“One notices, if one will trust one’s eyes, the shadow cast by language upon truth.”
Auden, “Kairos & Logos“

This reminded me of my own ponderings as a school child (I can still hear the clank of china as I was washing cups in the church at the time!) as to whether I would be able to think more freely if I knew more languages and thus had more words and concepts, or whether, on the contrary, my mind would be most clear if I knew no language and was thus free of the conceptual straitjacket of English vocabulary. Of course all shades of Sapir-Whorf (although I didn’t know the term at the time), and now I hold a somewhere in-between view – language shapes thought but does not totally contain it².  Is that the moderation of maturity, or compromise of age?

1. Trying to decide whether to start it again, as Luke Church, who I met at the PPIG meeting in September, told me it was worthwhile persevering with even though somewhat oddly written! [back]
2. I discuss this a bit in my transarticulation essay and paths and patches book chapter. [back]

Doing quick check on my outbox for 1/2 written emails that I need to finish … and then found the following from July 2006

spring flowers in the meadow
gold sunshine glinting
the grass between lies
cool and smooth

gold sunshine glinting
across the rippling waters
cool and smooth
towards the lonely isle

across the rippling waters
birds fly gently
towards the lonely isle
majestic but desolate

birds fly gently
spring long past
majestic but desolate
the snow buried grass

I recall the context now. I has been reading “The Making of a Poem” a lovely book, that discusses different poetic forms both history and current use and with loads of examples of each, classic and modern. I was talking to Masitah about the pantoum, a Malay poetic form where the 2nd and 4th line of each verse become the 1st and 3rd line of the next verse. I constructed the above as an example as we chatted! I had typed it into an email to save it and there it has lain, forgotten, ever since.

I think traditional pantoums have a particular rhythm structure within each verse, so my attempt above has the right line structure structure, but not the right metre. However, I did like the way it created an apparent continuity, yet the meaning could shift underneath – in this case from spring to winter.

My favourite in the book was a modern pantoum by J. M. McClatchy. He repeats the sound of the lines … but not necessarily the words … so in the first verse, the second line is “Seem to pee more often, eat” and in the beginning of the second verse this becomes “Sympathy, more often than not“. Or in the middle “The hearth’s easy, embered expense” becomes “The heart’s lazy: remembrance spent“.

Now back to looking for those urgent mails before the train!