Struggling to create -- slave and master . . .

      In the sonnet below, Edwin Arlington Robinson (1869-1935) speaks of the enslavement of a writer of poetry in the effort to explain ideas in a perfect form . . . an enslavement perhaps (or not) also shared by mathematicians.     Food for thought!

       SONNET     by Edward Arlington Robinson

       The master and the slave go hand in hand,
       Though touch be lost.  The poet is a slave,
       And there be kings do sorrowfully crave
       The joyance that a scullion may command.
       But, ah, the sonnet-slave must understand
       The mission of his bondage, or the grave
       May clasp his bones, or ever he shall save,
       The perfect word that is the poet's wand.

       The sonnet is a crown, whereof the rhymes
       Are for Thought's purest god the jewel-stones;
       But shapes and echoes that are never done
       Will haunt the workshop, as regret sometimes
       Will bring with human yearning to sad thrones
       The crash of battles that are never won.

From Robinson's COLLECTED POEMS:  THE CHILDREN OF THE NIGHT, CAPTAIN CRAIG (Macmillan, New York, 1915)

Write to learn ... follow constraints ... find poems

     Some people (myself included) take lots of notes during a lecture or other program -- for it seems that the physical activity of placing the words on the page is part of the process of installing the ideas in memory.  For me, also, the creation of a paragraph or a poem depends on the teamwork of hands and brain.

     One of the ways that poets engage themselves in creating new thoughts is by accepting the guidance of formal constraints -- creating the fourteen lines of a sonnet or the nineteen lines of a villanelle with strict patterns of rhythm and rhyme and repetition.  Below I consider the question of what I want for my birthday  --  and use that in my struggle to write a sonnet:

You asked me
      for a birthday gift suggestion . . .  by JoAnne Growney    

What is beauty? Is mathematics beautiful?

     My thoughts have been turned to the beauty of mathematics by stumbling onto a very fine article, "Beauty Bare: The Sonnet Form, Geometry and Aesthetics," by Matthew Chiasson and Janine Rogers -- published in 2009 in the Journal of Literature and Science and available online here.
      The article opens with this quote from A Mathematician's Apology (see p. 14) by G. H. Hardy:       Beauty is the first test:  there is no permanent place 
                                                   in the world for ugly mathematics.

Today I'm puzzling over what "beauty" means . . .   

Generating a sonnet -- human vs computer

     News last month from UC Berkeley's School of Information described a computer that writes poetry. In particular, it writes sonnets.  This article describes in much detail the creation of several sonnet stanzas.  This link offers the winner in Dartmouth's 2016 PoetiX sonnet-generation competition -- in which Berkeley earned a second.  Here, from an article in Slate, is an example of what Berkeley's generator produced:

    Kindred pens my path lies where a flock of
    feast in natures mysteries an adept
    you are my songs my soft skies shine above
    love after my restless eyes I have kept.  

A sonnet with numbers

     Sonnet: Now I see them    by Michael Palmer

          Now I see them sitting me before a mirror.
          There’s noise and laughter. Somebody
          mentions that hearing is silver
          before we move on to Table One
          with the random numbers. I look down
          a long street containing numbers.

A sonnet for W.R.Hamilton

      Irish mathematician William Rowan Hamilton (1805-1865) was also a poet (see, for example, this sonnet in a prior posting (13 October 2011).  Irish poet and physicist Iggy McGovern has written A Mystic Dream of 4:  A sonnet sequence based on the life of William Rowan Hamilton (Quaternia Press, 2013). 

The collection is prefaced by this quote from Hamilton:

"The quaternion [was] born, 

as a curious offspring of a quaternion of parents, 

say of geometry, algebra, metaphysics, and poetry."

Here is McGovern's opening sonnet.

GEOMETRY     by Iggy McGovern

Once, any pupil could define me best:
"points, lines, angles and figures", could amuse
The table with the Christmas cracker jest
About 'the squaw' on the hypotenuse! 

Sonnets from The Voyage of the Beagle

 The sonnet is a song of the body as well as of the mind:

14 breaths    
5 heartbeats each breath

A few weeks ago I had the opportunity to be part of a poetry reading that also featured Rick Mullin -- who serves science as an editor of the Chemical and Engineering News -- and whose latest poetry book is a collection of sonnets that offer a magical and musical retelling of  Darwin's voyage -- in Sonnets from The Voyage of the Beagle (Dos Madres Press, 2014). Here are two selections from that collection -- the opening sonnet (first of a triptych) and a later one that features geometry of birds.

