Poetic Volumes Research Articles

Tapestry of Cultures in Derek Walcott’s Poetry: A Transcultural Reading

Walcott, through his searches for the history of his original nation, seeks to face the racial conflicts that impacted his cultural formation; he does celebrate the hybridity that becomes an integral part of his identity through crossing- national transit. It is through his constant traveling that, continuously, leads him to experience other nations, cultures, identities. His poetry comes to be a witness for a more cosmopolitan construction of individuality. Walcott, in his early poetry, shows his endeavors to understand the culture and the racial challenges of his origin, yet it seems that he comes to no resort. In his later poetic volumes, he seems to come to a better realization of his Caribbean identity that fell under colonial influences. Thus, Walcott comes to accept that his own Caribbean roots can go beyond its origins. This can be called transcultural approach which has developed in the last few decades, not only to embrace alterity, but also to encourage interconnectedness and empathy with the Other. Transculturalism challenges the traditional notions of culture, belonging, and identity. The purpose of this study is to explore Walcott’s poetry that reveals the poet’s perspective on national and cultural identity. It argues that, though Walcott’s poetry is deeply rooted in the Caribbean culture, traditions, and national inheritance, yet it transcends the national and cultural limits to celebrate the hybridity of the Caribbean present identity. Walcott’s constant traveling created a poetry that goes beyond its national borders to see in displacement of the Caribbean people and the diaspora as a means to develop a better communication with the world. Therefore, Walcott is quite liberal in his cultural perspective regarding identity politics.

„Idę do Ciebie Wielki Boże”1. O roli Biblii i antyku w twórczości Bolesława Micińskiego

Bolesław Miciński was born in 1911 in Podolia. The writer lived and worked in Poland, and from 1939 he was in emigration in France, where he died of tuberculosis in 1943. The author of the article describes the connections of Miciński’s works with Greco-Roman antiquity and the Bible. The poetic volume Chleb z Gietsemane [Bread from Gietsemane] (1932), the essay Odpowiedź na list Francesca, obywatela rzymskiego [Reply to the Letter of Francesco, a RomanCitizen] (1940) and the lecture Portret Juliana Apostaty [Portrait of Julian the Apostate] (1942) are analysed in detail. Miciński was well known in ancient culture and consciously drew on its deposits for erudite, aesthetic and rhetorical purposes. It is also worth emphasising that antiquity was a reservoir of motifs, themes and sentences, which were updated in the works of the Polish writer in the process of renarration and reinterpretation, showing the universal value of the ancient tradition.

„Ciało wiersza” – corpus (alter) ego poety – artefaktualizacja tekstu. Psyche lirycznej persony Eugeniusza Tkaczyszyna-Dyckiego

The article is an analysis of Ciało wiersza [The Body of the Poem], a poetic volume by Eugeniusz Tkaczyszyn-Dycki, in the light of psychoanalysis, somatopoetics and philosophy of the body. The author juxtaposes the category of the “body of the poem” with Jean-Luc Nancy’s Corpus. In this context he presents Ciało wiersza as a collection of texts describing the situation of a subject embodying the content of its psyche, transgressing and being on the verge of mental entropy or schizophrenia. Close to Freud’s cathartic method, Tkaczyszyn-Dycki treats the poem as a reservoir of psychogenic material and a projection instrument. The somatext, as embodied unconsciousness, analyzed through the prism of basic Freudian tools (defense mechanisms, regressive shifts), appears as a resultant of the dialectic of repression and the imperative of commemoration, which channels libidinal energy through imaginative displacements. Referring to the recurring leitmotifs of Tkaczyszyn-Dycki’s imagination in Ciało wiersza, the author traces how the poet reflects in the poetic text the workings of the psychic apparatus and the “multiple names” of schizophrenia.

Późny Gałczyński i Iwaszkiewicz – podobieństwa i różnice

This article shows the late Gałczyński and Iwaszkiewicz as poets in the last years of life. Gałczyński is represented by two poetic volumes: Kronika olsztyńska (1950) and Pieśni (1953), while Iwaszkiewicz – Mapa pogody (1977) and Muzyka wieczorem(1980). Both creators seek order and peace, and even some form of salvation, through references to the world of nature, to neoclassicism as a worldview and a way of artistic expression. They believe in the sense and power of poetry and art in general. They are connected by music, as well as the sacralization of everyday life. In Gałczyński, aesthetic expression is strongly exposed, and Iwaszkiewicz is also, but more clearly metaphysical in nature. The late poetic collections of both analyzed poets are thematically and formally coherent, at a high artistic level, although we find traces of socialist realism in Gałczyński.

