The reception of Solomos: national poetry and the question of lyricism

Abstract

Through the reception of Solomos, this paper explores the tension between the lyric and the narrative, and the extent to which the roles of national and lyric poet are compatible. The critical reception of Solomos demonstrates that his recognition as a lyric poet was not on an equal footing with his presentation as a national one. It shows that his joint treatment as the national poet of Greece and its greatest lyric poet is problematic and not convincingly argued. It also argues that Solomos's reception can be summarized as the conflict between the historical and the aesthetic approaches.     

Andreas Kalvos and the Eighteenth-Century Ethos

Abstract

In the space of a few years the small isle of Zante, one of the Ionian group, produced three important poets: Hugo Foscolo, Dionysios Solomos, and the subject of this present study, Andreas Kalvos. Kalvos was born in 1792, fourteen years after Foscolo and six years before Solomos. His father's family may originally have come from Crete. His mother's family was one of the aristocratic families of Zante—the family name had been inscribed ever since the Venetian occupation of the island in the Gold Book of the island nobility. The marriage of the poet's parents does not seem to have been a success, for not many years after the birth of his younger brother in 1794, the father, taking the two children with him, left Zante for Leghorn, where his brother was consul for the Ionian Islands, and where there was a considerable Greek colony. In 1805 Andreas' mother obtained a divorce fron her husband on the grounds of desertion, and shortly afterwards she married for the second time. She died in 1815, never having seen her children again after their departure from Zante.     

Tradition and the individual talent: remarks on the poetry of Michalis Ganas

Abstract

No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists. You cannot value him alone; you must set him, for contrast and comparison, among the dead. (T.S. Eliot)     

Ireland’s eternal Easter: Sorley MacLean and 1916

Abstract

This essay examines the treatment of the 1916 Easter Rising by Scottish Gaelic poet Sorley MacLean. From his early work onwards, the Rising assumes a mythical significance in MacLean’s poetry. Throughout, this aetheistic, socialist poet uses rhetoric borrowed from the Gaelic Christian tradition to present the rebels of 1916 as exemplary secular martyrs. James Connolly plays a crucial role as the Scottish son of Irish immigrants. MacLean’s later praise poem for Connolly, “Àrd-Mhusaeum na h-Èireann”, deploys biblical rhetoric to present the Rising as an act of ritual sacrifice, recalling Patrick Pearse’s “Fornocht do Chonaic Thu”. MacLean’s valorisation of violence takes place against the backdrop of the modern Troubles, and prompts a reassessment of the political legacy of his poetry.     

An exile's hopes: the search for a liberator in Michael Marullus

Abstract

Michael Marullus, fifteenth-century Greek, soldier and Latin poet, lived almost all his life in exile. In his earliest poetry revanchist thoughts directed at his country's Ottoman conquerors are hardly present, and superhuman powers are held responsible for the catastrophe. Later, Byzantine reliance on foreign forces is blamed. With time however and political developments in central and western Europe, a crusade or Türkenzug seemed to become more likely, and Marullus turned to the Habsburg Maximilian I and Charles VIII of France as possible liberators. This paper attempts to describe the poet's developing treatment of the themes of defeat and exile and his response in the last decade of the fifteenth century to the possibility of military action against the Ottomans.     

Antimodernist Antecedents in Early Canadian Modernism: Archibald MacMechan’s “A Ballade of Canadian Literature” and F.R. Scott’s “the Canadian Authors Meet”

ABSTRACT

Archibald MacMechan’s regular column in the Montreal Standard entitled “The Dean’s Window” (1906–1933) is an important index to educated antimodernist literary values. MacMechan brought his reading of world literature into his appraisals of the Canadian scene, through his groundbreaking work, Headwaters of Canadian Literature(1924). In a 1912 “Dean’s Window” column, MacMechan, a published poet, opened with a poem of his own, “The Ballade of Canadian Literature,” which anticipated F.R. Scott’s “The Canadian Authors Meet”—itself a seminal work of early Canadian modernism. By no means binaries, the degree to which modernism and antimodernism could resemble each other is manifest in MacMechan’s and Scott’s poems, even though Scott’s poem eviscerates the Canadian Authors Association, an organization of which MacMechan was a founding member.     

The presence of Sikelianos in the poetry of George Seferis

Abstract

Echoes of Sike1ianos' poetry can be detected in many poets, but his presence in Seferis is particularly interesting in the light of the close personal relationship which developed between the two poets from the 1940s. The poetic dialogue starts with Seferis' Στρo?η (1931) and develops continuously until his last book of poems, Tρια Kρυ?? Φoιημα&tauα (1966). Seferis, attracted by Sikelianos' linguistic richness, recreates the older poet's words ingeniously in his search for a new poetics. I examine this dialogue chronologically to show that exploring the presence of Sikelianos in Seferis' poetry enhances the understanding of the younger poet and reveals that, however great the differences in matters of technique between the two poets, their attitudes to poetry and poetics are in the end closely related.     

Dünya Giizeli: Cavafy's folkloric Odalisque

Abstract

Cavafy's overlooked poem ‘Dünya Güzeli’ reflects the seminal influence of folklore on the early writings of the poet, an influence which significantly shaped the contours of the Cavafy canon. The poem is a sophisticated attempt to synthesize the flourishing discourse of λαoγρα??α with the fashionable literary and painterly trends of Orientalism. It thus warrants a fuller appreciation as a complex text that documents Cavafy's emerging craft and anticipates his poetic hybridisation of East and West which finds its fullest expression in Cavafy's Orientalising Hellenism.     