     After Uranus     by Rick Mullin
      On reading Richard Holmes 

       I

     There was an age when poetry and science
     shared the province of discovery,
     when Coleridge wished he's studied chemistry
     and Humphry Davy, in exact defiance
     of the Royal Society, blew things up.

Earth Day -- April 22, 2015

Consider today the thoughtful words of this sonnet by Edna St. Vincent Millay (1892-1950):

     Read history: so learn your place in Time
     And go to sleep: all this was done before;
     We do it better, fouling every shore;
     We disinfect, we do not probe, the crime.
     Our engines plunge into the seas, they climb
     Above our atmosphere: we grow not more
     Profound as we approach the ocean's floor;
     Our flight is lofty, it is not sublime.
     Yet long ago this Earth by struggling men
     Was scuffed, was scraped by mouths that bubbled mud;
     And will be so again, and yet again;
     Until we trace our poison to its bud
     And root, and there uproot it: until then,
     Earth will be warmed each winter by man's blood.

These lines are found on my shelf in Collected Sonnets (Revised and Expanded Edition) by Edna St. Vincent Millay (Harper & Row, 1988).  AND, recall the arithmetic of a sonnet:  14 lines (or breaths) and 5 iambs (or heartbeats) per line. 

Looking back . . .

I have been visiting my hometown of Indiana, Pennsylvania and not finding time to complete a new post -- and so I have looked back.  On July 9, 2010 I offered a sonnet by Australian poet Jordie Albiston that begins with these lines:
 
     math (after)

     first you get the number-rush as anyone
     might do      you watch your world turn to
     nought      put your foot upon the path re
     what cannot be said      I’ve heard before
 . . .

I invite you to go to the original post and read the rest.

Tomorrow is Pi Day

     Tomorrow is Pi Day and I offer no new poems but supply links to several previous posts.  Poetry of π may be found on 23 August 2010 (an "irrational sonnet" by Jacques Bens),  6 September 2010 (featuring work by Kate Bush,  Robert Morgan and Wislawa Szymborska),  10 September 2010 (mnemonics for π, especially from Mike Keith) , 15 March, 2011,(a poem by Lana Hechtman Ayers)  27 November 2011 (a poem by Brian McCabe) and 10 March 2013 (the opening lines of a poem "3.141592 . . ." by Peter Meinke).

Love and Mathematics -- Please be my Valentine!

Poet extraordinaire Maxine Kumin (1925-2014) died yesterday.  

Here is a link to a wonderful eleven of her poems from Persimmon Tree. 

Late in 2007, AKPeters released Strange Attractors:  Poems of Love and Mathematics, edited by Sarah Glaz and me.  Recently at a Howard County Math Festival I met a young man who browsed my copy of this anthology and found it the perfect Valentine.  And so might you.  Below I include a sample from the collection -- a love sonnet by Jean de Sponde (1557-1595), translated from the French by David Slavitt.

 Several previous postings have offered love poems of mathematics and mathematicians; 

these include 9 February 2013, 12 February 2012, 12 February 2011, 10 November 2011,  

30 August 2011, 12 February 2011, and 20 July 2010.

Sonnet -- To Science

Edgar Allan Poe's "Sonnet -- To Science" was the "Poem-A-Day" selection of poets.org last week on September 29.  The poem is in the public domain and I offer it to you below. As Poe speaks of science I wonder whether -- if he had not announced his subject -- we might as easily imagine he is speaking of poetry. 

Mathematical structure and Multiple choice

     A sonnet repeats the iambic rhythm of the heart beat (da-DUM, da-DUM, . . .) with a line length corresponding to a typical breath (5 heartbeats); it thus seems easy to internalize the numerical structure that guides such a poem. 
     A decision tree offers a very different choice of mathematical structure for a poem -- displaying for a reader different choices among stanzas.  Originally proposed to the OULIPO by founder Francois Le Lionnais, and referred to as a multiple-choice narrative, such a structure allows readers of a poem to choose among subsequent events. Instead of reading the poem vertically, we may jump about, choosing the sequence we want to read.

