In the s, Huidobro — always fascinated by the new medium of film — apparently wrote a film script on the subject of Cagliostro, a treatment very much in tune with the German expressionist cinema of the early 20s. Huidobro claimed that the film was made in by the Romanian director Mime Mizu but that this had been scrapped due to dissatisfaction over the editing. No trace of the film survives, although three pages of a script do survive in the author's papers.
Making the best of the situation, Huidobro converted the script into a novella, with many cinematic elements, and it was published in translation in in both London and New York, to positive reviews. It appeared in the original Spanish only in , in Santiago, and had no impact at all. This edition reproduces the text of the translation.
Translated from German by Catherine Hales. Berlin Fresco is the first volume in English by the German poet, translator, editor, and publisher, Norbert Hummelt. He has translated the poetry of W. Translated from Spanish by various hands. Translated from the Irish. Text in English only. This volume extracts the author's remarkable translation of the epic 'Sweeny Peregrine' from the above volume and offers it together with a large group of other versions from the Old and Middle Irish, thus offering Anglophone readers a glimpse of some very unusual verse that rarely sees the light of day outside academic volumes, while also transposing it into a form that will seem familiar to readers of Joyce's own work.
Translated from German by Tony Frazer. English edition, with original text in an appendix. Contains 12 colour woodcuts and 44 black-and-white woodcuts by Kandinsky. Well-known in the Arab world as a poet, essayist and translator Abdulkareem Kasid, born in Basra in , escaped from Iraq in and went to live in Aden. He lived and worked in Damascus for ten years before settling in London with his wife and two children. In recent years he has returned to Iraq from time to time as well as travelling widely in North Africa and the Middle East.
Translations of his work have appeared in a variety of print and online journals in the UK. Translated from German by Iain Galbraith. The first English-language survey of Austrian poet Alfred Kolleritsch's work. Welten Worlds is a cycle of poems written in the second half of by Gertrud Kolmar, who was to perish six years later in Auschwitz.
The manuscript was passed in by her brother-in-law to Peter Suhrkamp, publisher at Suhrkamp Verlag—now Germany's premier literary press—and was one of the first books to appear from Suhrkamp after the war. Translated from Spanish by Peter Boyle. A sixty-year-old man writes a poem and entitles it 'Anima'.
Days later he writes another poem with a tone similar to the first, entitles it 'Anima', then realises he has just begun a series which must all bear the same title. Furthermore, the man decides that in the future and till the day of his death he is going to continue writing poems that, since they have this tone, will bear the title 'Anima'. At the end of a year, having written some poems, he extracts from the accumulated mass 60 poems called 'Anima'. A tokonoma is an alcove in a traditional Japanese house, which serves to display a scroll, ikebana or a special painting or print.
Here Kozer engages with Japanese and Chinese poetry, learning, myth and much more besides. This is the same book as the one shown above, but without the Spanish texts, and at a more attractive price for those not requiring the original versions. Translated from Spanish by Jason Stumpf. Aurora was first published in Mexico City in by Ediciones Equilibrista, and was the author's third full-length collection.
Translated from Spanish by Dan Bellm. Many of the poems have been set to music by composers from Mexico, the United States, and the United Kingdom. Translated from Spanish by Jennifer Clement. After his death, his reputation took some time to grow, but his later espousal by major figures such Xavier Villaurrutia and Octavio Paz has ensured that he will remain central to the story of Mexican 20th century literature. Shearsman Classics Vol.
Machado, however, unlike many of the French symbolists and perhaps because he was Spanish, never turned his back on common reality. Rather, reality and natural images were as sacred to him as mysterious cyphers, flickering shadows at the mouth of the Cave. He was a deeply humanitarian poet; he believed in human emotions and intuitions, and he was always opposed to the baroque in Spanish poetry because he saw it as cerebral or conceptual and therefore an inadequate means of receiving signi-ficance from the temporal flux in which human beings live. Translated from Chinese by Denis Mair. A bilingual collection by Dalian-based poet-editor, Mai Cheng.
This is his first collection to be made available in translation. Translated from French by David Scott. Translated from Russian by Alistair Noon. One of the great poets of the first half of the 20th century, Mandelstam is one of the figures who needs to be translated and re-translated, being too important to be taken for granted. Valerius Martialis. Translated from Latin by Art Beck. This is the first collection in the UK for Mexican poet Victor Manuel Mendiola, although his work has been appearing in small-press editions, in others' collections and in journals for some time.
