By Jonathan F. S. Post
What a pride it's to learn those astute essays by way of poets one admires approximately poets one has precious for years! The severe intelligence and full of life writing on each web page may still attract a large viewers. scholars of the Early glossy Lyric will locate a lot to refresh their realizing; the overall reader might be seduced -- and rewarded."--Chana Bloch, writer of Mrs. Dumpty and co-translator of The tune of Songs"This is a most excellent assortment, shrewdly conceived and brilliantly carried out, which could be learn via an individual who loves poetry. As a few of our such a lot entire modern poets ruminate at the poetry of the 17th century, in addition they light up the practices and probabilities of twenty-first century poetry."--Michael Schoenfeldt, writer of Bodies and Selves in Early smooth England"All poetry in English reaches again a method or one other for its pith and beauty to the 16th and 17th centuries. there's continually, in each real poem, a few seed or part of that interval, honey of lute tune or devotional chunk. i believe that is going for Frank O'Hara and Allen Ginsberg, for Elizabeth Bishop and Gwendolyn Brooks and Robert Lowell, for Wallace Stevens and William Carlos Williams and Marianne Moore, for Mark Strand and Frank Bidart and Louise Glck, for C. D. Wright and Michael Palmer, and for the younger poets in collage and highschool. you could pay attention it and consider it, via endless variations--and for this reason this ebook is a brilliant idea."--Robert Pinsky, former Poet Laureate of the United States"I am thrilled by way of Jonathan Post's assortment. there is not any different assortment or anthology of this type, or maybe remotely comparable, on hand to scholars of poetry of the previous, or to readers of latest poets. Green techniques, eco-friendly colors is the liveliest selection of feedback i've got learn in an extended time." - Richard Howard,
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Extra resources for Green Thoughts, Green Shades: Contemporary Poets on the Early Modern Lyric
Cf. ” Wyatt’s physiopoetic blush predates by almost a century William Harvey’s discovery of the circulation of the blood. 20. This is the only truly digressive endnote. It concerns Spain’s foremost early translator of Petrarch into Spanish sonnets, Garcilaso de la Vega. : Southern Illinois University Press, 1993], 4). ” In 1537 Wyatt, age thirty-three, became ambassador to Spain, hence to the court of de la Vega’s king, Charles V, patron of Titian. Five years later he himself would die in royal service, having become overheated and feverish from a furious ride on horseback to welcome the imperial Spanish envoy to England.
Petrarch’s prefatory sonnet to the entire Rime Sparse reads: Voi ch’ascoltate in rime sparse il suono di quei sospirir on’io nudriva’l core in sul mio primo giovenile errore, quant’era in parte altr’ uom da quel ch’ i’ sono: del vario stile in ch’ io piango et ragiono fra le vane speranze e’l van dolore, ove sia chi per prova intenda amore spero trovar pieta, non che perdono. Ma ben veggio or si come al popol tutto favola fui gran tempo, onde sovente di me medesmo meco mi vergogno; et del mio vaneggiar vergogna e’l frutto, e’l pentersi, e’l conoscer chiaramente che quanto piace al mondo e breve sogno.
15 If such a focus seems superﬁcial, I hope to show how many inner lineaments of the tradition it may reveal and how the very positings of depth or inwardness greatly depend on the sonnet’s ambivalent facial poetics. Without the image of the personal face the sonnet would be less equipped to generate its images of a mind behind the face; still more opposingly, it would not be as equipped to suggest the hidden depths of the heart. ” If this is a critique of dissembling, in which the face serves as a medium for the mind’s misrepresentation of the passions, we may wonder what would happen if the face were to reveal the true “colour” of the heart: what response would it elicit, and to what extent could such an appearance, however “honest,” serve the inner life it is supposed to lay bare?