Academic literature on the topic 'Historical and love poem book'

Lewis’s “effort of the historical imagination” in The Allegory of Love: A Study in Medieval Tradition—commensurate with his innate romanticism—bolstered by like-minded writers as his sources, resulted in his reconstructing of Courtly Love and its characters as a fantasy. While this approach limited his understanding of Courtly Love, its origins and its relationship to marriage and adultery, it allowed him to create a mythology of a Religion of Love: a “quasi-religion” of “service love” between a chevalier/poet and his sovereign lady, under the auspices of the god Amor. This view would elevate the medieval Anglo-French allegorical poem, which he will discuss in the following chapters of his book, as the foundation of the best of poetry that led to Chaucer and Edmund Spenser, his favorite poet.

These lines begin an “Ode” which has permeated culture throughout the last hundred years. In 1912, Edward Elgar set it to music, as did Hungarian composer Zoltán Kodály in 1964, to commemorate the 700th anniversary of Merton College, Oxford. In 1971, Gene Wilder spoke the opening lines as Willy Wonka in the film Willy Wonka & the Chocolate Factory. The words appear as epigraphs in an eclectic range of novels, including science fiction (Raymond E. Feist's Rage of a Demon King), fantasy (Elizabeth Haydon's The Assassin King), and historical fiction (E. V. Thompson's The Music Makers). They are quoted in an even more varied selection of books, including travelogues (Warren Rovetch's The Creaky Traveler in Ireland), textbooks (Arnold O. Allen's Probability, Statistics and Queueing Theory and R. S. Vassan and Sudha Seshadri's Textbook of Medicine), New Age self-help books (Raven Kaldera's Moon Phase Astrology: The Lunar Key to Your Destiny), autobiographies (Hilary Liftin's Candy and Me, a Love Story) and pedagogical guides (Lindsay Peer and Gavin Reid's Dyslexia – Successful Inclusion in the Secondary School).

