silnce provokes hong teeny and ofthe savor than che presetdead ad ving.We might expec casi scenario of the aime, wherein the process imagining theif bis tought ie evecwhelied, but iaveton i ctrl hex: he iogines infinity ba ot 0 mich tat the ea aes Sight. As the various inintes of ine and epace ate eave int en, ‘hong drowns itself andthe sens of being overcome or wabmerged a sweeter than tragic proces tht can be repeated over end oer in tise presen ‘The poe speaks fom partic plae—thi hill and thishedge het, ere abeys dent hie—bue the natural sae ulimately nt ipo tant except as ait for masing on the init ard as a poi of om ison. Numerous deci, beginning with ths alitary hil (quero col) insist on this place, this wie, tha plants. Yet cher demonste Sire adjectives quate purl imagined ential what sts as that infinite lence (compared with weice fhe wind) ees ap as si mens and his sea, ina steange reversal of wha is most prostate" Moreover, the ina ers, “Sempre ato ifs inthe paste renal, indicating concided action: alway dea ome was hii no cis Aull akrays hasbeen dea tome.” This separates the self at led the Ii fom the poe who now invent and compares and who experiences ‘hesublime drowning ofhishauphtin the sex ft inf eventhough this experience of selfneatng thought maybe what made the il dae. .g yperolcin evoking the infinite from pot hind hedge the poems ‘comes not the recllecon or praise ofa patel saline view bat | ‘clebration of imaginative sellrtlexiity, theming plesurstl by ‘hinking its own nego. This pou gives us aa-person apeseria articular station bt that pot ia quicly exceeds the poem si tesitselfina presen tena of ive ind myself Comparing and “my though drowns ite Forthemodeenlyric we move fam te hilo the city reesnowhere Iter epicomized than in Baden anon ene A une passat” ‘The early twenteh-century criti, Abst Thiboudet, who sniipted Wile Benjamin's analysis of Baudelaire athe Ss post or whom urben xpeience was the norm, waxes cloquent about thissonnet asa dtine- tively modern poem fom the sented word of moder cts," poem which, posible only ina grea capital whee people live as tengo Aad Apa » ‘ne soother irremedibly masked thre whose youth belonged tothe Iie of» grest capita” ‘The Sina ine, he lims-—0 to que jease simée, oti ui le sone” bocoe oe tat Paisins ee to themscies as they sul through the cy and has thas become prt of ‘he urban social imaginary, “contubstante le pouse dor du bow levad” (Spartan parel ofthe pekden bare oftheParanbooleard”)" ‘Thibaudet acount mggets oe socal fanctin of ye: he atl Sen, perhaps in detachable spothegms, of what beome sated sc tures of elingo he social imaginary But thugh thi i certainly a torban poem, beginning wih a slated is ne evoking the noise of taf, the poem also takes upa ic wadton ofthe éanameramenl, the teasing inal sight fb beloved, asin Dante orPetzarc, lave ats sgh, which, as Beam us, Bauder tantra t "ove at Tae sight Larueseruditate nour demi bt Longer ines, en grand del douleer majesene, ‘Une omme pe, ne mnneteate Souler, balanane ston oul Agile tna ave sjambe de statue. Mai bavi eipé comme an extaragant Dane son uh celle od germ eur, Ladeeceu qc icine ele pai quite Unir.. pie amt— Foie beaut Dent le read fai eoudsinement renal, Netevermjeplus qu dans Mente? ‘Alles ben inde wop demas pute! Car jignore of afi, tei jai, te quejtame sins, teil eae 5 ‘TOA WoMaN passine BY Around meroared the nest defen ee "Tl li in mourning ane reAvoman pase, wth splendid na “Litingand engin her ftoon nd bem, [Nimbleand tly, sauce I, shakngike an add, fom hero, Blacks, perf rene, dann