This Selected shows the full range of his work, but begins with his astonishing erotic long poem 'Tu Mano Mi Boca' Your Hand, My Mouth , which was so well received in Ruth Fainlight's translation when it was included in her latest collection of poems. George Messo ed.
In the mids a small but energetic group of young Turkish poets exploded into creative life. Their vivid, cosmopolitan experimentalism sent shock waves through the literary establishment. Inspired by surrealism and the contemporary European avant-garde, their influence was widespread and lasting — Turkish poetry would never be the same again. Edited by Antonio Ochoa. Translated from Spanish by John Oliver Simon. Introduced by William Rowe. Translated from Hebrew by Joanna Chen. With no undue emphasis, eschewing declarative pronouncements, the poet points to the important truths looming behind the veil of the trivial.
Avoiding opacity and heaviness of any kind her carefully chosen words, semantically loaded to the brim, also throb with reined-in musicality and elan. Dan Miron, Columbia University. Translated from Spanish by Terence Dooley. We have become used to a life of routine and uniformity: at work, in our relationships with others and with ourselves when we seek to understand what surrounds and subjugates us. Messages flood in and, instead of criticising reality, they reinforce the status quo and encourage us to accept it and maintain it.
That phase was left behind for Moga long ago, and we must presume he underwent an apprenticeship of disappointment: the discovery that the gods do not love us, but torment us, and then put all his efforts into unlearning it all. Shearsman Classics series, No. Translated from French by Will Stone. Nerval is one of the most important writers of the French Romantic movement.
Paschalis Nikolaou ed. Throughout his adult life, C. Cavafy rarely journeyed outside his native Alexandria, though he spent some of his childhood years in Liverpool and London. In the course of the 20th and 21st centuries, the reach of his poetry has been immense. Together they embed the intimacy of shared culture, skilfully mirroring passions and preoccupations.
This bilingual presentation includes voices familiar to English readers, such as those of George Seferis and Yannis Ritsos, alongside lesser known names — all of them, engaged in layered dialogues with Cavafy. The result is a lasting image of literary influence and reception, and ultimately, of poetry translated by poetry.
His recognition has been a long time coming, no doubt due to the fact that he stood outside the accepted currents of his time. Poet, painter, essayist and translator, he died young, but left behind a very large body of work which has only begun to receive its due in recent years, as the critical orthodoxy in Spain has begun to accommodate his singular vision.
Translated from Spanish by Mark Weiss. This remarkable poetry brings the long ago into nowness, if I can put it like that. It lights from far and also near, burning. Her mysterious, dream-like imagery and her fresh, restless approach to language mark her as a poet of rare ambition and intelligence. Manuela Palacios ed. Translated from Galician, Basque and Catalan by various Irish poets. Galicia, the Basque country and Catalonia have often found in Ireland an "inspiring Other" whether for political, social or cultural reasons. This anthology engages in an intercultural dialogue which redefines and strengthens the literary bonds among these communities.
A selection of the most prominent Galician, Basque and Catalan contemporary women poets have their verse recreated in English by Irish writers. Together they enrich the European literary scene by celebrating its diversity. Chus Pato is the leading contemporary poet in Galicia. All of her work is written in the Galician language Galego , but contrary perhaps to one's expectations of work written in what is a minority language, and one also long-repressed, her work is avant-garde, postmodern, and reflects the author's Marxist beliefs as well as her belief in the necessity of independence for Galicia.
This is a radical poetry that, despite its remote origins, can speak powerfully across borders and languages. In in Galicia, in a maelstrom of rupture from her previous poetics, well-known poet Chus Pato gave readers a startling new book that instantly demarcated the literary landscape. There was death and death entered love; writing mutated.
Even so, when the poem writes itself, it is loyal only to its own wound; this is its law of gravity. As Octavian's longtime friend, Maecenas enjoyed a great deal of unofficial power in Rome, but he is best known for his prominent role in Horace's verse. Horace gives his version of his first encounter with Maecenas and their subsequent friendship in Sat. The social gulf between him and Maecenas at first made Horace tongue-tied. Maecenas spoke with him briefly, asked questions that the young poet answered forthrightly, and then ended the interview. Eight months later Maecenas invited Horace to join his circle of friends.
