English Poetry

These poems, composed in Somali and in English, provide a poetic reflection of the recently emerged debate on the theme of Caddaan Studies which means "White Studies". The criticism and counter-criticism contained in the debate dug so deep into life nerve of Somali Studies that over a thousand people participated. The poems, under the title "Inaugurating Caddaan Studies" were composed with a critical observation of the debate.

Poetry is speech meant for contemplation of the mind by the way of hearing or speech framed to be heard for its own sake and interest even over and above its interest of meaning. Some matter and meaning is essential to it but only as an element necessary to support and employ the shape which is contemplated for its own sake… Poetry is in fact speech only employed to carry the inscape of speech for the inscape " s sake and therefore the inscape must be dwelt on. (House and Storey 289) These are the ideas expressed by Hopkins himself from which we come to know that Hopkins " s is meant for hearing rather than reading. For creating the sonic beauty in his poetry, he gives first and foremost importance to the shape or design in his poetry. In a letter to Bridges Hopkins explains the aim of his poetry, " design, pattern, or what I am in the habit of calling inscape is what I above all aim at in poetry " (House and Storey 66). This inscape in his poetry, he creates through the shape of sounds. The highest aim of his poetry can be realized through a close observation of the phonological features of his poetry. These phonological features tend to make a pattern with the help of one principle and that is repetition in Hopkins " s poetry. Through the repetition of sounds, he presents the inscape or the shape in a poem which is a sum total of sound patterns as received by the ear. We can understand the importance of repetition of sound in his poetry through the following diagram: If we make a single cross, that will neither be important nor noticeable to us but if we repeat the item, that will make a design or pattern. Suresh K. Agarwal states the importance of repetition in Hopkins " s poetry in the following words: It would seem that the central nature of poetry for Hopkins is repetition. We find in his poetic work repetition of grammatical forms, whether a sentence, a clause, a phrase or a word; repetition of an idea, repetition of vowels or consonants, initial or final. (Agarwal 31) He uses various repetitive devices to get his aim. All these devices may be gathered under one head called " Rhyme ". Because rhyme does not mean merely the similarity of sounds at the end of

REED, J. D., "Pessoa's Antinous"  (2016). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 10, Fall, pp. 106-119. Brown Digital Repository. Brown University Library. https://doi.org/10.7301/Z0319T31

Is Part of:

Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 10

Pessoa's Antinous
[O Antínoo de Pessoa]
https://doi.org/10.7301/Z0319T31

ABSTRACT

Pessoa's Antinous follows a tradition of poems on mythological dying-god figures mourned by their divine lovers, transferring the tropes of that tradition to the Roman emperor Hadrian and his lover, who had been appropriated by fin-de-siècle literary homoeroticism.

RESUMO

O Antinous (Antínoo) de Fernando Pessoa segue uma tradição de poemas sobre deuses mitológicos moribundos sendo lamentados por seus amantes divinos. Pessoa transfere os artifícios dessa tradição para duas personagens, o imperados romano Adriano e seu amante, o qual tinha sido apropriado pelo homoerotismo literário do fim do século XIX.

