Gertrude Stein: Poetry & Grammar
What is poetry and if you know what poetry is what is prose.
There is no use in telling more than you know, no not even if you do not know it.
But do you do you know what prose is and do you know what poetry is.
I have said that the words in plays written in poetry are more lively than the same words written by the same poet in other kinds of poetry. It undoubtedly was true of Shakespeare, is it inevitably true of everybody. That is one thing to think about. I said that the words in a play written in prose are not as lively words as the words written in other prose by the same writer. This is true of Goldsmith and I imagine it is true of almost any writer.
There again there is something to know.
One of the things that is a very interesting thing to know is how you are feeling inside you to the words that are coming out to be outside of you.
Do you always have the same kind of feeling in relation to the sounds as the words come out of you or do you not. All this has so much to do with grammar and with poetry and with prose.
Words have to do everything in poetry and prose and some writers write more in articles and prepositions and some say you should write in nouns, and of course one has to think of everything.
A noun is a name of anything, why after a thing is named write about it. A name is adequate or it is not. If it is adequate then why go on calling it, if it is not then calling it by its name does no good.
People if you like to believe it can be made by their names. Call anybody Paul and they get to be a Paul call anybody Alice and they get to be an Alice perhaps yes perhaps no, there is something in that, but generally speaking, things once they are named the name does not go on doing anything to them and so why write in nouns. Nouns are the name of anything and just naming names is alright when you want to call a roll but is it any good for anything else. To be sure in many places in Europe as in America they do like to call rolls.
As I say a noun is a name of a thing, and therefore slowly if you feel what is inside that thing you do not call it by the name by which it is known. Everybody knows that by the way they do when they are in love and a writer should always have that intensity of emotion about whatever is the object about which he writes. And therefore and I say it again more and more one does not use nouns.
Now what other things are there beside nouns, there are a lot of other things beside nouns.
When you axe at school and learn grammar grammar is very exciting. I really do not know that anything has ever been more exciting than diagraming sentences. I suppose other things may be more exciting to others when they are at school but to me undoubtedly when I was at school the really completely exciting thing was diagraming sentences and that has been to me ever since the one thing that has been completely exciting and completely completing. I like the feeling the everlasting feeling of sentences as they diagram themselves.
In that way one is completely possessing something and incidentally one’s self. Now in that diagraming of the sentences of course there are articles and prepositions and as I say there are nouns but nouns as I say even by definition are completely not interesting, the same thing is true of adjectives. Adjectives are not really and truly interesting. In a way anybody can know always has known that, because after all adjectives effect nouns and as nouns are not really interesting the thing that effects a not too interesting thing is of necessity not interesting. In a way as I say anybody knows that because of course the first thing that anybody takes out of anybody’s writing are the adjectives. You see of yourself how true it is that which I have just said.
Beside the nouns and the adjectives there are verbs and adverbs. Verbs and adverbs are more interesting. in the first place they have one very nice quality and that is that they can be so mistaken. It is wonderful the number of mistakes a verb can make and that is equally true of its adverb. Nouns and adjectives never can make mistakes can never be mistaken but verbs can be so endlessly, both as to what they do and how they agree or disagree with whatever they do. The same is true of adverbs.
In that way any one can see that verbs and adverbs are more interesting than nouns and adjectives.
Beside being able to be mistaken and to make mistakes verbs can change to look like themselves or to look like something else, they are, so to speak on the move and adverbs move with them and each of them find themselves not at all annoying but very often very much mistaken. That is the reason any one can like what verbs can do. Then comes the thing that can of all things be most mistaken and they are prepositions. Prepositions can live one long life being really being nothing but absolutely nothing but mistaken and that makes them irritating if you feel that way about mistakes but certainly something that you can be continuously using and everlastingly enjoying. I like prepositions the best of all, and pretty soon we will go more completely into that.
Then there are articles. Articles are interesting just as nouns and adjectives are not. And why are they interesting just as nouns and adjectives are not. They are interesting because they do what a noun might do if a noun was not so unfortunately so completely unfortunately the name of something. Articles please, a and an and the please as the name that follows cannot please. They the names that is the nouns cannot please, because after all you know well after all that is what Shakespeare meant when he talked about a rose by any other name.
I hope now no one can have any illusion about a noun or about the adjective that goes with the noun.
But an article an article remains as a delicate and a varied something and any one who wants to write with articles and knows how to use them will always have the pleasure that using something that is varied and alive can give. That is what articles are.
Beside that there are conjunctions, and a conjunction is not varied but it has a force that need not make any one feel that they are dull. Conjunctions have made themselves live by their work. They work and as they work they live and even when they do not work and in these days they do not always live by work still nevertheless they do live.