The poem compliments Maecenas for his recognition that nobility is a state of mind rather than of rank and reveals Horace as a worthy man who is comfortable with his role and status relative to Maecenas. As a result of temperament and training, Horace suggests, advancement in public life held little attraction for him. In fact, ambitious for literary prestige, he poured his competitive energies into writing poetry.
The poem also suggests that, while Horace and Maecenas developed a friendship in the modern sense of the word during their long association, their relationship began as one of unequals, in which Maecenas was more powerful. The social dynamic that accompanied this unequal status did not wholly disappear with the growth of a companionable easiness between the two men.
By the time of his introduction to Maecenas, Horace was writing in at least two genres: satires that he called both sermones verse conversations and saturae satires as well as poems that he referred to as iambi iambics , although that collection is commonly called the Epodes. Horace may have begun the iambics as early as 42 B. Not until several years later did he publish a full work, Satires I ca.
Greek poets had cultivated a lively satiric spirit, especially in iambic poetry and in comedy, but the genre itself was, as Quintilian claimed, completely new and Roman: "Satura quidem tota nostra est" Institutio Oratoria , Only scattered fragments remain of Ennius's ca.
Horace, however, credits Lucilius second century B. Satire as a genre is something of a hodgepodge with a fitting name. Although the derivation of satura has long been the subject of controversy, it most plausibly refers to a lanx satura , or plate full of various foodstuffs. Food is a natural focus for satire, and several of Horace's satires center on food and mealtime decorum, but the "mixed plate" metaphor refers more to the variety of topics in this genre that center on human foibles.
The humble imagery also suits the low status of the genre in the literary hierarchy, a status reflected in the arrangement of the various genres in complete texts of Horace's works: the epodes, satires, and epistles are printed after the more exalted genre of lyric. Combination and variety furthermore typify satire: Hellenistic philosophical diatribe joins with comic lampoon, iambic invective, and folksy narrative full of animal fables and deftly drawn character sketches.
Sexual and scatological humor, although inappropriate in more-elevated genres, are quite at home in satire. The phallic god Priapus indulges in earthy language and jokes in the eighth satire, while the second, the bawdiest of the satires, concerns proper sexual partners. Like the Eclogues the book of bucolic poetry published by Virgil , each collection of Horace's satires was meant to be read as a poetry book. The ten poems of Satires I are presented to their audience both as distinct poems and as a unified work whose individual poems should be considered in relation to their neighbors and to the book as a whole.
The careful arrangement of the poetry in the book invites division into parts large and small. Smaller components such as paired poems, sometimes adjacent and sometimes not, complement, contrast with, or comment on each other as in Sat. Poetry books often present a related series of poems, as in the three satiric diatribes that, part philosophical lesson and part harangue, begin Satires I.
Scholars have divided Satires I into halves and and into thirds diatribes; the literary, ethical, political Horace; short narratives; conclusion. Another pattern balances the diatribes followed by the first of the two "satires on satire" in the book 4 with the narrative satires followed by the second of the literary satires Between these sets are the two central poems focusing on Horace's friendship with Maecenas, the first a narrative of a shared journey Sat.
These divisions are complementary rather than definitive and are part of the complexity of the book. The first poem of a poetry book, often programmatic, sets the tone for the rest of the book and provides information on the matter and style, the dedicatee, and the place of the work in the literary tradition as well as the poet's innovation. The discursive chatter to Maecenas in the opening poem of Satires I , which centers on discontent and greed, places Horace in the Lucilian literary tradition.
Lucilius's persona was that of a wealthy equestrian confidently publicizing his opinions. The haphazard logic of Horace's narrator mimics the careless authority of those accustomed to voicing any and all of their opinions; his style is that of someone comfortably making judgments in the company of those who share his values and assumptions. The poem cannot be called a philosophical argument: the transitions are awkward, and the logic wanders. Solid ethical sense, however, shines through: people should be content with what they have, enjoying their resources and advantages instead of hoarding and competing with others.
Two famous characterizations of Horace come from this first satire. The second and third satires, similarly discursive treatments of sex Sat. The second mentions Philodemus, a prominent Epicurean philosopher. Horace ridicules and dismisses followers of the doctrines of Chrysippus, the head of the Stoic school during the third century B. The third satire criticizes Stoic tenets such as all failings are equal; justice is natural, not normative; and only the wise man is good.