Seto tha fins, las tht il One ighning ah. then ight Sweet gine ‘Whose lance as mide me uel reborn Wil we nat meet gain hi sid eth? Tar om his plc! lite eer pepe Neitherone knowing where he other pes (O youmighthaveloved aswell you know! [Tens James McGowan, mode) ‘This sonnet, whose syntactic divisions ferline x and agai afer ine 5 imply that modern urban experience doesnot ital to the rational Iyscstructre ofthe sonnet, ake the foro anecdote in the past, bc hac nreated even transom in vatiun way, Fs it ew ered sigicant—no loge mere aecdte—y the conventions ofthe ‘ene themselves Second, the hyperbolic tar of desing the wre eye ail live ot gee Touragon fom which the speaker drinks ‘La douceur qui fscine ete psi qu tue creates an exces that en Derecuperated aa mask of unbridled subjectivity (reading in the pe of 2 woman in mouening overpowering erotic pose ores as. di fase aft, ofineniedsenaton. Third, the poem pls itself out of ‘he naraive temporality of post event and no the dtinetive apace of Jyviepesen wih the adres tothe “Pine beat and the question that he manifest connor answer, “Will we not mest gui thie of death?" question tha therefore insists onthe optatve sa extaod arly elindulgent dimension ofthe fil slexandrne, “0 toque este aime, 6 1 gule era!” The sonnet begin a arepresenation| ofa singular event in aban srroundings Une femme pasa” but the transformation produced bythe logi ofthe gente lle into dhe yc resent —"Fignore ob tu fui"™and ito hyperbolic and melancholic celebration of ast posit, the poem comes elf dnd prc ” sm event, helping to atuctre dhe fuses hat give aan existences A dient orto amples Lars “La ana som (The Moon Comes Ou (Guana lela fan When theron ise seperdenlasenopans ‘The bell dieway paren is sendas And impenevabe impensrbes. Paths comet he are (Gund leans, ‘When theca ies clmar bre era. Water overs tard Y elena eine ‘Aa the eat fete is en lini, Anilnd init, dic cote aresje Noose eat oar joa lna es ‘acer the fall on, Es preio comer Iesrighttoen fru hel Greenhill ri, Cuando sea tins ‘Whe the moon se ache saree, Wihahandre cell he me, lemons de plata Coin fer selon en dbl Sar ebbing the poke [Tans A. 2. Foreman, modied} "This mysterio, engeging poem ofrs no speaker nothing gined by ‘eying imagine that someone i speaking waking who why. mantel rie writing ofeing rat bypetblic, melanceicimages— impeneutble paths the art a an shad in iniity—but then eng, fon stnde i natural seting ko mkiptication and manetiaton: in lice ofasolary hear wearegvenantrepemorphined lve cnne with hundred ices al these sobbing the pocket. Phe struct of he oem, highly tule with thre stannae Dinning “Cando ale a Tuna" makes che nonconforming third stanza stand ou; but wha thie salient stanza gives us is uot a thought chat centers the poem but the‘quasi anthoriutive enunciation of hitherto anknown sci norm: no ‘nc cats oranges under the full moon. Although the poet invites spect Jain about why tis ould be appropriate ranges go withthe un oF with blood, ot withthe pallor ofthe moon, pepe) ares above al. arusing especially when llemed by msn tht seers to ped the pide Fancsonng of ahi lc, Pndas tells (a his ise Oye pian ode that Waters bes and Petar that wordy joy isa Aetng dream" but Loca announce that she fll noon you mat eat child, unripe frat (1s precio? means iti necessary” nt jut “or eet) Bat the poem eas not withthe dubious oil directive bt wth the sorzom of epic: urement likes hundeed coins wth ie tia ices, sob in the pocket-not eure toe spent but hyperbole islaionins mulstade Tn poems considered upto now the mages