Erinnerungen an Paul Celan (Suhrkamp Taschenbuch) by Gerhart Baumann

By Gerhart Baumann

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Extra resources for Erinnerungen an Paul Celan (Suhrkamp Taschenbuch)

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Brings with it further music, and further spondaic slowing, in ‘O, it came o’er my ear like the sweet sound’. ’ Between the two falls comes Orsino’s rejection of music (another spondaic line-ending: ‘no´ mo´re’), but the whole passage is suffused by a feeling for risings and fallings—whether of fortune or affection—which registers the comings and goings of ‘fancy’ between ‘full’ and ‘fall’, surfeit and abatement, as matters of cadence. That Tennyson was—from startlingly early—a master of control and variation in poetic cadence has long been a commonplace, and was in his 1 Shakespeare’s editors (including Alexander Pope) have sometimes distrusted the reading ‘sound’ (from the Folio, which for this play is the sole textual authority) at the end of l.

18 / Peter McDonald a’, which adds to the effect of the final ‘swan’; or the other careful modulation from ‘weep’ and ‘field’ into ‘lies’ and ‘dies’. The falling cadences ring changes, far though they may be from changes for the better in Tithonus’s own sad case. However dying the falls of cadence here, Tithonus is fated never to die. ‘Dies the swan’ has, nevertheless, its own descending cadence, as Berry points out; and so—very differently—does the repeated ‘dying, dying, dying’ of ‘Bugle Song’.

311–12). ‘Fall’ and its half-rhyme ‘shall’ are mutually implicated often in Tennyson’s cadences: between the two words, there is a modulation generally waiting to be made. Again, this is a question of the ways in which Tennyson’s ear for rhythm, sound, and phrase discovers things in, and about, the ‘dying 9 See also IV. 475–6 and 479, where ‘She stretched her arms and called j Across the tumult and the tumult fell’ is followed by ‘All these male thunderbolts’. 10 ‘Have fallen, have fallen’ echoes Isaiah 21: 9 and Revelation 17: 2.

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