The poem advocates a mutual and affectionate acceptance of failings among friends rather than a rigid stoicism. The book on the whole is a testimony to Horace's friendship with Maecenas. The narrator represents himself as an enthusiastic, loyal, and deserving friend who has access to a close relationship with the powerful Maecenas. Satisfied with his role and having no political ambitions, the poet enjoys the company of a group that—while exclusive, intellectually sophisticated, and powerful—is yet internally free from ambition and competition.
Saying he is following Lucilius in composing witty, conversational narratives straight from his life Sat. Written against a backdrop of great political turmoil and change, the satires do not willingly yield firm information or political nuances. Consequently, Horace's relationship to and attitude toward the leading figures who play a role in his poetry continue to be subjects of speculation and controversy. The spectre of civil war had not yet passed, even though the satirist had traded in his armor for a stylus.
From 40 B. The sparring between Octavian and Antony prompted two peacekeeping expeditions to southern Italy. A teasing version of the poet's participation in such a diplomatic expedition is the subject of Sat. The goal of the expedition that forms the background for Sat. Horace intensifies and frustrates the reader's curiosity about what he, as a companion to Maecenas, saw and heard on that journey.
The reader learns virtually nothing of political significance. Instead, the poem emphasizes that the traveling party is a solid and intimate group. Even mishaps—an overnight stopping place almost catching on fire and Horace's anecdote about his sexual frustration after waiting half the night for a woman who does not appear —are presented as bonding experiences, memorable if unpleasant events evolving into anecdotes that continued to bind the group even after the experience has ended.
When the party finally arrives at Brundisium, Horace ends the narrative, having provided only enough information to assure the reader that he was a part of an elevated inner circle. The poet makes clear that his interests and talents lie in writing poetry, not in social maneuvering, by telling a tale at his own expense about the antics of an ambitious pest who confounds Horace's attempts at escape. A stranger to guile, Horace is at the mercy of his pursuer, who seeks an introduction to Maecenas. Horace declares that the group is free from social posturing and competition: each member knows and is happy with his own place :.
We do not live there. While the reader might agree with his antagonist that Horace's claims are difficult to believe, the idealized representation of the lesser-status friend who is secure in his own place and free from ambitious envy has a long tradition in Roman culture.
Rossetti Archive Pictures
The glimpse available to outsiders makes the group more desirable and at the same time more unattainable. The witch Canidia makes the first of her several appearances in Horace's poetry in Sat. She and Sagana, another witch, are frightened from the Esquiline by a flatulent statue of Priapus, a fertility god who protected gardens. The intersection of literature with life, implicit in all Horace's poetry, is the explicit focus of the two literary satires, 1. Both these poems explore satire as an amalgam of the aesthetic and the ethical in explicit comparisons with Lucilius. Horace prides himself on following his predecessor's tradition of courageously attacking the failings of people of any rank.
While there is a good deal of dismissive raillery at the expense of those outside of his social and literary circles for example, the pest in Sat. Rather, homespun wisdom tinged with Hellenistic philosophy in a conversational style is directed in a manner more mocking than vituperative at the victims the poet can afford to scorn—and at himself.
Horace also criticizes his predecessor's metrical and rhetorical practice: in highly polished, concise, and exact verse, Horace reproves Lucilius as a muddy, verbose, and slipshod writer Sat. The charges levied against Lucilius are repeated in the final satire of the book Sat. Just to be witty is not enough, insists Horace. A poet's thoughts should run smoothly and at the right pace; there should be a good variety in tone; and the poet should assume different roles suited to the matter at hand.
The language itself should be plain and pure Latin, with no Greek neologisms mixed in. Horace evades the question of the literary status of the genre, insisting the satires are merely versified conversations. Despite its informality and mundane subject matter—the antithesis of epic—satire in Horace's hands is more than versifying. Behind the informal veneer of the genre, every word has been chosen and placed with a tightly controlled artistry of which the poet is justifiably proud. The two satires look at the context of the genre from different perspectives. The fourth satire roots Horace's literary endeavors in the rigorous ethical training of his childhood and credits his father with instilling the lessons that inspire satire.
