European Poets (Critical Survey of Poetry)
Rosemary M. Canfield Reisman
Language: English
Pages: 1312
ISBN: 2:00121686
Format: PDF / Kindle (mobi) / ePub
European Poets is part of Salem Press’s greatly expanded and redesigned Critical Survey of Poetry Series. The Critical Survey of Poetry, Fourth Edition, presents profiles of major poets, with sections on other literary forms, achievements, biography, general analysis, and analysis of the poet’s most important poems or collections. Although the profiled authors may have written in other genres as well, sometimes to great acclaim, the focus of this set is on theirmost important works of poetry.
The Critical Survey of Poetry was originally published in 1983 and 1984 in separate English- and foreign-language series, a supplement in 1987, a revised English-language series in 1992, and a combined revised series in 2003. The Fourth Edition includes all
poets from the previous edition and adds 145 new ones, covering 843 writers in total. The poets covered in this set represent more than 40 countries and their poetry dates from the eighth century b.c.e. to the present. The set also offers 72 informative overviews; 20 of these essays were added for this edition, including all the literary movement essays. In addition, seven resources are provided, two of them new. More than 500 photographs and portraits of poets have been included.
Discussion of the famous generación del 27, or Generation of ’27, he generally languishes near the end of the list. On the other hand, the extraordinary atmosphere of the times did much to foster his talents; even among the giants, he Critical Survey of Poetry earned acceptance and respect. He may occasionally have been lost in the crowd, but it was a worthy crowd. His Marinero en tierra (sailor on dry land) won Spain’s National Prize for Literature in 1925, and throughout his long career, his.
The experience of the artist to the interior experience of the imaginative writer. In L’Arrière-pays Achievements Yves Bonnefoy is one of the most highly admired poets to reach maturity in France in the post-World War II period, and many would identify him as the most important French poet-intellectual at the turn of the twenty-first century. His early work had the character of being challenging and even hermetic, but it struck a chord with a whole generation of readers and poets. His poetry has.
Que todo es mi dama (pb. 1662; my lady comes before everything else). Fifteen of Calderón’s nondramatic poems are sonnets; added to the sonnets that he included in his dramatic works and the one inserted in the longer poem Psalle et sile, they make a total of eighty-six sonnets, collected in a single volume by Rafael Osuna in 1974. Calderón’s sonnets reflect the main poetic currents of his times; Gongorism and conceptismo are both present, with a preference for the latter. In general, Calderón’s.
Of his poems, and he frequently borrowed from himself, rearranging both lines and poems. In particular, Apollinaire tells stories of the modern city, imitating its new structures as Arthur Rimbaud did in his innovative patterns, and like Charles Baudelaire, Apollinaire peoples his verse with the forgotten and the poor, the prostitutes and the clowns. Apollinaire had a remarkable sense of humor, displayed in frequent word-plays, burlesques, and parodies. The briefest example of his use of puns is.
Baudelaire, Charles Suffering Suffering, inflicted on others or on oneself, is a frequent theme in Flowers of Evil and is linked to learning and self-awareness. In “Heautontimoroumenos” (a Greek term for “the executioner of oneself,” borrowed from a comedy of Terence), the speaker declares himself a “dissonance in the divine symphony” on account of the irony that eats away at him. In the most remarkable stanza, he declares in part, “I am the wound and the knife!/ I am the blow and the cheek!” In.