have scm elite preile:Toveasa es potently stormy, arose thet ay prick ees that ‘ash ike lightning, Here we encounerimages eich the ebbing cons, ‘Baviniteheemenasicaterton bt bone a anton maybe sgl imaginative strangeness resistance ordinary ines of thought, na ex actly utopian possibility. The tile gives lly animated moon that "pecs ot” ues) testa otic repetiton nb preset ‘ens ofhabital action, asthe sag ofthemoon reveal oursraage and \gesanged ination For twentethconturypetry thesis aqueation ofhiw much should be considered Ise or read within te famework of the Wester ict Aon. On the one Kan, many twented-century poets ave explily denounce yric model wich ts toreprouning of ects of wie, pe ence, anaes, eve though real ealysishas made it earth fois depend on rhetorical wenteie and ence poet aplation of Ianguage. As diseuss i Chap 6, poets have certainly succeded in proving works that demand tobe approached diferent fering ext ‘hat can scarcely be arcalated,secking visual rather shan primarily sural fist Cassie ra sch as Win Calos Willams’ poem XIin Spring nd Al frequently refered ost “The Red Wheelbaronanke us of spatial arranges to produce refs andi psa ” so much depends cal redhat bane asd wth in besidethe white dickens "The spas disposi ie ruil here, reeling structare tht would potbe deecablewher heard, buthelinend the stansa rather than he age are til he fanetional nits four worine stanzas the it ie of ‘ach ann consning ofnee words, the second ofene word fio ables The poem rises the question ofthe elation beeween the vial form and sound sequence, a the reade ue iavited to tet the Bins beth groups, peusing tine aed ata endings Lineaton sem © serve as instructions fr voicing. The enambment produce by the vere itera separate whe! from har ana fom wate,” com trbutngto the sense of bic contents of word Without hye a regula metrical scheme, the poem succeeds in producing memorable language, in an unorhodex, unfinished version ofthe poem of praise Here thee seme no reno tiaginesspakencaracter ota tempt linia to mpi acontet of werance Hogh Kener wren “Tey twimagie an occaron this setenosto be mii So uch depends wpa are wheelbarrow hned with rainwater beside the white chickensTey ‘nove, inany voice you ike its imposibl And ogo on wit he lialgue? To whom might the serene poten fr what purpose? Notonyis wha dhe sexenc sys banal i'you heard sree you'd wince Buthammmered on thetyperiterit sig mad ad hi wc? Alsplacing ingle word exept ypographially the sixteen words exit ins difren sone sogeher,a ne remot from the wold of eer td sayings He as, "Yet you do say, you do go through the motions of saying. Burarelifs the saying out ofthe none of thing sid"? "You do say butte poem gies ue not oie but voi There scene resistance tooth the romantclerpenive model oflric and its modersuccess yc asa drama ofthe atiades ofa character The poem dos toca character making an astern ina Stina world bt maka ‘a suuzmeataboat ou wold seems poem facto, recolingasuinor epiphany. Th station of value (20 much depend” places hs poem in the piel tation fre prin but the poems seems xp too sono ather, the pectin of chickens and rainwater maken ‘emystrione wht the elim might be, so we purl ve it, bit we re: snember ie, Despite contemporary poet resistance tothe idea fli, any conten oray poems acleve thir lft y engaging the yi edo. Com Sider the very intriguing eagle ofthe opening pom oon Aber 2000 colton, Yur Name Here. The tile ofthe eallection alld fo {he bareauertic language practice of forms publicity: eich of wean become theo hailed by bureacracyoradrectsng, te