So you see why I like to write with prepositions and conjunctions and articles and verbs and adverbs but not with nouns and adjectives. If you read my writing you will you do see what I mean.
Of course then there are pronouns. Pronouns are not as bad as nouns because in the first place practically they cannot have adjectives go with them. That already makes them better than nouns.
Then beside not being able to have adjectives go with them, they of course are not really the name of anything. They represent some one but they are not its or his name. In not being his or its or her name they already have a greater possibility of being something than if they were as a noun is the name of anything. Now actual given names of people are more lively than nouns which are the name of anything and I suppose that this is because after all the name is only given to that person when they are born, there is at least the element of choice even the element of change and anybody can be pretty well able to do what they like, they may be born Walter and become Hub, in such a way they are not like a noun. A noun has been the name of something for such a very long time.
That is the reason that slang exists it is to change the nouns which have been names for so long. I say again. Verbs and adverbs and articles and conjunctions and prepositions are lively because they all do something and as long as anything does something it keeps alive.
One might have in one’s list added interjections but really interjections have nothing to do with anything not even with themselves. There so much for that. And now to go into the question of punctuation.
There are some punctuations that are interesting and there are some punctuations that are not. Let us begin with the punctuations that are not. Of these the one but the first and the most the completely most uninteresting is the question mark. The question mark is alright when it is all alone when it is used as a brand on cattle or when it could be used in decoration but connected with writing it is completely entirely completely uninteresting. It is evident that if you ask a question you ask a question but anybody who can read at all knows when a question is a question as it is written in writing. Therefore I ask you therefore wherefore should one use it the question mark. Beside it does not in its form go with ordinary printing and so it pleases neither the eye nor the ear and it is therefore like a noun, just an unnecessary name of something. A question is a question, anybody can know that a question is a question and so why add to it the question mark when it is already there when the question is already there in the writing. Therefore I never could bring myself to use a question mark, I always found it positively revolting, and now very few do use it. Exclamation marks have the same difficulty and also quotation marks, they are unnecessary, they are ugly, they spoil the line of the writing or the printing and anyway what is the use, if you do not know that a question is a question what is the use of its being a question. The same thing is true of an exclamation. And the same thing is true of a quotation. When I first began writing I found it simply impossible to use question marks and quotation marks and exclamation points and now anybody sees it that way. Perhaps some day they will see it some other way but now at any rate anybody can and does see it that way.
So there are the uninteresting things in punctuation uninteresting in a way that is perfectly obvious, and so we do not have to go any farther into that. There are besides dashes and dots, and these might be interesting spaces might be interesting. They might if one felt that way about them.
One other little punctuation mark one can have feelings about and that is the apostrophe for possession. Well feel as you like about that, I can see and I do see that for many that for some the possessive case apostrophe has a gentle tender insinuation that makes it very difficult to definitely decide to do without it. One does do without it, I do, I mostly always do, but I cannot deny that from time to time I feel myself having regrets and from time to time I put it in to make the possessive case. I absolutely do not like it all alone when it is outside the word when the word is a plural, no then positively and definitely no, I do not like it and in leaving it out I feel no regret, there it is unnecessary and not ornamental but inside a word and its swell perhaps, perhaps it does appeal by its weakness to your weakness. At least at any rate from time to time I do find myself letting it alone if it has come in and sometimes it has come in. I cannot positively deny but that I do from time to time let it come in.
So now to come to the real question of punctuation, periods, commas, colons, semi-colons and capitals and small letters.
I have had a long and complicated life with all these.
Let us begin with these I use the least first and these are colons and semi-colons, one might add to these commas.
When I first began writing, I felt that writing should go on, I still do feel that it should go on but when I first began writing I was completely possessed by the necessity that writing should go on and if writing should go on what had colons and semi-colons to do with it, what had commas to do with it, what had periods to do with it what had small letters and capitals to do with it to do with writing going on which was at that time the most profound need I had in connection with writing. What had colons and semi-colons to do with it what had commas to do with it what had periods to do with it.
What had periods to do with it. Inevitably no matter how completely I had to have writing go on, physically one had to again and again stop sometime and if one had to again and again stop some time then periods had to exist. Beside I had always liked the look of periods and I liked what they did. Stopping sometime did not really keep one from going on, it was nothing that interfered, it was only something that happened, and as it happened as a perfectly natural happening, I did believe in periods and I used them. I really never stopped using them.
