Transatlantic Lifelines: Anne Bradstreet’s “Elegie upon That Honorable and Renowned Knight, Sir Philip Sidney”

The legacy of Sir Philip Sidney, the distinguished Elizabethan courtier-poet, was the subject of numerous claims to memorialization. On 17 October 1586 Sidney died in battle at Arnhem in the United Netherlands. Less than a week later, his corpse was transported to Flushing, of which Sidney had been Governor, and in the following year Sidney’s body was “interr’d in stately Pauls”, as recorded by Anne Dudley Bradstreet—the first known poet of the British North American colonies. While Bradstreet is omitted from most early modern and contemporary literary accounts of Sidney’s legacy, this article demonstrates that Bradstreet’s commemoration of Sidney from across the Atlantic presents new insights into his afterlife and the female poet’s formulations of early modern nationhood. Bradstreet’s first formal poem, “An Elegie upon that Honorable and renowned Knight, Sir Philip Sidney” (comp. 1637–8), was a tribute to Sidney as well as to her own Anglo-American literary heritage and England’s rolls. Bradstreet exhibits her complex relationship to Sidney along the same lines that she reconceives her English identity. A comparison of the two published seventeenth-century editions of Bradstreet’s elegiac poem (1650, 1678) shows how she translates descent and lineage from kinship (and kingship) into poetic creation. In the process, Bradstreet takes her place not only as a “semi-Sidney”, as Josuah Sylvester characterized Sidney’s descendants, but also as a Sidneian Muse—in America.

Sabbatarian Literature from the 17th Century and the Contribution of Simon Pechi

Both Sabbatarianism and its poetic creation from this period were under the influence of Simon Péchi. Most of the poetic creations of the Sabbatarians came from the pen of Péchi, who also outlined the future direction regarding this kind of creation. The concern of the Sabbatarians was for the translation of Jewish religious hymns, as well as for their processing. And the literature which emerged, and which until now is an almost unknown poetic literature, which is not even very wide and which has come to us with many shortcomings, in one respect is unmatched and especially full of teachings as regarding that radical change, through which Sabbatarianism has passed from the moment Simon Péchi has reached to lead it.

I dropped a big stone on the water snake… Poetic and the Folk Image of a SNAKE

The aim of the article is to reconstruct the linguistic and cultural image of the snake in Polish language and Polish folk culture, functioning within three different but complementary genre-based models: (a) mythological, which echoes are present in belief stories, records of beliefs, and descriptions of practices; (b) biblical (religious), Judeo-Christian, settled in aytiological legends, wedding speeches, religious and historical songs (c) colloquial (common sense), confirmed mainly in colloquial phraseology. In the first model, the snake appears as the guardian of the house and the enclosure, a living creature, friendly to people and animals, whose presence ensures happiness and prosperity; in the second – the serpent is a symbol of evil, sin and Satan; in the third, the most stabilized features of the snake are: wisdom, prudence, but the most of all cunning and sly. The features that emerge especially from the mythological and religious model are the basis for the interpretation of the poetic creation of a snake from Czesław Miłosz’s poem Rue Descartes, in which the lyrical subject combines all evil that has happened to him in his life with in breaking of the ban and just punishment for killing a water snake coiled in the grass.

Ensoñación y realidad en la Epístola V, al excelentísimo Señor Conde de Lemos, Presidente de Indias

RESUMEN: En la Epístola V dedicada al Conde de Lemos, Lope propone un juego de máscaras y de personas, de sujetos reales y de configuraciones ficcionales a efectos de recuperar el favor de su antiguo mecenas. La intencionalidad del mensaje se manifiesta a través de una fantasía alegórica concretizada en el plano onírico. En la dialéctica realidad/ensoñación, Lope aborda las tensiones entre el prestigio literario y la pobreza apremiante, entre la autoexaltación y el descrédito público, entre la experiencia vivencial y la creación poética. Autobiografía y proyecto literario se fusionan, una vez más, para enaltecer a un Lope que, a pesar de todo y contra todos, se ufana de ser poeta. ABSTRACT: In Epistle V dedicated to the count of Lemos, Lope proposes a game of masks and people, real subjects and fictional configurations in order to regain the favor of his former patron. The intentionality of the message is manifested through an allegorical fantasy concretized in the dream plane. In the dialectic reality / reverie, Lope addresses the tensions between literary prestige and pressing poverty, between self-exaltation and public discredit, between experiential experience and poetic creation. Autobiography and literary project merge, once again, to praise a Lope who, despite everything and against everyone, prides himself on being a poet

Amor y la inspiración poética

Love’s personification has modeled the conception of love poetry since Antiquity. This article focuses on a little-known aspect of this personified figure. It will show that the process of poetic creation focused on the lyrical self is based on a profound relationship of the self with Love in its role as the inspiration of passion and writing. It will be observed how this idea begins with Greek poetics and how it was developed in three literary moments: the Latin elegy, Medieval lyric and Petrarchan poetry.

