A PASTDOGGEREL GROWTH OF THE LITERARY VEHICLE: LANGUAGE'S RELAPPROACH MUSIC AND PLASTIC   To be presumed Times when coastbevels suffice-fashed the vehicle of the art-unity, the "theme-giving"' life of preScience eras was fewthingsphased. Now that spirituality lush-pollute-hibernates, creativity rationally expanticipates no aesth-objectifise 'thout deLush-roughchewsing chaos-mulps of geometreatable current facetphase, IntuitEctoPlastCatchV agues, to be boildown-choiced into HighestCommonFactor-Entensities. The more, that polydeatic Unity besets our nowaday, with, in TimeSpace work of pretense-water, Overtoneagearomaccumutanjingspillphonicb en-spray-associativity. (ThoughtContextly et Musicontently) A reader's retrieve-solve to this problemSituate -- touching as it does the supraspectral play-realm of a considerable Triune, QUANTITY > INTENSITY > QUALITY -- is found in skimpquick-brbwse-Peruse-prepsedul-racethru-l (Coffee incite- slugs phlegm-dispose). Thusway is DemosPride shedding its DefySkin, to don at-least-ScanceRaiment of I-like-wet-knowsme character.3 Herein germ-starts of robotemp-yet-discrimming EsseFeel may be imbedded. For consideration:   (a) Subjective SubObjective Objective (b) Unity Coherence Emphasis (c) MUSIC LITERATURE FINE ART The parallax of (a) & (c) is an alreadyAccepted. To estab a birdsfeather Tend among all may we assay Coherence, demagogue at worst or best, to be the especial character of Literature (both being process-obliged to jugglpose sub-and-objective pickings) -- that Literature," with artpulse functly amouck twixt Sone-organisEvers and H ighPressureTheatrickLeaks, is actuelly veer-warranting Coherence's (1) cease-docile-obeiss to an Ain~Unity's gimme-only-icecream control-summons (2) gullabye-tocradleRockCommuNorms-ly give-ear-to CadetEmphy's rummagey loudtisms (these, if, certainly stress > phrase-nearer INITResponse - psychAuriginals). As instances of such R eader-OuT-with-some-P rocesS triveGets ! transveering personalities in modern English Literature: (A) Gerard Hopkins, "Poems" -- here, KidEmphy's rib-dudges were DebussyConcern-applies into the placamediantising brother. For one finds (1) quasiChurchChant nick-stresses eyecoying Ear Inhale (2) WordOrder-paradoxes formlifening the phraseMome and, if postponing Context's immedinsoak, additfurthglintbitting Prosod-rhythmicity. Here, then, two important contrib-features neglamorised by those contemporary malleators of Language, the Poets. One only (Miss Riding styles her a "Primitive") seems to have TakeOn-pooled the latter device into NEXT-Exhibploitable, i.e.: (B) Gertrude Stein's PhraseOrderParadox. Two sorts: (1) a whereby Lend of poetic PhraseContext to Music for DiVehicontentise bandy-for FormPoss's invigNeoBreatheHappierise (2) furthrending the musicated S oneM orefragmentate, the OnceChopM omes, into petriM ove-Stilllife-interclashCubifragmentised." (my "furthchop"interp may serve to explocate the quasiMeteor-flocale of Miss Stein's many Contextumbling divagassociable shuttle-about rhapsodics.) Here, firstime-seem in Literature, is found the fitting arrogallot -- to the SensationSelf, of the Sensate's artrightrite to nonhamply flapdoodieise6 its own (THE INIT-)LyrPaeanise -- by his now-thinking-" Well-kid-guess-itsyour-turn" truly-of-the-I nnerF ollowO rder-of-C roce's-two-theoretic-Experilevels'd IdeationBrother. The gamme-gain alone will have atoned for the now-impend-years of mobby crhapsexploit. Comparannototalising, Hopkins' "WordOrder-Paradoxes " are the primergestes, cataclysweetmeats, the Tentanecessary sporewee GrowthStart; Miss Stein ingCnieur-analyspans a ThoughtNorm into hoverhandy-choppedparsleyspawnlay, the phrasequents contemplundergo furth shuttlecock-dissectage, finally chrysallise in StillLife-UNaivetC, timespace-pervase at any When of a formunified somusicality. What then, for Vehiclise, this Hopkins > Stein tend? Shall we say (a) the