It would not matter if someone else read the directions and
rephrased them for her, so long as the required actions were made
clear.
The same text may even provide the occasion for both of these
two kinds of reading, depending on the focus of the reader's
attention. The young Arrierican tourist discovered this when she
finished reading the London Times weather report, with its "high
over Iceland" and its talk of the "Gulf Stream" and found her
head full of sonorous phrases and images of snow-peaked
mountains and waving tropical palms. She had been paying
attention to the sounds and the associations evoked rather than to
the practical indications as to whether or not she should carry her
umbrella that day. The current "pop" poets who take a sentence
from a newspaper article and break it up into free verse are,
similarly, inviting the reader to pay attention to the experience
evoked even by these seemingly banal words rather than to pay
attention primarily to their practical reference. Contrast with this
the third-grade textbook in which a poem about a cow in a
meadow is headed with the question: "What facts does this poem
teach you?" Clearly, the pupil is being instructed to direct his
attention to what is farthest from the possibilities of a poetic
experience.
The preceding instance undoubtedly spells trouble for that
third-grader, since he needs to learn that the visual patterning of
the verbal symbols in lines of verse is one of the ways in which the
reader is alerted to direct his attention toward the quality of what
he evokes from the text. There are, of course, many ways in which
the text alerts the reader to adopt one or another stance in his
relationship with the text. Courses in poetry are largely concerned
with sensitizing the reader to such cues. The more such past
experience he brings to the text, it is assumed, the better able he
will be to select the appropriate attitude and the more successful
he will be in evoking an experience that does justice to the text.
It would not matter if someone else read the directions andrephrased them for her, so long as the required actions were madeclear.The same text may even provide the occasion for both of thesetwo kinds of reading, depending on the focus of the reader'sattention. The young Arrierican tourist discovered this when shefinished reading the London Times weather report, with its "highover Iceland" and its talk of the "Gulf Stream" and found herhead full of sonorous phrases and images of snow-peakedmountains and waving tropical palms. She had been payingattention to the sounds and the associations evoked rather than tothe practical indications as to whether or not she should carry herumbrella that day. The current "pop" poets who take a sentencefrom a newspaper article and break it up into free verse are,similarly, inviting the reader to pay attention to the experienceevoked even by these seemingly banal words rather than to payattention primarily to their practical reference. Contrast with thisthe third-grade textbook in which a poem about a cow in ameadow is headed with the question: "What facts does this poemteach you?" Clearly, the pupil is being instructed to direct hisattention to what is farthest from the possibilities of a poeticexperience.The preceding instance undoubtedly spells trouble for thatthird-grader, since he needs to learn that the visual patterning ofthe verbal symbols in lines of verse is one of the ways in which thereader is alerted to direct his attention toward the quality of whathe evokes from the text. There are, of course, many ways in whichthe text alerts the reader to adopt one or another stance in hisrelationship with the text. Courses in poetry are largely concernedwith sensitizing the reader to such cues. The more such pastexperience he brings to the text, it is assumed, the better able hewill be to select the appropriate attitude and the more successfulhe will be in evoking an experience that does justice to the text.
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