Source Of Poetry Research Articles

Forms of Poetic Attention

Forms of Poetic Attention

Accompanying a drunk man from “coupin’ gless for gless” to silence – An es-say in translating Hugh MacDiarmid

This essay explores possibilities for translating the Scots language poetry of 20th cenury poet, Hugh MacDiarmid. Mirroring MacDiarmid’s propensity to draw on and recontextualise other sources of poetry and to create new poetic language, the essay illustrates options of translation as (i) repurposing the ideas of the poem, and (ii) reworking events associated with the poem. Two examples are contextualised in an overview of MacDiarmid’s prolific and intellectual Scots and English language poetry. MacDiarmid drew on both languages to create what he called synthetic Scots and synthetic English. This allowed him to explore Scottish cultural, social and political identity, in part to promote Scottish independence and autonomy, and in part to stimulate a new Scottish intellectual and literary tradition. His work typified what is known as Caledonian antisyzygy. Antisyzygy allows for borrowing, appropriation, reworking and decontextualisation of language, ideas and other writers’ work. The essay describes my own appropriation of one poem, On a Raised Beach, to inform a discussion of future education (translation as repurposing). It closes on a contemporary retelling of the construction of the book-length poem, A Drunk Man Looks at the Thistle (translation as reworking).

Fethî’s poetry Manazil Hac

Hac literatürü arasında bulunan türlerden biri de menâzil-i hac olarak adlandırılan eserlerdir. Bu tür eserlerin yazılma amacı, hac güzergahları ve bu güzergahlarda bulunan menziller hakkında izlenimleri paylaşmak, bilgi vermektir. Öğretme, açıklama yönteminin açıkça görüldüğü bu tarz eserlerde, edebî kaygı geri plandadır. Bu eserlerde konaklama mekânlarının coğrafî, tarihî ve dinî özellikleri kimi zaman muhtasar kimi zaman mufassal bir şekilde anlatılır. Şairler, hacı adaylarını konaklar hakkında aydınlatırken samimi bir üslubu, yalın bir anlatımı tercih eder. Klasik Türk edebiyatı sahasında manzum-mensur birçok menâzil-i hac yazılmıştır. Manzum olarak telif edilen metinlerden biri de Fethî mahlaslı bir şaire ait Menâzil-i Hac adlı eserdir. Mesnevi nazım biçimiyle yazılan ve 153 beyitten meydana gelen eser, tipik muhtasar bir menâzil-i hac özelliği göstermektedir. Başta şuara tezkireleri olmak üzere birçok kaynak incelemesine rağmen şaire ait bir bilgiye rastlanmamıştır. Eserin imlasından şairin 19. yy.da yaşadığı sanılmaktadır. Katalog ve çalışmalarda, Fethî’den sehven “Hakkî” olarak söz edilmiştir. Bu çalışmada hac literatürü hakkında genel bir bilgi verildikten sonra eserden hareketle müellifi, Fethî mahlaslı şairler, Menâzil-i Hacc’ın muhteva ve şekil unsurları ile dil ve üslubu hakkında bilgi verilmiştir. Çalışmanın sonunda eserin transkripsiyonlu metni takdim edilmiştir.

Nuevas fuentes para la poesía de Pedro de Gracia Dei

Con el objetivo de realizar un catálogo completo de las fuentes poéticas de Pedro de Gracia Dei, este trabajo ofrece el estudio material y textual de cuatro testimonios que no recogen los principales repertorios dedicados a la indexación de fuentes y textos castellanos medievales. Ello nos permite, por tanto, ampliar los materiales que presentan esos catálogos, al mismo tiempo que avanzamos en el conocimiento de la obra en verso de este autor. Se trata de cuatro fuentes manuscritas de naturaleza y contenido muy diverso, que añaden nuevos datos para la obra poética de Gracia Dei y evidencian el complejo proceso de transmisión textual en el que se inserta.