encollar-moulding of NeoCoherePoss (b) Language's (i. e. the stufS-of-literature's) -- EmphAchieve aesthetic maturity athru the distort-expense of communik-sythertooze (c) the rendering possible an equiv-inroad into ProseStatusQuo, clutterealm where must occur an Upheave-necessary damrushwashoutcome, whence: (C) James Joyce.7 The contrasject from the above two, "Pastorals" -- whose contemplaglint aspection necessarily logates MiniaLyrMomeQuiet -- to the "Ulyssian" spacestride-hypervelox-symphugal, gives feeling of sudden expunge into leaves-collecting windspaces or that of playuponstardust in astroVoidRealms. Breath-caught clarified then, once asks what is Joyce doing to fomefurth the "PastDoggerel" march of the SoundOrganise-LitVeh, of SONE-evoke, that is. The sheer permaze of Ulysses' Stream-of-Consch speaks selfoquently of its FirstMemImpressof-Rhapsody delight-calibre, IristTwinklisms and VocSaltimbanques abound-woof the ContinuSemb desired. As to his present Achieve of "EtudePaceNexting," 8 I must now back-trace. In a '22 article, "Opera In English,2" I commented extensely the SoneContrib of English: this Language's palate 'coy-DrawlColor'd-clankfilled gamme, its polyethnic conson-fileage, etc., resulting in its unique tim-)personal DiscussDeclaim. This, then, Joyce's Veheireditage. As to his enviraBecomeSelf one has only to note his remarkably "conditionised" packtight supraceltic intellemasspolymageryg (still lava-dCnoueising Secure-indefseemly), Ulysses, besides apexfinishing the NovelNorm, phrasenormly brings psych-impactity into the satisZenithRealm of AesthOutPour-lntuitPossi.'o As to its sheer SoneVariLushUncannyExact -- well, most of us can recognise Shakspere when read unKnownst-aloud. That makes shortly another, another to have Chefly quintessorganised EarPalateDelight. In "Work in Progress" (transition, actuelly) one observes the furthRadex of a Device's insidicostal-complexivate-the-FORMflow-of TumbleDisplay, in the PunPass-DuoMeans of ince-possi-halt > resuming-the-CONTEXT's SetUpAdditImpliqs-Bouquet. Allons to Hopkins-Stein-J oyce, then, -- Hieraphants of that soleequitising RhapsiPoss-Realm of actuality, Language -- A BAS, for a while, the Timegrinny ToneChiaro' of "strait" Music -- rather, HERE's TO the immeditrekadvance of stenocrypt Son'Oscuro, as NonInsulter of AttenshVoltage! Rhapsody, an always Necessary, oil-gush-feeds Lyrism, Rhapsodic groovedecence seems to be going-on only in WordSoundOrganise. And Lyrism's (naive-yet-) sTimeGrin must ever be sciss-glinted intoward CryptAdequacy, in fact this always Occurs in lasting Composition. The Arts are compenetrating -- so far only so-much-mutowash, if you will -- yet compenetrending.   ***   Indubitably the work of such as Stein, Joyce and Breton sho~ proves that the Novel(as Literature) is thru with feed-my lambs! concernments. Breton counsels what may be styled the Movie Throw Back-I nverse in his recommendHeroes'-doubleNoseThumbing-Reader-&-Author Suggest. This is that ince-new'nuf to give our Gramormers a sufficomplex'd rewrite-Context Concern. A propos nose-thumbing, "TOM JONES" does-so the Reader, almost, one feel-thinks, the Author, i.e., in the upspuewreckimpasse-shamemoral-psychSituates which off & on styleflowsaiong-outheave-present themselves (one sense-feels a resignincapac in the Author to furth-right-the-Hapmore-trend, that he will leave results to the develgrind of Process.) TO WORK THEN, Gang, Miss Stein's & Mr. Joyce's peal clearly that the Vehicle is now The exrudimentablising CreateConcern, a nowyawning DisHibernial plasticklable at least. To furth-pursue ThoughtContext at neglexpense of VehiFormConcomitent will be ludisastrous. Already two FormWrights of Skill-freed-tobreathe-HigherConschPretense calibre, they, lone Entitles to directly race-pursue BigFishCatchings. Will there be more? A denier-mention for those of us engaged in tend-the-engine radicDetailery.

