Expression In Poetry Research Articles

"Beyond the Language of the Living": The Voice of T. S. Eliot

It is impossible to say just what I mean!1 cries a frustrated J. Alfred Prufrock. The within a word, unable to speak a word (CP, p. 21), laments another little old man, lightly dipped in Lancelot Andrewes. Thine is / Life is / For Thine is (CP, p. 59), voice of The Hollow Men stammers to recall. But I've gotta use words when I talk to you (CP, p. 83), Sweeney Agonistes tries to explain. It was (you may say) satisfactory (CP, p. 69), Wise Man barely manages to admit. That was a way of putting it-not very satisfactory, exasperated spirit of East Coker ponders, then ponders again: You say I am repeating / Something I have said before. I shall say it again. / Shall I say it again? (CP, p. 127). I daresay there are few in Eliot's audience who would argue that scarcely a poem or fragment of poet's exists which does not dramatize, in some significant fashion of technique or substance, his own statement that each venture into expression of poetry Is a new beginning, a raid on inarticulate With shabby equipment always deteriorating In general mess of imprecision of feeling, Undisciplined squads of emotion. (CP, p. 128) Of course, no one would want to credit Eliot with inventing this brand of apprehending ineffable effable / Effanineffable (CP, p. 149), although so adept was his manipulation that he could parody both motif and his skill in The Naming of Cats, and usually make us feel copyright was in Old Possum's name. No, as reverent as Eliot was of tradition in general, so because of him and his personal practice are we at least more aware of individual tradition to which the raid

Expressionism in "The Rainbow"

In his essay, Lawrence as a Painter, Herbert Read observes: Lawrence was an expressionist, and he goes on to compare him with Nolde or Soutine.1 Edward Lucie-Smith relates Lawrence's advocacy of expressive form to German expressionist poetry, and his later paintings to the work of expressionists such as Kirchner.2 Canvases like Red Willows (1927) and Dance Sketch (1928) support this claim (although Lawrence's paintings tend to be transcriptions of ideas, lacking the subtle power of his verbal imagery). Most strikingly, Daniel Weiss illustrates the affinity between Lawrence's psychological vision in his novels and the expressionist art of Edvard Munch.3 Such and painterly affinities are appropriate to the movement, for as R. S. Furness notes, developments in literature and painting ran parallel, with some artists, such as Barlach and Kokoschka, outstanding in both media.4 Let me therefore make clear at the outset that in the present study refers (directly and by analogy) to Lawrence's verbal emulation of the visual arts, rather than the distinct techniques of literary practised by such writers as Strindberg, Trakl, Kafka, and Joyce.5 According to the journal Der Sturm, expressionism not a fashion, it is an attitude to life, an attitude moreover of the senses, not of the mind. 6 Definitions of the movement are therefore notoriously difficult. To Kristian Sotriffer, Its underlying characteristic . . . consists of an over-intensification of experience, a rejection of the classical canon, a distortion and exaggeration bordering on the hysterical, a shattering of traditional forms and the reordering of the fragments to make vehicles for changed thinking and sensation, and a new, more critical

Form in the "Menschheitsdammerung": A Study of Prosodic Elements and Style in German Expressionist Poetry

Form in the "Menschheitsdammerung": A Study of Prosodic Elements and Style in German Expressionist Poetry

Form in the 'Menschheitsdammerung': A Study of Prosodic Elements and Style in German Expressionist Poetry

Form in the 'Menschheitsdammerung': A Study of Prosodic Elements and Style in German Expressionist Poetry

La traducción al español de formas poéticas breves. Análisis traductológico de los "Épigrammes" de Voltaire

Desde el haiku japonés a los monostiques de Apollinaire, son variadas las formas de expresión poética que aglutinamos en “poesía minúscula”. Estas formas poéticas breves aprovechan la fuerza y el movimiento, gracias a la economía verbal, para expresar un pensamiento ingenioso o una crítica sutil. Desde un prisma traductológico, si la traducción poética entraña una dificultad por la simbiosis entre forma y contenido, la poesía minúscula acrecienta los retos de traducción al reducir el mensaje a su esencia. Por tanto, en este trabajo partimos de una reflexión teórica sobre los retos de traducción de la poesía breve y presentamos un análisis traductológico y una propuesta de traducción al español de una selección de epigramas de Voltaire, con la finalidad de determinar las estrategias que permiten superar algunos de los problemas de la práctica de la traducción poética al español de poemas franceses.

Time of Day in Early Expressionist Poetry

GEORG Trakl, Georg Heym, and Ernst Stadler are generally grouped together as the early German Expressionists. Each was born within a four-year period, 1883–87, and each died in the two-year period, 1912–14. The three poets produced a great deal of bad poetry before breaking through to both originality and modernity for a few short years before early deaths. Their poetry provided some of the models for the immense following wave of Expressionist lyric and at the same time represents the greatest and most lasting achievement of that movement. They shared many techniques, such as the new kinds of metaphor (described by Schneider)1 or the new kind of lyrical sentence-line (Zeilenstil described by Heselhaus).2

Walter Hasenclever's Satiric Treatment of Religion

Walter Hasenclever's reputation as a writer has rested almost entirely on his contribution to German literary Expressionism. One tends to think of the Expressionist drama and poetry which earned him the first Kleist Prize in 1917, notably the plays Der Sohn, that revolutionary manifesto of youth in conflict with its elders, and Antigone, a provocative anti-war polemic. Literary historians have virtually ignored his subsequent accomplishments as a journalist and satirist. As a result critical assessment of Hasenclever has remained

Nicholas Maw's ‘One Man Show’

After the ‘Essay for Organ’, in which Maw found a satisfactory style from which he could build outwards to encompass serial and free atonal elements, with conjunct as well as fragmentary writing, he produced two works hinting at two different veins that might be tapped in his subsequent music. Of these the ‘Chamber Music’ combined an atonal harmony comparable with that of middle period Schoenberg, with his own cast of melody (sometimes a little Brittenish) in music that moved forward to a more or less traditional pulse; the vision presented here was serious but genial, and included a vein of affectionate parody. In ‘Scenes and Arias’ however we find a very different world in which a driving sexual energy coexists with dark expressionist poetry. The idiom in this work is of a richness in atonal harmony and texture that precludes a traditional forward movement, and static and dynamic passages combine to form a motion of considerable subtlety.

Roald Amundsen

HAD Ibsen lived to write the Saga of Roald Amundsen, he might have analysed the emotions which surged through the explorer's soul in a tempest of ambition, triumph, and tragedy. The dramatic episodes of the adventurous life seem to demand a psychological nexus more likely to be found in philosophy than in science, and only capable of full expression in poetry.