Redefinicja kategorii świadka. Przypadek Poematu o miejskiej rzeźni Tadeusza Śliwiaka

Redefining the Witness Category. The Case of Poem about the Municipal Slaughterhouse by Tadeusz Śliwiak In the article the author reconstructs the critical reception of the Poem about the Municipal Slaughterhouse by Tadeusz Śliwiak (Andrzej Kaliszewski, Konstanty Pieńkosz, Jan Pieszczachowicz, Artur Sandauer, Stanisław Stabro, Piotr Sobolczyk) and interprets the work using posthumanist instruments to prove that it is ecological and pacifist. The main idea of the author is to depict both the animals transported to the Municipal Slaughterhouse in Lviv and the Jews working there. The poetic volume of Śliwiak meets the demand of Éric Baratay, who wrote that the animal could not continue to be a white spot of history. The poet emphasizes that animality is a state devoid of human aggression and desire for domination and assigns a negative value to what is considered human (if there murder among people is impermissible, it is due to fear of spreading violence to human actors). In the Poem about the Municipal Slaughterhouse, the strategy that prevents animals from being brought into the role of raw material is the perspective of a child which sees the death of animals as equal to this of humans. Until now, the reception of the poem has been dominated by analyses of its dominant turpistic and expressionist aesthetics, reducing Śliwiak’s testimony to the role of a “great metaphor of war.” The author proves that the poet emphasizes the stigma of violence (the human victims were forced to work on the handling of the bodies of non-human victims), which invalidates the hierarchy of victims, preventing a comparison of suffering. In addition, the author describes two situations depicted in the poem using the category of excess (by Wolfgang Sofsky), in which human life could be taken away at the whim of the overmen.

Lasgush Poradeci the first modern Albanian poet and the greatest lyricist of the 20th century

Lasgush Poradeci (1899-1987) is one of the most outstanding lyricists of modern Albanian poetry of the first half of the 20th century. He is the author of two poetic volumes: "Vallja e yjeve" (1933) and "Ylli i zemrës" (1937), which made him one of the most prominent Albanian lyricists. Reading and studying the work of this poet had its ups and downs over time. Although after the installation of the communist dictatorship in Albania (1955-1990) there was no proper treatment, no such thing happened in Kosovo. In addition to the publication and reprinting of his work, in Kosovo, books with studies have been written and published about his poetry. Although the list of names of researchers who have dealt with Lasgushi's work is long, in our paper we will highlight only some of the opinions of researchers such as: Rexhep Qosja, Sabri Hamiti, Emin Kabashi and Kujtim Shala.

„I tutaj będę spędzał kwarantannę...” Berlin czasu pandemii w tomie Ręka pszczelarza Tomasza Różyckiego

Published in the year 2022, the poetic volume Ręka pszczelarza [The Beekeeper’s Hand] by Tomasz Różycki encompasses 78 poems, predominantly sonnets. These poems, according to the publisher’s suggestion, encapsulate the poet’s contemplations during his period of isolation in Berlin amidst the Covid-19 pandemic. Each of these poems serves as a documentation of the metamorphoses undergone by the lyrical persona while confined within an empty apartment-transforming into mythical creatures, with countenances evoking images of an animal. The central figure in these verses embarks on a journey through the deserted streets of Berlin, much like Odysseus, often stumbling upon the “stones of memory” (German: Stolpersteine) embedded in the sidewalks, which serve as poignant reminders of the Jewish inhabitants of the city who perished during the Second World War.

Charles Reznikoff's Testimony of the Dead

Charles Reznikoff assembles Testimony: The United States (1885–1915): Recitative from three decades of court witness reports. Stemming from his legal experience and his family history of loss, Reznikoff's methods of constructing Testimony, as archived in his notes, drafts, and correspondence, illuminate the work as his literary form of Kaddish, the mourner's prayer in Judaism. The poetic volumes express mourning for the lives he encounters in court documents: suppressed, recurring narratives, emblematic of the country's political and socioeconomic conditions. As the past resonates through Reznikoff's verse, the poetry's formal qualities stimulate grief in present audiences. Testimony takes readers through a process of mourning across time: listening to the lost voices of the dead, grieving the accumulated losses, and moving forward with a desire to remedy past injustices—bearing losses of the past to feel the urgency of a more just future.

