Найти книгу: "The Elegies of Maximianus"

Not much can be known about the life of Maximianus, who has been called «the last of the Roman poets,» beyond what can be inferred from his poetry. He was most likely a native of Tuscany, probably lived until the middle of the sixth century, and, at an advanced age, went as a diplomat to the emperor's court at Constantinople. A. M. Juster has translated the complete elegies of Maximianus faithfully but not literally, resulting in texts that work beautifully as poetry in English. Replicating the feel of the original Latin verse, he alternates iambic hexameter and pentameter in couplets and imitates Maximianus's pronounced internal rhyme, alliteration, and assonance. The first elegy is the longest and establishes the voice of the speaker: a querulous old man, full of the indignities of aging, which he contrasts with the vigor and prestige he enjoyed in his youth. The second elegy similarly focuses on the contrast between past happiness and present misery but, this time, for the specific experience of a long-term relationship. The third through fifth elegies depict episodes from the poet's amatory career at different stages of his life, from inexperienced youth to impotent old man. The last poem concludes with a desire for the release of death and, together with the first, form a coherent frame for the collection. This comprehensive volume includes an introduction by renowned classicist Michael Roberts, a translation of the elegies with the Latin text on facing pages, the first English translation of an additional six poems attributed to Maximianus, an appendix of Latin and Middle English imitative verse that illustrates Maximianus's long reception in the Middle Ages, several related texts, and the first commentary in English on the poems since 1900. The imminence of death and the sadness of growing old that form the principal themes of the elegies signal not only the end of pagan culture and its joy in living but also the turn from a classical to a medieval sensibility in Late Antiquity.

With links to intense poetic works like John Berryman’s Dream Songs, Gilbert Sorrentino’s Corrosive Sublimate and Erin Moure’s Furious, Jon Paul Fiorentino’s new collection is a whip-smart poetic investigation of anxiety in all its many manifestations. Anxiety caused by geography, anxieties of influence and looming worries about loss inform the poems as they weave narrative threads and associations that highlight both the treachery of language and its necessity in shaping human experience: 'All roads, side roads/all text, signage/All seasons, autumn/ all memories, winter.' The poems here build on Derrida’s ideas about the psychological implications of memory and the archival impulse and on philosopher Charles Sanders Peirce’s semiotics of 'the index.' Indexical Elegies is a rich, emotionally charged work that showcases Fiorentino’s talents at their feisty, engaged best. From its Post-Prairie pamphleteering and its comic Montreal musings to its moving elegies, this is provocative poetry that never loses touch with the reader’s pleasure.

The cycle of 55 sonnets that comprise Rainer Maria Rilke’s “Sonnets to Orpheus” were written in a period of three weeks during 1922, a time which the poet himself described as a “savage creative storm.” Inspired by the death of his daughter’s friend, Wera Knoop, Rilke commenced to the production of “Sonnets to Orpheus”, a work filled with mythological and biblical allusions. During the same burst of creative energy he set to working on the completion of the “Duino Elegies”, a work begun some ten years earlier but set aside due to Rilke’s own emotional distress over the tragic events of World War I and his conscription into the Austro-Hungarian army. He wrote in a letter to the deceased girl’s mother that Wera’s ghost was “commanding and impelling” him to write. The results of this “savage creative storm” are generally considered as Rilke’s masterpieces. “Duino Elegies” is an intensely spiritual group of verses that ponders the beauty and existential suffering of life. Together these works exhibit why Rilke is widely recognized as one of the most lyrically intense of all German-language poets.

The cycle of 55 sonnets that comprise Rainer Maria Rilke's «Sonnets to Orpheus» were written in a period of three weeks during 1922, a time which the poet himself described as a «savage creative storm.» Inspired by the death of his daughter's friend, Wera Knoop, Rilke commenced to the production of «Sonnets to Orpheus,» a work filled with mythological and biblical allusions. During the same burst of creative energy he set to working on the completion of the «Duino Elegies,» a work begun some ten years earlier but set aside due to Rilke's own emotional distress over the tragic events of World War I and his conscription into the Austro-Hungarian army. He wrote in a letter to the deceased girl's mother that Wera's ghost was «commanding and impelling» him to write. The results of this «savage creative storm» are generally considered as Rilke's masterpieces. «Duino Elegies» is an intensely spiritual group of verses that ponders the beauty and existential suffering of life. Together these works exhibit why Rilke is widely recognized as one of the most lyrically intense of all German-language poets.