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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Cavafy's Historical Poems is the first volume of a four-book set constituting a study of the life and opus of this fascinating poet. The secoCavafy's Historical Poems is the first volume of a four-book set constituting a study of the life and opus of this fascinating poet. The second volume is an anecdotal life detailing Cavafy's home and its atmosphere: the man, the poet, and his lifestyle; the odes of his compatriot partisans; the praises of his foreign admirers; the barbs and insults of his critics and revilers; the poet as a critical ironist; and the last part of his life. More than one hundred commentators are quoted, and just as many of his poems are used where it seemed appropriate. A third volume consists of erratic commentaries containing the author's evaluation and criticism of the main contributions to Cavafy's poetry. That is these of George Seferis, Sir Maurice Bowra, Robert Liddel, Edmund Keeley, Grigorios Xenopoulos, Timos Malanos, Stratis Tsirkas, John Sareyiannis, and others. These follow an opening chapter on Hellenization and a second chapter on the controversial subject of the dates of composition of Cavafy's poems. The fourth volume, The Canon, is a verse translation of the 150 poems Cavafy accepted as his mature opus, including the original Greek verses, accompanied by detailed examination of the poet's craft and style. That is to say the meter, length of verse, wedging, rhyme, enjambment, titles, organization, punctuation, the absences, lyricism, periphrasis, description, narrative, suggestive image, abstractions, transmission, maturity, content, language, irony, intellectuality, etc. nd volume is An Anectodal Life detailing Cavafy's home and its atmosphere: the man, the poet and his lifestyle; the odes of his compatriot partizans; the praises of his foreign admirers; the barbs and insults of his critics and revilers; the poet as a critical ironist, and the last part of his life. More than one hundred commentarors are quoted and just as many of his poems are used where it seemed appropriate. A third volume consists of Erratic Commentaries containing the author's evaluation and criticism of the main contributions to Cavafy's poetry. That is these of George Seferis, Sir Maurice Bowra, Robert Liddel, Edmund Keeley, Grigorios Xenopoulos, Timos Malanos, Stratis Tsirkas, John Sareyiannis, and others. These follow an opening chapter on Hellenization and an second chapter on the controversial subject of the dates of composition of Cavafy's poems. The fourth volume, The Canon, is a verse translation of the 150 poems Cavafy accepted as his mature opus, including the original Greek verses, accompanied by detailed examination of the poet's craft and style. That is to say, the meter, length of verse, wedging, rhyme, enjambment, titles, organization, punctuation, the absences, lyricism, periphrasis, description, narrative, suggestive image, abstractions, transmission, maturity, content, language, irony, intellectuality, etc.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
For this collection, the prize-winning poet, Carol Ann Duffy, selected 40 of the best world poets writing today - 20 men and 20 women - and invited each of them to select a love poem written by the opposite sex, to appear opposite their own love poem. Poems from other centuries are included.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.