BIBLIOGRAPHY

ACTON, Harold (1925). An Indian Ass. London: Duckworth.
ALDRICH, Robert (1993). The Seduction of the Mediterranean. London: Routledge.
CADARIO, Matteo (2012). “Le molteplici e mutevoli immagini di Antinoo.” Antinoo. Il fascino della
bellezza. Edited by Marina Sapelli Ragni. Milan: Soprintendenza per i beni artistici e storici
del Lazio, pp. 64-77.
DOVER, Kenneth J. (1989). Greek Homosexuality. Cambridge, Mass.: Harvard University Press, 2nd
edition. [1st edition 1978].
DU PLESSIS, Michael (2002). “Unspeakable Writing: Jean Lorrain’s Monsieur de Phocas.” French Forum,
27, 2, pp. 65-98.
ELLIS, Havelock (1915). Affirmations. Boston: Houghton Mifflin Company, 2nd edition [1st edition
1898].
FERRARI, Patricio and Jerónimo PIZARRO (guest eds.) (2015). Portuguese Literary & Cultural Studies,
n.º 28 (Fernando Pessoa as English Reader and Writer). North Dartmouth: Tagus Press at
UMass Dartmouth.
FRAZER, James (1914). The Golden Bough. Pt. 4: “Adonis Attis Osiris.” vol. 1. London. Macmillan. 3rd
edition. [1st edition 1906].
GOSSE, Edmund (1912). Portraits and Sketches. London: William Heinemann.
HALPERIN, David M. (2006). “The Best Lover.” B. Dufallo and P. McCracken, eds., Dead Lovers: Erotic
Bonds and the Study of Premodern Europe. Ann Arbor. University of Michigan Press, pp. 8-21.
INGLEHEART, Jennifer (2015). “Putting the Roman back into Romance: The Subversive Case of the
Anonymous Teleny.” Ancient Rome and the Construction of Modern Homosexual Identities.
Oxford: Oxford University Press, pp. 144-75.
JONES, Christopher (2010). New Heroes in Antiquity: From Achilles to Antinoos. Cambridge: Harvard
University Press.
KLOBUCKA, Anna M. (2013). “Fernando Pessoa ativista queer: Uma releitura do ‘Antinous.’”
Unpublished paper. Web: www.academia.edu/5592763/Fernando_Pessoa_ativista_queer
_Uma_releitura_de_Antinous_ (accessed 18 November 2016).
KOPELSON, Kevin. 1994. Love’s Litany: The Writing of Modern Homoeroticism. Stanford: Stanford
University Press.
LAMBERT, Royston (1984). Beloved and God: the Story of Hadrian and Antinous. New York: Viking.
LIVREA, Enrico (1999). “Chi è l’autore di P. Oxy. 4352?” Zeitschrift für Papyrologie und Epigraphik, 125,
pp. 69-73.
MADER, D. H. (2005). “The Greek Mirror: The Uranians and Their Use of Greece.” Journal of
Homosexuality, 49, 3-4, pp. 377-420.
MEYER, Hugo (1991). Antinoos: Die archaologischen Denkmaler unter Einbeziehung des numismatischen
und epigraphischen Materials sowie der literarischen Nachrichten. Munich: W. Fink.
MONTEIRO, George (2007). “Fernando Pessoa, He Had His Nerve.” Embodying Pessoa: Corporeality,
Gender, Sexuality. Edited by Anne M. Klobucka and Mark Sabine. Toronto: University of
Toronto Press, pp. 125-148.
PESSOA, Fernando (2014). Poèmes français. Edition established and annotated by Patricio Ferrari in
collaboration with Patrick Quillier. Preface by Patrick Quillier. Paris: Éditions de la
Différence.
____ (1999). Fernando Pessoa: Correspondência 1905-1922. Edited by Manuela Parreira da Silva.
Lisbon: Assírio & Alvim.
____ (1993). Poemas Ingleses. Antinous, Inscriptions, Epitalamium, 35 Sonnets. Edited by João
Dionísio. Lisbon: Imprensa Nacional-Casa da Moeda. Critical Edition of Fernando Pessoa.
Major Series, vol. V, tome I.
____ (1974). Obras completas de Fernando Pessoa. Poemas Ingleses. Edited by Jorge de Sena. Lisbon:
Edições Ática. vol. 11.
RAYNAUD, Ernest (1888). Chairs profanes. Paris: Léon Vanier.
REED, J. D. (2000). “Arsinoe’s Adonis and the Poetics of Ptolemaic Imperialism.” Transactions of the
American Philological Association, 130, pp. 319-351.
____ (2006). “Wilfred Owen’s Adonis.” Basil Dufallo and Peggy McCracken, eds., Dead Lovers:
Erotic Bonds and the Study of Premodern Europe. Ann Arbor: University of Michigan Press, pp.
39-56.
____ (1997). Bion of Smyrna: The Fragments and the Adonis. Cambridge: Cambridge University
Press.
RENBERG, Gil H. (2010). “Hadrian and the Oracles of Antinous (SHA Hadr. 14.7); with an Appendix
on the So-Called Antinoeion at Hadrian’s Villa and Rome’s Monte Pincio Obelisk.” Memoirs
of the American Academy in Rome, 55, pp. 159-98.
RODITI, Edouard (1962). “Fernando Pessoa, Outsider Among English Poets.” The Literary Review, 6,
pp. 372-85.
SABINE, Mark (2007). “‘Ever-Repositioned Mysteries’: Homosexuality and Heteronymity in
‘Antinous.’” Embodying Pessoa: Corporeality, Gender, Sexuality. Edited by Anne M. Klobucka
and Mark Sabine. Toronto: University of Toronto Press, pp. 149-77.
SAPELLI RAGNI, Marina, ed. (2012). Antinoo. Il fascino della bellezza. Milan: Soprintendenza per i beni
artistici e storici del Lazio.
SHEPHERD, Reginald (1996). Angel, Interrupted. Pittsburgh: University of Pittsburgh Press.
VOUT, Carolyn (2007). Power and Eroticism in Imperial Rome. Cambridge: Cambridge University
Press.
WATERS, Sarah (1995). “‘The Most Famous Fairy in History’: Antinous and Homosexual Fantasy.”
Journal of the History of Sexuality, 6, pp. 194-230.
WILDE, Oscar (1989). Oscar Wilde. Edited by Isobel Murray. Oxford: Oxford University Press.
WEIR, David (1996). Decadence and the Making of Modernism. Amherst: University of Massachussetts
Press.