LOS CUERPOS QUE NOS MIRAN DESDE LEJOS. FIGURAS DEL OTRO Y TÉCNICA DEL OBSERVADOR EN LA HERIDA EN LA LENGUA, DE CHANTAL MAILLARD

Resumen: La creación poética de Chantal Maillard se construye en variación sobre los mismos temas y figuras: hilos, agujeros, cuerpos, heridas, tiempo, miradas, dificultad de decir. Bajo estos temas y figuras, el problema de la otredad: ¿cómo representar?, ¿cómo entrar siquiera en contacto auténtico con lo otro? En este artículo propondremos un acercamiento a la cuestión a partir de un análisis retórico, intertextual y semiótico-estructural del libro de poemas La herida en la lengua.Abstract: Chantal Maillard’s poetic creation has been built on variations from the same themes and figures, such as threads, holes, bodies, wounds, time, gazes, or difficulty to say. So, these themes and figures refer the otherness topic: how it could be represented? Are we even able to get in trully contact with others? In order to propose an approach to this topic, in this essay, the poem’s book La herida en la lengua shall be analysed by using Rethorics, Intertextuality and Structural Semiotics.

The paths of dreams. A rereading of Antonio Machado’s Galleries

Poetic creation and encounter with God are two concepts that the Spanish poet Antonio Machado relates to dreams and childhood. He thus recovers the dream as a sphere of contact with God, overcoming in a certain way the faith/reason dialectic that modernity takes pleasure in emphasising. The dream is beyond reason, and there comes the divine inspiration which can then be translated into “a few true words”. Poetic language thus acquires a status far superior to that of delight: it is the key that allows us to touch the mystery. The relationship between dream and childhood also allows Machado to explore a lost innocence to which one always aspires to return.

Depiction of Hazrat Adam (A.S) in the Poetry of Rehman Baba

Rehman Baba is considered a famous folk poet of Pashto. His poetry is mystic rather universal. The messages his poetic verses convey are universal as well as local. The locals and the foreigners, having comprehension of his poetic creations, entertain humanistic love and attachment with him. He is loved particularly amongst Pashtuns because his poetry is written in Pashto language. The Pashtuns without the any bias of age and gender entertain love and devotion to his poetry. His poetry has depicted the soul and body of the Pashtun’s culture. That’s why, most of his poetry has taken the shape of proverbs amongst Pashtun. Talmeeh refers to the historical, political, ethical and religious events or the Quranic injunctions and prophetic sayings. Poetry of Rehmana Baba is abundant in religious Talmeehat. He has depicted Hazrat Adam (A.S) in his poetic creation on various places. There is a strong need to analyze it. This paper examines and analyzes the religious Talmeehat focusing particulary related to Hazrat Adam (A.S).

A POESIA BRASILEIRA EM CONFLITO COM O TEMPO E O PENSAMENTO

RESUMO: A poesia brasileira produzida a partir da década de 1990 até os dias atuais caracteriza-se por uma “pluralidade de poéticas possíveis”, para citarmos Haroldo de Campos. Diferentes pesquisas são realizadas no campo da poesia visual, neobarroca, coloquial, minimalista, eletrônica, entre outras linhas criativas, revelando a ausência de uma estéril hegemonia em favor da diversidade, do diálogo criativo com a tradição moderna e a busca da experimentação, numa época em que o espírito utópico que animava as vanguardas históricas entrou em eclipse, após o final da Guerra Fria. Na poesia da “agoridade”, “pós-utópica”, não se tem como meta o planejamento do futuro, mas a criação poética necessária que responda aos desafios do presente. ABSTRACT Brazilian poetry produced from the 1990s to the present day is characterized by a "plurality of possible poetics", to quote Harald de Campos. Different researches are carried out in the field of visual poetry, neo-baroque, colloquial, minimalist, electronic, among other creative lines, revealing the absence of a sterile hegemony in favor of diversity, creative dialogue with modern tradition and the search for experimentation, at a time when the utopian spirit that animated the historical avant-garde swum eclipsed after the end of the Cold War. In the poetry of the here-and-now, "post-utopian", the goal is not the planning of the future, but the necessary poetic creation that responds to the challenges of the present.

Postures of Dying: Eliot, Seneca and the Elizabethans

This article analyses the substantial intertextual relations between Eliot’s ‘Gerontion’, Seneca’s tragedies, and Elizabethan and Jacobean drama, particularly in the depictions of dying speeches. It demonstrates, too, that ‘Gerontion’ is a prominent example of how Eliot’s poetry anticipates the issues explored in his critical prose—in this case, notably ‘Shakespeare and the Stoicism of Seneca’ and ‘Seneca in Elizabethan Translation’. Further, the article relates the use of what Eliot called ‘saturated’ images in early modern drama and his own poetry with his theories of poetic creation and originality. In so doing, it argues that, contrary to the accepted critical narrative, the famous description of a ‘profound kinship’ with an unnamed ‘dead author’ that Eliot describes in ‘Reflections on Contemporary Poetry’, may not primarily and exclusively refer to Jules Laforgue.