Statement of the problem. There are a lot of works in the national musicology focusing on the study of vocal chamber music for voice and piano by Ukrainian composers of the 20th century. Researchers cover quite a wide range of issues regarding vocal pieces and touch upon the problems of cyclocreation, dramaturgy, features of musical and linguistic means, etc. However, they rarely pay attention to translation, though there are many vocal opuses, in which composers use foreign poetry. In this case, the specifi c choice of the translated sample helps to determine the principles of the composer’s approach to the embodiment of the poetic text, especially in comparison with other works based on the same sources. Hence separate songs from D. Klebanov’s vocal cycle on the poems of H. Heine did not become an exception, thereby confi rming the relevance of the proposed topic. The purpose of the article is to determine specifi c features of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov on the basis of two romances – “In a grove, on a wild path”, “My love, lay your hand on my heart”, as compared to the works of other composers of the twentieth century . To achieve the research objectives the following methods were used: historical, structural-functional, genre-style and comparative. Results. Under consideration are peculiarities of the embodiment of H. Heine’s poetry translations in the vocal cycle of D. Klebanov, one of the founders of Kharkiv composition school. For this work the author took eight verses from the fi rst two cycles of the “Book of Songs” by the German poet. They were based on the motives of love poems with vivid images of nature; sometimes the poems are full of sadness, a sense of loneliness. When D. Klebanov was choosing certain samples from different poetic cycles, he tried to stick to the plot of the “Book of Songs”, since he ordered the poems in the same way they were written in the collection. Another indicator of the composer’s relation to Heiner’s texts is the choice of poetic works which are given in the cycle in Ukrainian and Russian languages. The composer’s individual vision of Heine’s lyric poetry is clearly seen when compared to the vocal works of other composers of the twentieth century, M. Medtner and E. Denisov, written on the same poetic texts. In cross-romances, similar musical-linguistic means are used, including the metrical principle of vocalization of the poetic text, homophonic-harmonic structure, harmony of classical-romantic type. However, each of the composers renders the fi gurative and semantic implications of the poems in their own way. M. Medtner builds his romance “My love, lay your hand on my heart” according to the crescendo principle. Beginning with a quieter dynamics, the composer gradually increases the volume of the sound, which at the end leads to a general climax that moves from the point of the golden section. D. Klebanov chose a different way – to reinforce the dramatism of the poem. This was possible thanks to various musical and linguistic means: a strict, intense melody in the bass doubled in the sixth with a chromatic motion and semiquavers at the end of each bar in the last line of the fi rst stanza, designation Meno mosso, chromaticized vocal melody. The composers’ choice of poetic translations depends on the place and role of the romance in the general structure of the cycle. The eight-part composition of D. Klebanov is based on the wave principle of the plot development. The original four romances pave the way to the fi rst climax – unrequited love in the fi rst romance (“Every morning I awake and ask”), painful memories in the second one (“In a grove, on a wild path”), a tragic image in the third one (“My love, lay your hand on my heart “), and an attempt to overcome the pain in the fourth romance (“First I was afraid of darkness”). Further on, the development is based on contrast: the image of death in the fi fth romance (“Your lovely face, so fair and dear”), a subtle feeling of love in the sixth one (“Oh, let me plunge my heart”), worries because of the marriage of a loved one to another guy in the seventh romance (“I hear the fl ute and the fi ddle”) and disappointment in her spiritual values in the last one (“The violets blue”). Such a location of the third romance justifi es the choice of translation, where the colours are thickening and the content becomes even darker. Such kind of a fi gurative and semantic plot resembles the tradition of a romantic vocal cycle, in which the emotional state of the lyrical character, his emotional collisions сome to the fore. In this perspective, “ 3 Poems of H. Heine” by D. Medtner demonstrate another relationship between the romances of the cycle. All of them have feelings of sorrow, despair circle, a no-go. At the same time, distancing from the immediate events is felt, as if it is a look at someone else’s life, which is evidenced by the storytelling from the third person in the second and third romances. Therefore, the fi rst romance, based on the poem “My love, lay your hand on my heart”, is a kind of “preface” to the cycle, which involves some personal detachment. This leads to the selection of softened content in the translated version of the poem. The second romance, “In a grove, on a wild path”, has a similar function in the vocal cycle of D. Klebanov as it became the preparation for the climax of the third one. The semantic line of his poem is based on two storylines: the external one is the “theme of the journey” that is refl ected in the image of nature, and the internal one is the “theme of sadness”, which focuses on the feelings of the lyrical hero. The composer here, like Анна in the third romance, deepens the line of inner experiences. This became possible thanks to the Tranquillo tempo, fl at minor tonality, massive discordant accompaniment chords, variable measure, melody of the recitative-oratorial type. H. Heine’s poem, presented in the work of D. Klebanov, became the basis of the fi fth romance of E. Denisov’s vocal opus. Like the Ukrainian master, E. Denisov builds his cycle in the spirit of the romantic tradition, but in revealing the fi gurative structure of the poem he goes a different way. He makes a clear distinction between two fi gurativesemantic lines. This is refl ected in the form of a romance that has the features of binarity and variability, the embodiment of the metro-rhythmic structure of the verse based on two opposing principles - metric and cantilena, as well as other means of musical expression. Thus, choosing the same poem by H. Heine, D. Klebanov and E. Denisov represent their own vision of its content. Conclusions The comparative analysis of the embodiment of Heine’s texts by D. Klebanov and other composers of the twentieth century helps to highlight the individual approach of the Ukrainian artist. Despite the fact that the composer chooses similar means of musical expression, he fi nds his own way of refl ecting the semantics of the poetic source. In the above mentioned romances – “In a grove, on a wild path” and “My love, lay your hand on my heart” – the author focuses on the inner confl icts of the lyrical hero, his experiences. Attention paid to the sensory side of the poems also determined the selected translations, since the rejection of translators from the original results in a certain deformation of its meaning and fi gurative structure, which infl uences the musical embodiment of the poetic source.