Das Interesse an der englischen Lyrik des sogenannten Fin-de-Siècle 1 hat sich in Deutschland immerhin in einigen jüngeren Übersetzungen niederge-schlagen. So hat Frank Stückemann Ernest Dowson und Lionel Johnson 2 übersetzt und Hans Wipperfürth A. E. Housman. Und nun legt der renom-mierte Berliner Anglist Manfred Pfister, Spezialist u.a. für Oscar Wilde und das Fin-de-Siècle, 3 eine neue Übersetzung im Rahmen einer zweisprachi-1 Siehe allgemein Handbuch Fin de Siècle / hrsg. von Sabine Haupt und Stefan Bodo Würffel.-Stuttgart : Kröner, 2008.-XXII, 950 S. : Ill. ; 22 cm.-ISBN 978-3-520-83301-3 : EUR 49.00 [9888].-Rez.: IFB 08-1/2-300 http://swbplus.bsz-bw.de/bsz285758837rez.htm-Ferner: Fin de siècle / Monika Fludernik .

Indian literature contains many allusions to metaphysical love with a wide range of physical symbolism. Love is an overarching term and denotes affection and attraction between two individuals and thus incorporates a variety of relationships. The appreciation of beauty of all kinds and the knowledge of the science of love focusing on the capacity to give as well as to receive physical joy and happiness are specially underlined in the treatises as essential assets of Indian Literature. Romantic love is all about that beautiful, charged, amorous, intense, albeit transient moment. In our Indian literature these romantic moments shown in any form of literary writing or language are evanescent, spontaneous, unexpected and unrehearsed and it is only the skilled poet or the consummate artist who is able to capture that heart-throbbing moment and convert it to a moment of beauty in an artistic creation.

In 1972, four anthologies of post-war Japanese poetry were brought out by British publishers: Thomas Fitzsimmons’s Japanese Poetry Now; Graeme Wilson and Atsumi Ikuko’s Three Contemporary Japanese Poets; Geoffrey Bownas and Mishima Yukio’s New Writing in Japan; and Kajima Shōzō, Lynn Guest and Harry Guest’s Post-War Japanese Poetry. This unprecedented interest in modern Japanese poetry formed part of what Ted Hughes called the ‘unique tidal wave’ of poetry translation in the 1960s and early 1970s. This spate of modern Japanese poetry translations resulted from the practice of British poets teaching in Japanese universities, from the increased post-war interest in modern Japanese art and literature, and the earlier importance of Japanese poetry for Anglo-American modernism, and Imagism in particular.

