Whāt(?) and Why(?)
Sōmething different, something new.(very clichéd) Whătever the reason, it doesnot need to be divulged, attempt to make sense or be purposeful. Īdiosyncrasies are best not understood else they are no longer idiosyncratic!(?), but each holds a message, and each has a reason.
Whăt follows is a poetic study, or a history. Nŏt only of the subject but also the form. Delving into something different, but not altogether dislikeable. Thāt is: Whāt it is. Ăs to Why? Thāt is altogether different. Hōw doesnot enter into it.
Whĕn we look at something that we may or would call free verse, we will find that there is nothing free in it at all.(in agreement with Thomas) Vēry much the misnomer. Thēre will always be some structure or form to it irrespective of how chaotic the piece may show itself. Mōst of those rebellious free verse poets donot understand this important fact, one which they generally (casually) throw to the winds as irrelevant to their writing (begone).
Īn this anthology, it is the way you can read the line, or say the line. Thĕ poet needs to remember that not everyone will read the line in the exact same way. Thĭs fact also accounts for different interpretations and emphases on syllables. Ălternative readings are show as bracketed words which may be included or omitted to your liking in these pieces.
Thĕre may also be different meaning depending on the spelling. Thīs is explained in more detail in Lēaves. Thrŏughout these expositions or analyses as I have called them, extensive use is made of the breve (˘) and macron (¯), representing a lesser stressed syllable (short vowel) and greater stressed syllable (long vowel) respectively. Thĕre is the occasional clipping of a foot indicated by the caret (~). Rēference is made to many of the classical metrical feet in relation to the rhythm of lines. Ăn Āppendix is included, showing the construction of these feet.
Ă little piece of advice:
Fērrick Gray(from the Villa)
Jānuary, 2026
Thomas = T.S. Eliot (September 26, 1888—January 4, 1965)