When I read the CARS passage, I like to take a look at the
citation at the end of the passage to know what I'm getting
This passage states that the title is On The
Capital Difficulty of Verse on the Art of Writing.
We can therefore read ourselves in the topic of the passage.
This is a literature passage.
We'll have to get to the passage itself but as
we'll see there's also some music involved.
This is therefore a humanities passage that we can expect to
opinionated and focused on connections between different
Let's just focus on a few
key parts of the passage.
For my keywords, a D stands for when an author is creating a
between 2 ideas, a C when the author is connecting to ideas,
a + or - for when a positive or negative sentiment
is expressed, and a P or a T for the P in sharpening
and the T in softening when an idea that has been
expressed strongly is reinforced for sharpening
or when an idea that has been expressed strongly is then
kind of drawn back a little bit, the T for softening.
As we start this passage, the author starts
to compare what we call verse with prose.
This states that we traced that difference as you
will remember to music; to the harp, the lyre,
the dance, the chorus, all those first necessary
accompaniments which verse never quite forgets.
So I put a D here because we're trying
to distinguish verse away from prose.
Next, then the author states "music ever introduces emotion
which is indeed her proper and only means of persuading."
So this is a little bit of a reinforcement of the difference
between verse and prose and I think this will only here
really sharpens the point that music only persuades
through emotion and that it is also a basis for a verse.
We see that the author is using
history to establish his authority
so I put a P here or he reinforces this
points crowning them in historical examples.
Next, the author states that verse does start
with musical accompaniment, musical accompaniment
does introduce emotion and emotion does
introduce an order of its own into speech.
So nothing incredibly new here, the
author is simply reinforcing his point
and maybe clarifying a little bit how emotion
is introduced by music, shapes, verse.
As we jump down then, the author is going to clarify the
of Calliope in the Vatican as opposed to the Calliope of
And to examine the Calliope of Homer which the
author has a little bit more of an affinity for,
we get to the bottom of the screen where we state "For what
purpose does the poet wish for a thousand tongues but to
For what purpose a thousand
hands but to pluck the wires?"
In this scenario, the author is clarifying that Calliope,
the kind of stand in for what we might call verse,
the epic is involved with music, the very
inspiration for poetry is being inspired by music.
As we move to the next page, we see that the
author starts to introduce another point of view.
This is the point of
view of Coleridge.
The author states "Nor am I daunted on
comparing it is on viewpoint but Coleridge is
more philosophical viewpoint which you
will find in the Biographia Literaria.
This I would trace to the balance, this is Coleridge
in the mind effected by that spontaneous effort
which strives to hold in check the workings of passion
and that would be the origin of meter or verse.
We move forward to clarify just a little bit further
Coleridge's viewpoint by supervening act of the will
and judgment consciously and for the
foreseen purpose of pleasure where Coleridge
breaks down just a little bit further
is viewpoint on how verse originates.
So, I'm putting a D here for distinction
because the author puts this here
in order to create kind of this alternate
viewpoint in order to more clarify his own.
We'll move forward to where the author further compares the
viewpoints by stating that on the principle that have 2
each in itself adequate we should choose the simpler is for
me a bit of
actually a softening phrase because this starts with "but at
So, the author is trying to state that he actually has no
clue what Coleridge means but actually he kind of does.
And that he thinks his viewpoint is
better because it's a little bit simpler.
Then we have a sharpening keyword here where the author
states that something has the further disadvantage.
So that clues us in to the fact that the author is
further distinguishing his viewpoint from Coleridge
where Coleridge's viewpoint is scarcely
amenable to positive evidence.
Last but not the least, the author reinforces
his own viewpoint just a little bit more.
We can stay with historical warrant that Sappho struck the
and argue therefrom, still within close range of correction,
that her singing responded
to the instrument.
His own viewpoint that he's been stating
all along reinforced one more time.
And then we can contrast that to Coleridge's viewpoint
whereas to assert that Sappho's mind was balanced
by spontaneous effort which strove to hold in check the
workings of passion is not amenable to positive evidence.
I go so far to state that that's a bit of a negative
connotation here because if something can't be backed up
by positive evidence, that's a further argument from
your point of view.