Beside that periods might later come to have a life of their own to commence breaking up things in arbitrary ways, that has happened lately with me in a poem I have written called Winning His Way, later I will read you a little of it. By the time I had written this poem about three years ago periods had come to have for me completely a life of their own. They could begin to act as they thought best and one might interrupt one’s writing with them that is not really interrupt one’s writing with them but one could come to stop arbitrarily stop at times in one’s writing and so they could be used and you could use them. Periods could come to exist in this way and they could come in this way to have a life of their own. They did not serve you in any servile way as commas and colons and semi-colons do. Yes you do feel what I mean.
Periods have a life of their own a necessity of their own a feeling of their own a time of their own. And that feeling that life that necessity that time can express itself in an infinite variety that is the reason that I have always remained true to periods so much so that as I say recently I have felt that one could need them more than one had ever needed them.
You can see what an entirely different thing a period is from a comma, a colon or a semi-colon.
There are two different ways of thinking about colons and semi-colons you can think of them as commas and as such they are purely servile or you can think of them as periods and then using them can make you feel adventurous. I can see that one might feel about them as periods but I myself never have, I began unfortunately to feel them as a comma and commas are servile they have no life of their own they are dependent upon use and convenience and they are put there just for practical purposes. Semi-colons and colons had for me from the first completely this character the character that a comma has and not the character that a period has and therefore and definitely I have never used them. But now dimly and definitely I do see that they might well possibly they might have in them something of the character of the period and so it might have been an adventure to use them. I really do not think so. I think however lively they are or disguised they are they are definitely more comma than period and so really I cannot regret not having used them. They are more powerful more imposing more pretentious than a comma but they are a comma all the same. They really have within them deeply within them fundamentally within them the comma nature. And now what does a comma do and what has it to do and why do I feel as I do about them.
What does a comma do.
I have refused them so often and left them out so much and did without them so continually that I have come finally to be indifferent to them. I do not now care whether you put them in or not but for a long time I felt very definitely about them and would have nothing to do with them.
As I say commas are servile and they have no life of their own, and their use is not a use, it is a way of replacing one’s own interest and I do decidedly like to like my own interest my own interest in what I am doing. A comma by helping you along holding your coat for you and putting on your shoes keeps you from living your life as actively as you should lead it and to me for many years and I still do feel that way about it only now I do not pay as much attention to them, the use of them was positively degrading. Let me tell you what I feel and what I mean and what I felt and what I meant.
When I was writing those long sentences of The Making of Americans, verbs active present verbs with long dependent adverbial clauses became a passion with me. I have told you that I recognize verbs and adverbs aided by prepositions and conjunctions with pronouns as possessing the whole of the active life of writing.
Complications make eventually for simplicity and therefore I have always liked dependent adverbial clauses. I have liked dependent adverbial clauses because of their variety of dependence and independence. You can see how loving the intensity of complication of these things that commas would be degrading. Why if you want the pleasure of concentrating on the final simplicity of excessive complication would you want any artificial aid to bring about that simplicity. Do you see now why I feel about the comma as I did and as I do.
Think about anything you really like to do and you will see what I mean.
When it gets really difficult you want to disentangle rather than to cut the knot, at least so anybody feels who is working with any thread, so anybody feels who is working with any tool so anybody feels who is writing any sentence or reading it after it has been written. And what does a comma do, a comma does nothing but make easy a thing that if you like it enough is easy enough without the comma. A long complicated sentence should force itself upon you, make you know yourself knowing it and the comma, well at the most a comma is a poor period that it lets you stop and take a breath but if you want to take a breath you ought to know yourself that you want to take a breath. It is not like stopping altogether which is what a period does stopping altogether has something to do with going on, but taking a breath well you are always taking a breath and why emphasize one breath rather than another breath. Anyway that is the way I felt about it and I felt that about it very very strongly. And so I almost never used a comma. The longer, the more complicated the sentence the greater the number of the same kinds of words I had following one after another, the more the very many more I had of them the more I felt the passionate need of their taking care of themselves by themselves and not helping them, and thereby enfeebling them by putting in a comma.
So that is the way I felt punctuation in prose, in poetry it is a little different but more so and later I will go into that. But that is the way I felt about punctuation in prose.
Another part of punctuation is capital letters and small letters. Anybody can really do as they please about that and in English printing one may say that they always have.
If you read older books you will see that they do pretty well what they please with capitals and small letters and I have always felt that one does do pretty well what one pleases with capitals and small letters. Sometimes one feels that Italians should be with a capital and sometimes with a small letter, one can feel like that about almost anything. I myself do not feel like that about proper names, I rather like to look at them with a capital on them but I can perfectly understand that a great many do not feel that way about it. In short in prose capitals and small letters have really nothing to do with the inner life of sentences and paragraphs as the other punctuation marks have as I have just been saying.
