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.

Word Play -- "Of Time and the Line"

Charles Bernstein, poet and teacher,  experiments with poetry  and prefers "opaque" and "impermeable" writing -- to awaken readers "from the hypnosis of absorption."  In the poem below he does, as mathematicians also do, multiplies ideas by playing with them -- here using "line."

     Of Time and the Line     by Charles Bernstein

     George Burns likes to insist that he always
     takes the straight lines; the cigar in his mouth
     is a way of leaving space between the
     lines for a laugh.  He weaves lines together
     by means of a picaresque narrative;

Poems starring mathematicians - 4

Each of today's poems is in the voice of a student who looks back.  First, from Carol Dorf, a poem to the author of a book--written as a fan-letter, "Dear Ivar."   And then, for his hero (a special Grammar School teacher) by Czech poet and scientist Miroslav Holub (1923-98), "The Fraction Line."

       Dear Ivar,

       I read your book on the unexpected.

       Like most poets, I opposed mathematics

       when I was young, seeing it as the converse

       to feeling. The previous statement is false.

Hailstone numbers shape a poem

     One of my favorite mathy poets is Halifax mathematician Robert Dawson -- his work is complex and inventive, and fun to puzzle over.  Dawson's webpage at St Mary's University lists his mathematical activity; his poetry and fiction are available in several issues of the Journal of Humanistic Mathematics and in several postings for this blog (15 April 2012,  30 November 2013, 2 March 2014) and in various other locations findable by Google.
      Can a poem be written by following a formula?  Despite the tendency of most of us to say NO to this question we also may admit to the fact that a formula applied to words can lead to arrangements and thoughts not possible for us who write from our own learning and experiences.  How else to be REALLY NEW but to try a new method? Set a chimpanzee at a typewriter or apply a mathematical formula.
     Below we offer Dawson's "Hailstone" and follow it with his explanation of how mathematics shaped the poem from its origin as a "found passage" from the beginning of Dickens' Great Expectations.

Snowballs -- growing/shrinking lines

Today's post explores poetic structures called snowballs developed by the Oulipo (see also March 25 posting) and known to many through the writings of Scientific American columnist Martin Gardner (1914-2010).  TIME Magazine's issue for January 10, 1977 had an article entitled "Science:  Perverbs and Snowballs" that celebrated both Gardner and the inventive structures of the Oulipo. Oulipian Harry Mathews' "Liminal Poem" (to the right) is a snowball (growing and then melting) dedicated to Gardner.  The lines in Mathew's poem increase or decrease by one letter from line to line.   Below left, a poem by John Newman illustrates the growth-only snowball.

Special square stanzas

My recent posting (November 14)  of a symmetric stanza by Lewis Carroll illustrates one variety of  "square" poem -- in which the number of words per line is the same as the number of lines.  My own square poems (for examples, see October 7 or June 9) are syllable-squares; that is, each stanza has the same number of syllables per line as there are lines. Lisa McCool's poem below is, like Carroll's, a word-square; in McCool's poem --  in addition to the 6x6 shape -- the first words of each line, when read down, match the first line of the poem, and the last words of each line, when read down, match the last line of the poem.

TRITINA -- a tiny SESTINA

     In several previous postings (collected at this link) this blog has considered the poetry form called a sestina:    a sestina has 39 lines and its form depends on 6 words -- arrangements of which are the end-words of 6 6-line stanzas; these same words also appear, 2 per line, in the final 3-line stanza.

     The American poet Marie Ponsot (1921-2019) invented the tritina, which she described as the square root of the sestina.   the tritina is a ten-line poem and, instead of six repeated words, you choose three, which appear at the end of each line in the following sequence: 123, 312, 231; there is a final line, which acts as the envoi -- and includes all three words in the order they appeared in the first stanza.  Poinsot has said -- and I agree -- poetic forms like the tritina are "instruments of discovery . . . they pull things out of you."  Read more here in an article by poet Timar Yoseloff.)

