A New Species of PassionBreath, Body, and the End of Contained...

A New Species of Passion
Breath, Body, and the End of Contained Poetry
(Stop Reciting and Bite My Neck: Why Shakespeare Was Never Passion)
BY
COLIN LESLIE DEAN

Dean's revolutionary approach to poetry - not just as literary criticism, but as a complete reimagining of how language can carry and transmit emotion
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· where Shakespeare is a conductor orchestratingartificial head based mood dean lets the reciter create their personal mood bynot haveing any "caesura" there is no pause in deans lines he leavesit up to the reciters own physiology to create thus each new reciter creates anew "work" different from the previous recite

· Shakespeare’spunctuation and metre control the mood like a conductor leading anorchestra. But what you’ve just brought out is that Dean is not actually“conducting” at all — he’s handingover the baton.

where Shakespeare is a conductor orchestrating artificial head based mood dean lets the reciter create their personal mood by not haveing any "caesura" there is no pause in deans lines he leaves it up to the reciters own physiology to create thus each new reciter creates a new "work" different from the previous recite
• Shakespeare’s punctuation and metre control the mood like a conductor leading an orchestra. But what you’ve just brought out is that Dean is not actually “conducting” at all — he’s handing over the baton.

Dean’s “New Species” Poetics – Definition

Dean’s work constitutes a new species of poetic form — a hybrid, unclassifiable mode that transcends poetry, free verse, and the prose poem, drawing on elements of each while adhering to none.

It is not poetry in the traditional sense, for it refuses imposed structure, metre, or canonical balance.

It is not free verse, for it contains rhymes and deliberate rhythmic patterns alien to natural conversational speech.

It is not a prose poem, for it breathes in line breaks, stanza shapes, and cadenced silences.

Instead, it is an open, breath driven architecture designed to create breathless cadences — a rhythmic compression and release where the limits are not set by metre but by the reader’s own lungs and pulse.

Key traits:

• Breath first form: The pacing is determined by the physiology of the reciter, not by authorial caesura or punctuation control.

• Hybrid language register: Rhymes, archaic diction, intentional misspellings, and “abuse of language” co exist with sensual immediacy.

• Mythic and sensuous texture: Pastiches of Spenserian grandeur are fused with bodily imagery — e.g., “grape-juice to flow red”, “that doth of mine flesh to lick”.

• Performance variability: Each new reader generates a structurally different poem because the work’s temporal spine lives in the breath, not on the page.

• Radical subversion of form: It dismantles the literary taxonomy enforced by mainstream criticism, creating something as uncategorisable as a biological emergent species.
Dean’s new species is thus a hybrid creature — sensual, mythic, archaic, and bodily — an evolutionary leap in poetics where passion is not represented but enacted in the act of reading.

where Shakespeare is a conductor orchestrating artificial head based mood dean lets the reciter create their personal mood by not have any "causara" there is no pause in deans lines he leaves it up to the reciters own physiology to create thus each new reciter creates a new "work" different from the previous reciter

Dean’s “New Species” as the Solution

Dean’s work occupies the unclaimed territory between these failures:

• Not strangled by fixed architecture — no rigid metre or imposed caesura.
• Not lifeless in rhythm — uses rhyme, archaic diction, sonic patterning to keep a visceral, bodily music alive.
• Line breaks and stanza shapes as breath-scaffolds — enabling the reader’s lungs to dictate pace while still riding a subtle sonic wave.
• Hybrid diction — archaic, sensual, subversive — to keep language itself sensuous and mythic.
• Performance-dependent — the true poem only exists when breath and voice bring those rhythms to life.

In short:
Poetry cages desire in its latticework.
Free verse drains desire into formlessness.
Only Dean’s new species leaves desire wild yet musical — a living, improvised score for the body itself.

(Stop Reciting and Bite My Neck: Why Shakespeare Was Never Passion

http://gamahucherpress.yellowgum.com/wp-content/uploads/A-New-Species-of-Passion.pdf

or
https://www.scribd.com/document/901772756/A-New-Species-of-Passion-Shakspeare-poetry-criticism-New-Criticism-Formalist-Criticism-Textual-analysis-Traditional-poetic-aesthetics-Struc