In message <[log in to unmask]>, [log in to unmask] writes
>re Pound and line-endings. As someone who has thought much about
consonant
>timing, I still think the duration of the "r" is used by Pound to help
him
>time the line in relation to his voice, as well as to add a harsh,
aggressive
>tonality.
Interesting point, very, & I didn't mean not to acknowledge it when I
remarked on possible Italian vs Yeatsian source. Breath, accentuation,
duration: the effect being the most immaculately timed reading I know.
Nobody's mentioned Eliot yet: that staggering Anglicised accent on the 4
Quartets recording - and since we're talking about timing the speed of
it! Maybe I was the more surprised in that I was sixth-formed into
reading it as a slow meditation; had even TSE by the time of the
recording grown impatient with all that philosophising? It seemed to me
at the time (haven't heard it for years) as an extreme case of voiced
reading as reinterpretation. Problem there, though, with the sense of
finality which recordings tend to give; quite dangerous in a way; I'm
sure all readers try to look for new angles on often-read texts, to stay
fresh rather than define interpretation in any fixed way. Whatever, what
contrast with Pound at Spoleto; or any of the Briggflatts recordings; or
for that matter Yeats's chants.
Alan
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