19th century English Poetry

Painting and Poetry flowing from the same fount…reflect and refract each other " s beauties with reciprocity of splendorous allusions. J.M.W. Turner, 1810. Joseph Mallord William Turner (1775-1851) was essentially a landscape artist who came to represent the spirit of the English Romantic Movement in its visual form. He brought to the art an explosive, chimerical expression of light and colour; creating in a visual medium the ultimate reaction to the sterile repetition of Classical formulae and the facile emotions of eighteenth-century art and enlightenment. While it is his earlier, technically correct architectural and landscape engravings that endeared him to the public, it is his later " proto-expressionistic " works dismissing traditional principles and recognisable " structural " images that truly fix Turner as forefather, most immediately to the Pre-Raphaelite school who venerated his enthusiastic subversion of conservative principle in painting; technically to the Impressionists; and subsequently to the abstract painters. When, in his radically experimental late works, clichéd forms of rural tranquillity are abandoned for vaporised, formless and violently inharmonious visions of Nature at its most dramatically indifferent then is generated liberation of colour and light and the consequential dimension of a visual " poetic " narrative. Turner " s optically evanescent paintings are to be rationalised as visual narratives that present a musing discourse upon a thematic concept. The specification of " poetic " in reference to Turner " s canvases denotes critical differentiation from the didactic social agenda inherent to Genre or Narrative painting, another nineteenth-century representational art form 1 John Ruskin, Modern Painters Vol.III, Kessinger Publishing Co., (1843) 2005, p. 250. (" Hundres of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry… ")

This paper traces the interplay between metaphysical and satirical elements in specific poems of Rochester, Poe, Blake, and Stevens.  The metaphysical treatment of images, objects, and allusions within these poems sets up a system of binaries which impacts the form of the poem's satire.  The system of binaries that is created ultimately results in one binary being negated, and oftentimes (though not always) another being asserted.  This is termed "binary negation," and this paper traces how binary negation impacts the form of the satire within each poem.

PITTELLA, Carlos, "Sonnet 101 with Prof. Pessoa: Fernando Pessoa's Marginalia on an Anthology of 19 th -Century English Sonnets" (2017). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 11, Spring, pp. 277-375. Brown Digital Repository. Brown University Library. https://doi.org/10.7301/Z089142K

Is Part of:

Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 11

Sonnet 101 with Prof. Pessoa:
Fernando Pessoa’s Marginalia on an Anthology of 19th-Century English Sonnets
[Aula de soneto com o Prof. Pessoa:
a marginália de Fernando Pessoa numa antologia de sonetos ingleses do século XIX]

https://doi.org/10.7301/Z089142K

ABSTRACT

A 1902 edition of Sonnets from this Century was located in the estate of the late Portuguese architect Fernando Távora. The anthology displays inscriptions on 194 of its pages, starting with the signature "F. A. N. Pessôa." This is not only a volume that once belonged to Fernando Pessoa, but a book no one even knew to exist, exhibiting a treasure of annotations. It offers insight into the deep relationship between the Portuguese poet and the English lyrical tradition. This dossier, preceded by an introduction, transcribes all the handwritten notes in the volume and presents facsimiled pages organized in thematic sections: general evaluations of sonnets according to Pessoa, Portuguese translations, notes on meter, rhyme and form, and other marginalia. This work aspires to serve as a model for editing annotations in any volume of Pessoa's private library, as well as to open paths of inquiry, for every poem annotated in Sonnets of this Century may contribute to a better understanding of Pessoa's works.

RESUMO

Uma edição de Sonnets from this Century (1902) foi encontrada no espólio do falecido arquiteto português Fernando Távora. A antologia apresenta anotações em 194 das suas páginas, a começar pela assinatura "F. A. N. Pessôa." Não se trata apenas de um volume que pertencera a Fernando Pessoa, mas de um livro que ninguém imaginava existir, exibindo um tesouro de notas manuscritas. Ele oferece insights sobre a relação do poeta português para com a tradição lírica inglesa. Este dossiê, precedido de uma introdução, inclui transcrições de todas as notas de Pessoa no volume e apresenta fac-símiles de páginas em seções temáticas: avaliações gerais de sonetos na opinião de Pessoa, traduções em português, notas sobre métrica, rima e forma, e outra marginália. Este trabalho aspira a servir de modelo para a edição de anotações em qualquer volume da biblioteca particular de Pessoa e a abrir linhas de investigação, pois cada poema anotado em Sonnets of this Century pode contribuir para um melhor entendimento da obra pessoana.


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This short essay on Symons' poem was published in a volume of papers editied by Agostino Lombardo, "Gioco di Specchi, Saggi sull'oso letterario dell'immagine dello specchio", Rome (1999).
It discusses the importance of the dance theme in later 19th century poetry and in particular how Symons uses it and the image of the dancer in the mirror to create an art lyric in which the moment of tension between what is real and what is only perceived is heightened by the ephemeral nature of the spectacle.