Obca: Ballady oraz inne wiersze [The other: Ballads and other poems

<i>Obca: Ballady oraz inne wiersze</i> [The other: Ballads and other poems

Michael Field: Decadent Moderns, edited by Sarah Parker and Ana Parejo Vadillo

Reviewed by: Michael Field: Decadent Moderns ed. by Sarah Parker and Ana Parejo Vadillo Veronica Alfano (bio) Michael Field: Decadent Moderns, edited by Sarah Parker and Ana Parejo Vadillo; pp. ix + 289. Athens: Ohio University Press, 2019, $80.00. As Sarah Parker and Ana Parejo Vadillo point out in the introduction to their impressive and timely collection Michael Field: Decadent Moderns, to study Michael Field (that is, Katharine Bradley and her niece Edith Cooper) is to encounter a series of "contradictions, paradoxes, and complexities" (3). Here are two women who publish under a man's name, a lesbian couple who convert to Catholicism and who blend Christian with pagan images, a pair of poets heavily influenced by the ancient past who nonetheless embrace modernity. True to its apparently paradoxical name, this book links Field to late-Victorian, twentieth-century, and contemporary cultures, thus "challenging traditional boundaries between fin-de-siècle and modernist studies" (21). The interdisciplinarity of these excellent essays, which touch on topics ranging from disability studies to book art to environmental humanities, serves both to transcend and to enrich the more familiar conceptual frameworks of Decadence and aestheticism. I will respond to the editors' call to "seek out thematic and formal connections" in Michael Field: Decadent Moderns by discussing the chapters in an order of my own choosing (16). In chapter 1, Kate Thomas explores Field's fascination with plant life, positioning them not against but within nature. Readings of poems and diary entries—along with a wonderfully detailed analysis of Bradley and Cooper's insignia, the bramble-bough, as a symbol of intergenerational love—link Field to queer ecology and queer temporality, evoking "a lush and present world, a riot of intertwinings … a cyclical, fleshy foreverness" (32). Thomas complicates this picture, confirming the volume's commitment to interdisciplinarity, by showing how Field describes the botanical realm via the language of both gender and race. [End Page 165] Like Thomas's investigation of racist imagery, Kristin Mahoney's assessment in chapter 10 of the relationship between Field and the sculptor Eric Gill reminds us that Decadent dissidence and its modernist afterlives "did not always result in just or liberatory practices" (235). Of course, Mahoney does not condone Gill's sexual abuse of his daughters. But she does astutely observe that for Gill and Field alike, a queer and highly eroticized version of Catholicism generates "radical questioning of kinship structures" (244). Perhaps this chapter will inspire more critical responses to the incestuous nature of Cooper and Bradley's relationship, which has rarely been addressed. Vadillo's chapter echoes Mahoney's interest in sculpture and establishes a useful blueprint for reading Field through material history. She makes a convincing case that a "sculptural aesthetic" underlies the themes and forms of Field's early poetry, inspires the beautiful white bindings of what she calls their "marble books," and informs "the very concept of their fragmented authorship" (68). In writing the verse drama Bellerophôn (1881), for instance, Field not only draws on observations of broken statues at the British Museum but also employs sculptural methods as metaphors for joint composition. To date, criticism of Field has tended to concentrate on their lyrics. But Joseph Bristow joins Vadillo in turning instead to their verse dramas—in particular, A Question of Memory (1893) and Attila, My Attila! (1895), both of which received extremely negative reviews. Evaluating Bradley and Cooper's responses to the criticism they received from strangers and friends alike, Bristow's engaging essay ties some of these critiques to the way in which Field's "antiquated and avant-garde" dramas seem to hover "both behind and ahead of a modern theatrical world" (145). Attila, My Attila!, for instance, transforms a Roman princess into a sexually liberated New Woman. Bristow charts Field's fraught relationships with friends who did not consistently admire their work; Parker takes up this concern in chapter 4 via art historian Mary Costelloe, whom Cooper and Bradley met in 1891 and who would later criticize Attila, My Attila!. Deftly juxtaposing Costelloe's writing with Field's ekphrastic poetic volume Sight and Song (1892), Parker associates the three women with "a shared project of art historical investigation" that...

