Composers Need Words, But They Do Not

Those Who Actually Set Out To See The Fall Of A City Or Those Who Choose To Go To A Front Line, Are Obviously Asking Themselves To What Extent They Are Cowards. But The Tests They Set Themselves - There Is A Dead Body, Can You Bear To Look At It? - Are Nothing In Comparison With The Tests That Are Sprung On Them. It Is Not The Obvious Tests That Matter (do You Go To Pieces In A Mortar Attack?) But The Unexpected Ones (here Is A Man On The Run, Seeking Your Help - Can You Face Him Honestly?).

When We Study Shakespeare On The Page, For Academic Purposes, We May Require All Kinds Of Help. Generally, We Read Him In Modern Spelling And With Modern Punctuation, And With Notes. But Any Poetry That Is Performed - From Song Lyric To Tragic Speech - Must Make Its Point, As It Were, Without Reference Back.

A Cabaret Song Has Got To Be Written - For The Middle Voice, Ideally - Because You've Got To Hear The Wit Of The Words. And A Cabaret Song Gives The Singer Room To Act, More Even Than An Opera Singer.

Free Verse Seemed Democratic Because It Offered Freedom Of Access To Writers. And Those Who Disdained Free Verse Would Always Be Open To Accusations Of Elitism, Mandarinism. Open Form Was Like Common Ground On Which All Might Graze Their Cattle - It Was Not To Be Closed In By Usurping Landlords.

At Four Lines, With The Quatrain, We Reach The Basic Stanza Form Familiar From A Whole Range Of English Poetic Practice. This Is The Length Of The Ballad Stanza, The Verse Of A Hymn, And Innumerable Other Kinds Of Verse.