Abstract
The adolescent Creeley announced himself publicly as a prospective Latin teacher and subsequently, I understand, spent a spell as one. This fact finds its embodiment in the hard-bitten words lodged into place over a fleeting sentiment (as the vague poetic purpose was concealed under the intention to teach a dead language). The dead words take on new life by being treated as inert; their overtones are released for double play by being arrested into an ordonnance that the opted natural voice is made to seem easily to govern. One near analogy for the rhythms of Creeley may thus be the Odes of Horace, except they are far more bound than he. Williams releases Creeley from Horace, and releases him to use that for which Horace stands while bypassing entirely the Mallarmean tradition he recapitulates roundabout.
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