The Sound of Poetry / The Poetry of Sound by Marjorie Perloff, Craig Dworkin

By Marjorie Perloff, Craig Dworkin

Sound—one of the crucial components of poetry—finds itself all yet overlooked within the present discourse on lyric types. The essays accrued right here by way of Marjorie Perloff and Craig Dworkin break that serious silence to readdress a few of the fundamental connections among poetry and sound—connections that move a long way past conventional metrical studies.

Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the modern avant-garde, the members to The Sound of Poetry/The Poetry of Sound discover such matters because the translatability of lyric sound, the ancient and cultural roles of rhyme, the position of sound repetition in novelistic prose, the connections among “sound poetry” and track, among the visible and the auditory, the function of the physique in functionality, and the effect of recording applied sciences at the lyric voice. alongside the best way, the essays take at the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry interpreting as one of those dubbing.

A really comparatist examine, The Sound of Poetry/The Poetry of Sound is designed to problem present preconceptions approximately what Susan Howe has referred to as “articulations of sound varieties in time” as they've got reworked the accelerated poetic box of the twenty-first century.

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Sample text

If they were written as a prose argument, they would look like this: Yes. Why do we all, seeing of a soldier, bless him? Bless our redcoats, our tars? Both these being, the greater part, but frail clay, nay but foul clay. Here it is: the heart, since, proud, it calls the calling manly, gives a guess that, hopes that, makes believe, the men must be no less. It fancies, feigns, deems, dears the artist after his art. Hopkins writes them, however, like this: Yes. Whý do we áll, séeing of a / soldier, bless him?

Until such a mark or note is struck, and then the next and the next, the form is replete with any number of choices, and each choice then exercised is dense with its relation to what otherwise could have been. Each determination thereby leaves behind a trace of alternatives; like the trail of filings left by a burin, and the sounds of similar words that went unchosen linger for a while. Before all these successive determinations reach the finality of form, the maker has an experience of expanded insight and increased powers of judgment that can be described as resonant.

Unlike rhythm, which may exist as pure haptic or tactile feeling, rhyme comes with acoustical, if not always semantic, content; and unlike meter, which remains ideal, rhyme is always realized or manifested. There is a certain balance between the will and contingency that is effected in rhyming and that is a recurring theme of poetic treatises on rhyme. 29 The willed production of sound always is in tension with the involuntary aspect of hearing. Yet in rhyme, the production of sound can seem involuntary and hearing can be attuned to particular intervals.

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