ABSTRACT
Enright does not exemplify the kind of sound poem he has in mind, though his association of the term with the “Lautgedicht” (xxvi) certainly compounds the ambiguity of his argument by equating sound poetry as a genre with one of its earlier, more primitive, variants. Had Enright considered the subsequent, highly sophisticated, technological orchestration characterizing later variants of the genre than the Lautgedicht (a predominantly phonetic and syllabic poetry, dependent upon live declamation), then his response to the entire genre might have been more sophisticated in its turn.