ou wh asst vwona milion dlrs ina eter ort you o which an iterabe urea cratiproes appli, ewe lin the form, Hour Nome Harogrounds ‘bepsoblem of singleton andra whieh seems ceauel lyric ad which also sbtends “This Roo’ The rom entered waa deam fis oom, 4g Sarlyal hose eon the sof were mie ‘The oval port fag was me atancary ge. Something shines, somethings asked up. Webnd macaroni forluneh very day exept Sunday when eal oul ws induced tobe ered ow. Why dol you thee hinge? Youarennteven bere "The poem connect the problem of snguarzation and teri with ‘hestiking dite fcr oflyrie—thi oom on ain, iets whee the jeu, asia this oan, emainsunlocied Here the suture offre returns ce recital af past events toa present of discourse 25a ‘ter examples considered above, but Ashbery’ poem eal oth in duct prac 2 ‘he capi with which it fnground the raion ofc aes “iy do el you these things? Yu are eleven rand init by perl version ofthe etrangenen that ic here tet a xtra ti “Th oral porta ofa dog war meatan cat age” Aaso cen wth At bberywe are indice to castaround fr pints ofrefeence amongltray ‘ornonlitrary discourses: thie prt reclls Dylan Thoma Portraie ofthe Arist sa Young Dog” Poe's short tory “The Oval Port” or {he poruas by Wiliam Wegman of dog as people the ih of iden ty Gea up withthe cid pt othe commonplace hat afer ace tain enter and dog come to eel ne sneer Butthe punch pou, to use Roland Barer term for wht, grabeas, lds isthe invlton ofthe formulation, “smal zai as ‘due tobe served whore anton dif to imagine Though aoveall joke, thisline poses question oflanguage and agency (hows the qual induce? dos the qi have asay2):it thu foregrounds above alle trangenes of ve lnguage, vena evocation ofthe oninary (Cevry dy excep Sunde?) Howorerit ork, ht nigaatic cap inkypebolic ins atraener, «condion it ets to dream. Is cow ‘avon exemplary with tjoking yet linatey ern fregmunding tthe structure ofsongand oe, wells the radon of the love somes, The allies. Why do el you these things? You are not even hercould be aca to sum up th waitin ofthe oe’ complain implicily comeing, as poems so often do, onthe yi wan 2s they pare i One could even sy that tying iii working to ar ver hin question: “Why doll you thee ting? You ar not even 2. Feu Parameters ‘These examples anong the most canonical les om dient prods, Yiea number ofresenances that help hich the parameters of vial eit ad Senta erie ofan tobe vetted fre. Fra MilerZetlmann,s Geman thors doeribingthe demain ofthe lyse lint overal tendencies that inguish from other genrew (i) breviy, a reeton ofthe ction element) more intense oral ‘tcoturing,() greter aesthetic selfefrence (gett inguitc de viance, and (5) eater epistemological subjotviy. These arecersalyplasble characteristics, which help above alto dtngush rie fom ‘araive poetry, but the examples eondered here ofr sone ste specific and salient parameters of tiation; and they might lo etd us to question, at east provisionally the presmpson of get lng deviance, which i ot parialely mnie inthe pene dscsed Wecur organize thes parameter soning four bad topics These are asl be evden, clonly interned, bt they asd eo be approached moe scheataly, whence preliminary septation, (Fat, have highlighted the question ofthe emancative appara froin dere examples, which provide ange of possibile ufind= recto. The east indirect is Petraes rsperson address teers of liseners: "You who hea.” But eis addres to eaders—anomalous mong the examples—only highlights the inditecton of the sonnet equeace generally, where readers ate indielly addensed trough ‘postropes