The tenets of the Imagists became widely influential after the war and informed the poetics of Penguin’s Poetry Editor, Nikos Stangos. In private correspondence he asked Harry Guest, co-editor of Post-War Japanese Poetry, to make the Japanese poems ‘into something more imagist’; he accompanied this request with an eight-page letter of suggested corrections to Guest’s submitted manuscript. Many of these suggestions sought to change the translations to accord with Imagist principles so that the Japanese poems would ‘more closely resemble contemporary English poetry’. Modern Japanese poetry had, however, evolved in a different direction, taking particular inspiration from French Symbolist, Dadaist and Surrealist poetry that did not usually employ the visual concretion Imagism demanded. An examination of Post-War Japanese Poetry not only reveals the prevalence of Imagist poetics in British poetry of this period; it presents a special case, as such a poetics had itself developed from an earlier encounter with Japanese poetry.

This thesis examines how, and to what extent, British cultural institutions, translators, publishers and readers were receptive to post-war Japanese poetry. It thus challenges the frequently held view at the time that British poetry was parochial. Post-War Japanese Poetry forms the focus of this thesis because it was brought out by a major global literary publisher; furthermore, Stangos and Guest’s discussions about how to translate the poems go to the heart of many vital questions concerning poetry translation. The thesis is structured around four different kinds of receptivity: the conditions that gave rise to the translations; the selection of poems; their translation; and the anthology’s reception. It seeks to make an intervention not only in the Anglophone understanding of post-war Japanese poetry, but also in the fields of translation studies and post-war British poetry. It explores a unique period when many of Britain’s most well-known poets lived in Japan and translated contemporary Japanese poetry for its largest literary publishers.

Walter Benjamin says ”All great works of literature either dissolve a genre or invent one". I suggest that Keats’ “La Belle Dame Sans Merci” and Coleridge’s “The Rime of The Ancient Mariner” do both. The poems are not only related to their genre but they also play with it in various ways. With the help of the experimental success of Coleridge and Wordsworth in Lyrical Ballads, this paper will argue how the poems of Coleridge and Keats connect, break and play with their genre. Their symbolism and the creation of the sense of mystery will be one of the arguments to be opposed to the accepted “low artistic value” of ballads. While “La Belle Dame Sans Merci” and “The Rime of The Ancient Mariner” are in a harmony with their genre in their form, style and subject matters, the poems also have more to show besides the basic characteristics: they are able to break the accepted simplicity of the genre and be considered as “high art” in our minds.

The kundali is a six-line poem in Hindi verse characterized by its helical structure. Kundali in Hindi means a snake in its coil. The two main features of a kundali in its classical form are: 1. The last word or phrase of the second line recurs immediately at the beginning of the third, and 2. The first word of the kundali is also its last.

John Milton, in his Sonnet 16 'On his Blindness,' meditates on the disturbing effect blindness has had on his whole life and literary works. He compares his lost vision with 'light spent' and grieves not the handicap in itself but the restrictions it carries out on his work as a literary figure, particularly a poet. His poetic skill is significant to him that he describes it as that one talent,' signifying it is the only talent that is of importance.
This study is an attempt to analyze the concepts of blindness, sight, light, vision, and obedience with particular reference to his poem, sonnet 18 or 'On his blindness.' It starts with an introduction to John Milton as a poet. After that, it shifts to discuss the concept of Vision or Sight. Then, the study goes on to deal with the concept of obedience.  Next, it sheds light on the concepts of Blindness and Light. Afterward, the task moves to close with a conclusion. In this paper, the researcher applies the critical-analytical approach.

The full text is available here
http://kata.petra.ac.id/index.php/ing/article/view/18847

Death has always permeated human’s thoughts at all levels. This preoccupation with death is manifested in the realm of literature. John Donne is one of the artists whose obsession with death is universally recognized. The contemporary Iranian poet, Sohrab Sepehri in some of his poems employs the subject, too. Unlike Donne, Sepehri is not known as a ‘death poet.’ Although he lives in a turbulent period in the history of Iran, he is not influenced by his immediate condition. While the English poet is inconsistent in his treatment of death, Sepehri is consistent in his treatment of death. Sepehri’s consistency in the treatment of death has something to do with his religious beliefs. The reason behind Sepehri’s consistency in treating death as a positive phenomenon is his familiarity with the Islamic Sufism and eastern mysticisms.

