[T]he tradition of 'motz el son', the art of perfectly matching words
and melody, mastered by the Provencal poet-singers and practiced for
the last time in England by Camption and Lawes", in its passing left
lyric speech bereft of its truest melopoeia. Men like Gaultier and
Laforgue and Landor have introduced other virtues, "hardness" and
"logopoeia", and much may be done with these...even so, "Envoi (1919)"
recognizes in its opening phrase that the music of its own unfolding
will be the only melopoeia the ["dumb-born"] "book" will have.
Hill, G. "Envoi (1919)" in _The Enemy's Country_, (Stanford University
Press, 1991), p.90.
As they say: "discuss".
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