“The Shi Jing’’(‘‘The Book of Poetry”） is one of the first poems in the world, including Chinese poems, from the 11th century BC to the 6th century BC. During this period, about 3 000 verses appeared, of which 305 poems were selected by Confucius. Poetic texts in “The Shi Jing’are divided into three categories: regional songs, odes, hymns. The composition of the poems uses such techniques as Fu, Bi and Xing. These poems constitute the creative source (source) of Chinese poetry. “Fu”，“Bi” and “Xing” are important artistic features of “The Shi Jing”. “Fu”” - direct narration, parallelism. “Bi” is a metaphor, comparison. “Sin” means “stimulation”， it first speaks about others, then about what the poet wants to express. Fu and Bi are the most basic techniques of expression, and Xing is a relatively unique technique in “The Shi Jing”， even in Chinese poetry in general. “The Shi Jing” is an excellent starting point for Chinese literature, which has already reached a very high artistic level from the very beginning. "The Shi Jing” affects almost all aspects of the early social life of ancient China, such as sacrifice, banquet, labor, war, love, marriage, corvee, animals, plants, oppression and resistance, manners and customs, even astronomical phenomena, etc. It became historical value for the study of that society. The overwhelming majority of the poems in “The Shi Jing”reflect the reality, everyday life and everyday experience. There is almost no illusory and supernatural mythical world in it. As the first collection of poetry in China, “The Shi Jing” laid the foundation for the lyrical and realistic tradition of Chinese literature. “The Shi Jing” also has a huge impact on the genre structure and linguistic art of Chinese literature, etc., which is a role model for writers of later generations. “The Shi Jing”has already been translated into the languages of the countries of the world. “The Shi Jing”has been influencing Chinese poetics; it has become the source of the classical realistic tradition and literature in China. Lively description is essential for historical, anthropological and sociological research. We expect that as the cultural ties between China and Russia deepen, as well as the popularization and spread of Chinese-Russian translations, more and more Russian people will read “The Shi Jing”， study “The Shi Jing”， the Russian translation of “The Shi Jing” will improve and play its role as the original classic of Chinese literature. “The Shi Jing”is a book that cannot be read or translated forever. Keywords: “The Shi Jing” （“The Book of Poetry” )， regional songs, odes, hymns, artistic features, Chinese unique cultural value

Is there room on the shelf for another book about Jalal al-Din Rumi, thethirteenth-century mystic of Persia? Considering the great depth of hisgenius, the answer has to be yes. Sefik Can’s Fundamentals of Rumi’sThought is one of the latest books on the subject, and is distinguished fromothers in that its author is the current head of the Mevlevi order, the Sufiorder established after Rumi’s death and based on his teachings. In his biography,the author is introduced as “the most authoritative spiritual figure ofthe Order” and “the latest living Mesnevihan (Mesnevi reciter) whoreceived his ijazah (special certificate in the recitation of the Mesnevi) fromhis spiritual master Tahir al-Mevlevi.”This book thus reflects the Mevlevi tradition as it is understood withinits Turkish milieu today. Neatly organized into four chapters, it deals withthe political and historical background of Anatolia during Rumi’s lifetime(chapter 1), “Rumi’s Personality and Views” (chapter 2), his influence(chapter 3), and “Rumi’s Sufi Order and His Approach to Orders” (chapter4). A short bibliography and an index are also provided.Throughout many passages, one can feel the author’s love and compassionfor Rumi. His sincerity and enthusiasm compel one to set aside academicconcerns over historical accuracy and critical analysis in order to viewRumi from a Mevlevi perspective. The book offers insight into a livingdevotional approach to Rumi that often translates into an uplifting joy, whichis the hallmark of Rumi’s poems and which has animated the life of manyof his devotees. The reader will benefit from the relevant spiritual insightsoffered. The section entitled “Beauty” is a good example of explainingRumi’s views and relating them to contemporary experiences. The authorwrites:According to Rumi, beauty takes us from ourselves, frees us from theprison of the body, and brings us closer to another realm, to God. Thus wefind God within the impact of the fine arts on sensitive people. (p. 191)The heart of this book is chapter 2, which features the author’s interpretationsof Rumi’s personality and views (pp. 97-246). Although a small portionof this chapter is devoted to Rumi’s life and characteristics, most of it ...

