Guide Early Poems

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Our first Poetry events took place in and around Bucharest, Romania in In the morning, at the press conference, key opinion leaders confessed the importance poetry has in their daily lives. On October 25th, , more than 6, people created poems or some rhymes or verses.
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• Early Poems 1935-1955
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On October 25 th , , more than 6, people created poems or some rhymes or verses, without being artists, poets, musicians or copywriters. The coffeehouse, situated in Bucharest, was equipped with a robot writing poems of our generation straight on the coffeehouse walls, all day long. Poems were written by the robot — in real time — as they arrive from consumers via a special online application from our Facebook page. Launching this space using a poet-robot shows every one of us that poetry can be relevant even in this century of speed and technology.

The Poetry Subway On October 1 st , , the official end of holiday, the passengers in the Bucharest subway had a surprise on their way to work or school. Another interpretation is that rhythm, refrains, and kennings are essentially paratactic devices that enable the reciter to reconstruct the poem from memory.

In preliterate societies, these forms of poetry were composed for, and sometimes during, performance. There was a certain degree of fluidity to the exact wording of poems. The introduction of writing fixed the content of a poem to the version that happened to be written down and survive. Written composition meant poets began to compose for an absent reader. The invention of printing accelerated these trends.

Poets were now writing more for the eye than for the ear. The development of literacy gave rise to more personal, shorter poems intended to be sung. These are called lyrics , which derives from the Greek lura or lyre , the instrument that was used to accompany the performance of Greek lyrics from about the seventh century BC onward. The Greek's practice of singing hymns in large choruses gave rise in the sixth century BC to dramatic verse , and to the practice of writing poetic plays for performance in their theatres.

In more recent times, the introduction of electronic media and the rise of the poetry reading have led to a resurgence of performance poetry in the lyric genre. From Wikipedia, the free encyclopedia. For a more in-depth table of the history of poetry, see List of years in poetry. Bilingual and mutlicultural perspectives on poetry, music and narrative : The science of art. Lanham MD: Rowman and Littlefield. Others suggest that poetry did not necessarily predate writing. Lochtefeld The Rosen Publishing Group. In Labarthe, Judith.

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Bruxelles: Peter Lang. Retrieved 14 July See for example, W. It helps to establish the level of experience at which the poem works, the mode of consciousness to which it belongs p. He goes on to show that the poem is organized round symbols which derive from the central vegetation myth, and he brings out the relations linking the different sections of the poem through the motifs echoing one another and joining together aspects of experience distant in space and time. This results in a deeply structured work of art, whose organization may be called musical p.

The objection that Eliot's dependence upon myths or culture makes for obscurity is easily met, in so far as in any age only a minority "has really comprehended the masterpieces" p. Nevertheless, Leavis points out several passages in which Eliot relies too much on accidental knowledge of the context which the words should evoke, but which only the footnote enables the reader to identify. Leavis's chapter on Eliot's poetry is therefore both exegesis and criticism for he assesses the quality of the poems qua poems, obviously with reference to an implied set of criteria based on his conception of the nature of poetry.

In fact, this study does more than just "place" Eliot's poetry : it indirectly canvasses a kind of poetry and a poetic procedure which are suitable for our time, one which, in fact, corresponds in many ways to Eliot's poetics. Matthiessen's study, The Achievement of T. Eliot New York and London, ; 2nd ed. In the Preface to the first edition Matthiessen states his purpose as follows :. My double aim in this essay is to evaluate Eliot's method and achievement as an artist, and in so doing to emphasize certain of the fundamental elements in the nature of poetry which are in danger of being obscured by the increasing tendency to treat poetry as a social document and to forget that it is an art p.

In fact, he defines a conception of poetry that is largely based on Eliot's own poetics as it may be inferred from his critical essays as well as from his practice. Like Leavis he stresses the main difference between Arnold's and Eliot's poetics : the former is only interested in the substance of poetry, whereas the latter's emphasis is on form, craftsmanship, and the proper use of words. Matthiessen deals at greater length than does Leavis with Eliot's interest in Donne and the metaphysicals — because of their "direct sensuous apprehension of thought" — ; with his debt to the later Elizabethan dramatists and to the French symbolists' theory of poetry as striving to the condition of music ; with his consequent use of sequences of images ; and with the honesty required.

Matthiessen also explains how important is the use of the vegetation myth as the structural principle of The Waste Land, since it allows Eliot to confront the experience of former ages with that of his own time : hence the many quotations and allusions Eliot uses in this poem. In the early days, and probably still today on first reading the poem, this procedure was often interpreted as expressing the contrast between former grandeur and present-day decay, whereas it is intended — as Eliot confirmed — to convey the implications of the present sense of sterility through reference to earlier expressions of it : the quotations and allusions serve both to counterpoint and to parallel the death-in-life of the post-war world cf.