Pushkin inspires Seth -- novels in verse

      My enjoyment of novels in verse began to thrive when a friend and I determined to get into Vikram's Seth's The Golden Gate (Random House, 1986) by taking turns reading its sonnets aloud to each other. After several dozen aloud, I could hear the voice even when I read silently and I went on to finish alone. And I loved it. I have gone on to enjoy several more works by Seth -- none of them poems but all wonderful stories, well told.
      Seth has said that he was moved to write by the novel Alexander Pushkin's verse novel Eugene Onegin noted here on 10 August 2013 -- a novel of interest to mathematicians because of its link to Markov Chains. Seth's novel (reviewed here) also was made into an opera. These first two stanzas -- each containing the numbers 26 and 1980 -- introduce the novel's computer-guy, John:

Pushkin poetry, Markov chains

A Markov chain is a mathematical process that can be used to answer questions such as these:
          If the current letter I am reading is a vowel, what is the probability 
          that the next letter will be a vowel?  A consonant? 
Answers from these may be combined to create more lengthy predictions -- about the 3rd letter after a given one, or the 10th -- and so on. 
     A recent article by Brian Hayes in American Scientist (brought to my attention by Greg Coxson) alerted me to the fact that it is 100 years since the Russian mathematician A. A. Markov (1856 - 1922) announced his findings about these transition probabilities -- and, moreover, his work was based on analysis of poetry; the poetry was Eugene Onegin, a verse-novel in iambic tetrameter by Alexander Pushkin (1799-1837). Markov's analyis dealt with Pushkin's novel as a long string of alphabetic characters and he tabulated the categories of vowels and consonants for about 20,000 letters. (For a host of details, visit Hayes' careful and interesting article.)

Geometry of Trees

     Donna Masini, one of my poetry teachers at Hunter College, offered this rule of thumb for use of a particular word in a poem:  the word should serve the poem in (at least) two ways -- in meaning and sound, or sound and motion, or motion and image, or  . ..  .
     Richard Wilbur (1921 - ) is a former US Poet Laureate (1987-88), a prolific translator, and one of my favorite poets -- and perhaps this is because he seems to maximize his word-choices with multiple uses.  When I read Wilbur, I see and hear and feel -- and, after multiple readings, these sensory impressions coalesce into understanding.  Here is one of his sonnets, a poem of the geometry of absence:

Variations of a line

In mathematics a line plays many roles -- as in this fine poem (which is a sonnet, more or less).

     Lines     by Martha Collins

     Draw a line. Write a line. There.
     Stay in line, hold the line, a glance
     between the lines is fine but don't
     turn corners, cross, cut in, go over
     or out, between two points of no
     return's a line of flight, between
     two points of view's a line of vision.

Counting Groundhogs

     I grew up in a town about 25 miles from Punxsutawney, PA -- and Groundhog Day on February 2 was local-news only. This was the quiet time before television cameras mades stars of groundhogs and, back then, we knew them for their underground piracy as well as for their weather-forecasting.
     My father, a farmer, did not like groundhogs; he tried to keep them away from his fields by blocking their entrances to the networked burrows where they chewed the roots of crops planted overhead.  Fifty years after these farming days, I arrived at the following "what is this world coming to?" poem that features my mother and me watching groundhogs play in a field outside her sickroom. (The poem is, approximately, a sonnet -- in which the poet is not only counting groundhogs but also counting syllables . . ..)

Art, poetry, and mathematics -- and Rafael Alberti

On September 23 I was privileged to hear Annalisa Crannell, mathematics professor at Lancaster's Franklin and Marshall College, speak on "Math and Art:  the Good, the Bad, and the Pretty."  This informative presentation, sponsored by the Mathematical Association of America (MAA) and pitched toward undergraduates, showed ways that artists use mathematics. 

Ideal Geometry -- complex politics

Christopher Morley (1890-1957) was an American poet, novelist, and publisher who was the son of a poet and musician (Lilian Janet Bird) and a mathematics professor (Frank Morley) at Haverford College. His "Sonnet by a Geometer," below, is written in the voice of a circle and compares mathematical perfection with human imperfection.  For us who read the poem 90 years after its writing, Morley's phrase in line 13 -- "They talk of 14 points" -- is puzzling at first.