AbstractAlthough for some reasons the book of Esther is missing from among the biblical manuscripts of the Dead Sea Scrolls, it has a unique place in Judaism and Jewish theology and thought. A large number of exegetes, ballads, poems, essays, arts, etc. have been composed on it, in all times and places, alongside the Jewish history and culture. Esther expresses one of the worst fears of the Jewish people: fear for complete annihilation, which is also well documented in the Hebrew Bible as well as in some extra-biblical sources (e.g., "Israel Stele", Moabite Stone). Esther replies to that fear, and forwards the theological message that God never leaves Israel. He is the faithful God "who maintains covenant loyalty with those who love him and keep his commandments". Yet, the historical reality of the Jewish Diaspora shows differently. The article discusses, therefore, also this theology, history and us, as post-Sho'ah readers of Esther.

This paper is an attempt at interpreting Wincenty Pol’s poetry, popularised in the form songs. Like most Romantic writers, the author of Pieśń o ziemi naszej regarded music as a unique dis-cipline of asemantic art, i.e. the one which goes beyond popular means of communication and capturing reality in a much deeper way than linguistic articulation. He believed that music is capable of expressing the essence of irrational and abstract phenomena: idealism, spirituality and transcendence; but – as a Romantic writer – he was also aware that art should, above all, reflect emotions accompanying human existence: love, loneliness, closeness, separation, suffering, joy and tears - as an emotional reaction to being moved. Some of his poems were included in Polish culture thanks to compositions by Fryderyk Chopin (performed, among others, by Delfina Potocka), Ignacy Komorowski, Julian Kapliński, Bolesław Dembiński, Adam Mũnchheimer and other composers. The popularity of those songs is the evidence that both folklore inspirations and accompanying historical circumstances recorded them in the na-tional song-book. They represent a typical model of ‘Romantic thinking’ and prove that the ‘Lied’ genre is treated as a return to the origins of culture, thus being an excellent example of lyrical miniatures, which can be fully interpreted by means of vocal realisation.