Joyce's use of myth in Ulysses. Matthiessen also considers Eliot's use of concrete images — whether objects, scenes or actions — to evoke the proper emotion or response to some aspect of experience rather than through direct statement, that is, by using what in his essay on Hamlet Eliot called an objective correlative.

Further, he stresses Eliot's use of sounds and rhythms to appeal to the auditory imagination — the best examples being perhaps the sense of hard ascent conveyed by the verse rhythm no less than by the visual imagery in the first section of Ash- Wednesday and, in contrast, the sense of release in the second section "Lady, three white leopards sat under a juniper tree Matthiesen next tackles the problem of belief : some readers who had prized The Waste Land for its exposure of the sterility of the modern world failed to respond to Eliot's religious poems because they felt that, by accepting dogma, Eliot was evading his age's problems.

Matthiessen criticizes such an attitude since for him the problem of belief is irrelevant to the appreciation of poetry : the right approach to poems requires the recognition of the integrity of the work of art. Eliot, too, advocated considering poetry "primarily as poetry, and not another thing", a conception of poetry now shared by most twentieth-century critics.

In his final chapter Matthiessen underlines the constants in Eliot's poetry, both in his preoccupations and in the patterns of imagery.

Such poems as the two parts of Coriolan testify to his enduring concern with the problems of his age and to his awareness of the threat to culture in the modern world. Matthiessen not only expounds Eliot's poetics, but endorses his views and shows how his theory works in practice. This Essay on the Nature of Poetry is a kind of — poetic — gospel according to Eliot. In his value judgements on the poems — or rather parts of poems — Matthiessen's criteria are indeed those of Eliot, i. Both Leavis's and Matthiessen's studies may be said to have defined the approach to poetry that will enable the reader to respond to Eliot's poems.

However, there remained difficulties of interpretation, and a number of analyses of individual poems appeared in scholarly journals and in literary magazines.

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One of the first collections of such analyses, and probably the best for a long time, came out in : T. I shall only consider three of these essays, those whose authors were to return to Eliot in later studies. Waste Land.

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His purpose, he explains, is to give "an explicit intellectual account of various symbols, and a logical account of their relationships" p. This, he admits, amounts to no more than a "scaffolding", but one that is "to be got out of the way before we contemplate the poem itself as a poem" ibid. He first expounds the basic symbol of the waste land as found in Jessie Weston's study, and defines the method as one contrasting "two kinds of life and two kinds of death", i.

This, he grants, is "a statement merely of the 'prose meaning"', but it is necessary, he believes, to make such statements in view of current misinterpretations, particularly the view that the poem is "essentially" a statement of despair and disillusionment p.

According to him the method is a source of complexity :. The poet works in terms of surface parallelisms which in reality make ironical contrasts, and in terms of surface contrasts which in reality constitute parallelisms The two aspects taken together give the effect of chaotic experience ordered into a new whole though the realistic surface of experience is faithfully retained p.

Brooks illustrates this point by analysing the fortune-telling in the first section, pointing out that "the surface irony is reversed and becomes an irony. This is achieved through the "transference of items from an "innocent" context into a context in which they become charged and transformed in meaning" p. This need to play on several levels accounts for many of the literary allusions in the poem, the effect being "a sense of the oneness of experience, and of the unity of all periods".

We may wonder whether this is what the poem is about, or rather one element in a more complex whole ; but in any case that element cannot be ignored. Our fear, at first, lest a logical account should "clip an Angel's wings" is gradually dispelled for what Cleanth Brook provides is in fact footnotes comparable to a glossary of difficult words, but explaining how these words can be joined together.

Contrary to those readers who valued The Waste Land as the expression of modern disillusionment but failed to respond to the religious poems, she believes that Eliot's poetry is consistent and that "his later work interprets his earlier, as much as his earlier interprets his later" pp.

In her view the structure of Four Quartets is fundamentally the same as that of The Waste Land, "a kind of poetic equivalent" of the sonata form, "containing what are best described as five 'movements'". Further, the poems are built "on a dialectical basis, employing deliberate reversals and contrasts in matter and style" p. For instance, the opening movement, in general, is "built on contradictions which the poem is to reconcile". The second "opens with a highly 'poetical' lyric passage", followed by "an extremely colloquial passage, in which the idea which has been treated in metaphor and symbol in the first half of the movement is expanded and given personal application in a conversational manner".

The third movement is "an exploration The fourth is a lyric in all four poems while the fifth is again in two parts, but "the change in manner and metre is slighter than in the second movement and it is reversed The whole movement recapitulates the themes of the poem, with personal and topical applications, and makes a resolution of the discords of the first" pp. The Quartets deal with different aspects of the same theme as The Waste land, "the relation of time to eternity, or the meaning of history, or the redemption of time and the world of man" p.