   

Lines of breathless length

Brief reflections on definitions of LINE . . .

          Breathless length     by JoAnne Growney

          A LINE, said Euclid, lies evenly
          with the points on itself --
          that is, it’s straight –-
          and Euclid did (as do my friends)
          named points as its two ends.

          The LINE of modern geometry
          escapes these limits
          and stretches to infinity.
          Just as unbounded lines
          of poetry.

Imagine new numbers

     As a child I wrote poems but abandoned the craft until many years later when I was a math professor; at that later time some of my poems related to ideas pertinent to my classroom.  For Number Theory classes "A Mathematician's Nightmare" gave a story to the unsolved Collatz conjecture; in Abstract Algebra "My Dance Is Mathematics" gave the mathematical history a human component.  
     My editor-colleague (Strange Attractors), Sarah Glaz, also has used poems for teaching --  for example, "The enigmatic number e."  And Marion Cohen brings many poems of her own and others into her college seminar course, "Truth & Beauty: Mathematics in Literature."  Add a west-coaster to these east-coast poet-teachers -- this time a California-based contributor: teacher, poet, and blogger (Math Mama Writes) Sue VanHattum.  VanHattum (or "Math Mama") is a community college math teacher interested in all levels of math learning.  Some of her own poems and selections from other mathy poets are available at the Wikispace, MathPoetry, that she started and maintains. Here is the poet's recent revision of a poem from that site, a poem about the invention (or discovery?) of imaginary numbers.

Imaginary Numbers Do the Trick      by Sue VanHattum    

A permutation puzzle -- the sestina

In a sestina, line-ending words are repeated in six six-line stanzas in a designated permutation of the words; the thirty-nine-line poem ends with a three-line “envoi” that includes all six of the line-ending words.  (After the first, a stanza's end-words take those of the preceding stanza and use them in this order:  the 6th, then the 1st, then the 5th, 2nd, 4th and, finally, the 3rd. In the envoi, two of the six words are used in each line.)  Here is a sestina by Lloyd Schwartz that uses only six words -- but its punctuation and italics cleverly shape variations of meaning. 

A septina ("Safety in Numbers") -- and variations

Recall that a sestina is a 39 line poem of six 6-line stanzas followed by a 3-line stanza.  The 6-line stanzas have lines that end in the same six words, following this permutation pattern:

   123456   615243   364125
   532614   451362   246531

The final stanza uses two of the six end-words in each of its three lines.  An original pattern for these was 2-5, 4-3, 6-1 but this is no longer strictly followed.

Can sestina-like patterns be extended to other numbers?  Poet and mathematician Jacques Roubaud of the OULIPO investigated this question and he considered, in particular, the problem of how to deal with the number 7 of end-words -- for 7 does not lead to a sestina-like permutation.  Rombaud circumvented the difficulty (see Oulipo Compendium -- Atlas Press, 2005) by using seven 6-line stanzas, with end-words following these arrangements:

Playing with time

        Here is a poem that plays with the geometry of time -- a poem that first appeared in Mathematics Magazine, Vol 68, No 6 (December 1995), page 288.   Several of my other mathy poems written around that same time were collected in a booklet, My Dance is Mathematics, now out of print but available here on my website.  

       Finding Time     by JoAnne Growney

       Points chase points
       around the circle,
       Anti-clockwise,
       fighting time.
       You know time's a circle,
       rather than a line.          

One Idea May Hide Another . . .

     One of the excitements I find in both mathematics and poetry is the continuing discovery of new meaning.  A first reading discovers something but subsequent readings discover more and more.  A poem by Kenneth Koch (1925-2002), "One Train May Hide Another," opens with "In a poem, one line may hide another line" -- focusing also on the idea that one thought may obscure another.

