Yeah.
I'd like to read just a few of the recent ones.
These I've been working lately with macaronics.
Macaronics are multilingual poems.
They're not something, by the way,
that come from the supermarket.
It's a tradition that goes back to the Renaissance in Italy,
where people started--
those late Latin scholars began writing poems line
by line in Latin and Italian.
Then later it spread to England, France,
and people were writing poems in English and Latin
or in English and French together.
What interests me about it, of course,
is the way that Pound used this technique,
though, not so formally.
In "The Cantos," he's always mixing languages.
There are 16 languages in "The Cantos."
And he would-- he never put them together as formally
as the macaronist did.
But it interests me very much to see what effect
you can achieve if you juxtapose in discrete languages
and what they will do-- what the language will do to each other.
Let's see if I have one here.
This one is built up--
actually, this one is built up out of the Latin of Perseus
and out of Pound's own translations of the lines
in Perseus, so it--
what you will hear is both the Latin, and then
the quote from the Pound.
So this is a totally borrowed piece of verse.
I have very little to do with it,
except the help of a typewriter in putting these two
great poets together.
No, my dear, I'll not wish you the death you deserve.
sunt apud infernos tot milia formosarum
There are enough women in hell, quite enough beautiful women.
But it is not sufficient, my dear,
to be as beautiful as you are.
despicit et magnos recta puella deos
And of all those young women, not
one has inquired the cause of the world.
So go your way, my dear, and I'll go mine.