A Pedant wrote: -- "it was Italian, not Greek, "Il miglior fabrio" (if I
remember correctly). Dante in the Divine Comedy, referring to Guido
Cavalcanti, or someone"
Tsk, tsk. it was 'il miglior fabbro' and it was Arnaut Daniel, the inventor
of the sestina, best known for the lines Dante gives him, in Occitan, in the
Purgatorio, 'Ara Vos Prec' etc.
I dunno, the education system these days ...
,
On 26 April 2010 10:02, Robin Hamilton <[log in to unmask]>wrote:
> Hi, Desmond,
>
>
> <<
> The first draft came out on McRumens GU blog, when sporting with Carol late
> last year. And there's still a few mistakes, an 'a' here and there that was
> missed out and causes a timy judder.
>
>>
>>>
> If you're still correcting, you might want to change this:
>
>
> "the potential gibberish was salvaged by Pound, who the dedication by Eliot
> reads when trasnlated from the Greek - 'the better craftsmen'."
>
> -- it was Italian, not Greek, "Il miglior fabrio" (if I remember
> correctly). Dante in the Divine Comedy, referring to Guido Cavalcanti, or
> someone.
>
> Your whole post raises the interesting question of whether we're all a bit
> too glib in ascribing the authorship of "The Waste Land" to Eliot, in the
> sense that some of the things of interest about it -- the jump cuts and
> register jumping -- might be a result (an artifact?) of Pound's editing.
> This might tie in with how it's really uncharacteristic of the rest of
> Eliot's poetry. Even the way reference is used, where you *have to know the
> source for the text quoted or referred to, to make sense of the poem (rather
> than a knowledge of the source adding to what we read), is more
> characteristic of Pound in e.g. "Hugh Selwyn Mauberly" than Eliot elsewhere.
>
> There's also the existence of the original MS, with Pound's annotations and
> cuts, that Eliot's widow published a few years ago. Anyone seen this? I
> haven't myself, which says something about my interest in "The Waste Land".
>
> Comes down to it, I find Prufrock a lot more interesting. I chased the
> original drafts for this, in The March Hare Notebooks, trying to disentangle
> the American and English strands in the poem, when I couldn't be bothered to
> look at the original draft of "The Waste Land".
>
> Robin
>
>
> <<
> If you want a laugh, I'm going to start another thread linking to Todd
> Swift's first Guest Blogger post, of a week long residency, on the Best
> American Poetry blog, in which he is presenting a 'roll call of the 'best'
> 25 young British poets writing today, for an American audience.
>
>
> http://blog.bestamericanpoetry.com/the_best_american_poetry/2010/04/the-young-british-poets-by-todd-swift.html
>
>>
>>>
> Yikes!! I just began to look at this -- the second and third paragraphs
> have to be parodic. Or is this man serious?
>
> "Charles Bernstein and John Ashbery are coterie poets here, read by few and
> feared by most who do read them – let alone Hart Crane or William Carlos
> Williams."
>
> Is he *really saying, as that 'let alone' implies, that Brits are more
> familiar with Bernstein and Ashbery than Crane and WCW? Or is it just
> clumsy phrasing? Ashbery *might possibly (now) be better known here than
> Hart Crane, but Bernstein better known than Carlos Williams? I find this
> just a tad unlikely.
>
> R.
--
David Bircumshaw
"A window./Big enough to hold screams/
You say are poems" - DMeltzer
Website and A Chide's Alphabet
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