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She cut off his hair,
She put out his eyes
The recording of Lindsay reading the work, though, well...cuts off on the words "cut off":
Perhaps one could read/hear this as the recording device allowing us to hear the dead being parallel to Samson's hair: with it, so too goes our power, the power to represent that which is no more. Or we could just call it a kind of funny (in its irony), unfortunate (in the damage to the recording) happenstance.
One thing worth noting, though, is that this is one of the first instances (1931) that I know of where we get an interaction (even if unintentional) between the content of recorded poetry and the potential for glitches in the materiality of its medium (its sonic form). The next one that I know about is William Carlos Williams' recording of the "The Defective Record" (1942), wherein the poem ends in a mimesis of a skipping record.