othe abet beloved or w ahr posed arenes Boner, wate, love isl. Ashbery, foreground the complications of ie sHroctur,eonelades with an address wan arent “you” whether the ‘ader ora personal “you the beloved or oth Horse's ode gives wa danerisic versio af indireton, imparting a moe vivid, drama casttoarefecion onlove which saddest via angus tenders, then nd now through th adres to Pra. This ore compen version gin ply in Baudelaire’ sonnet, where the woman described inthe ‘octet i adresed ag abst in the ett, ain Sappho, where the a Ars to the goddess is complicated by it ear of previous ose sons when she addressed Sappho, which melds nto dtet adds to ‘the supposed gpeaker—al of whichis imply adveted to litenes aun readers. The poms by Goethe, Leopard, Lote, and Willis are ot exlicily adese, and while Leopards could be interpreted st musing oveheard, the othe tte poem pos the question of how to think shout and describe lis tat aa dhe Bion of a peer std explicit adress,oiing instead writing fr ecer to enc "The ennncintive appara sso pores the question ftir tito vice and voicing Eversince the Grek, have generally ben countered as wring tht readers iulat, etl roa the Importance of sound for yi hae made the ton of vie loom age, ‘oth inpoersthemsees andi thei train, Theft that writen 4 nuctie Aprac Pa |p pein digo and peeing thence gang alert eh em of ng enphis iporanc oft a linens character ers, "The rine finely, ‘nips poy, depen on the phenomealton othe poto ie” Ailes Pl de Man" Phat ty ond sorting reall dl to lend phenomenal form to esting ikea vole, to convince uses tht we ae hearing wie. This ptt enoczpo inthe real wan and here certainly is ht temp ound Ike someone speaking, butte example considered here ugg, thee are many oer where en doesnot energy ade imagine the ice of speaker or read he or eying od: he poms by Couhe, Lore, Willa, sd Aaery re good erage Rather han imagine that embody vies we dobro ht the reat ft of ecg faulty. Cala hry ote ee It consider whee facto ig rate han ocean the ‘chingotiyoe, anna, orlieio odyhncptersng—ee ‘othe mere inant ineson yin ich impreon the dntntie voice of sper sometimes impor. To what extent isthe nin fre nese tin pith oii nl oan Aly with ager fio? {Nest weave what havea atept tobe teen rent ther than erepteseaon ane Hew ences ine bear erate mime a Arle psry (eating wate rr?) of tact ond acini fedsccoringto he atest cons and cater aconeption which Jes i wes on wey comely and pian a eel side, sncitwas consid aapech vet epee an a epee tbo of stn. Thi a oy hat esd ot equal preset ‘nial cto haacerink of Sephs Aphree, Horace Pye Gone Kab an Bad cient they ae {ited a noneinaticenepre. “Themes rkng oie prennctinfsnetosorivgnents that ae no rdtvid taper peak or Btn stato nt flere srs abou he wos Sp oe wo fe wlan pre” Horace “Many the tine bel weep at ooe esos dhe changing ods? Perks “wel joy being dream?ses Mo mach ‘Loss tis ight to ext/Green, chile fee” Wi depends upon red whecl/batow Modern readers have learned to eomtheiden hata poem might "have menage free ator wise everyting sve this meaning would become ancillary (why does’ the poeta say what abe meun, thea? bt may poems are mesiger that speak ofthe wed and ask wet consider tin pti igh While poems are ore than statement about he word they frequently fer paseo lane, urging ws what to valu, nt vn character made to adpea vl, but in memorslespthegns fee fr readers tor paatand member Think that his feing fan ation ekg place in relic, the time cakso read he pou, what we rave fom poty”wrtes James Longebach, even ifapoam spends mos oft recon