Rilke's refocusing of the myth on the subjective side of experience, on the potential delusiveness and illusoriness of the realm of "shades" and shadows, is certainly one of the main departures from classical poetry. The classical poet does not doubt his ability to convey the actuality of the journey. Rilke's shifting light, ambiguous images, unstable point of view (especially in his last stanza) express a more hesitant relation between language and reality. In changing the focus from Orpheus to Eurydice, Rilke also moves from exterior to interior realms and thereby depicts the otherness, the unreachableness, of
death and the dead.
Sayfa 120 - e-bookKitabı okudu
Following Virgil and Ovid, Rilke dwells on the failure of Orpheus. But he shifts its meaning from Orpheus himself to Eurydice. The "new virginity" of the Maiden wedded to Death symbolizes an inward, subjective dimension of existence. This lies on the other side of life; and the poet, with all the intrusive energy and power of his art, is unable to reach, perhaps unable even fully to comprehend it.
Sayfa 120 - e-bookKitabı okudu
The task of the poet, as Rilke put it in his famous letter to the Polish translator of his Duino Elegies, is to transform the visible, phenomenal world into an “ invisible" spiritual intensity, fullness, and meaningfulness. This process takes many forms. In the Duino Elegies it informs a movement from despair at being heard by the angels in the first Elegy to the power to “ speak" of the things in this world in the Ninth.
Sayfa 118 - e-bookKitabı okudu
Ovid's Orpheus exemplifies not only the victory of love but also, in a certain sense, the victory of art. It is both as poet and as lover that Orpheus wins over the deities in the underworld of book 10. Though the Ciconian women finally destroy him, the power of his song temporarily neutralizes their missiles, and his rhythms move the natural world to spontaneous sympathy for his fate (Mef. 11.44-49)
...Ovid is a poet in revolt. The revolt is subtle, and its weapons are wit and irony; but it is none the less real, as Augustus seems to have recognized when he exiled the poet to Tomi. As Leo Curran has written, Ovid recognized the "fluidity, the breaking down of boundaries, lack of restraint, the imminent potentiality of reversion to chaos, the uncontrollable variety of nature, the unruliness of human passion, sexual and personal freedom, and hedonism ." He seeks to vindicate individual sentiment and the individual emotional life. He is aware of the chaos to which the passions may lead. And yet erotic love is not all destructive furor, as it tends to be in Virgil. Rather, it has a valid place in a world where the person runs the risk of being crushed by a vast, impersonal order. That risk, already subtly and fleetingly hinted at by Virgil, is far more ominous in Ovid.
Westminster Kilisesi
"Westminster Kilisesi'ni ziyaret ettiğinizde VII.Henry'nin Şapeli'nin güzelliğine hayran kalacaksınız. Royal Tombs (Kraliyet Mezarları) kilisenin en etkileyici abidelerini oluşturur. Poet's Corner (Şairler Köşesi), şairlerin anıt mezarları yer alır; Geoffrey Chaucer ve Edmund Spenser'i değil, romancı Jane Austen ve George Eliot'u, besteci George Frederick Handel'i ve aktör David Garrick'i de bulabilirsiniz."
Sayfa 74Kitabı okudu
“This is where we confessed that we were failures as a poet and as a Communist. Now we’re just a pair of newspapermen. This is where we became friends, Zavalita.”
"... because she was a poet, and there were things in her poems that were in no way cheerful or easy to explain."
Sayfa 6
He was a poet, and they are never exactly grown up.
Tu le poet son fu!
Sayfa 80 - Can YayınlarıKitabı okudu