The tenth focuses on the present; Horace compliments by name poets writing in other genres and literary friends whose approval he seeks. The poet's expression of his preference for an elite and refined group of readers over popular acclaim closes the book. Horace acquired an estate in the Sabine Hills outside of Rome. Although he also had a home in Rome and later at Tibur, a fashionable resort town northeast of Rome, the Sabine estate figured most prominently in Horace's poetry. It afforded the poet not only a peaceful place in which to think and write but also the landed respectability so important to the Romans.
Maecenas has usually been credited with helping Horace to acquire the Sabine estate. In recent years, however, some scholars have suggested that Horace, a man of equestrian rank and a scribe, had the financial resources to buy the estate without Maecenas's aid. Assuming that he did so, however, ignores the references to substantial material benefits received from Maecenas for example, Epod. The extent of Maecenas's financial assistance is uncertain. Further, ancient sources have not provided enough about relative wealth in Rome to demonstrate that even a man of equestrian rank would necessarily have the wherewithal to afford an estate in the Sabine Hills.
Five years later 30 B. Horace published a second book of satires; this book both continues and departs from its predecessor.
Food and philosophy—and even food as philosophy—play prominent roles in this book whose individual poems balance and comment on one another. Book 2 is full of advice, but, unlike the advice of book 1, little is offered by the poet's persona. The dialogue of the first satire sets the tone for the rest of the book. Instead of diatribes sprinkled with a few interlocutors book 1, or monologues Sat.
The poet may take the secondary role as the interlocutor while other characters speak in diatribes Sat. A chance encounter becomes the stimulus for a lecture on food Sat. The reader hears several of the narratives at a far remove. Catius repeats a lecture 4 ; Fundanius, a story 8 ; the poet, the precepts of Ofellus 2 and the fable of his neighbor Cervius 6 ; Damasippus, the lecture of Stertinius 3 ; and Davus, the precepts of Crispinus as overheard by his doorkeeper 7.
On Hellenistic Poetry
Twice, however, the reader eavesdrops on conversations. In keeping with one of the motifs of the book, both concern expert advice. The book opens in the midst of a consultation between the poet and the legal expert Trebatius. Just as in the literary satires of the first book, the poet takes the stance of having been attacked for writing satire. Trebatius counsels his friend to give up satire, or, if he has to write, to compose epic praises of Octavian. The poem defends the poet's talent as well as his choice of genre; no matter what, Horace promises, he will write :.
Plato’s Aesthetics (Stanford Encyclopedia of Philosophy)
The second consultation begins the second half of the book. In this poem the reader is transported to the underworld of Greek mythology to eavesdrop on the famous seer Tiresias advising Odysseus on the best way to ingratiate himself with the elderly rich in hopes of being left a legacy Sat. Ofellus, the focus of the second satire, stands in contrast to other characters in the book. Ofellus lost his farm—but retained his convictions—when his land was transferred to veteran soldiers. Against Ofellus's precepts that hard work, simple food, and plain but unstinting living are best, Horace has set those of Catius Sat.
Balancing Catius's amusing precepts is the story told by Fundanius, Horace's friend and writer of comedies Sat. Two diatribes directed at Horace make fun of, among other things, the ripple effect of contemporary interest in Hellenistic ethical thought Sat. Both take place during the December Saturnalia, when the distinction between slaves and masters is blurred. Damasippus, a convert to philosophy, sees his new learning as yet another in a string of schemes to get ahead in the world Sat.
A captive Horace is treated to the various proofs that all fools are mad and only the Stoic wise man is sane, arguments that Damasippus has learned from a single encounter with the Stoic Stertinius, whose lecture he reiterates at length the poem is lines, Horace's longest next to Ars poetica. In Sat. Davus had become a philosopher through the servant grapevine: he learned the rudiments of Stoic argumentation from the Stoic Crispinus's doorkeeper, who had in turn learned them by eavesdropping on his master's lectures. Davus's harangue comments on Horace's self-portrait in Sat.
The praises of simplicity in Sat. The poet represents himself as grateful and content, living a simple life far from ambitious Rome, where folk wisdom and animal fables—like the tale of the city mouse and country mouse with which the satire ends—take the place of urban philosophizing.
In the next poem, however, Horace offers a different reading of Sat. The effusive gratitude and deep contentment expressed in the previous satire, Davus's tirade suggests, reflect the poet's mood, not a stable sentiment: "you can't stand your own company for an hour, you are unable to make good use of your leisure and, a fugitive and a wanderer, you avoid your very self, seeking one minute to drink away, the next to sleep away your troubles" Davus uses the argument that all fools are slaves to eradicate the social distinctions between himself and his master.