nev that har already happened"? Most ofthe above examples do not ince ‘mimesis of tion, bu several do contain minimal nerative sequences (Sappho, Goce, Bundle) and hae sepresetations of ston, Inna tative fon the question ofthe reli between ery andere botween whats enunciated andthe enunciation generally theorned as one of perspecive—from what point of view ate nents reported Gin Be tio he pity of esene to aration igpresumed} How does die? In ou examples, the present of dscare oration ciinot be vedo che narating of pat erent the conzay hearted evens Seemto be subsume, ramped by the present ofyicenunction me ratings no lnge th igh word) Tie ca take ifn ome fn Sap hos poem, perkap the mot spectculay, the maretion of pas ations {sformalated in apryer ae prt fun nvecaton, and then convetedye8| we hve seen mo an event that sam to be ocorrng inthe preset, ifwhar we encounter is ot sory about Aphrodite’ appearance in he past but an instance of Aphrodite's preset intervention. In Baers sonnet the natation ofa pat incident interrupted and eubsumed by anaddresto the "give bean and the rest oft poem takes therm fv engagement with herin the present of disoure, Goethe ong olf tonal representation, amiinal neat ldoogh the etrange cevensofthe exchange between youth and owe, adhe compreied a ative without scamstaata dtl, period interopted by the te fran invoking th oe, seem to pull out pac of arative into x Intact Apacs 2 slic apace oflyicdacourt ven thee hrc poems, he, bse representation of past events oan occurence inthe yi presen, ’A dance feature oflyric seems toe this atempe to cet the i pression of something happening now, nthe present time of discourse. ‘Whether, asin Sappho the poem works bilan t prodacea version ofthe event it deseibs ain Leopard, it tulsa peioms the ‘Binding that icevale, puting us hough aeweetdrowaingofhoughy, the Ire works oer efecto presence. Emphasis onthe present of licourse—asin ure "You who hae or Aaibery+ Why do ill, ‘you tes things?"—seomsFandanentl othe Fnetonng orc. The question ohow eet of presence are produced and terrae ini Ajo tpi toe explore. (estar a vies fer not representations of speeches by fiona characters butenemrable writing tbe erie, reactive and repeated, Dear they parte ef bat hve body called tervals, com cpt that ill Benne feed ota we proceed, Ihave in pasting noted tome rite dimensions ofc, whether allusions to ual context, ‘in Sapp oe, ove poems atu complin, othe coal ofthe rinalsicrfainin Goethe's Heiden” Thave saree emphasized the forms of linguistic pternng or stanzaestructre that sum tobe central tothe dent and the functioning oy, and expe cially tits old on eadera. The fecal dimensions of res pat tering of thi abd hye, the epetison of ane forms and gener ally eveything that recall song o laksa imei representational Function -contrbate to thee italic a posed to Sina arpec, rtking them texts composed for epesormance. Fr many ofthese rcs ‘nseemsimporanttat the reer be notjus listener ran audience but slko performer ofthe lines—thatheor abe come to cep, taste porn the potion of peer aed adil or inauiblyvoice the a {guage ofthe poem, which can expand the ponies of kis oer di ‘oure How should one conceive ofthis dimension oli and how does itl to thematic and other ene qa? (4 Bolly, eof thre ies have an expiclyhypabatie quali, whic ie especially striking because they are bie. This aks diferent fern, n te arrival ofa godces woe prvopopodafspenking ross, to the selfancitltion in the imagining othe inf othe elevationfie ngs of aig agents moment apoipet othe crochn oie i sng ef een Bede