Now the ice lays its smooth claws on the sill,
The sun looks from the hill
Helmed in his winter casket,
And sweeps his arctic sword across the sky.
The water at the mill
Sounds more hoarse and dull.
The miller's daughter walking by
With frozen fingers soldered to her basket
Seems to be knocking
Upon a hundred leagues of floor
With her light heels, and mocking
Percy and Douglas dead,
And Bruce on his burial bed,
Where he lies white as may
With wars and leprosy,
And all the kings before
This land was kingless,
And all the singers before
This land was songless,
This land that with its dead and living waits the Judgement Day.
But they, the powerless dead,
Listening can hear no more
Than a hard tapping on the floor
A little overhead
Of common heels that do not know
Whence they come or where they go
And are content
With their poor frozen life and shallow banishment.
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Poetry and communication. re Edcwin Muit and Edna St. Vincent Millay
From guest Arnold F. Klick (contact)
Modes of communication exist in a spectrum ranging from pure poetry to pure prose. Pure poetry has the characteristics of rhyme and rhythm and, in addition, careful choice of words, no thought extends beyond a single line, and careful following of the rules of grammar -- periods, commas, and paragraphing (stanzas) are observed. Edwin Muir and Edna S.Vincent Millay provide excellent examples of that, although, occasionally they stray a bit to the left of that. Far to the left is pure prose, such as that practiced by novelists, historians, and biographers. Somewhere in this spectrum (or along the side of it) is the prose of engineers, lawyers, statisticians, and such. In this spectrum's center is 'prosetry,' such as the modern 'poets' who appear to write prose and configure it as poetry and doggerel.
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