His master suffers from all the same desires and foibles as Davus, but the master's social station allows him to make aesthetic distinctions and masquerade in ways unavailable to and unnecessary for his slave. Satiric spirit finds a more forceful expression in some of the Epodes , published around the same time as Satires II. All but the final poem 17 are written in couplets in which the two lines are of different lengths and sometimes different metrical patterns—hence the designation epode, which means "after the ode" and technically refers to the second verse of the couplet.
Horace, however, referred to the poems as iambi , putting himself in the literary tradition of the archaic Greek poet Archilochus of Paros, whose meter and manner he claims to imitate Epist. Horace adapted various combinations of Archilochus's meters to his native Latin, but Archilochus is not the only model for the iambs. The prolific works of the third-century- B. Callimachus associates his iambs with the sixth-century- B. Unlike Archilochus, however, for whom the iamb was a weapon A. As part of his warning that his adversary be wary of attacking one well-equipped to retaliate, the narrator of the sixth epode names the well-known enemies of Archilochus, Lycambes and Hipponax Bupalus , but his own victim remains anonymous.
Horace attacks unnamed women in Epodes 8 and 12, both poems so scathing and coarse that they are often explained away as "allegories" or "literary exercises. This poem has sometimes been thought to repeat inaccurate gossip against Horace's own military past referred to in Sat. Some named characters in the iambs may or may not refer to historical individuals. In a distorted propempticon Epod. The fervent champion of rural life in Epode 2, one of Horace's most frequently imitated poems, turns out, in the end, to be Alfius, an urban moneylender.
Canidia, a favorite character in the epodes as in the satires , is a predatory witch who kidnaps a young boy in order to use his entrails in a love potion Epod. She is the automatic suspect when Horace complains Maecenas has poisoned him with a garlic-laden feast Epod. A perverse eroticism is a vehicle for invective against Canidia in Epodes 5 and 17 as well as in the eighth and twelfth epodes.
Of the three other erotic poems in the collection, only one is aggressive; two touch on the effect of love on writing poetry. A rejected Horace promises his past lover that he will have the last laugh in a poem that comes closest to the Odes in tone Epod. In Epode 11 the narrator complains that he is love's perpetual victim, suffering a misery not even writing poetry can alleviate; in Epode 14 being in love provides an excuse to Maecenas for promised but unfinished poetry.
Iambic poetry is appropriate for political expression as well, and the epodes reflect a poetic reaction to the political upheaval of their time. As the book opens, Horace, despite his unwarlike character, announces he will follow Maecenas anywhere, even off to war. The dedication to Maecenas underscores the poet's gratitude toward and concern for his friend, made vivid by the crisis of civil war. Horace may in fact have accompanied Maecenas, early in their relationship, to the battle at Cape Palinurus, where Octavian suffered a naval defeat Odes 3.
Horace may also have been with Maecenas at Actium, the occasion of the ninth epode. Whether or not he actually witnessed the battle, the war, either directly or in the background, informs much of the book. In Epode 7 the poet appeals to his countrymen to stop the destruction and frenzy, a curse he says is rooted in Romulus's fratricide. In a poem that is frequently compared with Virgil's fourth eclogue, Horace proposes that Rome's best citizens abandon the city, which has been ravaged by its own might.
Under the guidance of Horace as their vates prophet-poet Romans can find a new home set in a golden age Epod. The sorrows of war inform a sympotic epode as well Epod. The poet encourages his companions to turn a winter storm to their advantage and to chase away their worries with old wine, scented oils, and song. As an authority for the curative powers of wine, the poet cites the centaur Chiron, Achilles' tutor.
After revealing to Achilles his fate in the Trojan War, the centaur encourages his ward to banish trouble and sorrows with wine and song, even in the midst of war. Returning triumphant to Rome, Octavian began the refashioning of the state that won him the honorific title Augustus in 27 B. Part of his vision included building on the Palatine River a temple to Apollo, which was connected to his home dedicated in 28 B. The temple complex also housed two libraries—one Latin, one Greek—which held the best of Greek and Latin literature.