A Study of Domestic Aspects of the Confessional Poetry in Robert Lowell's Life Studies

AbstractRobert Lowell, the iconic American Poet, moves with his Confessional poetry, notably the poetic volume Life Studies (1959) from the “raw” to the “cooked”. Confessional poetry is a literary genre of the expression of personality. It is where the art of poetry is similar to the art of confession and the inclination of poetry to move toward the too personal. The personal life of the poet under the dilemma of psychological crisis, sex, family life, humiliation and mental and psychological state of mind moves to the forefront of the poem. Personal pain, experiences, trauma, depression, psychological break-down and the private relationships articulated through a new kind of free verse and mode of expression. Humanistic Psychology as a therapeutic and a person-centered theory acts both as a means of self-analysis and as a literacy device. It enables consideration of the poet’s self and how this self feels irritated for being only an actual self, try to move from the actual to the ideal self until it successfully reaches self-assertion and self-actualization in relation to his/her poetic language and the process of creativity. Hence, in order to study the confessional poetry, domestic aspects and the consequences of their psychoanalytic literary approach objectively play a significant role.

(Nie)zaangażowany głos Innego – Nie Konrada Góry

The (Non)involved Voice of the Other (Konrad Góra’s Nie) This article sheds new light on Konrad Góra’s Nie (2016) in a sound studies’ perspective. It opposes putting the poetic volume as minorities’ voice of representation under the poetry of political involvement. Instead of allowing this, it proposes an interpretation of this book through the voice par excellence, which does not subordinate to speech and exists in his bodily, phonic shape. The point of departure is, firstly; a recognition that Nie subsists in intermedia realizations, which emphasize the significance of phonetic voice comprehension, secondly; an underline that starting this poetic volume by JiříKolář’s tale, make possible to perceive this one in the oral context. The proposal for interpretation exposes the new understanding of the notion of involvement in poetry. It means that the involvement is not the representation of the Other but his embodiment as the independent voice in the text.

Ballads and Romances or Ballads-Romances? On the romance in Mickiewicz’s poetic cycle

The article discusses the problem of the romance as a genre in Adam Mickiewicz’s poetic cycle Ballady i romanse (Ballads and Romances). So far scholars have paid attention mainly to Mickiewicz’s ballads and his innovative use of this genre, treating the romance as a ballad-like genre, without its own specifi city and rather marginal in the context of the developing romantic aesthetics. However, a closer analysis of the poems Kurhanek Maryli and Dudarz shows their distinctiveness within Mickiewicz’s poetic volume. The poet’s romance turns out to be a weak ballad of sorts, only stressing the potentiality of fantastic events. This genre can also be described as a contamination of the idyllic convention with elements of a horror ballad.

A STUDY OF HISTORICAL ASPECTS OF THE CONFESSIONAL POETRY IN ROBERT LOWELL’S LIFE STUDIES

Robert Lowell, the iconic American Poet, moves with his Confessional poetry, notably the poetic volume Life Studies (1959) from the “raw” to the “cooked”. Confessional poetry is similar to the art of confession. Moreover, the historical poetic pieces implied more than the mere gathering of fact and figures. For Lowell history manifested itself in the affairs of men and it is a persistent and violent force. Such a view is not entirely optimistic, springing directly from this view is Lowell's deep sense of loss, failure, alienation, helplessness and a feeling of entrapment in a world not of his making. In the light of the New Historicism approach, Lowell managed to perceive the literary text as a communal product which sought to reconnect itself to its cultural context. He did not think only of the past but took history forward into the present with all its discourse on culture, and its components, religious and political tradition of the place itself. Hence, in order to study the confessional poetry, historical aspects and the consequences of their psychoanalytic literary approach objectively play a significant role.

Indywidualizacja stylu w ukraińskich przekładach wierszy ks. Jana Twardowskiego (na przykładzie zbioru poetyckiego “Trzeba iść dalej...”)

