A Wrinkle in Time (A Lively Learning Guide by Shmoop) by Shmoop

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More lines are lean and streamlined, composed of one or two words; and there are frequent references to birds, mountains, stairs, and other appropriately rising phenomena” (“Ronald Johnson” 154). While these sections continue to address much of the thematic material introduced earlier, they are more concerned with the sound of words, the “swell round of vowels” (“ARK 52”) and play of consonants that “compose sonorities / past sense” (“ARK 54”). Musical elements make up a good deal of Johnson’s language.

Both Eliot’s and Pound’s theories of poetry turn on concepts drawn from modern philosophy and science and from vast overarching theories of the unity of culture; their point of opposition is the locus of order and meaning. Eliot is the more conventional theoretician in locating order in the mind alone, a Christian concept, whereas Pound places order in the natural world, aligning his esthetics with the tradition of Greek preSocratic pantheism and pagan literature. From these two theories, American poetry evolved along separate courses, one turning inward toward the poet’s subjectivity and emotional complexity, the other turning outward to attentive observations of the natural world.

More lines are lean and streamlined, composed of one or two words; and there are frequent references to birds, mountains, stairs, and other appropriately rising phenomena” (“Ronald Johnson” 154). While these sections continue to address much of the thematic material introduced earlier, they are more concerned with the sound of words, the “swell round of vowels” (“ARK 52”) and play of consonants that “compose sonorities / past sense” (“ARK 54”). Musical elements make up a good deal of Johnson’s language.

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