<p>Research „Poetry by Rainis in Latgalian” tried to establish impulse and reasons for publishing poetry by Rainis in Latgalian (original texts and renderings) using biographical method, but semiotic methods helped to analyze poetic means in poems written in Latgalian, revealing meaning of concept „Munu jaunu dīnu zeme” (Land of My Youth) in poem by Rainis and Latgalian culture.</p><p>Poems by the most significant Latvian literature classic Rainis (1865–1929) in Latgalian can be divided into original texts („Sveicins latgališim”/Greetings to Latgalians), original texts with renderings into Latvian („Munu jaunu dīnu zeme”/Land of My Youth) and renderings from Latvian (at least 16 poems from selections: „Tālas noskaņas zilā vakarā”/Far off Echoes on a Blue Evening, 1903;„Tie, kas neaizmirst”/Those Who Don’t Forget, 1911; „Gals un sākums”/The End and the Beginning, 1912), besides, surely we can say author’s renderings are only „Munu jaunu dīnu zeme” (Land of My Youth) has well as all other texts from literally scientific and social magazine „Reits” (Morning), because Rainis had been one of the editors of this magazine. Poems by Rainis published in Latgalian in newspapers – „Drywa” (Cornfield), „Gaisma” (Light), „Latgolas Wòrds”(Latgalian Word), „Jaunò straume” (New Flow) – are possibly work of authors of these periodicals, considering significant differences in stylistics with magazine „Reits” (Morning) and earlier published poems by Rainis.</p><p>Publishing of original texts and especially renderings in Latgalian press are mainly related to political activities of Rainis. But writing in Latgalian for Rainis also meant remembering his roots, remind of cultural wealth of native land and value; being a mediator in strengthening people’s unity and widening own supporters as well as the number of readers.</p><p>In the discourse of Rainis personality and creative work „Munu jaunu dīnu zeme” (Land of My Youth) is 1) homeland, native nature and home of poet’s childhood and colorful impressions of his youth (Rainis father’s rented manor house (semi-manor house) in Zemgale and Latgale); 2) Rainis’ land of youth is writer’s „second homeland” – Latgale, its’ nature, people and language; 3) particular semi- manor house in Latgale – Jasmuiža.</p><p>Origination of lyrical Me is emphasized in epos „Saules gadi” (Solar years) – Latgalian was born. From Rainis point of view Latgale is multinational keeper of authentic cultural values. About eight languages had been spoken in Rainis family. In Latgale, customs, folk-songs have been maintained untouched owing to certain isolation, historical and administrative separation from other parts – some kind of reserve effect. During years of his studies Rainis had intended to write a book about civilization untouched Latgale, but this intention left unimplemented.</p><p>Memories about homeland motivated Rainis to write and render into Latgalian, but original texts in Latgalian – „Munu jaunu dīnu zeme” (Land of My Youth) and „Sveicins latgališam” (Greetings to Latgalian) – were written on behalf of stylistic searches in particular period of Rainis creative work; they chronologically incorporate with philosophical stage (according to Janīna Kursīte). In this time poet’s ontology forms, still balancing between allegory (transmission transparency, dichotomy) and symbol (polysemy and ambivalence) structures.</p><p>In Rainis’ neo-romantic (1895–1904) and allegoric stage (1905–1909) poetry nature cycles project mainly society, not individual; only humanity will exist and revive eternally, precondition of immortality – death and birth of individual people.</p><p>In the poetry of philosophical stage (starting from 1910) Rainis frequently lingered on individual’s immortality reflection, which he called search and recoveries. A person lives not only according to nature laws, but according to existence laws and dies according to these same laws. Symbol, most frequently mythologeme, becomes a sign of existence glimpse for Rainis; lyrical Me of Rainis is awaiting new experience, knowledge, and moral enlightenment. One has to search in order to find, and searching/cognition signal in his poems is a cycle of time and space (nature, society, human) and three- dimensional structure (outer world/history, individual/soul, philosophy/ being). In the poem „Munu jaunu dīnu zeme” (Land of My Youth) it is possible to follow 3 of the mentioned cycles development in peculiar symmetry: 1st , 6th stanzas are a framework of individual’s inner cycle – dream/illusion/ desideratum and interchange of wakefulness/ reality/ actuality; 2nd and 4th stanzas contain nature cycle allegory – nature in spring awakes from winter sleep; while 3rd and 5th stanzas are related to social processes, which are covered with day-and-night cycle. Basics of symmetry – state of sleep and awakening in all levels of previously mentioned time and space, creating triple parallelism.</p><p>It is interesting how stanzas within a single cycle (1 and 6, 2 and 4, as well as 3 and 5) mutually relate: 1st , 2nd and 3rd stanzas contain reminiscences as symbolic sleep/dream abstractions of Rainis previously written poetry, while 4th , 5th and 6th stanzas specify something in nature, society and individual’s desires, dreams which have to wake up. Reminiscence carries out necessary associations for philosophical perceiving of functions time and space cycle, but especially – form and maintain transmission basics: historical (people’s destinies) – 3rd stanza, psychological (individual’s dreams, desires) – 1st stanza, philosophical (order of existence) – 2nd stanza.</p><p>The above mentioned allows stating that poem created by Rainis in Latgalian „Munu jaunu dīnu zeme” (Land of My Youth) indeed incorporates into Rainis creative work philosophic stage, where allegory as a supplementary tool and symbol as a dominant harmonically gets along with poet’s revelation of ontological sense.</p><p>Poem „Sveicins latgališim” (Greetings to Latgalians) has one addressee – a Latgalian, new reader of the newspaper. The text is artistically created on the allegoric stage standards of Rainis creative work – here features of one cycle (human in society) are present. Social cycle stages revealed in the poem are parting/uniting, hatred/love, old life/new life, celebrations/work.</p><p>Artistic structure of poems in Latgalian indicates on dominance of allegory or symbol in time and space. Cycle has a special meaning in reflection of existence order.</p>