We still have capitals and small letters and probably for some time we will go on having them but actually the tendency is always toward diminishing capitals and quite rightly because the feeling that goes with them is less and less of a feeling and so slowly and inevitably just as with horses capitals will have gone away. They will come back from time to time but perhaps never really come back to stay.
Perhaps yes perhaps not but really and inevitably really it really does not really make any difference.
But and they will be with us as long as human beings continue to exist and have a vocabulary, sentences and paragraphs will be with us and therefore inevitably and really periods will be with us and it is of these things that will be always inevitably with us in prose and in poetry because prose and also poetry will also always always be with us that I will go on telling to you all I know.
Sentences and paragraphs. Sentences are not emotional but paragraphs are. I can say that as often as I like and it always remains as it is, something that is.
I said I found this out first in listening to Basket my dog drinking. And anybody listening to any dog’s drinking will see what I mean.
When I wrote The Making of Americans I tried to break down this essential combination by making enormously long sentences that would be as long as the longest paragraph and so to see if there was really and truly this essential difference between paragraphs and sentences, if one went far enough with this thing with making the sentences long enough to be as long as any paragraph and so producing in them the balance of a paragraph not a balance of a sentence, because of course the balance of a paragraph is not the same balance as the balance of a sentence.
It is only necessary to read anything in order to know that. I say if I succeeded in making my sentences so long that they held within themselves the balance of both both sentences and paragraphs, what was the result.
I did in some sentences in The Making of Americans succeed in doing this thing in creating a balance that was neither the balance of a sentence nor the balance of a paragraph and in doing so I felt dimly that I had done something that was not leading to anything because after all you should not lose two things in order to have one thing because in doing so you make writing just that much less varied.
That is one thing about what I did. There is also another thing and that was a very important thing, in doing this in achieving something that had neither the balance of a sentence nor the balance of a paragraph but a balance a new balance that had to do with a sense of movement of time included in a given space which as I have already said is a definitely American thing.
An American can fill up a space in having his movement of time by adding unexpectedly anything and yet getting within the included space everything he had intended getting.
A young french boy he is a red-haired descendant of the niece of Madame Recamier went to America for two weeks most unexpectedly and I said to him what did you notice most over there. Well he said at first they were not as different from us frenchmen as I expected them to be and then I did see that they were that they were different. And what, said I, well he said, when a train was going by at a terrific pace and we waved a hat the engine driver could make a bell quite carelessly go ting ting ting, the way anybody playing at a thing could do, it was not if you know what I mean professional he said. Perhaps you do see the connection with that and my sentences that had no longer the balance of sentences because they were not the parts of a paragraph nor were they a paragraph but they had made in so far as they had come to be so long and with the balance of their own that they had they had become something that was a whole thing and in so being they had a balance which was the balance of a space completely not filled but created by something moving as moving is not as moving should be. As I said Henry James in his later writing had had a dim feeling that this was what he knew he should do.
And so though as I say there must always be sentences and paragraphs the question can really be asked must there always be sentences and paragraphs is it not possible to achieve in itself and not by sentences and paragraphs the combination that sentences are not emotional and paragraphs are.
In a book called How To Write I worked a lot at this thing trying to find out just exactly what the balance the unemotional balance of a sentence is and what the emotional balance of a paragraph is and if it were possible to make even in a short sentence the two things come to be one. I think I did a few times succeed. Will you listen to one or two sentences where I did think I had done this thing.
He looks like a young man grown old. (1)
It looks like a garden but he had hurt himself by accident. (2)
A dog which you have never had before has sighed. (3)
Once when they were nearly ready they had ordered it to close. (4)
If a sound is made which grows louder and then stops how many times
may it be repeated. (5)
Battles are named because there have been hills which have made a hill
in a battle. (6)
A bay and hills hills are surrounded by their having their distance
very near. (7)
Poplars indeed will be and may be indeed will be cut down and will
be sawn up and indeed will be used as wood and may be used for
The thing to remember is that if it is not if it is not what having
left it to them makes it be very likely as likely as they would be
after all after all choosing choosing to be here on time. (9)
In spite of my intending to write about grammar and poetry I am still writing about grammar and prose, but and of course it may or may not be true if you find out essentially what prose is and essentially what poetry is may you not have an exciting thing happening as I had it happen with sentences and paragraphs.
After all the natural way to count is not that one and one make two but to go on counting by one and one as chinamen do as anybody does as Spaniards do as my little aunts did. One and one and one and one and one. That is the natural way to go on counting.
Now what has this to do with poetry. It has a lot to do with poetry.
