These parts can form a whole which is more than the sum of the parts; a whole such that the pleasure we derive from the reading of any part is enhanced by the grasp of the whole. In an early c. For if he had analyzed it, he would have qualified it.
- Amour, botox et trahison (Poche) (French Edition);
He would have easily seen that objectively the only species of poems that is of necessity short is the lyrical species; and, subjectively, that it was because he was exclusively a lyr- ical poet that he had betrayed his intellect into a generality when the whole man of him as poet so clearly lay revealed. Our age is the age of small poems, of short lyrics, of sonnets and of songs. Why, then, would Pessoa have engaged in writing not one, but several long poems?
This personality had a very interesting perspective when venturing into the definitions of art. Consider, for instance, this docu- ment, published in , but dating from much earlier. When Campos here re- fers to a symphonic poem, he seems to recognize not only the modernist long poem, but all hybrid art, so popular in our day: Toda a arte e uma forma de literatura, porque toda a arte e dizer qualquer coisa. Ha duas formas de dizer — falar e estar calado.
As artes que nao sao a literatura sao as projecgoes de um silencio expressivo. Ha que procurar em toda a arte que nao e a literatura a frase silenciosa que ela contem, ou o poema, ou 0 romance, ou o drama.
TransLatin Joyce | SpringerLink
Tanto basta ate chegar o resto. All art is a form of literature, because all art says something.
- Passé sous silence (ROMANS, NOUVELL) (French Edition).
- 57 Best Pessoa images in | Fernando pessoa, Book writer, Portuguese language?
- Barnsley Brass?
There are two ways of saying something — to speak and to remain silent. The arts that are not literature are the projections of an expressive silence. It is necessary to look in all art that is not literature for the silent phrase it contains, or the poem, or the novel, or the drama. So much must do until the rest arrives. A knowledge of French symbolist poetry is fundamental to understanding the conformation of modernist poetics. His answer: something that was not there at all. And it is also in music -that Mallarme found, as Baudelaire had before him, 25 the possibility of a new poetical syntax.
Our intellect is as old as Homer, in whose Unity we learn; our sensibility is of the same ages as our verses, which may be but a moment old. Mallarme unifies his complexity; he knows how long his poems must be and how the insane essence must be developed.
Neither Bocage, Tennyson nor Hugo — to take three examples — are aware of the existence of method, of self-Control, of n. Desejo, porem, para minha tranquilidade mental, analysar essa incomprehensao. E o que vou fazer, de Mallarme para ca, pois o poeta de nossos dias nao e mais que a continuagao identica do celebre symbolista. The same thing has happened to me with other verses of this poet, in such a way that my incomprehension was no novelty. I wish, thus, on behalf of my mental tran- quility, to analyze this incomprehension. And that is what I will do, from Mal- larme to the present day, because poets nowadays are nothing else than the identical continuation of the famous symbolist.
Eliot and Fernando Pessoa, reading through the symbolist tradition that started with Poe and ended with Valery, found inspiration for the form and con- tent of their great poems, each of them molding, with their own personality, as Alvaro de Campos would have said , 32 a style in the cosmopolitan spirit of their time: the modernist long poem. For if he had analysed it, he would have qualified it.
He would have easily seen that objectively the only species of poems that is of necessity short is the lyrical species ; 33 and, subjectively, that it was because he was exclusively a lyrical poet that he had be- trayed his intellect into a generality when the whole man of him as poet so clearly lay revealed. There are but two that can do so and a third resulting from the combination or interpene- tration of these two. Those two are feeling and thought. Intellect to imagination: Anthero: sonetos. Feeling thought — to imagination] Browning: Prospice-?
Thought feeling — to imagination ] 35 Tennyson: Higher Pantheism 36 Anthero does not, strictly speaking, feel what he thinks. He feels imagina- tively what he thinks, which is a diff[eren]t thing. In An- thero, on the contrary, the thought remains clear in the imagination even if symbolic garb. The garments of imagination lie close to the body of thought and give entirely its shape. Although to feel what one thinks is not, to a strict analysis, the same is think- ing what one feels, yet after passing through imagination into Verse, the effect becomes the same.
Besides the man whose temperament is feeling his thoughts, or thinking his feelings, will in the first case, if he feels, think his feelings, in the mind, if he then feels his thoughts. The highest kind of poetry is that in which there is no preparation for imagi- nation; where feeling as thought spontaneously passes into imagination and so break their selves into verse. The process of conversion of thought into feeling or f[eeling] into th [ought] indicates a slowness of the imagination faculty in assimilating the inspirational matter.
Rosenthal and Sally M. All translations in this article, unless otherwise mentioned, are mine. The word between slashes indicates doubt, and it was marked by Pessoa him- self, who probably intended to change this word for some other one. Fernando Pessoa, Pa'cjinas de estetica e de teoria e critica literarias, eds. Manuscript, c. Davie, Donald. Modernist Essays: Yeats, Pound, Eliot.
Edited with an introduction by Cliver Wilmer. London: Carcanet, Eliot, T. Inuentions of the March Hare: Poems 7. Edited by Christopher Ricks. Madrid: Alianza Editorial, Mallarme, Stephane.
- Lily & Tonic?
- Siquiatría de bosillo (Spanish Edition).
- Full text of "Pessoa's Alberto Caeiro.".
- Stopping and Knowing.
- JNB Esara (Japanese Edition).
McHale, Brian. Apreciagoes literdrias de Fernando Pessoa. Poemas completos de Alberto Caeiro. Lisbon: Presenga, Pdginas de estetica e de teoria e critica literdrias. Poe, Edgar A. Introduction by Charles Baudelaire. Pound, Ezra. Literary Essays of Ezra Pound. Edited with an introduction by T.
Torrens, James. Eliot and the Austere Poetics ofValery. She can be reached at paulybothe hotmail. An examination of sources present in Pessoa 's archive, men- tioned in his writings on modernist aesthetics and correspondence or relating to works in his private library, shows that Pessoa was familiar with important cultural magazines published in London in the first decade of the twentieth century.