Thanks Dominic - isn't there some uncomfortable discussion on beauty in that
chapter as well?
Just for the record, in case some list members need their memories
refreshed: melopoeaia is part of Pound's poetic theorising - melopoeaia is
poetry that invokes "emotional correlations by the sound and rhythm of the
speech", and there's phanopaeia (image making) and logopaeia (using a group
of words), all means of charging poetry with meaning.
Best
A
On 19/2/05 10:46 PM, "Dominic Fox" <[log in to unmask]> wrote:
> [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".
Alison Croggon
Blog: http://theatrenotes.blogspot.com
Editor, Masthead: http://masthead.net.au
Home page: http://alisoncroggon.com
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