The article considers the stylistic features of Fr. J. Twardowski’s poetic works and their equivalents in the Ukrainian translations. The case study of the issue is the bilingual poetic volume of We must go on or a ladybug walk translated by T. Chernysh and S. Yermolenko. The issue of the value identity, present in the original and translations, is argued by determining the typological and individual features of translation transformations. The author analyzes the ways of using translation constructions, indicating the level of assimilating figurative language of the original poems in Ukrainian versions, with a focus on the metaphorization of life and nature, syntactic and punctuation specifics of the poems by Fr. J. Twardowsk. The study argues that a form of vers libre provides translators with new opportunities for transmitting the author’s symbols to the Ukrainian reader. The preservation of the inner rhythm of the poems, their melody, thoughtful structure, which is associated with the phenomenon of the concept of “image” have been emphasized.&#x0D; The concept of “image” has become the starting point in the analysis of individual and typological lexical items and common semantic expressions. The compliance analysis (translation equivalence) allows better understanding of the original structures and facilitates the general vision of the reproduction correctness of the original communicative intentions in the translation. In addition, the work combines linguistic and stylistic approach with a general interpretive and cultural method, which allows identifying the individual style of the author and the degree of translator’s adaptation of them to the Ukrainian realities.&#x0D; The key findings of the study manifest that the author’s most favored stylistic means and devices are: anaphora, obvious and hidden antonymy, metaphorical expressions, conveying the Polish realities in which he lived and worked, religious symbols, emotionality of the colloquial vocabulary, and dialogism of the style. The conclusion is that Twardowski’s poems in the book of poems “We must go on…” are translated into Ukrainian at a high professional level, there are many individual findings, although it is not the only possible way to reveal the author’s style. It is advisable to analyze stylistic features of the whole complex of Twardowski poetry translations into Ukrainian in future researches.

All Roads Lead to Unity: Tomasz Różycki’s Litery as a Search for the Contemporary Arché. The Philosophical Dimension of Poetic Expression

The article analyzes Tomasz Różycki’s poetic volume Letters in the light of selected philosophical contexts in order to demonstrate the correspondence between Różycki’s poetic imagination and Heraclitus’ philosophy and the possibility of equating the letters with a logos, a fundamental concept in the Ionian philosophy of nature. Accordingly, the letter helps to connect the poetic world and the absolute sense, from which everything else results. Secondly, the potential relations between the chaos often appearing in Różycki’s poems and the apeiron of Anaximander have been pointed out. Yet another correspondence concerns the thread of unity and the struggle of opposites, the notions crucial in Greek philosophy and in the work of the Polish poet, who wrote the poem The Eternal War of Opposites. Różycki explores the relation between man who tries to understand the world around him and the reality which undergoes a permanent process of change. Love can be seen as a force that alleviates confl icts arising from rather abstract philosophical problems in the Letters. The article additionally addresses the question of the symbolism of numbers and letters in Różycki’s poetry. The connection between his poetry and the artistic creativity and world view of Stéphane Mallarmé constitutes a special context in this respect. In Różycki’s Letters, the philosophical thought often provides a key to the poet’s most important concerns: the human condition in (post)modernity, the actual shape of objects, and the forces behind the image of the moment experienced in space-time.

Inkluzje i ekskluzje podmiotu w zbiorze Bez ciebie Anny Augustyniak

The main concept of Anna Augustyniak’s poetic volume (Bez ciebie, Warsaw 2014) is based on poetics and semantics of a number of categories: deficiency, body, affection, journey. They make an entanglement, which shows the metamorphosis of feminine lyrical subject, at first being mentally, emotionally and sensually disconnected (excluded by itself) from the environment though love, later again connected with world through the journey in geographically-cultural and spiritual dimension. In this case, the strong affection (falling in it and out of it after the parting) can be treated analogously. Construction and titles of several poems included in volume create an enumerative series describing the condition of subject (condition “without”), both as addiction and as deliverance, inclusion and exclusion. “Traveling erotics” – as Alicja Jakubowska-Oż.g named these poems – are also an individual realisation of a convention of literary genetics. A poem appears as a body of inclusion, which encloses a story of love.

Romanticism, Self-Canonization, and the Business of Poetry. Michael Gamer. Cambridge: Cambridge University Press, 2017. Pp. vii+307.

<i>Romanticism, Self-Canonization, and the Business of Poetry</i>. Michael Gamer. Cambridge: Cambridge University Press, 2017. Pp. vii+307.

