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Then glut thy sorrow on a morning rose,
Or on the rainbow of the salt sand-wave,
Or on the wealth of globèd peonies...
The 'globèd' gives the sensation of the hand voluptuously cupping a peony, and it might be argued that this effect can be explained in terms of the isolated word. But actually it will be found that 'globed' seems to be with so rich a palpability what it says, to enact in the pronouncing so gloating a self-enclosure, because of the general co-operation of the context. Most obviously, without the preceding 'glut', the meaning of which strongly reinforces the suggestive value of the alliterated beginning of 'globed', this latter word would lose a very great deal of its luxurious palpability. But the pervasive suggestion of luxury has a great part, too, in the effect of the word; for what is said explicitly in 'wealth' (and in 'rich' in the next line) is being conveyed by various means everywhere in the poem.
The palpability of 'globèd' -- the word doesn't merely describe, or refer to, the sensation, but gives a tactual image. It is as if one were actually cupping the peony with one's hand.
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from the archive; first posted September 5, 2012
What a wonderfully wow-wow double-down yummy scrummy set of superbly phrased associative sentences from Frank Raymond. He's absolutely correct about the globed handling. One can almost conjure in one's mind's eye a blob of petaled peonies crushed beneath the weight of thought humanity's dumped over the last few thousand years of literate communication. What. What.
Jolly stiff shoe.
Posted by: Fuck Yeah | September 08, 2012 at 10:09 PM
its not totally describe
so over all
not suffcient for present
Posted by: fulrin sahoo | November 01, 2014 at 06:51 AM
Why, I do declare you guys outdo one another in reverence to the written word the spoken word the holy word the ghostly word the holy ghost the word that was unspoken the word that was erased.
Posted by: Frank Raymond | November 01, 2014 at 06:23 PM