krainaksiazek the many faces of love in paintings and poetry 20170066
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Natasha's Dance Penguin
Powieści i opowiadania
Selected Poems AURUM PRESS
Książki / Literatura obcojęzyczna
W.B. Yeats was the twentieth-century heir of the Romantic poets and is considered by many to be the finest poet of the last hundred years. He was an artist whose long career and thematic and stylistic evolution eschewed the almost mythic tendency of Romanticism: he failed to flame briefly and die young, as did Keats, Shelley and Byron before him. This undoubtedly makes Yeats, the last unrepentant romantic, especially interesting, and the themes of human love and the ravages of time resultantly reverberate throughout his poetry. Living through a turbulent, violent epoch in Irish and European history, Yeats' poetry can be seen as a creative reflection of its often hostile context -as a poet he is remarkable for bridging the gap between a backwards-looking appeal to Victorian sensuousness, and a modern hardness of edge and acerbity. Yeats believed that poetry is nothing less than 'the true voice of feeling'. This selection, from his early lyricism to his more mature mysticism, shows a mind growing ever more adept at matching intense feeling with fully crafted art. The 32 poems selected in The Illustrated Poets: W.B. Yeats are accompanied by English and Irish paintings of the nineteenth and twentieth centuries, and cover every stage in his writing career. This compact anthology, with an introduction by Peter Porter, himself one of the most renowned poets of the second half of the twentieth-century, is a concise and valuable introduction to the last of the Romantics.
D.H.Lawrence Crescent Moon Publishing
Książki / Literatura obcojęzyczna
D.H. LAWRENCE: SYMBOLIC LANDSCAPES This book analyzes the rich discourses of mythology, symbolism, form, eroticism and landscape in D.H.Lawrence's fiction. Jane Foster traces Lawrence's symbols (tigers, suns, fish, peacocks) in many of the short stories, as well as the major novels. 'Spirit of place' was always important for Lawrence, and Foster's study investigates how Lawrence's concept of place informed his fiction, poetry and travel books. EXTRACT Lawrence uses many traditional poetic symbols - flowers, fire, the Moon - but there are some symbols that he has made very much his own: blood, rivers, the phallus, rainbow and the Lawrencean bestiary: horse, phoenix, peacock, dragon, snake, lion, tiger, rabbit and fish. The Lawrencean animals are the most alive of living symbols. There are many symbolic beasts in the poems too: fish, tortoises, snakes, eagles, elephants, mosquitoes, goats, etc. ..... D.H. Lawrence probably uses more flowers in his art than any other comparable writer. The poems are full of flowers - irises, violets, roses, campions - all kinds of flowers, hundreds of flowers, blossoms and plants. He fills his books with flowers rather like the Early Netherlandish painters filled their paintings of the Madonna with heaps of flowers. Lawrence uses flower symbolism to underpin the action and the emotional states of his characters. Ursula, for instance, delights, as Connie Chatterley does, in flowers. They remind her of the beauty of the world when the pain of love becomes too much. In Women in Love, Ursula is transported, to use the old term, by some daisies floating in water: She went along the bank towards the sluice. The daisies were scattered broadcast on the pond, tiny radiant things, like an exaltation, points of exaltation here and there. Why did they move so strongly and mystically? "Look," he said, "your boat of purple paper is escorting them, and they are a convoy of rafts. Some of the daisies came slowly towards her, hesitating, making a shy, bright little cotillion on the dark clear water. Their gay, bright candour moved her so much as they came near, that she was almost in tears. "Why are they so lovely?" she cried. "Why do I think them so lovely?" With illustrations, bibliography and notes.
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