What I find particularly extraordinary is the scottish roll to the "r"s in Pound's reading of Canto I (which I tracked down on the internet thanks to a recent "lead" posted to this list: see http://www.poets.org/LIT/poem/epound06.htm). I'd like to know how this strikes a native speaker of American English - is it idiosyncratic or does it come up from Pound's roots, in Idaho for instance? Richard Edwards >From: Richard Caddel <[log in to unmask]> >Reply-To: Ezra Pound discussion list of the University of Maine > <[log in to unmask]> >To: [log in to unmask] >Subject: recordings of Ezra >Date: Mon, 22 Nov 1999 22:41:44 GMT > >I've just been re-listening to tapes of EP reading - Hugh Selwyn >Mauberley and Canto 1 from Washington 1958; and a range of Cantos from >Spoleto, 1967. A couple of things strike me: > >1. anyone noticed the progression from 58 to 67? The strong yeatsian >tone of the earlier has modulated somewhat in the later one: ok, he's >older, the voice more tremulous and less consistent, but in the later >recording there's a greater range of tone and pitch - it seems to me. > >2. At Spoleto, in Canto XVI, the names of those gone to the war are >different to those in the present printed ed of the Cantos: I'm >working from home at present, without a full range of sources to hand >- can anyone tell me when these names changed? > >Anyone any other thots on Pound as Reader? It strikes me that he's at >his best when the highly stylised tones (derived from Yeats) drop away >and the greater range / variety shows through, even tho that seems to >be at a point when his voice is going. > >RC ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com