“The true realisation of the poet’s voice comes from a blending or a marriage of the silent and the spoken forms. If we put this into the shape of a figure of speech, if we conceived of the voice as it reads the poem as being on the horizontal plane, and if we thought of the text on the page, as it were, going down vertically, then I think that the listener should follow the spoken poem in the way that a listener follows a string quartet with a score. I think only by being most keenly sensitive to the moment when the horizontal of the spoken voice comes into contact with the formalities, with the restraints, with the restrictions that are there printed in the text, only by recognising with immediate sensitivity those moments of contact, of harmony or of hostility, only then can the reader, the listener, truly appreciate how the poet’s voice is being realised in the most minute, intimate, and yet profoundly rich, prosodic forms.”
“O Love, subject of the mere diurnal grind,
Forever being pledged to be redeemed,
Expose yourself for charity; be assured
The body is but husk and excrement.
Enter these deaths according to the law,
O visited women, possessed sons! Foreign lusts
Infringe our restraints; the changeable
Soldiery have their goings-out and comings-in
Dying in abundance. Choicest beasts
Suffuse the gutters with their colourful blood.
Our God scatters corruption. Priests, martyrs,
Parade to this imperious theme: ‘O Love,
You know what pains succeed; be vigilant; strive
To recognize the damned among your friends.’”