A Quote by Frederick Lenz
As a former English professor, I can assure you that grammar is the qualitative interpolation of language. Adjectives, pronouns, predicates, past pluperfect indicative - ridiculous. It has qualities, shadings, differentiations, rhythmic structures of symbolic meaning.
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I have a funny story to tell about English and how I came to fall in love with the language. I was desperate to fit in and spoke English all the time. Trouble was, in my household it was a no-no to speak English because somehow it is disrespectful to call parents and grandparents "you" - impersonal pronouns are offensive in Vietnamese.
While self-interest arising from the enjoyment of meat eating is obviously one reason for its entrenchment, and inertia another, a process of language usage engulfs discussions about meat by constructing the discourse in such a way that these issues need never be addressed. Language distances us from the reality of meat eating, thus reinforcing the symbolic meaning of meat eating, a symbolic meaning that is intrinsically patriarchal and male-oriented. Meat becomes a symbol for what is not seen but is always there--patriarchal control of animals and of language.
In fact, by universal grammar I mean just that system of principles and structures that are the prerequisites for acquisition of language, and to which every language necessarily conforms.
Grammar is what gives sense to language .... sentences make words yield up their meaning. Sentences actively create sense in language. And the business of the study of sentences is grammar.
I remember one English teacher in the eighth grade, Florence Schrack, whose husband also taught at the high school. I thought what she said made sense, and she parsed sentences on the blackboard and gave me, I'd like to think, some sense of English grammar and that there is a grammar, that those commas serve a purpose and that a sentence has a logic, that you can break it down. I've tried not to forget those lessons, and to treat the English language with respect as a kind of intricate tool.
[My poems] of course, it's symbolic, in the way that things in a poem can be - that is, pointing to something beyond its mere ordinary meaning, while also retaining all the qualities of that ordinary meaning. In other words, it's a bear, but it's also suggesting something else, just by virtue of the attention to it. But it's not "symbolic" in that way we are taught to think about things in poems.
I do try to incorporate particular rhythmic and generally sonic motifs I discover in music as such, and if one thinks of language in a narrow sense, that, perhaps, suggests a possibility for a rhythmic sensibility that enters poetry from outside of language.
No one complains of the rules of Grammar as fettering Language; because it is understood that correct use is not founded on Grammar, but Grammar on correct use. A just system of Logic or of Rhetoric is analogous, in this respect, to Grammar.
Grammar and logic free language from being at the mercy of the tone of voice. Grammar protects us against misunderstanding the sound of an uttered name; logic protects us against what we say have double meaning.
One of the reasons I love language is that concerning semiotics, language is an arbitrary sign system, which means the signs within it are free-floating, but we put them in a certain order to get them to have meaning for us. If we left them alone, they'd be like water, like the ocean. It would be just this vast field of free-floating matter or signs, so in this way, I think language and water have much in common. It's only us bringing grammar and syntax and diction and the human need for meaning that orders language, hierarchizes it.
I have a funny relationship to language. When I came to California when I was three I spoke Urdu fluently and I didn't speak a word of English. Within a few months I lost all my Urdu and spoke only English and then I learned Urdu all over again when I was nine. Urdu is my first language but it's not as good as my English and it's sort of become my third language. English is my best language but was the second language I learned.
The way that I approached numbers, think about them, the same as for language as well-acquiring vocabulary, understanding the grammar, the structures of languages, the rhythm, the music and so-on - these things obviously evolved.
By a generative grammar I mean simply a system of rules that in some explicit and well-defined way assigns structural descriptions to sentences. Obviously, every speaker of a language has mastered and internalized a generative grammar that expresses his knowledge of his language. This is not to say that he is aware of the rules of the grammar or even that he can become aware of them, or that his statements about his intuitive knowledge of the language are necessarily accurate.
James Joyce's English was based on the rhythm of the Irish language. He wrote things that shocked English language speakers but he was thinking in Gaelic. I've sung songs that if they were in English, would have been banned too. The psyche of the Irish language is completely different to the English-speaking world.
Yeah, I know what your English Professor tried to tell you. But if your English Professor could make a living writing fiction, they would have been doing it.
I believe rhythmic sensibility is always a product and extension of language, defined broadly, among other things. But it is an immediate product and extension - no time elapses between the exposure to language and the creation of rhythmic sensibility.
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