a fool in the forest

Epigraphs

  • A fool, a fool! I met a fool i' the
        forest,
    A motley fool; a miserable world!
    As I do live by food, I met a fool
    Who laid him down and bask'd him
        in the sun,
    And rail'd on Lady Fortune in good
        terms,
    In good set terms and yet a motley
        fool.

    As You Like It,
    Act II, Scene 7

    L'homme y passe à travers des
        forêts de symboles
    Qui l'observent avec des regards
        familiers.

    Les Fleurs du Mal,
    “Correspondances”

    [T]here is almost no subject-matter, and what little one can disentangle is foolish....
    One would call the style verbose, except that by definition verbosity is the use of words in excess of the occasion, and there seems to be no occasion.

    Yvor Winters,
    Forms of Discovery, Ch. 7


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    « Everything Looks Good in Black & White | Main | The Versed Kind of Editorializing »

    February 26, 2004

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    Comments

    David Giacalone

    Well done, George! Entertaining and enlightening, as a d-d should be.

    One of these days, please do some d-d doodling on the oxymoronic status of a libertarian lawyer. No rush.

    Michaela

    Whenever I read the traditional phrase invoking Hymen, "Io, Hymen!," I always hear it in Rocky Balboa's voice.

    I salute your sentiments, of course, and relish your clever and nimble versifying. There's something about clever and nimble versifying in double dactyls in English, however, that seems to put anything you say into question, sort of like testifying in court wearing a tutu and dancing a jig.

    Do you know the seventeenth-century lyric with this refrain?

    Never Marc Antony
    Tarried more wantonly
    With the rare Egyptian queen.

    Me neither. At least that's all I remember. But it's an interesting use of double dactyls. And I remember tying myself in knots trying to decide what rhythm the poet intended for the third line (3 trochees & an extra syllable? anapest & 2 iambs? 2 dactyls & an extra syllable [by far the most forced scansion]?). Wish I could remember the poet and the rest of the poem, but I don't see it out there on the web anywhere. . . . Oh well. Keep the nimble rhymes a-coming.

    m.

    Cowtown Pattie

    You're a sly one, Mr. Wallace. Looks simple, tis much harder. Okay, here's my attempt. Grade away, teacher:

    London Bridge, London Bridge,
    Sherlock and Holmes
    With Baker Street Regulars,
    Seeking a mystery.

    The game's afoot, man!
    Strike up the violin,
    Curling smoke -- moroccan slippers,
    Stalking their history.

    Evan Schaeffer

    You're no fool, George Wallace. There's heft to your six-part double dactyl sequence, despite the feather-lightness of the form.

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