Stepping away from actually playing for a moment, I want to talk briefly about some of the more sophisticated reasons why I enjoy the game of putting verse in words of one beat. I will admit I've only played it a little (I've done two poems – look for Rob Z.), and contemplated it only barely more than that, but what is Livejournal for but underdigested thoughts?
One of the odd things about the game is how turning a work of verse into words of one beat is somehow like translation into another language. It isn't – it's easier – but the resemblance remains in some respects. One of the ways in which the similarity is very useful is in how you must read the poem on which you work.
Yes, you read the poem, of course. You read it, and meditate on it, and share it with your friends, and this is a fine and noble thing. Nevertheless, when playing the game of one-beat, you not only must read the poem, you have to analyse it, see every word and know the fifteen other words that could have been there and why they aren't, and recognize every allusion and know the story behind each one, note every rhythm, rhyme, alliteration, repetition, consonance, enjambment, etcetera, etcetera, etcetera. "I do that already," you say. Good, I reply; I don't. But when I work a poem into words of one beat, I do, and I enjoy the poem more for it.
That's actually my two top reasons for doing it, there, or nearly so – enjoyment and education. I do it also for exposure; there are fifteen other folk in the
wordsofonebeat community, and all of them have read poems I have not, and will enjoy. Then, of course, there is the fourth reason – exposure. Stage-shy as I am, I still like to perform when I think I'm doing well, and I like people to care what I think.
But I am wandering, now. I'd best return to Lord Alfred Tennyson (how to turn that into monosyllables, I wonder!), and see how to make the rest of "Tears, Idle Tears" into words of one beat. Later!
One of the odd things about the game is how turning a work of verse into words of one beat is somehow like translation into another language. It isn't – it's easier – but the resemblance remains in some respects. One of the ways in which the similarity is very useful is in how you must read the poem on which you work.
Yes, you read the poem, of course. You read it, and meditate on it, and share it with your friends, and this is a fine and noble thing. Nevertheless, when playing the game of one-beat, you not only must read the poem, you have to analyse it, see every word and know the fifteen other words that could have been there and why they aren't, and recognize every allusion and know the story behind each one, note every rhythm, rhyme, alliteration, repetition, consonance, enjambment, etcetera, etcetera, etcetera. "I do that already," you say. Good, I reply; I don't. But when I work a poem into words of one beat, I do, and I enjoy the poem more for it.
That's actually my two top reasons for doing it, there, or nearly so – enjoyment and education. I do it also for exposure; there are fifteen other folk in the
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But I am wandering, now. I'd best return to Lord Alfred Tennyson (how to turn that into monosyllables, I wonder!), and see how to make the rest of "Tears, Idle Tears" into words of one beat. Later!