Sense/ Sound


If this is destined for me, let it be grain and milk that I see.

If it is not destined for me, let it be wolves stags and wandering on the mountian and young warriors that I see.

I find my own language somewhat incoherant I find the language below somewhat clunky but seems to describe what I think is happening here.

Shifting this discussion of Smith in order to focus on her speaker’s melancholia, I suggest here that the sorrow of Smith’s poetic persona generates and is generated by the theatricality of the persona’s poetic productions.

Whats the theatricality here?

Being a one trick pony I would make a move I know works.

Grain and milk, these are not objects I am seeing in real time. I am refering to them,  aware of the audience in front of me and refering the objects to them.

The next line, I would be tempted to want to scurry off look at the original Irish and retranslate, remove the and between stags and wandering. You want to create a pause between wolves and stags.

I think you do this at first as you are trying to work out wither they are fully seen or not.

At the moment I would want to fully be on the mountian and seeing the stag. Its fully internalized and fully projecting an external image. Its acting out the processes at work in the image.

Its a reflection of the mechanisim at work. The focus is not on the speakers internal state, its presenting an external image from which the audiance can internalize and relate to melancholia.

Movement, from what can be seen in the room, to what is internal drawn within the room.


Going to take another stab at describing a line from Macbeth. See if I can catch it whole and break it down into its differing parts.

Being absorbed is not a case of simply being in the moment. Its often when you focus on the most technical aspects.

If the charactor is absorbed, any sense of having to be disappears and what is happening simply becomes observed and felt. No longer acting a part which means you are free to perform and focus on a differing role.

When  Macbeth becomes absorbed, in that moment I no longer have to be Macbeth. He is doing the same thing as I want the audience to do and I can place him fully within it’s movement.

Its an oppertunity not to get lost but to focus on what you have to do.

A technical processes involving the projection of sound, which you can now become fully absorbed and engaged with, its all that matters here.

The old maxim with speaking this form of verse is ‘learn to speak it and the sense will come of its own accord.’

Sense here is drawn in and ensnared by the sound.

I can focus on acting as I no longer have to act in any other way.





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