La Memoria En Espiral: Poéticas Del Trauma En Amuleto De Roberto Bolaño

My article advances the notion of trauma as a synecdochic event in Amulet (1999) by Roberto Bolaño. I will showcase how Amulet functions as a false memory or testimony by focusing on aspects of ekphrasis, surrealism, and trauma within the novel. The main character, Auxilio Lacouture, suffers from fractures of memory, which renders her enunciation both ambiguous and ambivalent. This ambivalence demonstrates both a lack and an overabundance of poetry. Bolaño intends to recapture the events that precede and follow the Tlatelolco student massacre in Mexico. In doing so, he exhibits the traumatic potentiality of State-sanctioned violence as a source for poetry. By recreating and fictionalizing these unnamed events, Bolaño dismantles the symbolic production of order and modernity brought forth by the government's ideologues during the time leading to the Olympic games and the institutional silencing of the witnesses amid the massacre. Moreover, the narration of trauma becomes a paradoxical enterprise, because the fragmentation of the self becomes an unavoidable totality that erases coherent narrative and fills its vacuums with memories of suffering, endless repetition, and reiteration.

Irish Poetry and Its Contribution to European Literature

<p>Irish poetry is considered one of the oldest and most enriched sources of poetry in Europe. As a small nation with a less prominent contribution to world literature, the Irish have benchmarked some of their brightest examples in the form of Gaelic writings, and present an outstanding account of oral traditions and oral poetry that have passed down the generations to the contemporary 21st century. Their literature represents various facets of Irish culture, history, and socio-cultural aspects reflected through magical verses of poems, the nature of which has transcended generations and established itself in the history of Europe.</p>

The Ages of a Woman and the Middle Ages

This essay springs from the experience of translating the Old Irish ‘Song of the Woman of Beare’, and from researching its reception in the twentieth century. The poem was rediscovered in the 1890s and the scholarly reaction is tinged with Victorian preoccupations, including the bohemian cult of François Villon. In Ireland it is aligned with Pearse's ‘Mise Éire’, and with the work of later poets such as Austin Clarke. But as well as voicing the ancient text, the Woman of Beare appears in folklore in both Ireland and Scotland, and there are interesting parallels and divergences between the traditions of scholarship and the figure in the popular imagination. My account of the impact of both text and myth shows a development through the mid-twentieth century and into the twenty-first, in the work of poets writing in both Irish and English. In recent decades the work of women poets has engaged with the myths of the Cailleach as Goddess, and they have thus confronted questions of the legitimacy of treating the past, and especially mythology and folk beliefs, as a source for poetry. I believe it would be foolish for a poet who has the knowledge and critical intelligence to do it properly to ignore such a resource.