Mevlud is a poem on the birth of Muhammed, the Prophet. The first Mevlud poem was written by Sulejman Celebi, in 1409, under the title ?Vesiletu?n Nedzat? in Bursa, meaning the ?The Means of Salvation?. The word mevlud (Ar. mawlid) means ?a place or time of someone?s birth?. This expression has acquired different meanings in time, as ?the birth of the Prophet Muhammed? and ?the celebration organised on this occasion?, or during more significant events in life of the Muslims and their families. The Mevlud celebration i.e. the Mevlud poem as its central part, can be considered as a cultural form preserving the tradition of love towards the Prophet Muhammed, love towards God, and certianly, the tradition of mutual love among people. With this paper, we want to present the most beautiful Mevlud poems in our language and their significance in the life and culture of the Balkan Muslims. The paper is interdisciplinary and it shall follow the historical development of Mevlud, its literature-historical position within the Alhamiado literature, and the custom practice of Mevlud, as a celebration with its ethnological significance.

This introductory chapter provides an overview of the book's main themes. This book discusses a project based on the E. H. Gombrich Lectures given at the Warburg Institute in 2014. The author had become fascinated with the tradition of boys performing emotional speeches in women's voices in schools and the evidence from manuscripts indicating that this tradition persisted during the Middle Ages, as well as before and after. The three chapters in this book begin with a boy: the historical Augustine who weeps for the suicide of a fictional queen; young Achilles waking up in a strange new land where he will be asked to pretend to be a young woman; and an anonymous boy in a medieval lyric poem who performs a woman's lament for her dead lover. Each provides a different window into three interrelated aspects of medieval teaching: emotion, gender, and performance, with special emphasis on emotion.

Rudyard Kipling’s stories for children Puck of Pook’s Hill and Rewards and Fairies were first published in 1906 and 1909–10 respectively. In these stories, Puck (Shakespeare’s Puck of A Midsummer’s Night’s Dream and the last ‘fairy’ to survive in England) meets two children, Dan and Una, in the Sussex countryside where they live in the early twentieth century. Puck introduces the children to various historical characters—a Roman Centurion, a Norman Knight, and so on—who tell them stories about the past, and in particular the history of their locality. In these stories it is the land itself that is the bearer of historical meaning, as revealed by Puck and these messengers from the past. Indeed, time and space are seen to be inseparable, since a place and its features are often literally constituted by what has happened there. ‘Puck’s Song’, the opening poem of Puck of Pook’s Hill, makes this connection plain:… See you the dimpled track that runs, All hollow through the wheat? O that was where they hauled the guns That smote King Philip’s fleet . . . Puck reveals to the children the antiquity of some of the landscape’s features:… See you our little mill that clacks, So busy by the brook? She has ground her corn and paid her tax Ever since Domesday Book…. Sometimes it is a past that has left no trace that Puck restores, through storytelling, to the landscape:… See you our pastures wide and lone, Where the red oxen browse? O there was a City thronged and known Ere London boasted a house…. Puck, who is thousands of years old (‘the oldest Old Thing in England’), is the witness of the history of the British Isles since ‘Stonehenge was new’, and has an epic memory. All of history is available to him, both impossibly distant yet immediately present in his mind, as it is in the landscape he inhabits, which bears the marks of the past. The figure of Puck is a literary device through which Kipling could liberate himself from the limitations of written history, for within the frame of the stories, Puck’s testimony as the witness of time—however fanciful—is indisputable.

