An Account Of The Poem Games Poem Rhyme Scheme and Analysis
Rhyme Scheme: ABCDAEAFAG HBIJ KLMKENIOPQ RISTUQVAJWX BLYZRA2B2L C2D2E2F2WG2B2B2 H2I2J2LALLK2RLR L2M2N2LRO2Q P2LRO2Q2J O2VQRR2RBO2 BO2S2O2T2U2L2AO2O2XN O2QV2O2A2W2In the summer of in the parlor of Mrs William Vaughn Moody | A |
and in the following winter in the Chicago Little Theatre | B |
under the auspices of Poetry A Magazine of Verse and in Mandel Hall | C |
the University of Chicago under the auspices of the Senior Class | D |
these Poem Games were presented Miss Eleanor Dougherty | A |
was the dancer throughout The entire undertaking developed | E |
through the generous cooperation and advice of Mrs William Vaughn Moody | A |
The writer is exceedingly grateful to Mrs Moody and all concerned | F |
for making place for the idea Now comes the test of its vitality | A |
Can it go on in the absence of its initiators | G |
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Mr Lewellyn Jones of the Chicago Evening Post announced the affair | H |
as a rhythmic picnic Mr Maurice Browne of the Chicago Little Theatre | B |
said Miss Dougherty was at the beginning of the old Greek Tragic Dance | I |
Somewhere between lies the accomplishment | J |
- | |
In the Congo volume as is indicated in the margins | K |
the meaning of a few of the verses is aided by chanting | L |
In the Poem Games the English word is still first in importance | M |
the dancer comes second the chanter third The marginal directions | K |
of King Solomon indicate the spirit in which all the pantomime was developed | E |
Miss Dougherty designed her own costumes and worked out | N |
her own stage business for King Solomon The Potatoes' Dance | I |
The King of Yellow Butterflies and Aladdin and the Jinn The Congo page | O |
In the last 'I am your slave ' said the Jinn was repeated four times | P |
at the end of each stanza | Q |
- | |
The Poem Game idea was first indorsed in the Wellesley kindergarten | R |
by the children They improvised pantomime and dance for the Potatoes' Dance | I |
while the writer chanted it and while Professor Hamilton C Macdougall | S |
of the Wellesley musical department followed on the piano | T |
the outline of the jingle Later Professor Macdougall very kindly wrote down | U |
his piano rendition A study of this transcript helps to confirm the idea | Q |
that when the cadences of a bit of verse are a little exaggerated | V |
they are tunes yet of a truth they are tunes which can be | A |
but vaguely recorded by notation or expressed by an instrument | J |
The author of this book is now against instrumental music | W |
in this type of work It blurs the English | X |
- | |
Professor Macdougall has in various conversations helped the author | B |
toward a Poem Game theory He agrees that neither the dancing | L |
nor the chanting nor any other thing should be allowed to run away | Y |
with the original intention of the words The chanting should not be carried | Z |
to the point where it seeks to rival conventional musical composition | R |
The dancer should be subordinated to the natural rhythms of English speech | A2 |
and not attempt to incorporate bodily all the precedents | B2 |
of professional dancing | L |
- | |
Speaking generally poetic ideas can be conveyed word by word | C2 |
faster than musical feeling The repetitions in the Poem Games | D2 |
are to keep the singing the dancing and the ideas at one pace | E2 |
The repetitions may be varied according to the necessities | F2 |
of the individual dancer Dancing is slower than poetry and faster than music | W |
in developing the same thoughts In folk dances and vaudeville | G2 |
the verse music and dancing are on so simple a basis the time elements | B2 |
can be easily combined Likewise the rhythms and the other elements | B2 |
- | |
Miss Dougherty is particularly illustrative in her pantomime | H2 |
but there were many verses she looked over and rejected | I2 |
because they could not be rendered without blurring the original intent | J2 |
Possibly every poem in the world has its dancer somewhere waiting | L |
who can dance but that one poem Certainly those poems would be | A |
most successful in games where the tone color is so close to the meaning | L |
that any exaggeration of that color by dancing and chanting | L |
only makes the story clearer The writer would like to see some one try | K2 |
Dryden's Alexander's Feast or Swinburne's Atalanta in Calydon | R |
Certainly in those poems the decorative rhythm and the meaning | L |
are absolutely one | R |
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With no dancing evolutions the author of this book | L2 |
has chanted John Brown and King Solomon for the last two years | M2 |
for many audiences It took but a minute to teach the people the responses | N2 |
As a rule they had no advance notice they were going to sing | L |
The versifier sang the parts of the King and Queen in turn | R |
and found each audience perfectly willing to be the oxen the sweethearts | O2 |
the swans the sons the shepherds etc | Q |
- | |
A year ago the writer had the honor of chanting for | P2 |
the Florence Fleming Noyes school of dancers In one short evening | L |
they made the first section of the Congo into an incantation | R |
the King Solomon into an extraordinarily graceful series of tableaus | O2 |
and the Potatoes' Dance into a veritable whirlwind | Q2 |
Later came the more elaborately prepared Chicago experiment | J |
- | |
In the King of Yellow Butterflies and the Potatoes' Dance | O2 |
Miss Dougherty occupied the entire eye of the audience and interpreted | V |
while the versifier chanted the poems as a semi invisible orchestra | Q |
by the side of the curtain For Aladdin and for King Solomon | R |
Miss Dougherty and the writer divided the stage between them | R2 |
but the author was little more than the orchestra The main intention | R |
was carried out which was to combine the work of the dancer | B |
with the words of the production and the responses of the audience | O2 |
- | |
The present rhymer has no ambitions as a stage manager | B |
The Poem Game idea in its rhythmic picnic stage is recommended to amateurs | O2 |
its further development to be on their own initiative | S2 |
Informal parties might divide into groups of dancers and groups of chanters | O2 |
The whole might be worked out in the spirit in which | T2 |
children play King William was King James' Son London Bridge | U2 |
or As We Go Round the Mulberry Bush And the author of this book | L2 |
would certainly welcome the tragic dance if Miss Dougherty | A |
will gather a company about her and go forward using any acceptable poems | O2 |
new or old Swinburne's Atalanta in Calydon is perhaps | O2 |
the most literal and rhythmic example of the idea we have in English | X |
though it may not be available when tried out | N |
- | |
The main revolution necessary for dancing improvisers | O2 |
who would go a longer way with the Poem Game idea | Q |
is to shake off the Isadora Duncan and the Russian precedents for a while | V2 |
and abolish the orchestra and piano replacing all these | O2 |
with the natural meaning and cadences of English speech | A2 |
The work would come closer to acting than dancing is now conceived | W2 |
Vachel Lindsay
(1)
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