{"id":514,"date":"2016-01-27T13:34:06","date_gmt":"2016-01-27T12:34:06","guid":{"rendered":"http:\/\/www.elizabethanpartsongs.nl\/wordpress\/?page_id=514"},"modified":"2017-10-19T10:37:43","modified_gmt":"2017-10-19T08:37:43","slug":"the-art-of-making-sense","status":"publish","type":"page","link":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/the-art-of-understanding\/the-art-of-making-sense\/","title":{"rendered":"The Art of Making Sense"},"content":{"rendered":"<p><strong>CONTENTS<\/strong><\/p>\n<p><span class=\"Apple-style-span\">Part 1 ; <a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/the-art-of-understanding\/the-art-of-phrasing\/\">The Art of Phrasing<\/a>\u00a0<\/span><\/p>\n<p>Part 2 ; The Art of Making Sense<\/p>\n<ul>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/the-art-of-understanding\/the-art-of-making-sense\/the-fruits-of-honest-labour\/\" target=\"_blank\" rel=\"noopener\">the fruits of honest labour<\/a><\/li>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/the-art-of-understanding\/the-art-of-making-sense\/the-art-of-communication\/\" target=\"_blank\" rel=\"noopener\">the art of communication<\/a><\/li>\n<li><a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/the-art-of-understanding\/the-art-of-making-sense\/analyze-this\/\" target=\"_blank\" rel=\"noopener\">analyze this<\/a><\/li>\n<\/ul>\n<p>Part 3 ; <a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/the-art-of-understanding\/the-art-of-song-writing\/\">The Art of Song Writing<\/a><\/p>\n<p>Part 4 ; The Art of Reading Attentively<\/p>\n<p><span style=\"color: #ffffff;\">\u2014<\/span><\/p>\n<p><span style=\"color: #ffffff;\">\u2014<\/span><\/p>\n<p style=\"text-align: right;\">Due to a barrage of spam, the comment option had to be disabled.<\/p>\n<p style=\"text-align: right;\">Serious reply\u2019s will be copied to this page from the link below<\/p>\n<p style=\"text-align: right;\"><a href=\"mailto:playfulartofpoetry-comments@ziggo.nl\">enter a comment<\/a><\/p>\n<p><span style=\"color: #ffffff;\">\u2014<\/span><\/p>\n<p><span style=\"color: #ffffff;\">\u2014<\/span><\/p>\n<h2><b>Analysing a Death Wish<\/b><\/h2>\n<p>or : <i>the art of making sense<\/i><\/p>\n<p style=\"text-align: justify;\">Was Emily Dickinson depressed? Agoraphobic? Bipolar? Or is there another\u00a0explanation or different meaning that can be ascribed to Dickinson&#8217;s behavior?<\/p>\n<h5 style=\"padding-left: 210px;\"><i><span class=\"Apple-style-span\"><em>Sophie F.<\/em><\/span><\/i><span class=\"Apple-style-span\">\u00a0<\/span><span class=\"Apple-style-span\">(student at Bryn Mawr College)<\/span><i><span class=\"Apple-style-span\"><br \/>\n<\/span><\/i><span class=\"Apple-style-span\">Behaviour and Meaning: the Enigma of Emily Dickinson\u00a0<\/span><span class=\"Apple-style-span\"><br \/>\nBiology 202 Web Paper 1 mental health (2008)<br \/>\n<span class=\"Apple-style-span\" style=\"color: #ffffff;\"><br \/>\n<\/span><\/span><\/h5>\n<p><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><b>the fruits of honest labour<\/b><\/p>\n<div>\n<p style=\"text-align: justify;\">What to think of Judith Farr ? Being quoted by Wikipedia without mention of that all important metaphor, strongly suggests that she doesn\u2019t mention it either. But Judith Farr knows a metaphor when she sees one. She does not mention a \u2018&#8221;breathless immediacy&#8221; for nothing. If she fails to point at the metaphor, she therefore fails to point at it on purpose. And she wouldn\u2019t be the only one to do so, because when \u201cin the opening quatrain, Dickinson cleverly disguises the subject of the poem, a snake,\u201d the attentive reader is made to read \u201c&#8230;as a snake.\u201d Or is that too much credit for an interpretation of a text, that is only useful to the reader who knows how to interpret a text ?<\/p>\n<\/div>\n<p style=\"text-align: justify;\">This reader, meanwhile, has gathered that a poem must be discussed by metaphor, because the resulting explanation would be crystal clear. And that is exactly what is out of the question, because explaining a poem&#8230; Judith Farr, and the entire literary criticism with her, ends up in an impossible tightrope act if she sets out to do the job she gets paid for. But it is by now at least explained why science has not yet succeeded in developing a working method of text interpretation. And the solution that turns want into virtue is as simple as it is brilliant : the by careful Literature Study established fact that poetry is elusive by nature. And therefore open to interpretation in as much different ways as it has readers. Literature is in this respect of course as poetic in its prose, as it is in its poetry, because poetry is neither defined as, nor confined to verse. And thus the only method of advance is for literary criticism to compare one\u2019s own opinions on a text with other ones. An approach that is especially recommendable because of its promise to keep every masterpiece a source of pleasure to its researchers until the day of judgement.