This is a full scholarly edition of John Philips's influential georgic poem Cyder (1708), with a particular emphasis on the political, historical and agricultural themes of the poem. The editors are John Goodridge (Emeritus Professor of English, Nottingham Trent University) and Juan Christian Pellicer (Professor of English, University of Oslo).

A range of leading international scholars provide the reader with a comprehensive and accessible introduction to the extraordinary richness and diversity of Scotland’s poetry. Addressing Languages and Chronologies, Poetic Forms, and Topics and Themes, this International Companion covers the entire subject from from the early Middle Ages to the modern day, and explores the connections, influences and interrelations between English, Gaelic, Latin, Old Norse and Scots verse.

The First World War broke out at a time when active military service was considered to be the duty of the aristocracy and upper middle-class in England. However, the so-called ‘Great War’ was different in both nature and in scale from previous conflicts, with a devastatingly high death rate among soldiers, and particularly young officers. Consequently, it fundamentally disrupted established narratives of war in British culture. Attitudes towards the War, but also towards the cultural and moral value of war in general, evolved alongside the changing nature of warfare. This was reflected in the literature written at the time.
This course will focus on the effects of the First World War on poetry.

The Poetry Book 'Beyond Carnality: A Journey of a Bard to the Musical Paradise!' Chronicles the process of a soul from birth to baptism with music. Music engulfs the soul and it becomes the revelation of God to him! Once the soul finds everything Godly within the presence of music. Thus, the soul tends to mix up his existence with the melody that governs the universe. And then true emancipation takes place. Here, the solely personal experience of a man is inspired that tells how a man is accepted in this world; how he gains knowledge on the idea of religion, art, and culture, and how he transfers his all the knowledge in the creation like music. A soul driven by the urge to create the music finds every spiritual inspiration backing him and all the experiences help him shape every form of the creation.

The Victorian poet, Robert Browning was mostly regarded as a great poet of love and an innovator of the dramatic monologue. He was also equally popularly the best-known for his philosophy of optimism, and the philosophy of the Imperfect. But few have looked at Browning’s philosophy of pain, suffering, and evil revealed in his poetry. A humble attempt has been made in this article to explore the common subjects, themes and treatment of pain, suffering, and evil in the poetry of Robert Browning to which a precise and careful evaluative investigation have been assessed by a gone through his some poems abounded with multiple and manifold notions and speeches of speakers, lofty subject-matters, ejaculated diction, presentation, contemporary common psychoanalytical issues and cultural appearance, philosophy of the grand stories on the ground of common subjects and objects, selection of the private and common symbols, perfect imaginary, viewpoint and the perfect creation of characterizatio...

Previous scholarship on the subject of early seventeenth century cosmetics in the works of William Shakespeare has tended towards a consideration of their use in his theatre, with little attention paid to the everyday attitudes surrounding controversial beauty regimes of the period in Shakespeare’s Sonnets. Farah Karim-Cooper alludes to this lack of critical forethought in her book Cosmetics in Shakespearean and Renaissance Drama, wherein she determines the “contemporary culture of cosmetics extended beyond practice and vanity and into the domains of theatre, art, and poetry” (1 my emphasis). Despite this observation, Karim-Cooper dedicates the majority of her focus to Shakespeare’s dramatic works, interspersed with powerful yet insufficient references to the sonnet form. My contribution seeks to re-contextualize Karim-Cooper’s assertion that “early modern dramatists attempted to revalue the cosmetic” (2) within Shakespeare’s poetical framework, through a comparative reading of the ‘Procreation’ and ‘Dark Lady’ sequences; Shakespeare’s Sonnets “elevate” cosmetics not only by “reinvigorating their metaphorical uses” (Karim-Cooper 135) but by framing beauty, reproduction, and poetry as cosmetic devices.