This chapter features a comparative analysis of Cántico de la huella, an erotic elegy by Cuban poet Nancy Morejón, and of Rolando Estévez’s interpretation of the poem in his book design, which included a cover of two lovers perched in a tree face to face. Díaz discusses the literary and artistic traditions that coalesce mind and body as an impression of quantum spacetime, the eternal present of the poetic voice, while she explores the way Estévez captures the essence of the poem and symbolically enhances its sensual quality.

This chapter investigates the text The Court of Love (Cambridge, Trinity College, MS R.3.19, folios 217r-234r). It was long time held to be a poem by Chaucer, a notion debunked by Skeat as a neo-medieval fabrication dating from the fourth decade of the sixteenth century at the earliest. This chapter presents a new appraisal of the date, which is tentatively pinpointed as the middle of the 15th century, and the localization of the poet, who is localized in East Anglia based on the evidence of rhymes and some spellings. Frequent failures of rhyme point to the linguistic differences between the poet and the scribe, as reconstructed from rhyme, metre and possible “relicts”. The hypothesis that the poet was from East Anglia and the scribe from London is confirmed by evidence from eLALME dot maps, and shows that instances in the poem that were identified by Skeat as “false grammar” are in fact examples of syntax that is true to the poet’s own dialect.

This chapter is the first of three in Part Two: ‘Glossing Beatrice’, each of which considers Dante’s so-called ‘divisions’, the prose portions in which he describes the different parts of his poetic compositions. Although both medieval and modern critics have dismissed this textual component, these chapters highlight their important hermeneutic, institutional, and narrative functions in the work. This chapter investigates several minor textual interventions in Dante’s text that have major implications, including the editorial modification of ‘viso’ (face) into ‘riso’ (smile) in the canzone Donne ch’avete intelletto d’amore that is motivated by a desire to make the poem align with Dante’s discussion of it in the division. This emendation introduces the issue of Beatrice’s embodiment and the place of Dante’s carnal desires in his exaltation of her, a theme that radiates throughout the tradition in adaptations of Dante’s poem from Petrarch to Pascoli, D’Annunzio, and Mandelstam. The final section examines Dante’s return to the poem in Purgatorio 24, where the significant variant ‘chiodo’ (nail) may reflect the novelty of Dante’s use of the book form to express his love for Beatrice.

Hayim Nahman Bialik, the great modernist Hebrew poet, is purported to have compared learning Hebrew through translation to kissing a woman through a veil. Travels in Translation, Ken Frieden’s marvelous, creative, and erudite book on the signal role played by heretofore neglected Hebrew and Yiddish “translations” of sea journeys—and their shipwrecks—in the origins of modern Hebrew literary history, proves the master wrong. These works, both formal translations from one written text into another and informal “translations” or adaptations of oral material into a new, written form, are a full-fledged literary, cultural, ideological, and religious love affair. En route through the artistry of Nathan Sternharz (Nahman of Bratslav’s secretary), Isaac Euchel, Moses Mendelsohn-Frankfurt, and Frieden’s hero, Mendel Lefin of Satanów, Frieden rewrites the beginnings of modern Hebrew prose. He shows how Mendele Moykher Sforim (Sholem Yankev Abramovich), long credited as the founding father of the revolution in modernizing Hebrew, had precursors in hasidic sea journeys and Haskalah translations, both of which had an intimate relationship to Yiddish, and the latter with a debt to German travelogues. Along the way, Frieden, in a deliberate post-Zionist move, redirects our attention to the vitality of postbiblical Hebrew in the diaspora. Although interested in reorienting Hebrew literary history, Frieden pays attention to the lived reality of his protagonists, showing their rootedness in Eastern Europe, specifically in Polish Podolia and Austrian Galicia, the heartland of Polish Hasidism and the most densely settled Jewish geographic space of the period. Frieden calls his method “textual referentialism” (pp. xix, 260–261); because classic literary studies often separated literary meaning from “mundane reality,” Frieden presses his demand for interpreting these texts in their historical context as a key to understanding their significance....

