FREE VERSE
Sir,-J.W.B.’s attack is typical of that of many who do not understand the writing of olr modern poets, who write for people who feel the same emotions as the poets themselves. It may be an emotion not commonly felt; but the poet has his message, and does not write for those who cannot understand, it. He believes the form chosen is the best to convey his meaning: he does not believe his "effort"? needs "shaping" beyond the form in which he leaves it. Furthermore, in free verse are hidden many conscious ‘subtleties which do bring about a kind of rhythm, e.g., sprung rhythm, not unlike Anglo-Saxon alliterative verse, and kinds of rhyme, e.g., pararhyme; while the texture is such that it produces the right variations of speed in the rhythm. ‘There are many principles of operation, some of which Edith Sitwell reveals in her notebook. Wordsworth and Coleridge received a similar reception "exploiting" something new and different, and though I may not understand E. E. Cummings, or even Peter Quennell and T. S. Eliot, I shall not condemn those whom some can understand and do appreciate.
IKTHUS
(Auckland).
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19460301.2.13.9
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New Zealand Listener, Volume 14, Issue 349, 1 March 1946, Page 18
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190FREE VERSE New Zealand Listener, Volume 14, Issue 349, 1 March 1946, Page 18
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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