Malia wrote:Keats did talk in a letter about diving deep and experiencing the "soundings and quicksands" of a poem--I think this letter was written around the time he was writing Endymion (as I believe he speaks of Endymion in this letter). He says he'd rather experience those soundings and quicksands rather than "pipe a silly pipe and take tea and comfortable advice". I can imagine that it was from this letter (I'll find the exact quote when I'm near my books later) that Jane Campion got the inspiration for Keats's explanation of poetry.
Malia wrote:It's funny you say that, because--although I too wish I could have heard Keats read his own work--I am more curious to see just how *badly* he read his work. A few of his friends (Woodhouse and through Woodhouse, Taylor) took it as a basic fact that Keats read his own poetry poorly. He supposedly read in a kind of chanting monotone that didn't really do justice to the music of the poetry.
[banned member] wrote:I've got say I'd never thought of any of this Raphael but now, how I could resist? I'd love to listen to him - and it's all your fault!!
Malia wrote:Interesting thought about the tenor of his voice. He used to be the bassoon in the voice orchestra he and his friends would put on every once in a while. That instrument has a low, kind of strange sound to it. Kind of an odd instrument--I can see why Keats might choose it just because it wasn't the first instrument you'd think of when you consider orchestras.
Users browsing this forum: Bing [Bot] and 0 guests