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Oral Poetry Re: [mythsoc] A Tale of Two Professors

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  • Elizabeth Apgar Triano
    Oh, ow, you scared me there, Mike! It s not my site. My site is listed in my sig, along with my club site. My site may be queer or ha-ha, but it would
    Message 1 of 1 , Dec 2, 2004
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      Oh, ow, you scared me there, Mike! It's not "my" site. "My" site is
      listed in my sig, along with my club site. "My" site may be queer or
      ha-ha, but it would be more off-topic to raise that argument here than
      anything having to do with cultural perceptions. I think literature cannot
      be divorced from culture.

      I think there are a few issues here (back to the poetry topic), and I will
      respond to your post first and then David's. Unfortunately I am not
      familiar with Conrad Aiken. Can you possibly save me surfing time by
      pointing to an mp3 or text link of some of his poems?

      I think the issues include whether it is "better" to read poetry silently
      or aloud, and then in the latter area, whether "aloud" means that one is
      listening or reading. I hadn't made that distinction before, but David
      appears to be making it in his post. And then there is the whole
      performances issue, the way different people read things differently, and
      then that turns into the whole subjectivity of critics. This one likes a
      sing-songish flow of sound which may work with the meter and rhyme; that
      one finds sing-song to be sophomoric and ridiculous. This one likes a
      stately cadence; that one finds it artificial and worthy of derision. I
      guess the only thing is to read, and read, and read aloud, and listen, and
      draw one's own conclusions.

      Lizzie

      Elizabeth Apgar Triano
      lizziewriter@...
      amor vincit omnia
      www.lizziewriter.com
      www.danburymineralogicalsociety.org


      > [Original Message]
      > From: Mike Foster <mafoster@...>
      > To: <mythsoc@yahoogroups.com>
      > Date: 12/2/2004 7:47:18 AM
      > Subject: Re: [mythsoc] A Tale of Two Professors
      >
      >
      > Lizzie,
      > Your site is funny as in queer not as in ha-ha. I'm with David, and I
      > so advise my students: read it aloud or hear it done so by recordings of
      > the poet. Dylan Thomas and T.S. Eliot are examples of two whose work is
      > better heard than read. I did not appreciate what a magnificent and
      > under-rated poet Conrad Aiken was until I heard Cademon recordings he
      made.
      >
      > Cheers,
      > Mike
      >
      > David Bratman wrote:
      >
      > >At 11:26 AM 12/1/2004 -0500, Lizzie wrote:
      > >
      > >
      > >
      > >>I recently came across a funny site about poetry that took the opposite
      > >>stance, that it should not be read aloud because that was "artificial"
      or
      > >>some such argument.
      > >>
      > >>
      > >
      > >It seemed to me that the argument of the article you linked to was that
      > >_listening_ to a poet's reading of his own poetry should not be taken as
      > >the definitive interpretation. That might not always be true, but it's a
      > >different point. I was in any case talking of reading poetry aloud, not
      > >listening to someone else read it aloud. If, as the article suggests,
      some
      > >can read silently as if they were reading aloud, they might get out of
      > >poetry what the rest of us are missing. But few have that talent.
      > >
      > >
      > >At 09:04 AM 12/1/2004 -0800, Debra Murphy wrote:
      > >
      > >
      > >
      > >>I daresay it's ultimately a matter of taste, but it strikes me that
      those
      > >>who cannot bear Shakespeare-in-performance are probably the sorts of
      people
      > >>who either don't care much for theatre anyway, or who live primarily
      inside
      > >>their heads, as it were; who have so specific a construct in their
      minds for
      > >>what the play's about that they cannot stand to see it done otherwise.
      > >>
      > >>
      > >
      > >I'm not sure if that's the problem - I believe in Shakespeare dramatized,
      > >but I'm one of the people allergic to the whole idea of dramatizing LOTR
      > >and specifically disappointed with the Jackson version. The difference,
      of
      > >course, is that Tolkien dramatized is no longer Tolkien, but Shakespeare
      > >dramatized is the essence of Shakespeare. Perhaps the anti-performers in
      > >Shakespeare studies are the people who haven't figured that out - who,
      > >again, in Tolkien's words haven't realized that drama is a separate art
      > >from pure literature.
      > >
      > >A similar problem comes up in music. Some persist in thinking of the
      score
      > >as the "real" music, but it is nothing of the kind. Ontologically, a
      score
      > >is not music at all: it's instructions for performing music. The music
      > >does not exist until it is performed. Something similar could be said
      of a
      > >playscript.
      > >
      > >David Bratman
      > >
      > >
      > >
      > >
      > >The Mythopoeic Society website http://www.mythsoc.org
      > >Yahoo! Groups Links
      > >
      > >
      > >
      > >
      > >
      > >
      > >
      > >
      > >
      > >
      > >
      >
      >
      > [Non-text portions of this message have been removed]
      >
      >
      >
      >
      > The Mythopoeic Society website http://www.mythsoc.org
      > Yahoo! Groups Links
      >
      >
      >
      >
      >
      >
      >
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