The article deals with the interpretation of the painting
by American artist Edward Hopper (1882–1967),
Nighthawks, from 1942, this being carried out through
the poem of Wystan Hugh Auden (1907–1973) The Age of
Anxiety. A Baroque Eclogue from 1947. The basic premise of
the article is the similarity of the two works of art, which
came into being at the same time and in the same place,
which means in the first half of the 1940s in the USA.
Both Hopper and Auden selected the same artistic motif,
a night bar with a foursome of protagonists, who meet
in the midst of war and seek an escape from the outside
world of wartime chaos. The study by the interpretation
of Nighthawks in The Age of Anxiety traces possible
‚cracks‘ in the tradition of American painting through the
method of investigating an independent (artistic) time
and space created in the researched artworks

Art has always been closely intertwined with politics, and throughout history many artists have protested, both through their art and their political activism, against unjust political actions. In recent history, the Vietnam War era saw the rise of political art, a prime example of which could be observed in the proliferation of protest posters in the era. The ascendance of Donald Trump to the highest political office in the United States, and the fierce opposition by many American artists to him, marked another chapter in the battle between arts and politics. Against this backdrop, this article aims to analyze the way in which one of Robert Frost's most famous poems, "Mending Wall" (1914), was appropriated by the anti-Trump media to criticize his highly contentious immigration policies. In so doing, this article discusses "Mending Wall" and some of its recent political interpretations through juxtaposing two articles on the poem published in Los Angeles Times and The Washington Post, respectively. We argue that in their attempt to either support or oppose the building of the wall on the US-Mexico border, the authors offer a blinkered view of "Mending Wall" to serve their own political agendas. Frost's poem, however, transcends the boundaries of reductive politics by leaving the narrative open-ended, which, in turn, encourages the readers to come to their own conclusions over the question of the wall—a fact that can account for the sustained interest in the poem since its publication.

English Poetry of the 1930s and the 1940s. The seventh part of the second volume offers a selection of the poetry from the two decades from Stevie Smith and W. H. Auden to Dylan Thomas. English Literature – An Anthology for Students. Volume 2 - From the Romanticism to the Twentieth Century. Poznań: Dom Wydawniczy Rebis, 2011, pp. 536.

The effect of a poem is deliberately designed by the poet to make it meaningful and emotionally attach the reader. Just like Television poem by Roald Dahl which employs the language features, puts them as foreground, and affects the readers in meaning making. The structure and figurative languages in the poem creates the tone that can raise people awareness of the bad impact of television for children growth and on the other hand gently reminds today's parents about the goodness of reading books. This study gives empirical evidences of such impression by showing the poetic devices and the language features applied by the poet.

The research discusses the history of both British English and American English. The main goal is to find how far the history of American English is originated in British English. The research also sheds light on the historical factors beyond the linguistic differences between British English and American English. However, these differences are restricted to vocabulary and spelling in order to give them more depth in analysis. The study comes up with several interesting findings. Among these findings is the fact that American English is basically an outcome of Elizabethan English which the English settlers brought with them as they came to the North American Continent in the sixteenth century. Nevertheless, despite the fact that the main effect on American English resulted from British English on that time, there were many other resources that impacted it throughout time, such as American Indian Pidgin English, French, and Spanish and recent immigration of other various peoples like the Italian, Chinese and German to the United States. Moreover, with the passage of time, American English influenced British English and enriched its vocabulary, especially in the case of "Americanism."

The major problem of this study is the English anti-slavery poetry rhetoric from 1780 to 1865 that leads to abolishment of slavery, slave trade and racial discrimination in the United Kingdom, its domains and America.
Accordingly, this thesis focused upon ten antislavery poets. The researcher has used the formalistic and deconstructionist approaches to analyse and interpret their poems: William Cowper, Hannah More, by William Blake, William Wordsworth, Samuel Taylor Coleridge, Phyllis Wheatley, Laurence Dunbar, Claude McKay, Countee Cullen and Langston Hughes. 
This research has found that the bone of contention of slave trade and racial discrimination is colour and that only the whites who introduced and abolished slave trade and racial discrimination. In addition, Africans have proved being faithful believers in the God’s decision and fates because they did not resist slavery, slave trade or racism but show tolerance, piety and forgivingness and endurance of every mistreatment and oppression.

This textbook provides BA-level students with an introduction to the literary historical issues relevant to English Renaissance poetry. The textbook focuses notably on Renaissance love sonnets (Wyatt, Spenser, Sidney, Shakespeare) and on metaphysical poetry.