Still-life by Floris van Dyck‘The Populace Invisible’ by Lannie David Brockstein The Society June 22, 2019 Culture, Humor, Poetry 8 Comments The human body is perpetually pregnant with Trillions of microorganisms that hath colonized Its intestinal lair, and like the gravid woman’s pith Heart eats not only for herself, but for her fertilized Womb as well, each man must not only eateth for his health, But for the probiotics of his microbiome’s wealth. Lannie David Brockstein is a poet, songwriter, singer, guitarist, and literary videographer living in Ottawa, Canada. Some of his interests include off-grid tiny houses on wheels, the newly emerging blockchain technology, baseball, and the use of whole foods and holistic medicines. Views expressed by individual poets and writers on this website and by commenters do not represent the views of the entire Society. The comments section on regular posts is meant to be a place for civil and fruitful discussion. Pseudonyms are discouraged. The individual poet or writer featured in a post has the ability to remove any or all comments by emailing submissions@ classicalpoets.org with the details and under the subject title “Remove Comment.” Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Click to print (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to email this to a friend (Opens in new window)Click to share on Pinterest (Opens in new window) 8 Responses Mike Bryant June 22, 2019 I’m a little confused… is this under culture, humor or poetry. Perhaps all three? Reply The Society June 22, 2019 All three. Reply C.B. Anderson June 22, 2019 This was a fairly good idea ruined by incoherent sentence structure and, seemingly, only a vague metrical plan. The phony archaic verb forms didn’t help either. A little less of the pro-biotic and a little more of the pro-prosodic might have helped. Reply Lannie David Brockstein June 23, 2019 There is no such thing as too many probiotics, except for those of us whose diet has unfortunately consisted of nothing but probiotics-killing Modernist junk-food ingredients for too many years. Those whom are unfortunately in such a predicament must ease themselves into reintroducing probiotic food ingredients to their recipes, in order for their diet to return to being that of a normal human being (as it was when they ingested their mother’s milk which itself was probiotic). Regarding the prosody of “The Populace Invisible”, in all fairness it ought to be mentioned that I did offer for The Society of Classical Poets to include its link at YouTube to the literary video which I made for it, and that features a demonstration of myself singing its lyrics whilst playing my guitar, in order to show its audience here an example of what the music of its lyrics literally sound like when sung. But that offer was not accepted, which has led to your having complained about your not being able to hear enough of its music from your having simply read its lyrics. In the classical culture of Judaism, not only is there the written Torah, but there is also the oral Torah which includes the passing down from generation to generation the knowledge of how the text of the written Torah is meant to be sung—and as it has been sung for thousands of years by the Israelites ever since the days of Moses. Likewise, and in emulation of that Jewish tradition, those interested in knowing the true music of “The Populace Invisible” are welcome to view its literary video, so that they may hear for themselves an example of how the six lyrics of that poem are meant to be sung: https://www.youtube.com/watch?v=yX8ij3MjpJ4 Those of us whom have a healthy respect for the past recognize that archaic is good. We have not forgotten that Classical Poetry as relative to this day and age is itself an archaic art—and yet it also continues to be a living art that is practiced by today’s classical poets. There are many new sounds to be discovered in using archaic words (in the sense that what is old has become new again), and thus there is much new music to be discovered in using archaic words whose meanings are intuitively understood by contemporary speakers. Typically, it is the Modernist whom hates the use of archaic words, and who by extension also hates the existence of Classical Poetry, as it is itself an archaic school of Poetry along with its being a contemporary school of Poetry. Classical Poetry is not a sport where the poem that has the most amount of iambs per line wins. It is a fine art and thus a reasonable amount of poetic licence is granted to the classical poet. As such, the unforgiving and harsh criticism of the Modernist is not to be taken seriously because it is deaf to the Classical standard of ancient times which recognizes that poems must not only be judged by how well their lyrics can be read and by how well they can be recited, but also by how well they can be sung. Sadly, we have all been influenced by Modernism to some degree, and those of us whom are stubbornly Modernist