 So, first off, euphony, you can probably tell by its sound, euphony, like euphemistic, euph, meaning good, phone, meaning sound, good sound, euphonious, euphony, cacophony, caco, meaning bad, phony, or phone, meaning sound, bad sound, cacophonous. But there's more to it than just good sound, bad sound. It's more about how the sound may or may not match the content of the piece of literature. It's thinking about the sounds of words, how they pertain to the context and the content of the piece of literature. I'm going to use Ginsburg's Howl, his title poem, and it's going to read parts of it, part one, Howl for Carl Solomon. I saw the best minds of my generation destroyed by madness, starving, hysterical, naked, dragging themselves through the streets at dawn, looking for an angry fix. Angel-headed hipsters burning for the ancient heavenly connection to the starry dynamo and machinery of night, who poverty and tatters in hollow-eyed and high, set up smoking in the supernatural darkness of cold water flats floating across the tops of cities, contemplating jazz. So euphony, as you can tell, there's a rhythm to this poem. Long lines, what Ginsburg would call long breaths, almost like jazz riffs. There's a music. There's something beautiful about how the lines just blow out, and it matches the sort of jazzy content of the angel-headed hipsters and the starry dynamo, the hollow eyes and smoking in the supernatural darkness. You can feel the rhythm, it's this momentum, this euphonious momentum that's picking up speed as I read the long lines. Part two, what Sphinx of Cement and Aluminum bashed open their skulls and ate up their brains and imagination. Molok, solitude, filth, ugliness, ash cans and unobtainable dollars, children screaming under the stairways, boys sobbing in armies, old men weeping in the parks. Molok, Molok, nightmare of Molok. So this part is more cacophonous, it's got the harsh consonants, especially, it's not just repetition that makes something sound pleasing and beautiful, you can have repetition that comes off as jarring and harsh like Molok, it sounds like what it's indicating, it sounds like the content of the urban industrial harsh setting. And even, you know, the stress of solitude, filth, ugliness, sobbing in armies, these are harsh words, these are harsh words that match the harsh content of the poem. Alright, part three, Carl Solomon, I'm with you in Rockland where you're madder than I am, I'm with you in Rockland where you must feel very strange, I'm with you in Rockland where you imitate the shade of my mother. So I would call this section a hybrid of the cacophonous and the euthanous. You know, it has repetition, Rockland, which is a harsh sounding word, but not quite as harsh as Molok, but also has, you know, I'm with you, you know, a softer, delicate, more pleasing refrain that gets repeated over and over again, right? So even though he's referring to a mental institution, Rockland, there's a softer connotation here that works really well, right? So again, first part, euphony, second part, cacophony, third part, kind of bringing it together and you can see how the two merge. First note to how. Last bit, holy, holy, holy, holy, holy, holy, holy, holy, holy, holy, holy, holy, holy, holy. The world is holy, the soul is holy, the skin is holy, the nose is holy, everything is holy, everybody's holy, everywhere is holy, every day is an eternity, every man's an angel, the bums as holy as the seraphim, the madman as holy as you, my soul are holy. So this is beautiful and this is sad. And you know, I would say the word choices match that. The euphonious beginning, the repetition of holy, holy, almost like a mantra. So with this euphony, he sets up the rest of this fourth part or this footnote for a beautiful display of heartbreaking images, I would say. And that's Ginsburg's point. In Ginsburg's mind, the euphonious and the cacophonous merge. Nothing is completely good or completely bad, we're all holy together.