PATRACINATION   (a) because in Europe I find MeaningScurry in their Organise-Self-Divert -- hours loll here all simmer-rifeExpect-lush-stat, GET is less-necessary.   (b) because of the absence of Tight-blank faces here. (European Maturity seems of the in-touch-with-YouthPulse ripe sort[.]a)   (c) Liquor-Gamme abroad somewhat breatheier. (d) abroad, as if transplanted to an ideating DreamStanceIndef, the me-expatriate remenvisages America-theSpectacle, initsensing its cosmintegrality, critifocaspecting its Univeering probably for a first time. (local Econs are so intrude-mussuppy.)   the Spiritual Future of America is not to evolve till a present diabetes is admit > removed, t'wit: America's total lack of parent-sagacity to exprimply an especially-while-correctingthem goodwill toward, and to cull an early admiration from the children.   (The EffectLoss into Personality is enormous!! -- contrast the majority of French Parents' Methattitude.)   THEN -- the American Spirit will commence-sing as naivedirect-elimgoalpursue-clearly as its present FolkMelod "PopularSong," frequently as blare-Outr~Fruct-freely as its dynaSaxophoneyc. NeoPolite-ObserveRigors will scourge off-away the become-cloyuseless of our present SklafManners -- survive-a tiff with Russian Defeatind ivid-becomeCollectiMass output, our EconGrandees will have also residonned the surrealise raiment of skilledlaborer-integrality -- the SportSense will have been furthalloted into a StreetPass-Calistheno (i.e. Fair, groove-compulsed into an inevitaBanter-Fair -- we are a Good Will-Collective -- will assume social sensitude, a BodyClap-RazzCourtly deftjoice-skew-Apply-akin (somehow) to the finesse of France's Golden Period.   The Busybody-GoodWill will have insidAmericanized Europe (thru Dawesian EcoHighPressures, "Galette"-addvice, constant-rub-away of Europeans' giving in to the squarepeginsists of Fringlish-voicestressingl travellers and resiDents, spillover-manifest of America's Nth degree-PRODUCEMolochism, etc.) Semitised Russia will certainly psychYap doubly, its individuentsremainingscorn-evadedDefeati speaking their present flapdoodleNonDigninhoIdliable'd rushout- heedless-O-Self! -stuff. (Russia's soon-enormous CollectiOutput will yet lag indef-behind America's shrewdingeniuity'd Get-Rich-Quick-Fellers!'d individ-catalysing Produce-Outvent.)   III. Communism, Surrealism, Anarchism -- degrees of LyriProtestism -- since Lyrism is based in Individualism the BureauLyrism of C. is an obvious paradox. -- A.'s hysterlyr will always ultimately grudge-pendule-reactionate, stay the destroy-(to-begin-over)-hand (the subjectively A.'s applicable into a Recherche for the expression of the Consciousness betwixbeyond the Abstremities of Thought[)l.s S., a French (psychanal-filtfree) Try has obviously essayed to continue "correctness," has but barely enlarged the GamutPossible of the Hithertooze-"Inadmissibie" -- enlargers Braque, Ernst, Michonze,4 obviously their Self; the rest, GoodManner'd Dada? -- S. lacked gutsweat adherents collect-able to trek the toothsome of the Psych-RunningDown (In?) DreamStateProffClimbs-into-Reality which Andrt Breton skim-the-FreudSoup-touchly impicts. Possibly S. failed to posit a NeoAgonyProCreate.   IV. My work veer-expresses my relation to 20thCentury Reality, a relation I feel-think to be fillfuller than any hitherto CritiCommunicLiable, i. e., mine, the necessity of lending consciousative LOGICATING to the AromeClashBuildinnerising FORMTrends of Music's MelodSyntheBuildAlong, the gradaccrue of which (both delib and acciByProd) may-will tot-add sub-et-Supra integerCollects for furthing the Context'sI mputationise; at the same time possibuilding, in English -- sole language evophonically free enuf to do so, -- SensationForms rhapsintrest Composenuf to aesthConcomitate these neo-gather-imputes of Thought, i. e., the MarryMomelntentsity matings of hovexpecf Indeation & Vehicle-BecomePunct. My Article (transition 12)5 delineates the techBuild of this.

