If those are toenotes, these are nailclippings. It's a snoozy warmish rainy
day here, and I'm too lazy to think any connected thoughts.
I didn't get the connection, but I did like the Campion. And yes, somehow
the archaic spelling does seem part of the music, especially in this most
musical of poets, irrational though that may seem...
Maybe Dominic can refresh my memory on Geoffrey Hill on Pound on Campion.
My father used to chant the English version of that French poem "Alisoune"
when I was a little, as Ali - sowwwwn, which didn't reconcile me to my name
(at the time I thought it ugly) - but all the same, I kinda liked it.
Best
A
On 19/2/05 3:21 PM, "Jon Corelis" <[log in to unmask]> wrote:
> I kept the Elizabethan orthography of the poem, though some anthologies
> modernize spelling and punctuation. Given my strong feelings that poetry
> should be spoken utterance my fondness for Elizabethan printed language may
> seem inconsistent, but I just can't find it in myself to prefer (from another
> Campion poem)
>
> From that smooth tongue whose music hell can move
>
> to
>
> From that smoothe toong whose musicke hell can moue
>
> "Smoothe toong" just looks smoother and more tongue-y than "smooth tongue."
Alison Croggon
Blog: http://theatrenotes.blogspot.com
Editor, Masthead: http://masthead.net.au
Home page: http://alisoncroggon.com
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