Everything has a lot to do with poetry everything has a lot to do with prose.
And has prose anything to do with poetry and has poetry anything to do with prose.
And what have nouns to do with poetry and periods and capital letters. The other punctuation marks we never have to mention again. People may do as they like with them but we never have to mention them. But nouns still have to be mentioned because in coming to avoid nouns a great deal happens and has happened. It was one of the things that happened in a book I called Tender Buttons.
In The Making of Americans a long a very long prose book made up of sentences and paragraphs and the new thing that was something neither the sentence or the paragraph each one alone or in combination had ever done, I said I had gotten rid of nouns and adjectives as much as possible by the method of living in adverbs in verbs in pronouns, in adverbial clauses written or implied and in conjunctions.
But and after I had gone as far as I could in these long sentences and paragraphs that had come to do something else I then began very short things and in doing very short things I resolutely realized nouns and decided not to get around them but to meet them, to handle in short to refuse them by using them and in that way my real acquaintance with poetry was begun.
I will try to tell a little more clearly and in more detail just what happened and why it was if it was like natural counting, that is counting by one one one one one.
Nouns as you all know are the names of anything and as the names of anything of course one has had to use them. And what have they done. And what has any one done with them. That is something to know. It is as you may say as I may say a great deal to know.
Nouns are the name of anything and anything is named, that is what Adam and Eve did and if you like it is what anybody does, but do they go on just using the name until perhaps they do not know what the name is or if they do know what the name is they do not care about what the name is. This may happen of course it may. And what has poetry got to do with this and what has prose and if everything like a noun which is a name of anything is to be avoided what takes place. And what has that to do with poetry. A great deal I think and all this too has to do with other things with short and long lines and rhymes.
But first what is poetry and what is prose. I wonder I can tell you.
We do know a little now what prose is. Prose is the balance the emotional balance that makes the reality of paragraphs and the unemotional balance that makes the reality of sentences and having realized completely realized that sentences are not emotional while paragraphs are, prose can be the essential balance that is made inside something that combines the sentence and the paragraph, examples of this I have been reading to you.
Now if that is what prose is and that undoubtedly is what prose is you can see that prose real prose really great written prose is bound to be made up more of verbs adverbs prepositions prepositional clauses and conjunctions than nouns. The vocabulary in prose of course is important if you like vocabulary is always important, in fact one of the things that you can find out and that I experimented with a great deal in How To Write vocabulary in itself and by itself can be interesting and can make sense. Anybody can know that by thinking of words. It is extraordinary how it is impossible that a vocabulary does not make sense. But that is natural indeed inevitable because a vocabulary is that by definition, and so because this is so the vocabulary in respect to prose is less important than the parts of speech, and the internal balance and the movement within a given space.
So then we understand we do know what prose is.
But what is poetry.
Is it more or is it less difficult to know what poetry is. I have sometimes thought it more difficult to know what poetry is but now that I do know what poetry is and if I do know what poetry is then it is not more difficult to know what it is than to know what prose is.
What is poetry.
Poetry has to do with vocabulary just as prose has not.
So you see prose and poetry are not at all alike. They are completely different.
Poetry is I say essentially a vocabulary just as prose is essentially not.
And what is the vocabulary of which poetry absolutely is. It is a vocabulary entirely based on the noun as prose is essentially and determinately and vigorously not based on the noun.
Poetry is concerned with using with abusing, with losing with wanting, with denying with avoiding with adoring with replacing the noun. It is doing that always doing that, doing that and doing nothing but that. Poetry is doing nothing but using losing refusing and pleasing and betraying and caressing nouns. That is what poetry does, that is what poetry has to do no matter what kind of poetry it is. And there are a great many kinds of poetry.
When I said.
A rose is a rose is a rose is a rose.
And then later made that into a ring I made poetry and what did I do I caressed completely caressed and addressed a noun.
Now let us think of poetry any poetry all poetry and let us see if this is not so. Of course it is so anybody can know that.
I have said that a noun is a name of anything by definition that is what it is and a name of anything is not interesting because once you know its name the enjoyment of naming it is over and therefore in writing prose names that is nouns are completely uninteresting. But and that is a thing to be remembered you can love a name and if you love a name then saying that name any number of times only makes you love it more, more violently more persistently more tormentedly. Anybody knows how anybody calls out the name of anybody one loves. And so that is poetry really loving the name of anything and that is not prose. Yes any of you can know that.
Poetry like prose has lived through a good deal. Anybody or anything lives through a good deal. Sometimes it included everything and sometimes it includes only itself and there can be any amount of less and more at any time of its existence.