Fashioning Authorship in the Long Eighteenth Century: Stylish Books of Poetic Genius by Gerald Egan

Reviewed by: Fashioning Authorship in the Long Eighteenth Century: Stylish Books of Poetic Genius by Gerald Egan Timothy P. Campbell (bio) Gerald Egan. Fashioning Authorship in the Long Eighteenth Century: Stylish Books of Poetic Genius. London: Palgrave Macmillan, 2016. Pp. xvii+ 229. 37 illus. $90. Gerald Egan’s Fashioning Authorship relates what might seem a familiar story of poetic vision entangled with the grubby detail of the printed book and the exigencies of the literary marketplace. Yet what more typically appears as a scene of authorial distraction or compromise becomes for Egan something more like a dialectical drama of the ideal—a luxuriously bookish, fashionable staging ground for a peculiarly English (and presciently Kantian) aesthetic “genius.” Centering on Alexander Pope, Mary Robinson, and Lord Byron, Egan grounds these poets’ literary authority in the wider story of a “commercial school of art” in Britain (defined by the aesthetic theory of the artists Jonathan Richardson, William Hogarth, and Joshua Reynolds) where, most essentially, “idealization proceeds through fashionable particulars” (41). The “commercial school” most directly echoes in authorial portrait frontispieces that grow prominent in the age’s poetic volumes, which present a vision of transcendence achieved not despite but by means of fashion (and an allied “ magnif[ication of] the accidental and particular” by these poets’ “distinctive physicality”) as the ephemeral ground from which genius takes flight (4–5). Egan’s star, perhaps, is Pope—particularly in the outsized portrait-à-la-mode contained in the quarto volumes of his Works of 1717 (so large it had to be folded twice to fit, under the painstaking printshop supervision of the poet himself). In the printed book, Pope’s aphoristic elision of “fine Genius” with “fine fashion” (in each case, “all those are displeas’d … who are not able to follow”) finds a material-ideal correlate, enfolding “the timeless truths of high art” in a hand-held, stylishly urbane “luxury object” (1–2). The careers of Pope, Robinson, and Byron oscillate between embrace and rejection of fashion, but all consistently define their genius in relation to the same phenomenon, shaping the period’s broader articulation of autonomous subjectivity itself. Following an introduction, Egan’s second chapter provides a historical and conceptual architecture via the commercial-aesthetic theory of Richardson and his successors, who together equated “creative self-consciousness” with “fashionable self-presentation” (11). Richardson’s treatise notably [End Page 627] synthesizes painters’ hands-on expertise in craft and materials with the more idealizing “stretch[ing]” of their rational minds (quoted 18), making the “observation of visible phenomena … continuous with complex mental operations” like “discernment” (15). For Hogarth, similarly, “the way to transcend nature proceeds through the particularity of nature, as with the eroticism of “anatomical detail” “minutely modified” to become the empirically-derived “little bit more” that marks the master (27) or by contemplating movement not as motion per se but as the fusion of “discrete but successive moments of perception” (29). For Reynolds, in turn, fashion’s “insubstantial” ornaments nonetheless convey “the original fabric of our minds” (quoted 31); and the painter’s “improvement” of “visible phenomena” paradoxically hews to “nature’s truth even as he improves it” (16). In a sign of the contemporaneous appreciation of the mutual “resona[nce]” of these perspectives, Reynolds’s own portrait head adorns a reissue of Richardson in the later eighteenth century (36). But Egan also explores the longer resonance of the “commercial school” for Kantian aesthetics (extending to contemporary theorists like Jean-Luc Nancy). Here, as Kant himself insisted, imagination “creat[es], as it were, another [higher] nature out of the material that actual nature gives it” (quoted 147), as poetic books artfully bridge the gap between causal world and free genius. Egan’s third chapter takes inspiration from Friedrich Schlegel’s suggestion that each individual book is fragmentary, for ultimately there is only one universal book, to consider the intrinsic “plurality of the poetic edition” in three senses: as a “material entity” shaped by bookmaking trades, as part of a social practice, and as aesthetic “intersection of materiality and ideality” (59, 61). In the poetic edition, the tensions between seeming unity and final plurality are pronounced, as poets’ “image of alienation” from the moment contrasts...

The gentleman poet Salcedo Coronel: lineage, editing, writing

Salcedo Coronel conciliates its work as poet and as Góngora’s commentator with their positions on the court and the aristocracy, represented by their charges as infant cardinal’s master of the horse and knight of Santiago. Both titles appear on the covers of his poetic volumes, and they are not the only element of legitimizing its practice. In Cristales de Helicona (1650) the strategies shown in two dimensions, corresponding to the dual condition. While the iconography of the engraving shows the elements of the relationship between the noble and the poet, the prologue of Pellicer emphasizes the aristocratic status of the author, and this turns the volume in a space of representation of relations of sociability with other members of the literary field of time. Between writing and editing, the gentleman poet displays his self-representation.