<\/p>\n<p style=\"text-align: justify;\">It is therefore with the deepest regret that I must inform the experts that language is a means of communication. And that an author of literature is a language artist :<\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">if \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 language \u00a0 \u00a0 \u00a0= \u00a0 \u00a0 \u00a0communication\u00a0<\/span><i><span class=\"Apple-style-span\"><br \/>\n<\/span><\/i><span class=\"Apple-style-span\">and \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 poetry \u00a0 \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0 \u00a0the art of language \u00a0 \u00a0 \u00a0 \u00a0 \u00a0= \u00a0 \u00a0 \u00a0literature\u00a0<\/span><span class=\"Apple-style-span\"><br \/>\nthan \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 poetry \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 = \u00a0 \u00a0 \u00a0the art of communication<\/span><\/p>\n<p><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p><b>the art of communication<\/b><\/p>\n<p style=\"text-align: justify;\">Instead of selling the chalk of illusion for the cheese of reality, the expert should better point at the metaphor. Saying : \u201cseek, and you will find what the poet has, especially for you, hidden within that metaphor.\u201d In case you haven\u2019t noticed : there is a marvelous discovery waiting for you in the final line of Dickinson\u2019s poem.<\/p>\n<div>\n<p style=\"text-align: justify;\">Seek, and you will find, and the metaphor is the poem\u2019s key. Which defines poetry as an encrypted means of communication. The last thing a poetry lover, according to this definition, is waiting for, is the deciphering already been done. Meaning that Judith Farr, and literary criticism as a whole, is rather to be praised for avoiding the metaphor than rebuked. From which one may gather that there evidently is some wisdom in the expert\u2019s habit of keeping a poem\u2019s message obscured. And the same for avoiding the problem that, once known, the metaphor will be recognized whenever it occurs. A complication that in the long run is to make literary criticism completely redundant.<\/p>\n<p style=\"text-align: justify;\">Nevertheless, this drawback is not going to leave this branch of science unoccupied, because, for a proper understanding, a text has to be read within context. Lays cannot be expected to figure this context out for each single piece of literature. And for that reason the encounters which Dickinson placed at the centre of her poem can make perfect sense to her countrymen only. If unbraiding whips are still common finds in the New England countryside, that is.<\/p>\n<p style=\"text-align: justify;\">The identification of that linchpin metaphor is not always the easiest of jobs. In the next poem, for instance, it is too near for detection. Even if the poem offers its metaphor in full view. And thus Dickinson effectively denies access to all readers of her poem but the really attentive. Which makes its deciphering even more rewarding.<\/p>\n<p style=\"text-align: justify;\">The previous poem came with a visitor\u2019s guide. One that has been written by decyphering the message with the advantage of web searching. This learned me in the process that \u2018A narrow fellow\u2019 is in Dickinson\u2019s Poems : Second Series (1891) enlisted in Section III ; \u2018Nature\u2019. Have you made that discovery in the final line, you may agree that Section I (\u2018Life\u2019) would have been the better choice. And pending that discovery, the metaphor insists on Section IV ; \u2018Time and Eternity\u2019. The section that opens with :<\/p>\n<\/div>\n<p style=\"text-align: justify;\">edited version (1891) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0original<\/p>\n<p><b><\/b><span class=\"Apple-style-span\">LET down the bars, O Death ! \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Let down the Bars, Oh Death \u2014<br \/>\nThe tired flocks come in \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0The tired Flocks come in<br \/>\n<span class=\"Apple-style-span\">Whose bleating ceases to repeat, \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Whose bleating ceases to repeat<\/span><br \/>\n<span class=\"Apple-style-span\">Whose wandering is done. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Whose wandering is done\u00a0\u2014<\/span><br \/>\n<\/span><\/p>\n<div>\n<p><span class=\"Apple-style-span\">Thine is the stillest night, \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Thine is the stillest night<br \/>\nThine the securest fold ; \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Thine the securest Fold<br \/>\n<span class=\"Apple-style-span\">Too near thou art for seeking thee, \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Too near Thou art for seeking Thee<\/span><br \/>\nToo tender to be told. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Too tender, to be told.<br \/>\n<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">Read this a couple of times aloud. Which will make you experience what little impact the additions to the punctuation do make on the phrasing of the \u2018melody\u2019. And how awkward that final comma is placed, that the editor didn\u2019t approve of. Dickinson\u2019s dashes, on the other hand, are exactly where they, judged by \u2018A narrow fellow\u2019, are to be expected. So there is no reason to doubt that she put her second comma into position with good judgment. The missing punctuation marks may therefore be marking this comma out as important. And it indeed marks the spot where your respective word substitutions for the editor\u2019s version and the original are going to fan out. Metrical ones at least. A substitution of English poetry for, say, Dutch prose, only does suggest that the editor knew his business. Something already made evident by the phrasing of the \u2018melody\u2019 :<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">edited version (1891) \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0original\u00a0<\/span><\/p>\n<p><b><\/b><span class=\"Apple-style-span\">Laat neer het hek, O Dood ! \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Laat neer het hek, Oh Dood \u2014<br \/>\nDe Kuddes trekken in \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0De Kuddes trekken in<br \/>\n<span class=\"Apple-style-span\">Wier eind\u2019loos blaten nu verstomt, \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Wier eind\u2019loos blaten nu verstomt<\/span><br \/>\n<span class=\"Apple-style-span\">Wier zwerven is gedaan. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Wier zwerven is gedaan \u2014<\/span><br \/>\n<\/span><\/p>\n<div>\n<p><span class=\"Apple-style-span\">U biedt de stilste nacht.\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0U biedt de stilste nacht<br \/>\nU het beschutste Oord ; \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0U het beschutste Oord<br \/>\n<span class=\"Apple-style-span\">Te na zijt Gij dat men U zoekt, \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0Te na zijt Gij dat men U zoekt<\/span><br \/>\nTe teder dan verwoordt. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Te teder, \u2018t moet verwoord.<br \/>\n<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0literally: \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0literally:<br \/>\nTe teder om (van) te vertellen. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Te teder&#8230;\u00a0 om (van) te vertellen.\u00a0<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">\u00a0\u00a0 \u00a0 \u00a0 \u00a0\u00a0poetically: \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0poetically:<br \/>\nToo tender to be expressed. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0Too tender&#8230;\u00a0 to be exposed.\u00a0<\/span><\/p>\n<\/div>\n<div>\n<div>\n<p style=\"text-align: justify;\">Or something like that. The visible metaphor, meanwhile, is a perfect fit to its task of separating the sheep in Dickinson\u2019s audience from the goats. And the poem even has a stray line. One that only catches the eye that averts the metaphor\u2019s glare (and that recognizes a metaphor when it sees one). And while you are reading this poem once more with utmost attention, it is the duty of Literature Studies to provide some background information that may be important for its correct interpretation :<\/p>\n<\/div>\n<\/div>\n<p style=\"text-align: justify;\">The shepherd metaphor does not agree with using the opening words as a figure of speech. And where bars come down literally, a passageway gets blocked. Not always and everywhere, perhaps, but while the portcullis still is a familiar feature of American cattle pens, the concept of turning the grate into a threshold was in Dickinson\u2019s days unheard of. The poem\u2019s internal logic therefore forbids the use of present tense in the second line. That same present tense, however, is indespensable to the poem as a whole, which invites to explain the anomaly of a sloppy grammar away as a cosmetic necessity. A tempting option, because it avoids the problem of explaining why Dickinson tells The Shepherd of Souls to deny his flocks access to the night\u2019s pen.