     Koch's poem is one that I first met lots of years ago when I was working with middle school students in a poetry class at a newly established Children's Museum in Bloomsburg, Pennsylvania.  At the time, the poem excited me by bringing back memories of traveling through western Pennsylvania as a child when my parents' car often needed to obey flashing red lights and stop while a train crossed our highway.  And sometimes there were parallel sets of tracks and the possibility that two trains might be passing our intersection in opposite directions at the same time. 

     I offer below the opening lines of the poem and a link to the complete poem; I post it with the hope that you also will enjoy it -- and will reflect on the ways that (in mathematics and elsewhere) one idea may hide -- or lead to -- another.   

Meeting the horizon line . . .

Poet James Galvin's work is described in this bio as both musical and "profoundly ecological" -- both qualities that strongly draw me to it.  The following poem, "Art Class," plays with math terminology -- drifting back and forth between reality and abstraction -- in a way that is fun to read as well as thoughtful.  Enjoy!

       Art Class  by James Galvin
 
       Let us begin with a simple line,
       Drawn as a child would draw it,
       To indicate the horizon,

       More real than the real horizon,
       Which is less than line,
       Which is visible abstraction, a ratio.   

Poems and Primes

     Recently Press 53 offered a "Prime 53 Poem" poetry challenge -- to write a poem meeting these conditions:
     ·      Total syllable count of 53
     ·      Eleven total lines 
     ·      First three stanzas are three lines each with a 7 / 5 / 3 syllable count 
     ·      Final stanza must be two lines with a 5 / 3 syllable count, for a total syllable count of 53
     ·      Rhyme scheme (slant/soft rhymes are fine) aba cdc efe gg
A Prime 53 poem’s total line count is a prime number (11), the syllable count in each line is a prime number (7 / 5 / 3) with each line of the last two-line stanza a prime number (5 / 3), and the poem’s total syllable count is a prime number (53).

Numbers from the Piano

     Of all of the things we might try to say when we sit down to write a poem, which are the ones we should choose?  Sometimes we may say what first occurs to us -- begin to write and keep going until we are done.  This may suffice -- or it may seem to lack care.  To be more careful, we might seek a pattern to follow:  perhaps we might form lines whose syllable-counts follow the Fibonacci numbers.   Or construct a sonnet -- fourteen lines with five heart-beats per line and some rhyme.  Or devise a scheme of our own.

What is the point? -- consider Euclid

A two-line poem by Chilean poet, Pablo Neruda (1904-73), found in my bilingual edition of Extravagaria, reminded me of the poetic nature of several of the opening expressions of Euclid's geometry.  Both of these follow:

Horizon line

Poet James Galvin often uses mathematical imagery in his poems.

   Art Class      by James Galvin
  
   Let us begin with a simple line,
   Drawn as a child would draw it,
   To indicate the horizon,  

Choose the right LINE

     Recently, looking through my copies of POETRY Magazine, in the September 2008 issue I found this quote (used as an epigraph) from a poet whose work I greatly admire, British poet Philip Larkin (1922-1985):

The whole point of drawing is choosing the right line.

Finding the Larkin quote led me to look back in my blog for poems that feature the concept of line  -- with its multiple meanings -- and I offer this link to search-results that offer a variety of choices for poems with line for you to explore.

And here are links to a couple of my own recent attempts to choose the right line:

    The online journal TalkingWriting has recently interviewed me

 and a link to their ten-minute video is available here.    In it I read  

a portion of my poem, "My Dance is Mathematics,"  

that stars mathematician Emmy Noether.  

Also, this recent article in the Journal of Humanistic Mathematics, 

"They Say She Was Good -- for a Woman,"  features that same poem 

and some additional reflections on the struggles of women in mathematics.

When parallel lines meet, that is LOVE

Bernadette Turner teaches mathematics at Lincoln University in Missouri. And, via a long-ago email (lost for a while, and then found) she has offered this love poem enlivened by the terminology of geometry.

Parallel Lines Joined Forever    by Bernadette Turner

       We started out as just two parallel lines
       in the plane of life.
       I noticed your good points from afar,
       but always kept same distance.
       I assumed that you had not noticed me at all.