Of course when poetry really began it practically included everything it included narrative and feelings and excitements and nouns so many nouns and all emotions. It included narrative but now it does not include narrative.
I often wonder how I am ever to come to know all that I am to know about narrative. Narrative is a problem to me. I worry about it a good deal these days and I will not write or lecture about it yet, because I am still too worried about it worried about knowing what it is and how it is and where it is and how it is and how it will be what it is. However as I say now and at this time I do not I will not go into that. Suffice it to say that for the purpose of poetry it has now for a long time not had anything to do with being there.
Perhaps it is a mistake perhaps not that it is no longer there.
I myself think that something else is going to happen about narrative and I work at it a great deal at this time not work but bother about it. Bother is perhaps the better word for what I am doing just now about narrative. But anyway to go back to poetry.
Poetry did then in beginning include everything and it was natural that it should because then everything including what was happening could be made real to anyone by just naming what was happening in other words by doing what poetry always must do by living in nouns.
Nouns are the name of anything. Think of all that early poetry, think of Homer, think of Chaucer, think of the Bible and you will see what I mean you will really realize that they were drunk with nouns, to name to know how to name earth sea and sky and all that was in them was enough to make them live and love in names, and that is what poetry is it is a state of knowing and feeling a name. I know that now but I have only come to that knowledge by long writing.
So then as I say that is what poetry was and slowly as everybody knew the names of everything poetry had less and less to do with everything. Poetry did not change, poetry never changed, from the beginning until now and always in the future poetry will concern itself with the names of things. The names may be repeated in different ways and very soon I will go into that matter but now and always poetry is created by naming names the names of something the names of somebody the names of anything. Nouns are the names of things and so nouns are the basis of poetry.
Before we go any further there is another matter. Why are the lines of poetry short, so much shorter than prose, why do they rhyme, why in order to complete themselves do they have to end with what they began, why are all these things the things that are in the essence of poetry even when the poetry was long even when now the poetry has changed its form.
Once more the answer is the same and that is that such a way to express oneself is the natural way when one expresses oneself in loving the name of anything. Think what you do when you do do that when you love the name of anything really love its name. Inevitably you express yourself in that way, in the way poetry expresses itself that is in short lines in repeating what you began in order to do it again. Think of how you talk to anything whose name is new to you a lover a baby or a dog or a new land or any part of it. Do you not inevitably repeat what you call out and is that calling out not of necessity in short lines. Think about it and you will see what I mean by what you feel.
So as I say poetry is essentially the discovery, the love, the passion for the name of anything.
Now to come back to how I know what I know about poetry.
I was writing The Making of Americans, I was completely obsessed by the inner life of everything including generations of everybody’s living and I was writing prose, prose that had to do with the balancing the inner balancing of everything. I have already told you all about that.
And then, something happened and I began to discover the names of things, that is not discover the names but discover the things the things to see the things to look at and in so doing I had of course to name them not to give them new names but to see that I could find out how to know that they were there by their names or by replacing their names. And how was I to do so. They had their names and naturally I called them by the names they had and in doing so having begun looking at them I called them by their names with passion and that made poetry, I did not mean it to make poetry but it did, it made the Tender Buttons, and the Tender Buttons was very good poetry it made a lot more poetry, and I will now more and more tell about that and how it happened.
I discovered everything then and its name, discovered it and its name. I had always known it and its name but all the same I did discover it.
I remember very well when I was a little girl and I and my brother found as children will the love poems of their very very much older brother. This older brother had just written one and it said that he had often sat and looked at any little square of grass and it had been just a square of grass as grass is, but now he was in love and so the little square of grass was all filled with birds and bees and butterflies, the difference was what love was. The poem was funny we and he knew the poem was funny but he was right, being in love made him make poetry, and poetry made him feel the things and their names, and so I repeat nouns are poetry.
So then in Tender Buttons I was making poetry but and it seriously troubled me, dimly I knew that nouns made poetry but in prose I no longer needed the help of nouns and in poetry did I need the help of nouns. Was there not a way of naming things that would not invent names, but mean names without naming them.
I had always been very impressed from the time that I was very young by having had it told me and then afterwards feeling it myself that Shakespeare in the forest of Arden had created a forest without mentioning the things that make a forest. You feel it all but he does not name its names.
Now that was a thing that I too felt in me the need of making it be a thing that could be named without using its name. After all one had known its name anything’s name for so long, and so the name was not new but the thing being alive was always new.
What was there to do.
I commenced trying to do something in Tender Buttons about this thing. I went on and on trying to do this thing. I remember in writing An Acquaintance with Description looking at anything until something that was not the name of that thing but was in a way that actual thing would come to be written.