Night

Night Translated by Andrew Schelling (bio) rātrau vāribharālasāmbudaravodgvignenā jātāśruṇāpānthenātmaviyogaduḥkhapiśunaṃ gītaṃ tathotkaṇṭhayāāstāṃ jīvitahāriṇaḥ pravasanālāpasya saṃkīrtanaṃmānasyāpi jalāñjaliḥ sarabhasaṃ lokena datto yathā rātrau. in the night vāri-bhara-ālasa-ambuda-ravaudvignena. (bv. cmpd.) by him (the traveler) stricken by thunder from the cloud, slow and weighted with rain jātāśruṇā. (bv. cmpd.) he with rising tears pānthena. traveler ātma-viyoga. own separation duḥkha. grief piśunaṃ. (adj. with song) telling, disclosing gītaṃ. song tathā. in this way utkaṇṭhayā. grieving (literally, lifting the throat) āstāṃ. must be (with traveling) jīvita-hāriṇaḥ. life destroying pravasana. living far-off, traveling ālāpasya. talk samkīrtanaṃ. praise, glory, boasting mānasya. pride api. then jalāñjaliḥ. water or funerary offering (here: respect, observance; meta phorically, silence) sarabhasaṃ. quickly lokena. by the people datto. (is) given yathā. thus [End Page 10] Nightturbulent overhead cloudsand a ripple of thunder.The travelerstung with tearssings of a faraway girl.Oh travelingis a kind of death,the village people hear it,lower their headsand suddenly quit theirproud talesof adventure. You could gather hundreds of Indian poems, sculptures, murals, and paintings that depict a person singing or playing music: love songs, work songs, ballads, folk lyrics—all carrying a subtle message for the listener or viewer. In particular the poets were sensitive to songs of heartbreak or separation from a beloved. Picture the villagers—many of them having returned home just ahead of the monsoons—seated by an evening fire, outdoing one another with accounts of their adventures in faraway places, when a song of grief cuts the night. Travel in Old India was a necessity, but with the onset of the monsoon season, traders, merchants, soldiers, and pilgrims returned home to wait out the rainy months. This is the time in India when rain swells the rivers, roads get washed out, and travel becomes arduous or perilous. But monsoon season is also when Earth puts forth sweet blossoms, fresh grass emerges, and animal and bird life seems to waken. The poets regarded it as the time when, after long journeys home, humans make love to the sound of rainfall in the refreshing nights. To be caught on the road when the rains begin is the gravest misfortune. The villagers—hearing the traveler sing—give up glorifying travel, which steals one’s life, and make a funerary offering (jalāñjali) to their own boastful stories. Here, the anonymous poet pays quiet tribute to the origins of poetry which lie in folksong. India has a long-held belief that village life and its repertoire of songs provide the best source for poetry. In their earliest verse collections, urban or courtly cultures cast a wistful, admiring look at the lives of rural or hunting people. Ethnopoetics. You find this tribute to origins in China’s Book of Songs, Japan’s Manyōshū, and in The Greek [End Page 11] Anthology; Shakespeare; Coleridge and Wordsworth in Lyrical Ballads; Blake’s Songs of Innocence and Experience; García Lorca’s Gypsy Ballads; and Lorine Niedecker’s New Goose. Each poet wrote from his or her own folk tradition. I wonder if the speaker in this poem isn’t a traveler, himself caught on the road as the clouds thicken. [End Page 12] Andrew Schelling Andrew Schelling, born in 1953 at St. Elizabeth’s Hospital, Washington, D.C., has written, edited, or translated twenty books. Early opposition to American involvement in Vietnam, plus an encounter with India’s texts, set him on a lifelong engagement with Asian literature. He studied Sanskrit at the University of California at Berkeley, and began to translate from its classical poetry tradition around 1978. His first book, Dropping the Bow: Poems of Ancient India, received the Academy of American Poets translation award in 1992, the first time the Academy had honored work done from an Asian language. Schelling’s own poetry and essays emerge from the Southern Rocky Mountain bioregion in which he lives. Recent books of poetry wrangle with...

“POESIA DE EXPORTAÇÃO”: A VIAGEM GEOGRÁFICA E ETNOGRÁFICA NA POESIA BRASILEIRA

A viagem etnográfica e geográfica na tradição Ocidental é descrita como uma fonte de poesia, formalizada através da mitologia, das narrativas de viagens e de relatos de encontros inesperados entre pessoas e culturas. Na Literatura Brasileira, a poesia é encontrada na Carta de Pero Vaz de Caminha, estendendo-se até a última viagem de Ulisses em “Finismundo” de Haroldo de Campos. Por que e com que propósitos o poeta brasileiros viaja? Neste artigo examinamos casos de poesia etnográfica e geográfica. Oswald de Andrade recorta poemas extraídos da "Carta" e de crônicas coloniais; em 1924, Blaise Cendrars, que fornece um protótipo de poesia de viagem para o modernismo, chega a São Paulo para praticar uma poesia de viagem que se estende até a Poesia Pau Brasil de Oswald de Andrade. No mediterrâneo, Murilo Mendes, João Cabral de Melo Neto, Ana Cristina César e Haroldo de Campos interpretaram poeticamente a geografia física. Os poetas concretos de São Paulo agem, através de uma rede internacional de materiais, de estruturas e de recepção. Poetas contemporâneos como Angélica Freitas exemplificam a deglutição das viagens globais virtuais em uma poesia brasileira híbrida. Através das viagens etnográficas, a poesia descobre tanto as suas origem e seus mais amplos significados.

