Edward FitzGerald

Edward FitzGerald (b. 1809–d. 1883) was an English poet and translator, best remembered today for a single work, his Rubáiyát of Omar Khayyám (1859). FitzGerald was born into an extremely wealthy family in Suffolk. After graduating from Cambridge, where he had spent perhaps the happiest years of his life and formed a number of lifelong friendships, FitzGerald returned to Suffolk. There he lived very modestly, either in a cottage on the outskirts of his family’s estate or in rented lodgings in a nearby town, occupying himself with reading and writing. In the early 1850s he began to translate from Spanish, publishing Six Dramas of Calderon in 1853. The very free and unliteral method of translation he used in this work would mark all of his later translations as well, which included works by Aeschylus, Sophocles, and the Persian poet Jámí. But it was his translation, or adaptation, of certain rubáiyát (quatrains) attributed to the 12th-century Persian polymath Omar Khayyám that caused a worldwide sensation. The first edition of Rubáiyát of Omar Khayyám, which FitzGerald published anonymously (like his other works), in 1859, consisted of seventy-five quatrains. At first no one noticed or purchased the small, pamphlet-like book, but a few years later it was discovered by chance by members of the Pre-Raphaelite circle, who became passionately devoted to it. A second edition of 110 quatrains was published in 1868 and began to draw attention in North America as well as in Britain. Two more editions followed, each varying fairly significantly from the others, before FitzGerald’s death in 1883, by which time the poem was known throughout the world. It was translated into numerous languages, and Omar Khayyám clubs were founded in many cities. Critics have attributed this popularity to the poem’s frank embrace of a skeptical, resigned, epicurean view of life, which caught the spirit of a doubting, world-weary age. Its very success—by 1900 the Rubáiyát was the most popular and most frequently reprinted poem in English—led to its being dismissed and ignored by literary critics for much of the 20th century. But a critical revival began in the late 1990s, as scholars started to reappraise the poem’s cultural significance as well as its literary achievement.

Delírios e deleites: leitura dos diálogos de Machado de Assis com John Milton em Memórias póstumas de Brás Cubas / Deliriums and Delights: the reading of the dialogues of Machado de Assis with John Milton in Posthumous Memoirs of Bras Cubas

Resumo: Os textos de Machado de Assis e principalmente seus romances estabelecem muitos diálogos com diferentes escritores e tradições. Entretanto, a forma que Machado de Assis escolheu para se referir ao poeta inglês do século XVII, John Milton, no seu romance, Memórias póstumas de Brás Cubas, merece uma atenção cuidadosa. Nesse romance, o autor brasileiro também se refere a Milton, mas não de maneira direta ou nomeada; ao contrário, as alusões a Milton são indiretas, criando uma composição textual com o poeta inglês e o convidando, de maneira ausente, a também fazer parte da narrativa. Machado de Assis, na elaboração dos delírios e deleites de Brás Cubas, reflete sobre seu ato de composição e estabelece diálogos também com o poeta inglês, como uma tentativa de proliferar sentidos da obra de Milton, mais especificamente Paradise Lost, no contexto literário brasileiro. Esses diálogos serão analisados com base na ideia de dialogismo de Mikhail Bakhtin (1973, p. 39) que é constitutivo da intertextualidade e desvia o foco das noções de autoria, causalidade e finalidade, e o “texto passa a ser visto como uma absorção de e uma resposta a um outro texto”. Assim, é pertinente dizer que Machado de Assis absorve elementos de composição do universo miltoniano e responde a eles nas Memórias póstumas de Brás Cubas, revivendo, em sua criação literária, suas experiências como leitor desse poeta inglês.Palavras-chave: Machado de Assis; Brás Cubas; dialogue; Milton.Abstract: The texts of Machado de Assis and mainly his novels established many dialogues with different writers and traditions. However, the way Machado de Assis chose to refer to the English poet of the seventeenth century, John Milton, on his Posthumous Memoirs of Brás Cubas, demands a careful observation. In this novel, the Brazilian writer refers to Milton but not in a direct manner; on the contrary, the allusions to Milton are indirect, creating a textual composition within the English poet and inviting him, in an absent way, to be also part of the narrative. It seems that Machado de Assis, in the elaboration of Brás Cubas’s deliriums and delights, reflects upon his act of composition and establishes a textual dialogue with the English poet, as an attempt to proliferate the meanings of Milton’s oeuvre, more specifically Paradise Lost, in the Brazilian literary context. These dialogues will be analyzed based on Mikhail Bakhtin’s studies on the idea of dialogism, which is a constituent of the concept of intertextuality and deviates the focus on the notions of authorship, causality and finality, with writing working “as a reading of the anterior literary corpus and the text as an absorption of and reply to another text” (1973, p. 39). Thus, it is possible to say that Machado de Assis absorbs some elements of composition from Milton’s creative universe and answers him on his Posthumous Memoirs of Brás Cubas, reviving them in his literary creation and in his experiences as a reader of the English poet.Keywords: Machado de Assis; Brás Cubas; dialogue; Milton.

A Solution to Hunger and Food Wastage Using a Technology-Facilitated Social Supply Chain

In 1624, the English poet John Donne poignantly wrote, “No man is an island, entire of itself; everyman is a piece of the continent, a part of the main; … And therefore never send to know for whom the bell tolls; It tolls for thee (Donne, 1624).” Humans are intricately connected. Our actions impact each other in a chain reaction that can span geography and time, as evident from pandemics and global warming as well as the disparate distribution of food, education, wealth, and other resources. Donne’s words serve to remind us that we cannot be immune to the suffering of others caused by this disparity of resources.