Horace writes of having one's works shelved in the library as an honor, a symbol of acceptance into the Roman literary canon. Horace was not alone in striving for inclusion in the Palatine library. These were years of great literary activity. Virgil published the Georgics 29 B. The next year Propertius published the Monobiblos and joined Maecenas's circle. A few years later Tibullus published his first book of elegies; Propertius published his second and third elegiac books.
In prose, the historian Livy was working on his sweeping annals of the rise of Rome, and Vitruvius published his De architectura. The prestige of native literature was increasing so much that Caecilius Epirota, a schoolmaster, began to teach Virgil's poetry. The earliest datable poem, Odes 1.
Horace worked on the odes for at least seven years and published them in 23 B. The three books comprise a total of eighty-eight carefully arranged poems. The number of poems in each book varies book 1 includes thirty-eight poems; book 2, twenty poems; and book 3, thirty poems , as does the total number of verses book 1 includes lines; book 2, lines; and book 3, 1, lines and length of individual poems from the shortest, which consisted of eight lines, to the longest, which consisted of eighty.
Both names for Horace's lyric, odes and carmina , are reminders of the roots of the genre in song accompanied by the lyre. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. The Tears of Eros by Georges Bataille ,. Peter Connor Translator. Tears of Eros is the culmination of Georges Bataille's inquiries into the relationship between violence and the sacred.
This essay, illustrated with artwork f Tears of Eros is the culmination of Georges Bataille's inquiries into the relationship between violence and the sacred. This essay, illustrated with artwork from every era, was developed out of ideas explored in Erotism: Death and Sexuality and Prehistoric Painting: Lascaux or the Birth of Art. In it Bataille examines death—the "little death" that follows sexual climax, the proximate death in sadomasochistic practices, and death as part of religious ritual and sacrifice. He was a librarian by profession. Also a philosopher, novelist, and critic he was founder of the College of Sociology.
In , Bataille began Tears of Eros , and it was completed in , his final work. Bataille died in Get A Copy. Paperback , pages. Published January 1st by City Lights Publishers first published More Details Original Title. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about The Tears of Eros , please sign up. Lists with This Book. Community Reviews.
Showing Rating details. More filters. Sort order. Jul 18, Eddie Watkins rated it really liked it Shelves: adventures-in-thought. The doors of my mind have only recently opened to and been opened by Bataille, so what I say about The Tears of Eros will necessarily be that of a novice.
We have hanging in our house a woodblock print done by a friend of ours of a gaunt and cigarette smoking Joan Didion. Worked into this portrait is a quote of hers - I know what nothing means and keep on playing. I read it as an inspirational message, as does my wife, but I know our individual interpretations of it are fundamentally different, though I have no interest in discussing this difference of interpretation with her. It is enough that the phrase has significant meaning, however different, for each of us. It means so much to me because in recent years my spiritual path or search for authenticity has become centered on nothingness.
Truth exists, but only as founded on nothingness, which for me means that no thought or construct of meaning can contain truth. Faith too often is nothing more than faith in a pat and simple-minded thought. My concern is to be, to go, beyond thought, and to play as if suspended in this profound void of non-thought spewing forth thoughts, ironically.
In The Tears of Eros this nothingness, this ineffable peak beyond all thought, is illustrated by an ancient cave painting. In this cave painting a gored buffalo with entrails spilling out is charging or has charged the man responsible for its mortal wound. This man is apparently dead or dying, a victim of his victim the charging buffalo, and is sporting a quite prominent erection.
This painting serves as a kind of flashing window, a window flashing in and out of apprehension, into the charged nothingness that Bataille pursued to the ends of his thoughts, and beyond. An even more extreme and illustrative example of his concerns is saved for a very brief discussion at the end of the book. It is a photograph of a Chinese man undergoing horrible torturous mutilation. Bataille asserts that the face of this man, with eyes raised heaven-ward a la St.
Joan of Arc, is expressing a kind of joy or transcendence coupled with extreme pain and despair obviously , and so has served as profound inspiration for him he owned a copy of the picture and spent much time contemplating it. At times his fervor to believe what he himself was writing led him to see in things only that which corresponded with his thought.
As when he asserts that apes and all animals by extension have no concern for their dead, and when he says that apes have no sense of humor. These are only quibbles, but were enough to form chinks in the armor of his thoughts; but then again, Bataille is not concerned overmuch with logical argument, being more an aesthete or a poet, so in a way these chinks only make his thought even more authentic to me, as passion trumps logic any day.