Living “As and Where We Are”: Feeling and the Emotions as Situated Poetics

��� In a 1978 article, the American literary critic Albert Cook claimed that Robert Creeley’s “preconscious” poems undertook the functions of both the “I” and the “it.” Cook is cryptic about the precise meaning of these pronouns just as he never defi nes the preconscious, but he follows these terms with the claim that the “self-possessed” voice Creeley employs in many of his poems “fl attens” but still “retains” Wordsworth’s “something evermore about to be” (Cook 1978, 355). Creeley as a fl attened William Wordsworth is a curious image. Creeley was always thin, but I suspect that Cook here is referring more to the aesthetic qualities of Creeley’s work and its romantic heritage than to his physique, both in the ways that Creeley exemplifi es a prevailing modernist disposition towards language and its relation to things, and in the ways that he represents affective stances that speak to our ordinary and everyday experiences of the world, rather like Wordsworth’s own claimed fealty to “ordinary language.” The trajectories of Cook’s associations, however, are complex, linking Creeley’s “preconscious” poetry with the “I” and the “it” (the ego and the thing) and, fi nally, with Wordsworth and the Romantic transcendental ego whose activity unifi es its mental contents into a coherent representation of the external world. Cook rather assiduously skirts any specifi c references to the emotions in his analysis of Creeley’s poems, but instead suggests that the related notions of “sentiment” and feeling underpin Creeley’s “hardbitten” affective poetic poses and, perhaps, establish a thin resemblance to Wordsworth’s “overfl ow of powerful feelings” as both the source of poetry and the affect of the poetic imagination. Cook’s associations therefore minimally link signifi cant points in the aesthetic shifts from a Romantic transcendentalism in which Wordsworth’s transcendental “I” inhabits, absorbs, and discloses the emotional registers of his remembered experiences to the more primordial aesthetics of American modernist poets like Creeley, who in a more abstract poetics, extends feelings into emotions in order to invest his poetic objects with what he calls “the emotion-literal” (1970, 28). The externalization of emotion is a restoration to

On Inventing Unknownness: The Poetry of Disenchanted Reenchantment (Leopardi, Baudelaire, Rimbaud, Justice)

On Inventing UnknownnessThe Poetry of Disenchanted Reenchantment (Leopardi, Baudelaire, Rimbaud, Justice) Ross Chambers Les inventions d'inconnu réclament des formes nouvelles. Arthur Rimbaud Rimbaud's phrase comes near the end of a famous letter he wrote in May 1871 to Paul Demeny, one of two that are called "les lettres du Voyant."1 "Inventions d'inconnu" is a remarkable phrase, implying as it does that the unknown is not something pre-existing that poetry might "discover," but an outcome, something that can exist only as a consequence of its having been poetically "invented," in apparently a number of different ways. Not a source of poetry then but a product requiring as its precondition new formal modes that are themselves, presumably, to be either discovered or invented—i.e. found ("trouver une langue" is another famous phrase from the same letter). To find "a" language would result, then, in an invention of "de l'inconnu," something having the quality of unknownness; it would not bring about the discovery of "the" unknown, "l'inconnu." So the earlier phrases in the letter to Demeny about the poet's "arriving" at "the" unknown have to be reinterpreted in light of this final phrase about its invention. Writing to Edmund Gosse in January 1893, Mallarmé a bit unexpectedly echoes Rimbaud, referring to "the beyond magically produced by certain dispositions of speech" ("l'au-delà magiquement produit par certaines dispositions de la parole").2 A wonderful essay by the anthropologist Michael Taussig describes the healing "magic" of shamans as an invention of unknownness, and does so in terms that resonate with Rimbaud and Mallarmé [End Page 15] on poetry.3 Magical practices bring about healing to the extent that the shaman's tricks are appropriately performed, an art that Taussig describes as the "skilled revelation of skilled concealment." The shaman may trick openly, but only so long as the trick is performed smoothly, in a dégagé manner, and he does not either bungle it or otherwise let on that he is performing a trick. For "exposure of the trick is no less necessary to the magic of magic than is its concealment." In the way that a show of secrecy can produce belief in a secret that may or may not be actual, so the artful display of shamanistic sleight-of-hand can produce effective therapeutic outcomes. So, to summarize, a certain form of shaman hypocrisy and not-knowing (agnosticism) goes into a subterfuge that, says Taussig, "highlights natural mysteries as well as those that are inherent in social institutions and personal relations" (155). The lighting, in other words, is artificial; but the illumination is real. Shamanism's "invention of unknownness" concerns real relations, and it has genuine outcomes. I want to suggest, then, that such an understanding of magical healing as a product of the skilled revelation of skilled concealment also offers us a definition of modern art, as another practice in which we—both the practitioners and the users of art—have faith even "while suspecting it is a lot of hooey" (Taussig, 123). There is, in other words, a category of practices, of which art is one and shamanism another, that amount to forms of trickery or fraudulence but whose efficacy arises from the fact that, at the same time as they deceive, they are up-front, honest about their facticity. In this they differ from lying, which works only if the deception remains concealed. A century ago the Russian Formalists enduringly defined the twin tenets of aesthetic modernism as (a) "defamiliarization," or estrangement (making the world wonderful) and (b) "laying bare the device." It turns out, then, that, if Taussig and I are right, these practices are in fact co-dependent; and that the aesthetic invention of unknownness depends on and demonstrates their inseparability. But I will be modifying Shklovsky's formula slightly and redefining his "making strange" as making the world wonderful again.4 In the arts, especially the language arts, we have a name for upfront trickery, deceit, fraudulence or other recourse to tricks of the trade; that name is figurality, or troping. All language is figural, of course, in respect of its referent; but second-degree...