MUSIC STARTS A GEOMETRY   Whence occurred the LeaveOff! -- the TakeOnAgain? It has seemed that the Intent behind 'Phonic Music was something more than Contrapuntal manipulation of Form-Means for Vocal ends; since this sung Polyphony alone so finely imboded the (necessarily) nicK-Spacing of early Art, so patricianly embroodspawned itself as Potential for later pan-Emotional' glint-runny fluidity. Certainly we have Music (all will agree on the up-ANDinto-M ozart) fulfilling the rigorous Induce-exactions of a Behaviorism -- to what Purpose?? -- May we say, to have self-structed p latform-layout fo r all future int rins ic-t o-Trad it i o n M us icati on? BUT, what happens???!!! -- This: after Beethoven's forgepoundings had intoned a new Amaze-World of FORM-livable2 musical experience, the Romantic (i.e., Individualisti-Lyrismic) enjoy-possibilities of such were all that spine-intrenched Parloritis cared to remember; that is, Beethoven's process of arriving-intoLyriAbsolutism was something too retchy for the now-eager-togidflut Listeners -- "Give us them Sawngs, sweetly -- warmly! VYVASHUSSLY!!I' (one almost hears the for-Us cream-sweatooze of their Soul's Romantickley petule-plea). SIG, the rudimentarising of Creative attention away from Thought-as-Form, because no encouragement of Form-as-Thought3 (no applause from the mystified Saloners for any such)-- a Farewell-Fanfare, then, for the Musical Toreadors!!   Thus we can visualize the jawgape HeroWorship tendency springing up in a no-longer-actively-KNOW-participating public, a public Euripidee-dinto flatulently revering a Brahmsin Goddess ('trick' poetess, clept MonodC) who pettifoggingly secures a NEROian vise-hold on aesthetic attention, i.e., Kiss-Song-spue is thereupon written onto the longsuffering Piano! Resuming the original picturization, what happened to the (TimeSpacing) Geometry? Let's say that Arithmetical diddle-dodder ,(this, comparatively a Nursery-lapse) now obtained Sklaf-squeaking parlor-parlance; no longer was there any horizontal makeEquation exaction of Feeling; only, rather, dame-boundy jumps from first-to-next sum-verticasements, all perpendickey ChordMoments in neat-succule figuration -- ZOUNDS !!! (Not that the WhaleBlubber-OldFriend! sort of EAR-RECOGNITTON has been outgrown, o no!!)   We implied earlier there had been platform-spawning, up-andinto MOZART, which was to (could) have served as launchpointage for all oncoming musication. One wonders if MUSIC will take a scour-analogy-lesson from Philosophy, the which so repeatedly has had to purge itself of much a-priori clog-matter[.]z What is this imperial Narcisse, MONODY? Is it, FORMly, aught more than a baby-gurle-and-waddle species of treacle-gagged Phonic (usually Madel-grinny, at that) carrying on at best in clubfoot senility, wherever its doggerel-Impute grim-facely attempts Seriousness? -- is it more, in short, than easier thinking? - and -- If this Monody is actually muted Phonic,4 why not chiropract a virile Phonic?   Eh bien, a Thesis-Suggest: That our Composers regroove their launchings in GeometRUN (Poets have an "Instinct for the Artificial," Limitation-liability evidently doesn't hurt Grandeur or Intensity) -- let them cease arithmeshing EXPRESSION in chordeasy 'pervade-squatting' -- and rather free those many verypassing impact-masses momenting in Consciousness, to entitically5 panache-deploy their Totality -- in this manner EXPRESSION (a psychophysiReality) may cocoon-seat itself (all that is necessary for and at it). Its outer Associate, FORMdeploy, on the other hand needs conscious Tendthe-Engine! -- reverence -- such, probably (due allowance for the myria-manifold ways of the Ear-Mind's listen-lurking on Self) is all the socalled Conscious-WILL can here hope to do, 'pas?   The inner-Expression of all Instinct > Feeling > Emotion > Concept > Ideation must needs be exteriorised into the organised > organising FORM -- OrganiKable of the considerated Art.G If one but lends a moment's ear-eye-scrutiny to our Music's present Form-OrganiK, one sees portray-adequate (i.e., precipit-full)   Variancy Breadth possible only thru (and as) Expectancy   the Overtoning coruscapers of PHONIC -- the'ODY-swimming at best resounding but further BRAY-incentive toward SelfSecretion from the any Orientals in our midst. Further, if only to check prevalent Bathes-Wallow in MoodVISC, let Composers (for half aacentury, say) delete all attempt to present Wave and Curve MOOD in Music; rather nickembroidering such erstwhile' cancerineumbilicalage into skimpsuffice MOSAICB (i.e., re-embroidering such back into the earlier Geometry; Spherical "TRIG"S being an as-yet Quantita Incognita to our locomote-festered Aspectance) into at least tidy-up sweeptighten fitnessing. I wish Music solely incipientated in runnyHappy Geometry, its whatever weave-pulse depict-varying only from this geometriDynamic!! ! (One advantage of such regrooving would be the Listener's Attention never lagging; BACH's still popular, isn't he?)   Note well that WOMAN has composed NO (Curvage) Music, yet -- why, then, should MAN pound his head incess-further on the "ineluctible modality of the Intangible"?