This final case study also acts as a historical ‘coda’ to the trajectory of aestheticist lyric traced within this book. It connects it with the twentieth century and with the better known story of lyric within high modernism. Starting with Pound’s intense historical engagement with lyric in the earliest part of his career, and with his troubadour poem ‘Cino’, the chapter opens with an analysis of the significance of community through refrain. It then moves on to trace the substantial influence of aestheticist poets on this early work, and offers an original account of the significance of Ernest Dowson and the Rhymers’ Club for Pound’s work. The chapter ends with an account of modernism’s troubled relationship with the conceptualisation of lyric inherited from the nineteenth century.

A little girl in Raytown, Missouri, used to spend part of almost every day in a special place in the woods near her house. The place had a calming effect on her. “Sometimes I go there when I’m mad . . . and then, just with the peacefulness, I’m better. I can come back home happy, and my mom doesn’t even know why.” In his book Last Child in the Woods, Richard Louv recounts the end of this fifth grader’s story. “And then they just cut the woods down. It was like they cut down part of me.” I know this same feeling. When I was her age, I watched the prairiesavannah I loved to explore turned into a housing development, chasing away my friends, the meadowlarks. I watched my aging Irish poet friend, Ken Olsen, try to fight the city to save the little bit of woods next to his house from being turned into an apartment complex. The loss nearly gave him a heart attack … or it did give him one, just not one that could be seen. Another friend mourned for weeks after the city cut down the oak in front of her apartment complex that offered dappled green shade to her fourth-floor home. It’s grief, pure and simple. But with all grief, life goes on, sometimes even when we don’t want it to. And there’s hope in that. The land systems long to rejuvenate, just as we long to have them back. Leopold’s restoration work at the Shack and the Arboretum have expanded exponentially, into every ecosystem on land and even into ocean ecosystems, such as coral reefs, kelp beds, tidal communities, and oyster beds. Because so much damage has been done, this is one of the most vibrant, growing, and needed areas of the Leopold legacy. Steven Brower, a landscape architect and Leopold family historian from Burlington, often walks the woods, caves, and bottomlands where Aldo roamed as a child. Brower’s eyes penetrate the landscapes with a kind of x-ray vision, seeing what once was underneath what is today.

Chapter 1 offers important historical and conceptual contexts for the late nineteenth century. The chapter suggests that ‘aestheticist lyric poetry’ might be usefully conceptualised ‘through the twin impetuses of conceptual expansion and formal reduction’. It then goes on to outline the context of ‘cultural modernity’, to which it is suggested aestheticist lyric poetry is responding, in order to define further the ‘crisis’ in lyric. It also introduces the three conceptual frames that set the remit for the three parts of the book; these are three key axes around which lyric poetry operates: time, space and subjectivity. Chapter 1 ends with a preliminary case study from the work of ‘Michael Field’ (the assumed name of Katharine Bradley and Edith Cooper) to demonstrate in practice the relevance of the three frames to aestheticist poetry.

Pronouns are crucial tools for any poet. They create dramatic relation and perspective, but because they are insubstantial they allow for abstraction and inclusion. No poet was quite so preoccupied with pronouns as W. H. Auden, who reflects on them often in his poetry and essays. This chapter considers Auden's relatively neglected poem “Law Like Love,” which incorporates many of the pronominal registers explored throughout this book. In this poem Auden reveals his skepticism about public orators and their absolutes, and turns against the rhetoric of his own most famous public poems, “Spain” and “September 1, 1939.” In “Law Like Love,” Auden finds alternatives for realizing the civic function of poetry.