Mt ‘ht hyperbole sed apes eh wo fms ange ‘ih at ny et ern btm pan nie Son Sines te yptlato whes n ht e pik e ‘eel you eet” kf at on tine it ses rods oh ges canenti tks honeys {prem crn phy, perl nef {nmr ane th oo snp aor pai, fnqut ei peapinnin? scien eed ope lac pn wich on eh norman of expect nora he godine ny py ewe ep ‘Sl ha ings ig gp ener Lys petal ik nn the wr ertng monde cco scarce vith ering “Soh ihr we der Mensa ee sri Hii “eps an velo th Ly eke sik ieee wal, igs el dient fo mate ‘Thisaapes fish ote eee sic hen ries ‘ate re ing words mera wal ng en Emenee, Thee i om iret pein ad ngage ny cage ectopic ovina rn tener iano Eernotte gure They donee fray er tata radi of he ye bet hy oe ir cteig as ont toning te poe ip han tut ob hed in aempreon Bae usin aleve ber lleva Two Lyric as Genre eatures of language, we encounter a wide rage of discourses everyday adn chem nt genes meer moma so a8 toproes them and determine how o respond thsi an advertisement ‘his fiendly mesa tis ita news tory A society sin pr con tuted byt discourses io be Fanonng ais obese o recone wily wha sot of discourse we are dealing with Thgh adverse ‘may ty to wick sito paying atenton by making thee ads scem ike somethngele,recopition quickly wns. Tring onthe levi, we ecghee sparse pes ear eon aoep oper crime ei Most ofthese genres of discourse sre ot the met of ntense theo ical deb we dnt ange about haber tere ae “real” sich thing 28 spores or whether thi isjusta name we have busily applied ta wie range of empirical digcareve events. We could spend time wow ering whether eininal procedral dra” isan propre category coe whaher we ned to srtal ese programs with desve crimes, lawyers in other ways. Someone might argue tht we shold ditinguish between programs that center an the lawyer snd those tht centr a de tecsives or police bt such choices donot sem 1 be fet moment,Notes odin |B inet Why Lin Reena f Song Renton i ri Cone tin and Prac Cale Segal Bo 00) nearer artis alae ea tet he balk, twos th point of deparerer hking owt te ntatana surat inet tae, a Prifrein da oman (ain Seu {Beary Pca ind Gomi Pui ers, Eek Ming ‘Yorks Oxford University Press, 2005) 1-40 ° ”1nd ered ohn Wik, The Comin of Die The Athlon Grader ‘dct Gre Landen Roles) 8nd {Renee an ensign cen ot ‘eponile) Tennant epi” reer oy, uty Pfrncner abe Cig aesiy ‘re ao Wars Ane Can peti ose ibe ‘mea, hihi opern won pion, “nf mind ‘eto arg compe ernding eon noe els, ir ety ce om nae Sg caste fe ried one) Witla Gratetta tp S:Anme Be, Tre dace dec, nes Sf Cambie, ‘Ms erty Fh ay se nen, he Beet (Price Ptowo Ute Pe of i-up ‘-Mucl Bowe eqs oer Spi ‘eprerntaons 86 (0) 9 5. Wl rr 8 rind et iti Ose esi Tienes which ats ie ‘atemtsmttolhndper tn ws tanih thet wih thy raat mato btn eee tcc nate Tn it ro ede MA Horry Pm i) or caso eC Bion » ° Brom, Nope osc”. Chae nde ego ing complnthe tert resi a, cere Beto yemnnon™ The nage halo wes oceae crete themaia rive Tees sere eucarl the dn poner aloft eas tod nd mate ths mast ore les eomprere then dll The arf fon Sel, Py Bac, Gra seen itn na Ser Highns da thi Deda Tn (ont Sot Ute Pra) ue ja WM Joon, The Marfa dat on Ned Paty {ely One of Cena Fess. se en iy tn retin 12. Gregon Divi, ables: The RiericofHoratian Lyric Diseoure (Gey Uaertyo ioe Pech Pal Alen Mis, ret and Erie Cocos (Loe: Rog, i Rel Gren, Pot Pear (nc: Paco Usanty Fre pp cnet te epee aint chin ai tn coningi wens Pach antec ete char pang Ipsos hag ot fig pr oes ech wh es oe eure bec ln int deep theca tenpral pce {Genpact yen pone of hes 14 Tecan ane the erally lected rece on 2d ps (le) wenden tote