Naturally, and one may say that is what made Walt Whitman naturally that made the change in the form of poetry, that we who had known the names so long did not get a thrill from just knowing them. We that is any human being living has inevitably to feel the thing anything being existing, but the name of that thing of that anything is no longer anything to thrill any one except children. So as everybody has to be a poet, what was there to do. This that I have just described, the creating it without naming it, was what broke the rigid form of the noun the simple noun poetry which now was broken.
Of course you all do know that when I speak of naming anything, I include emotions as well as things.
So then there we were and what were we to do about it. Go on, of course go on what else does anybody do, so I did, I went on.
Of course you might say why not invent new names new languages but that cannot be done. It takes a tremendous amount of inner necessity to invent even one word, one can invent imitating movements and emotions in sounds, and in the poetical language of some languages you have that, the german language as a language suffers from this what the words mean sound too much like what they do, and children do these things by one sort or another of invention but this has really nothing to do with language. Language as a real thing is not imitation either of sounds or colors or emotions it is an intellectual recreation and there is no possible doubt about it and it is going to go on being that as long as humanity is anything. So every one must stay with the language, their language that has come to be spoken and written and which has in it all the history of its intellectual recreation.
And so for me the problem of poetry was and it began with Tender Buttons to constantly realize the thing anything so that I could recreate that thing. I struggled I struggled desperately with the recreation and the avoidance of nouns as nouns and yet poetry being poetry nouns are nouns. Let me read you bits of the Portrait of Sherwood Anderson and The Birthplace of Bonnes to show you what I mean.
Can anybody tell by looking which was the towel used for cooking. (10)
A VERY VALENTINE
Very fine is my valentine.
Very fine and very mine.
Very mine is my valentine very mine and very fine.
Very fine is my valentine and mine, very fine very mine and mine is my
BUNDLES FOR THEM
A HISTORY OF GIVING BUNDLES
We were able to notice that each one in a way carried a bundle, they
were not a trouble to them nor were they all bundles as some of them
were chickens some of them pheasants some of them sheep and some of
them bundles, they were not a trouble to them and then indeed we
learned that it was the principal recreation and they were so arranged
that they were not given away, and today they were given away.
I will not look at them again.
They will not look for them again.
They have not seen them here again.
They are in there and we hear them again.
In which way are stars brighter than they are.
When we have come to this decision. We mention many thousands of buds.
And when I close my eyes I see them.
If you hear her snore
It is not before you love her
You love her so that to be her beau is very lovely
She is sweetly there and her curly hair is very lovely.
She is sweetly here and I am very near and that is very lovely.
She is my tender sweet and her little feet are stretched out well
which is a treat and very lovely.
Her little tender nose is between her little eyes which close and
are very lovely.
She is very lovely and mine which is very lovely. (12)
I found in longer things like Operas and Plays and Portraits and Lucy Church Amiably and An Acquaintance with Description that I could come nearer to avoiding names in recreating something.
That brings us to the question will poetry continue to be necessarily short as it has been as really good poetry has been for a very long time. Perhaps not and why not.
If enough is new to you to name or not name, and these two things come to the same thing, can you go on long enough. Yes I think so.
So then poetry up to the present time has been a poetry of nouns a poetry of naming something of really naming that thing passionately completely passionately naming that thing by its name.
Slowly and particularly during the nineteenth century the English nineteenth century everybody had come to know too well very much too well the name anything had when you called it by its name.
That is something that inevitably happened. And what else could they do. They had to go on doing what they did, that is calling anything by its name passionately but if as I say they really knew its name too well could they call it its name simply in that way. Slowly they could not.
And then Walt Whitman came. He wanted really wanted to express the thing and not call it by its name. He worked very hard at that, and he called it Leaves of Grass because he wanted it to be as little a well known name to be called upon passionately as possible. I do not at all know whether Whitman knew that he wanted to do this but there is no doubt at all but that is what he did want to do.
You have the complete other end of this thing in a poet like Longfellow, I cite him because a commonplace poet shows you more readily and clearly just what the basis of poetry is than a better one. And Longfellow knew all about calling out names, he on the whole did it without passion but he did it very well.
Of course in the history of poetry there have been many who have also tried to name the thing without naming its names, but this is not a history of poets it is a telling what I know about poetry.
And so knowing all this about poetry I struggled more and more with this thing. I say I knew all this about poetry but I did not really know all this then about poetry, I was coming to know then then when I was writing commencing to know what I do now know about prose but I did not then know anything really to know it of what I now know about poetry.
