About Bores—But Not Boring
ROFESSOR T. D. ADAMS, in his weekly readings from 4YA, recently gave listeners some extracts from the essays of Richard Steel and Joseph Addison. When I tuned to this programme, I found the speaker in the middle of a session of the Trumpet Club, in which the conversation of a small group of average bores is depicted with such a suggestion of continual repetition that the listener, like the author, could not help regarding the occasion as a good substitute for a pre-bedtime nap. The programme finished with the evergreen and always appealing description of Sir Roger de Coverley and his famous dictum-‘"there was much to be said on both sides." The straightforward prose of these extracts has been held up to young writers many a time as an excellent model, and I should like to recommend it to certain writers on music whose tendency to rhapsodise is apt to get the better of their love of lucidity. A splendid test of any writer’s skill is how he stands up to being read aloud, and Professor Adams ably demonstrated in these readings the abiding quality of good clear prose. A neat ending to the programme was the performance of "Sir Roger de Coverley" (the tune in--spired, we are told, by our hero’s greatgrandfather); and the fact that this tune is still heard with pleasure indicates that music, like prose, best endures when it is most lucid and simple, with a style so unaffected as to conceal the art which contrived it.
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19471128.2.17.4
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New Zealand Listener, Volume 17, Issue 440, 28 November 1947, Page 8
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255About Bores—But Not Boring New Zealand Listener, Volume 17, Issue 440, 28 November 1947, Page 8
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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