collestan ad geese sn sateen te Paereinc ‘land rae yin Cambri Hier of Enh rr ‘Th Benton Novena Cant Univer Pes, 0}, an Net lngaps sang] haere come om Jahn Brim, if oe ‘here The acs crmonins ater nlp pelea ‘tie pie rhe eased epost ves i ‘iced te aodencr th dorm desis, bt em opine ‘eon ote icon ich thar sheper and ear esc es ‘irae by bevy o oles Wala kt sR saben Lignin Poin Sli Langu “Tmo Seok (Camtridge UA: MIT Pree 5) 38. {Bah anaes, Lenparis ia sn th Langs ft Rowan Sui” Paia Toy 4985s Tenet Bel, The Eade i ain ry Pa 99h 4S sp Abe Titus, tries Penge 8-24 Hews ote ‘ere "ey yar sear enone peopel sede sie thi mary soda end ope oe ‘istnccbmate malingthemg rsd iota ol trometer ued” 0. Nutr Bonn erat (Se Yorks Hacer Bc, Hugh Kenn meade Hor Ne York Rog 7h 12 Sine tectonic Ay ed a ‘sory we dedi pontine ee ho inner bb Tur Name a cl ier spy. 9. Be Maer ala yr nd Maal seen Witer, 200) end fs rtm Charis oth wa Pai Poe Ua Corn sire Pes 985 5a Novas ro enone 96-46 ‘lana Longchamp Capel, 16. Chai ie, aoa comple, Ci Peers sn.Roedch Hien beer Be in Godse Stayt Redan, soo) Pcs Pari Gali ies tewe “Jennie, Qtr eit (iS 9), 8 ren i rnc Naya a Hare drs Pia 9. Sati Bp od dP a se, ardouh (hp ds Hever Caney Po ao .:Treiefomsen, The Pita css aCe Ua Prem ‘oe it Le oO lina 20-4 5 Benda Cie Athi a See xr ad Gece Lite (her Ys rman ort “ee 6 ino Pi eee pc ae "Reming Ger (PLA ‘Shiba no ct nra ns) sped tint son green he bette 009 meting a he Foes lest wat Conv” pbs Th Mork eee bye Wah Arnie bani cpa ae ate yan, On the Why, Wc How of GeneTex" Poti oe. 5 Bab Cen, Tarot Ther Gener? New itor try 34 Batoagen. Dard afloat bese fra megan dope of Gee Teter Ges Thy (el Prk Ra Sas Oy Peon ‘nhs oh Reclining Conc” eral of Gonna Sir (9900 5. “ sR a dog hee 12 Te Dinar weined phat “Algie Blie, Cant, rns exo Epc al en ein Fl He, ic (Piet Pinte UninesiyPes lai, Lend de, Pao Rants Roma Joan Woiing von Goth, Net and Abdngen en bern Yea Asides Wat tice Dive” eke io: Bask gv ne ssp, 19 Gata Gene, The ditt tact (Belen of Cesare 63) 65-68 Tee about bat sin, ‘porant bik shat eve NorKs vo exces 47-53 = "4 Goo dls this rales tow nh Eaghsh dk: Mel Ce, rete dene (ai Sea ak id a Cu lance rite ene ood. Manse Sophie ans (Pris Khaled, 0) 16 Allen Gran The Sighted Sing nar eh Hephine Usiersty re, 109 2 1 Mire Deon, he Meteo Tah in Arai Ore New Yas Boas, 99 Chis Guy “Gee, Oya Pre abr Cnajro Gr ge ec Bude (arg Ceti Uae Pea : ‘Cre “Gers Forth vader ste WR oto, Thee Tyrie Lyre Noein dc an er ot (eley Ueno (Ciria Pey 8 a Kare “rte Gea Pekin The nrg Comparon Aree Gar HA. Shag (Camb: ‘Cami Utes Pre 0) yey War, Riad ‘Pats ety (Onder Po 200: rege Nay Phar owe Tic Lyric Poon ofan Bp Pe fame ne Hopkins Unive rns pod} Edens “An Aota ck Lyne Lre Gre N Eds Ctr Co ‘ner Pe, 8) vl 9255 worth gst renga She laps re were Gres pune ha le igs tnt etn ta mar seed te pon ee ney yma) ly onl eer arab enpening \beomeapt lis bejnd te mete aha nde hence sedby ein 18 Nagy Pindar Homer Wala Retin Pin ty ‘ip Hal loom, "The Braking of Form" Blom eal Darton and ‘nisin (Ne Ya Sabu Pee anh 0. Karke shale Gr ota ae Fr The Orig of rio (Penton: Priston Unies Pre), 1 Sele Fo rile Pe Neots Ox sive Prey 2). Are woe step fr ie "Sng Heras” [pra enh thereof tne 1. Arai Pini ate Legis On te Salling Denia eS ers Sher Halil, W. Hann Bye Den © lacy sc Rs bers Cbg, Mas Harvard Une ren 90). 45 Tt Teepe Pa Sey boss bons (Camb MAL Haar Une Prep ly 8, 14 Fur Pach dnsern oc ta eam in The Levee Caper. ‘lable poey re st demesne com ‘pel war inariysposy oii and soy. Ege mer Const ofa ane flowed ys petetenes e t ‘greenness nt anit ed eet pune of