And so in Tender Buttons and then on and on I struggled with the ridding myself of nouns, I knew nouns must go in poetry as they had gone in prose if anything that is everything was to go on meaning something.
And so I went on with this exceeding struggle of knowing really knowing what a thing was really knowing it knowing anything I was seeing anything I was feeling so that its name could be something, by its name coming to be a thing in itself as it was but would not be anything just and only as a name.
I wonder if you do see what I mean.
What I mean by what I have just said is this. I had to feel anything and everything that for me was existing so intensely that I could put it down in writing as a thing in itself without at all necessarily using its name. The name of a thing might be something in itself if it could come to be real enough but just as a name it was not enough something. At any rate that is the way I felt and still do feel about it.
And so I went through a very long struggle and in this struggle I began to be troubled about narrative a narrative of anything that was or might be happening.
The newspapers tell us about it but they tell it to us as nouns tell it to us that is they name it, and in naming it, it as a telling of it is no longer anything. That is what a newspaper is by definition just as a noun is a name by definition.
And so I was slowly beginning to know something about what poetry was. And here was the question if in poetry one could lose the noun as I had really and truly lost it in prose would there be any difference between poetry and prose. As this thing came once more to be a doubt inside me I began to work very hard at poetry.
At that time I wrote Before the Flowers of Friendship Faded Friendship Faded and there I went back again to a more or less regular form to see whether inside that regular form I could do what I was sure needed to be done and also to find out if eventually prose and poetry were one or not one.
In writing this poem I found I could be very gay I could be very lively in poetry, I could use very few nouns in poetry and call out practically no names in poetry and yet make poetry really feel and sound as poetry, but was it what I wanted that should be done. But it did not decide anything for me but it did help me in my way.
I am very hungry when I drink,
I need to leave it when I have it held,
They will be white with which they know they see, that darker makes
it be a color white for me, white is not shown when I am dark indeed
with red despair who comes who has to care that they will let me a
little lie like now I like to lie I like to live I like to die I like
to lie and live and die and live and die and by and by I like to live
and die and by and by they need to sew the difference is that sewing
makes it bleed and such with them in all the way of seed and seeding
and repine and they will which is mine and not all mine who can be
thought curious of this of all of that made it and come lead it and
done weigh it and mourn and sit upon it know it for ripeness without
deserting all of it of which without which it has not been born. Oh no
not to be thirsty with the thirst of hunger not alone to know that
they plainly and ate or wishes. Any little one will kill himself for
It could be seen very nicely
That doves have each a heart,
Each one is always seeing that they could not be apart,
A little lake makes fountains
And fountains have no flow,
And a dove has need of flying
And water can be low,
Let me go.
Any week is what they seek
When they have to halve a beak.
I like a painting on a wall of doves
And what do they do,
They have hearts
They are apart
Little doves are winsome
But not when they are little and left. (14)
I decided and Lucy Church Amiably had been an attempt to do it, I decided that if one definitely completely replaced the noun by the thing in itself, it was eventually to be poetry and not prose which would have to deal with everything that was not movement in space. There could no longer be form to decide anything, narrative that is not newspaper narrative but real narrative must of necessity be told by any one having come to the realization that the noun must be replaced not by inner balance but by the thing in itself and that will eventually lead to everything. I am working at this thing and what will it do this I do not know but I hope that I will know. In the Four In America I have gone on beginning but I am sure that there is in this what there is that it is necessary to do if one is to do anything or everything. Do you see what I mean. Well anyway that is the way that I do now feel about it, and this is all that I do know, and I do believe in knowing all I do know, about prose and poetry. The rest will come considerably later.
1. How To Write, Plain Edition, Random House, 1931, p. 25.
2. ibid., p. 26.
3. ibid., p. 27.
4. ibid., p. 29.
5. ibid., p. 89.
8. ibid., p. 90.
9. ibid., p. 259.
10. ‘B.B. or The Birthplace of Bonnes’ in Portraits and Prayers, p. 162.
11. ‘A Valentine to Sherwood Anderson’ in Portraits and Prayers, p. 152.
12. ibid., p. 154.
13. Before the Flowers of Friendship Faded Friendship Faded, Plain Edition, Paris, p. 14.
14. ibid., p. 16.
One Reply to “Gertrude Stein: Poetry & Grammar”
The ambiguity of the repeated phase when a repeated phase is repeated with ambiguity repeats a meaning quite different in meaning than the meaning of the repeated phase repeated with ambiguous meaning repeated. Thus write the great without nouns written and therefore but conjunctive further more written by the great without nouns, nominally. punctuated as seen fit to punctuate as is befitting as seen fit punctuated.
Comments are closed.