One, two, three, four, five

Poems and rhymes can be used to inspire imaginative and dramatic play in young children. At home, nursery rhymes are often the most useful, accessible source of poetry, familiar to us and our children. Tr y learning this rhyme with your child - the proper version first! Sing along if you know the tune. Encourage them to say the words as clearly as possible.

Yeats : les principaux jalons dans la recherche de l'identité

Yeats defines his identity in his life and work and elaborates his own theory. The germs of his conception are found in the three stories of 1897 : Rosa Alchemica, The Tables of the Law, The Adoration of the Magi, and in the Autobiography. Then the theory takes shape in The Player Queen. Growing richer by contact with the Noh plays, it matures in the essay "Swedenborg, Mediums and Desolate Places" which leads to Per Arnica, men to the first version of A Vision. At the same time it provides the pattern for some of the most beautiful poems. The fulfilment of personality implies the of contraries, that of self and anti-self or mask. Rose, dance, wheel, zodiac are the symbols of re-united contraries, Unity and perfection. Yeats follows the evolution of personality through history and through the successive lives. Besides, the conflict of self and anti-self is an aspect of this quarrel with ourselves which is a source of poetry. Granted the many metamorphoses, where is our true identity ? Among School-Children tries to give an answer. By assuming his identity, Yeats has made the unconscious conscious and expressed the universal self.

Tocqueville and the Idea of an American Literature (1941-1971)

IT MIGHT SEEM perverse to focus on the idea of an American literature by paying much attention to the opinions of a youthful French liberal aristocrat who had no opportunity of reading any of it. All he had to say about it after his visit in 1831 can be found in a few pages of Democracy in America, where he prophesies about the shape of modern democratic literature. Moreover, democracy for him is an ideal type or model of an egalitarian system, one mainly pertinent to a possible French future and only partially illustrated in American actuality, which in his view had some powerful antibodies against the bleak diseases of modernism that might isolate citizens under the soft despotism of a paternalistic administration.' For Tocqueville the sources of poetry in a democratic world centered around the nature of man himself, because the social space between the individual and the state would be empty of the aristocratic forms of life that had previously filled it. Reflecting on the examples of Chateaubriand, Lamartine, and Byron, he prophesied in the 1840 volume of his book that modern democratic writers would, by focusing on "passions and ideas" in "the hidden depths of man's spiritual nature," illuminate by exaggeration, as he put it, "certain dark corners of the human heart."2

Coleridge's Metacriticism

I borrow metacriticism from J. H. Muirhead, who has described Coleridge as combining “a genius for criticism” with “the metacritical craving for a theory of aesthetic.” And I am aware that the framework of critical “modes” into which Coleridge is fitted in the essay that follows is quite an arbitrary one; how arbitrary is readily shown by a glance at a recent anthology of critical writing edited by Mark Schorer, Josephine Miles, and Gordon McKenzie. Coleridge appears there alongside Aristotle as a critic who emphasizes the “form” of poetry rather than its “source” or “end.” I have used the same kind of triple relationship to define “poetry,” although I have called the relationship that of Poet, Poem, and Reader rather than Source, Form, and End. But I have preferred to treat Coleridge as a “romantic” critic who attempts a synthesis of Aristotelian form and Platonic end by placing his critical emphasis on the source of poetry in the poet's creative imagination.

The Source of Poetry

The Source of Poetry

The Source of Poetry

The Source of Poetry

Source of poetry wanted

Source of poetry wanted

Source of poetry wanted

Source of poetry wanted