Revising Alfred, Lord Tennyson: A Closer Look at Two Color Line Stories “The Wife of His Youth” and “Cecily’s Dream” by Charles W. Chesnutt

This article explores an African American writer’s revision of a famous English poet Tennyson whose versified medieval portrait of the Arthurian legend appears in Idylls of the King as well as other poems. The Wife of His Youth and Other Stories of the Color Line (1899), a story collection by African American author Charles Chesnutt (1858–1932), addresses parameters contextualized in the aftermath of slavery such as esthetic notions of beauty tied to whiteness and intra-racial inequality. The final failure of two protagonists, a man and a woman, to fulfill their romantic aspirations of whiteness connects the collection’s titular story to “Cecily’s Dream.” In addition to the color-line theme, however, Chesnutt is motivated to refer to the poetry of Alfred, Lord Tennyson (1809–1892), including moments in which chivalric codes of honor, whiteness and flawed courtly love are idealized. Tennyson’s parabolic poems provide Chesnutt’s intertextual scheme to engage the implied reader by renewing, transforming and also subverting the motif of courtly love in these Arthurian idylls.

Applicability of Ancient Myths and Cultures used in the play Yayati

Girish Karnad was among the most prolific playwrights of modern India. He took birth in the reign of British India, witness the independence of our country, learnt from the motherland of English, came back to his motherland only to become English poet, but ended up writing plays only in his native language, using the core of Indian origin in his pen. He had the best farsightedness of life which he projected very sharply in his plays. Each of his plays are enriched with the diverse forms of Indian cultures and myths. Although, it has never been mentioned of him studying psychology in a professional manner but his plays has always has the capacity of comforting or at least focusing the flaws of mankind. The main objective of this research paper is to highlight the ancient myths and culture used in one of the Karnad's play Yayati, and its relevancy in the present scenario.

Mad, bad Lord Byron: poet, rake - and indexer?

Was the English poet Lord Byron an indexer? Hazel Bell examines the index in the 1926 edition of The poetical works of Lord Byron, which is written in a provocative style that reinforces the opinions expressed in the notes that accompany Byron’s poetry. Sadly, the indexer is not named. Whether or not it was written by the poet himself, it is a fascinating index that has sadly been omitted from a later edition.

Evolution of Robert Bridges’ Style Through the Lens of Metaphor

The study of the author’s individual style is an intensively developing area of modern linguistics. Currently, the author’s individual style is considered as a system characterized by both statics and dynamics. Metaphors are some of the most reliable markers of individual style, since they give an idea of the writer’s personality and mental worldview. This article analyses the individual style in the lyric poetry of Robert Bridges, an outstanding English poet of the late 19th – early 20th centuries. The obtained results made it possible to establish that the stable part of Bridges’ individual style is a set of concepts forming his conceptual sphere as well as the central opposition of his oeuvre: the microcosm–macrocosm opposition. The varying characteristics of Bridges’ individual style are the ranks of concepts, changes in which are associated with a shift in the focus of the author’s attention and transformation in his worldview. The quantitative changes in Bridges’ later lyric poems compared to the early ones include a growing share of negatively coloured vocabulary and number of substantive metaphors, as well as an increasing variety of metaphorization of certain concepts. The main trends in Bridges’ individual style transformation are the tendency towards compensation, manifesting itself in various aspects of metaphorization, and the tendency towards simplification and concretization. The analysis of the evolution of Bridges’ metaphorical system showed that at the initial stage of his writing, he is equally interested in both the inner world of a person and the outside world, while in his later lyric poems Bridges focuses on the outside world, in particular, society.

Making Law and Recording It: Part I

This chapter analyzes Selden’s contribution to the struggle to define the reach of ecclesiastical jurisdiction in the mid-1640s, as Presbyterians in the Westminster Assembly of Divines fought to have the power to exclude the “ignorant” and “scandalous” from communion. For Selden, the issue of excommunication turned—as it had in his handling of the topic of an ecclesiastical right to tithes—on the question of whether the clergy’s authority was God-given or man-made. The final section of the chapter suggests that Milton’s position on excommunication can only be indirectly inferred from his writings—in particular from his poem “On the New Forcers of Conscience,” which explicitly attacks the Assembly on plurality and the grouping of English churches in classes. Selden acknowledged that the expulsion of Adam and Eve from paradise might be construed as an “excommunication,” a cursing or anathemata. But Milton, who would become the great English poet of exile, failed to take the imaginative leap that would connect exile with excommunication.

BOOK OF POEMS BY T. KIBIROV “ON THE MARGINS OF ‘A SHROPSHIRE LAD’” AS A METATEXTUAL PHENOMENON

The article is devoted to the book of poems, “On the margins of ‘A Shropshire lad’” (2007) by Timur Kibirov. It is marginalia to the poetic cycle of Alfred Hausman “The Shropshire lad” (1896). The metatextual elements by which Kibirov indicates the connection of his texts with the poems of the English poet are considered. We identify such characteristics of the metatext as secondary to the main work and the expression of the author’s will, aimed at demonstrating the creative process to the reader. Timur Kibirov marks his own words and forms a common intertextual field at the intersection of Hausman’s work, his own poetry and literary tradition in general. Original poems and marginalia are compared. The emphasis is placed on the graphic level of the book of poems: headings, epigraphs, notes, the use of italics, as well as cases of changing the language code. In the development of his creative input – total intertextual interplay – Kibirov writes a commentary on each of the 63 Hausman poems. Thus, the reader sees the places of coincidence and divergence of the Russian and English texts. A conclusion is made about the originality of the markers of the dialogue between the poetic cycles of Hausman and Kibirov, and about the specificity of the secondary markers, which reinforce the author’s beginning of the book of poems “On the margins of ‘A Shropshire lad’”.