do not care not that the archaeological evidence of the English language itself, as unearthed by the Merriam-Webster dictionary and the Oxford dictionary, clearly recognizes that the etymological root of the word “prosody” stems from the ancient Greek “prosōidia”, and that each of those reputable institutions have respectively translated into English the meaning of “prosōidia” as being “song sung to instrumental music” and “song sung to music”. That alone provides a reasonable amount of evidence that Classical Poetry is in fact the music of words. It is also sadly so that those of us whom have yet to fully detoxify ourselves from the historical revisionism of Modernism do not usually care for the fact that words are at their most musical when they are being sung. I hope that someday those whom are stubbornly Modernist will recognize the archaeological evidence that is inherent within the English language itself. But they probably won’t, anymore than anti-Semites will recognize the archaeological evidence which proves beyond a reasonable doubt that Israel is in fact the ancient homeland of the Jewish People. I am thankful for The Society of Classical Poets having published “The Populace Invisible”. I hope that the many talented classical poets at The Society of Classical Poets who themselves love to sing, will experiment with making their own literary videos that provide a demonstration of them singing to music the lyrics of their own classical poems. If it be true that “the first is the worst and the last is the best”, then I’m sure they can do a much better job than I have done and I look forward to being audience to both their written and oral works of literature. If a person is talented enough to compose a classical poem, then that probably means they have the raw talent with which to sing the lyrics of their poem. Reply Peter Hartley June 28, 2019 Verily the most incomprehensible six lines of poetry and accompanying explanatory material whom I hath ever read on this site, whomsoever wherefore he doth take the pith. Reply Christina June 23, 2019 So if archaisms are so good to use, why not use them grammatically? Why give a third person plural subject the third person singular form ‘hath’? And more strangely still, why use ‘eateth’ instead of the base form ‘eat’ following a modal verb? Are these examples attempts at humour? If so they are not quite funny enough for me. I was confused when I first read the piece, and the lengthy comment has not helped at all. However, I will benefit from the piece by taking a long-overdue look at my diet, so thank you for that! Reply C.B. Anderson June 26, 2019 Christina, What you wrote was part of what I was trying to get at. If one wishes to use archaic or obsolete English verb forms, then one ought to use the right ones. Also, notice in his lengthy comment that he repeatedly uses “whom” when “who” is the correct word. Perhaps this misunderstanding of proper grammatical forms helps explain what I called “incoherent sentence structure.” Reply Lannie David Brockstein September 11, 2019 In having used the word “hath”, I did exercise my God-given right as a classical poet to use my poetic licence in order to treat “trillions of microorganisms” as though it is a compound noun, because that is what the microbiome is, and the microbiome is what “The Populace Invisible” is about. In the context of this poem, its speaker is perceiving the “trillions of microorganisms” as a single entity, similar to the way that you are formed from trillions of cells having formed a single entity. The idea of a man being pregnant is quite humourous, except to Modernists and their identity-politics, I suppose. As for my having used “eateth”, that was done for the sake of music, and not for the sake of grammar because grammar is not the deepest root of poetry: music is. Not that I expect for any ogreish grammar-Nazi to properly comprehend that literary fact. It is bizarre and borderline pathetic that not one of the criticasters who posted replies to “The Populace Invisible”, in their having made a big deal about nothing regarding my legitimate use of archaisms, have had anything to say about the fact that the etymological root of the word “prosody” is “song”. If grammar is so very important, then why are the etymological roots of words, as listed in every reputable dictionary, not recognized by them as being important, when the etymological root of a word is its true meaning? Is the truth not the most important? Oh, that’s right. Modernists do not recognize that there is anything such as the truth. It is only the true classical poet who recognizes that classical poems are songs, and that words are at their most musical when they are being sung. Reply Leave a Reply to Peter Hartley Cancel ReplyYour email address will not be published.CommentName* Email* Website Notify me of follow-up comments by email. Notify me of new posts by email. This site uses Akismet to reduce spam. Learn how your comment data is processed.