<\/p>\n<p style=\"text-align: justify;\">The metaphor in the stray line opens the eyes for the key to correct interpretation (in case you have given up ; the stray line does not fit in with the shepherd metaphor, but refers to another personification of Death, one to which this line\u2019s entire stanza is tailored). And because the equation \u2018shape equals contents\u2019 goes a long way back as the central dogma of Western Art, the poem actually opens with this key (haven\u2019t found the stray line yet ? it is the key to this key, therefore try the other central dogma : \u2018balance\u2019). In its original version at least, because the editor has once again managed to alter the meaning of the entire poem. This time by interfering with the melody of the \u2018spoken music\u2019 :<\/p>\n<blockquote>\n<p style=\"text-align: left;\"><em><span class=\"Apple-style-span\">O body, he thinks of his own.<br \/>\nOh body, when he\u2019s thinking of hers.\u00a0<\/span><\/em><\/p>\n<p style=\"text-align: left; padding-left: 120px;\"><span class=\"Apple-style-span\">Kimberley Grey<em>\u00a0<\/em><br \/>\n<em>from : The Difference Between Oh and O<\/em>\u00a0<\/span><\/p>\n<\/blockquote>\n<p style=\"text-align: justify;\">The opening exercise of rehearsing the \u2018music\u2019 was not principally prescribed to get the feel of Dickinson\u2019s phrasing. It rather offered you the key to a perfect interpretation directly from the composer\u2019s hand. And no matter how badly a romantic sound agrees with the opening stanza, it fits the first line\u2019s figure of speech like a glove. Like it fits the second stanza throughout.<\/p>\n<p style=\"text-align: justify;\">This implies that the poem\u2019s composition as spoken music in a single move disqualifies the glaring metaphor as a mere cover story, and establishes the covered one as the linchpin. But the real value of interpreting Dickinson\u2019s poetry as a love song is in the resulting melody of speech : it makes the designed rest halfway the final line to sound perfectly natural. By which means Dickinson has once more underlined the comma\u2019s importance, and, if we want to understand her message, we better make sense of it. Even if there is no way to do so without disqualifying the newly identified linchpin metaphor as just another cover story.<\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: justify;\"><strong>analyze this<\/strong><\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">There is no harm in checking things out by doing some word substitution, but if a conclusive result involves leaving no stone unturned, the deployment of logic is the more practical option. And because all the necessary information is by now provided for, deploying logic also is the only way to get Dickinson\u2019s message. With the right starting point, you will surely manage :<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">if \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0&#8216;<span class=\"Apple-style-span\">Oh\u2019 \u00a0 \u00a0= \u00a0 \u00a0the key to correct interpretation<\/span><br \/>\nand \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0<span class=\"Apple-style-span\">\u2018Oh\u2019 \u00a0 \u00a0= \u00a0 \u00a0the key to turn down a metaphor of death<\/span><br \/>\nthen \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<span class=\"Apple-style-span\">\u2018Oh\u2019 \u00a0 \u00a0= \u00a0 \u00a0the key to turn Death himself into a metaphor\u00a0<\/span><\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">Death is quite common as love\u2019s metaphor, and under such an elaborate cover it has to be the love song\u2019s one and only linchpin metaphor. No question about it. But it still covers something up, and Dickinson\u2019s comma is the key to find\u00a0out that<br \/>\n<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p><span class=\"Apple-style-span\">&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p style=\"text-align: justify;\">You can\u2019t be much wrong. Provided that you haven\u2019t been tempted into explaining the second line\u2019s (in)consistent grammar away as a cosmetic necessity. That would have got you on the wrong foot from the start. And if you have thus been prevented from regarding \u2018too tender\u2019 with the appropriate distrust, give it another try. If necessary by rewriting each single line in the light of that sneaky detail :<\/p>\n<p style=\"text-align: justify;\">&#8211; Let down the Bars, Oh Death \u00a0 \u00a0 \u00a0: \u00a0&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/p>\n<p style=\"text-align: justify;\">&#8211; The tired flocks come in \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 :<span class=\"Apple-style-span\">\u00a0\u00a0&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p style=\"text-align: justify;\">&#8211; Whose &#8230; repeat \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 :<span class=\"Apple-style-span\">\u00a0\u00a0&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p style=\"text-align: justify;\">&#8211; Whose wandering is done \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0:<span class=\"Apple-style-span\">\u00a0\u00a0&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #ffffff;\">&#8212;<\/span><\/p>\n<p style=\"text-align: justify;\">&#8211; Thine is the stillest night \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 :<span class=\"Apple-style-span\">\u00a0\u00a0&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p style=\"text-align: justify;\">&#8211; Thine the securest Fold \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0:<span class=\"Apple-style-span\">\u00a0\u00a0&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p style=\"text-align: justify;\">&#8211; Too near &#8230; seeking Thee \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 :<span class=\"Apple-style-span\">\u00a0\u00a0&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p style=\"text-align: justify;\">&#8211; Too tender, to be told \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 :<span class=\"Apple-style-span\">\u00a0\u00a0&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.<\/span><\/p>\n<p style=\"text-align: justify;\"><span class=\"Apple-style-span\">Only when you have abandoned all hope to advance without a guide, time has come to consider the discovery route alongside these dotted lines. In case you have cracked the riddle, this route is as interesting as the solution of last week\u2019s crosswords in today\u2019s newspaper. Therefore follow the arrows of preference :<\/span><\/p>\n<p><span style=\"color: #ffffff;\">&#8211; &#8211; &#8211; &#8211; &#8211; &#8212; &#8211; &#8211; &#8211; <\/span>V \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 V<\/p>\n<p><span style=\"color: #ffffff;\">&#8211; &#8211; &#8211;<\/span> <a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/the-art-of-understanding\/the-art-of-song-writing\/\">to the next part of this paper<\/a> \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 <a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/the-art-of-understanding\/the-art-of-making-sense\/analyze-this\/discovery-route\/\">to the discovery route<\/a><\/p>\n<p><span style=\"color: #ffffff;\">\u2014<\/span><\/p>\n<p><span style=\"color: #ffffff;\">\u2014<\/span><\/p>\n<p style=\"text-align: right;\">Due to a barrage of spam, the comment option had to be disabled.<\/p>\n<p style=\"text-align: right;\">Serious reply\u2019s will be copied to this page from the link below<\/p>\n<p style=\"text-align: right;\"><a href=\"mailto:playfulartofpoetry-comments@ziggo.nl\">enter a comment<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>CONTENTS Part 1 ; The Art of Phrasing\u00a0 Part 2 ; The Art of Making Sense the fruits of honest labour the art of communication analyze this Part 3 ; The Art of Song Writing Part 4 ; The Art &hellip; <a href=\"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/the-art-of-understanding\/the-art-of-making-sense\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":544,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/514"}],"collection":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/comments?post=514"}],"version-history":[{"count":28,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/514\/revisions"}],"predecessor-version":[{"id":1697,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/514\/revisions\/1697"}],"up":[{"embeddable":true,"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/pages\/544"}],"wp:attachment":[{"href":"https:\/\/www.elizabethanpartsongs.nl\/wordpress\/wp-json\/wp\/v2\/media?parent=514"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}