Erasmus Darwin: Master of Interdisciplinary Science

Abstract

Dr Erasmus Darwin (1731–1802) was by profession a physician, at Lichfield and later Derby, and was widely regarded as the leading doctor in Britain, author of the massive treatise Zoonomia (1794–6). His many original contributions to science cover a wide range of disciplines, including physics, chemistry, geology, meteorology, plant growth and nutrition and evolutionary biology. He was a prolific inventor, a close friend of Boulton and Watt, and a leading spirit in the ‘Lunar Society’ of Birmingham. In the 1790s he became the most famous poet of the day with his Botanic Garden, which greatly influenced Coleridge, Wordsworth and others.     

Circean transformation and the poetics of Milton’s Masque

ABSTRACT

Circe’s presence in A Masque Presented at Ludlow Castle (Comus) invites readers to read both Milton’s Circe and Milton’s own poetic activity through long and intertwined traditions of theology and literary commentary. Stretching from Augustine and Aquinas to the commentaries and translations of Homer and Ovid by Sponde, Sandys, and Chapman, these traditions use Circe to explore and conflate the possibility, the permanence, and the experience of both human and literary transformation. Taken up by Townshend and Jones in their Caroline court masque Tempe Restored, they become essential intertexts for Milton’s Masque. Milton embeds this discourse in his masque – a genre that places metamorphosis at the heart of its poetics – to examine the nature of Renaissance intertextuality and the authorial self and interrogate his own use of Renaissance practices of imitatio and aemulatio. In Comus’ wood, Circean transformation becomes a touchstone for the virtuous soul and the virtuous poet alike.     

The Language of Irony (Towards a Definition of the Poetry of Cavafy)

Abstract

The first time André Gide heard the name of Cavafy was during his visit to Greece, in April 1939. He was talking to Dimaras, Theotokas and Seferis when the conversation turned to the poet of Alexandria. Gide asked what kind of poetry Cavafy wrote. ‘Lyrique’, Dimaras replied. ‘Didactique’, corrected Seferis. Later on Dimaras read ‘The City’ to the group. After the end of the reading Gide turned to Seferis and said: ‘Je comprends maintenant ce que vous vouliez dire par le mot didactique … ’.     

Secular Islam

ABSTRACT

While he appears to have been a relentless critic of secularism as a liberal ideal, the celebrated Indian poet and philosopher Mohammad Iqbal might also be considered among its more important non-European theorists. Globally one of the most influential Muslim thinkers of the twentieth century, Iqbal started publishing in its first decade, reaching the height of his power and popularity during the inter-war period until he died in Lahore in 1938. He studied philosophy as well as Arabic and Persian thought in Lahore, Cambridge, and Munich, and drew extensively upon European as much as Asian thinkers. I will argue here that Iqbal followed an important tradition of pre-modern philosophy by thinking about the relationship between politics and theology in esoteric terms.     

“Only a God Can Resist a God.” Political Theology between Polytheism and Gnosticism

ABSTRACT

Sovereignty – based on a claim to irresistible authority – and “speaking truth to power” (or parrhesia) are evidently opposed and yet they seem to have a strange affinity with one another, at least if one follows Foucault’s last lectures on this motif of political philosophy. This article revisits Hans Blumenberg’s reconstruction of the meeting between the German poet Goethe and the French emperor Napoleon as an example of a parrhesiastic encounter between philosophy and tyranny. The article situates Blumenberg’s discussion of Goethe’s pantheism and polytheism in the context of his ongoing polemic with Schmitt’s conceptions of sovereignty and political theology. It argues that while both Blumenberg and Schmitt seek to offer responses to the Gnostic rejection of worldly power, a reading of Goethe in light of the discourse on parrhesia or frank speech lately revived by Foucault allows for the articulation of republican response to Gnosticism.     

“An Ancient Celtic world had filled the air”: the Celtic turn in Louis MacNeice’s mid-century radio writing

This article focuses on the specific meanings and figurations of Celtic identity, myth and history in three works by Louis MacNeice: his long poem Autumn Sequel (1954), written for broadcast on the BBC, and his two late radio plays They Met on Good Friday (1959) and The Mad Islands (1961). It will demonstrate that the poet moves from expressing an archaic and insipidly romanticised form of Celticity in Autumn Sequel, to depicting a significantly more sophisticated Celtic character and identity in They Met on Good Friday and The Mad Islands; both dramas, it will be argued, are informed by a more thoroughly archipelagic conception of cultural formation and identity in the British and Irish isles. In all three texts, MacNeice’s radiogenic engagement with Celtic material functions as a means of interrogating, though not always successfully, the forms and potentialities of human agency, community, and artistic activity within a post-war climate of political disenchantment, social fragmentation and perceived cultural vacuity. The essay will also demonstrate that MacNeice’s Celtic themed radio writing is an important aspect of the poet’s lifelong exploration of his psycho-cultural genealogy and a means of further clarifying his complex maternal and paternal inheritance.     

P.H. Pearse and Thomas MacDonagh: a literary friendship

ABSTRACT

Tracing the relationship between P.H. [Patrick Henry] Pearse (1879–1916) and Thomas MacDonagh (1878–1916), this essay explores the impact their friendship had on their careers as writers and critics. Their work together in St Enda’s, the school for boys founded by Pearse in 1908, provides a significant context for this exploration. There, while working with MacDonagh, Pearse made drama an important part of school life and started writing plays for public performance. Meanwhile, their collaboration in putting together the St. Enda’s school journal, An Macaomh (1909–1913), helped to hone MacDonagh’s skills as a literary critic and to prepare for his later editorial role at the Irish Review (1911–1914). Attention then turns to how MacDonagh’s views on Irish literature and his translations from Old Irish influenced his friend’s development as both a critic and poet. Paticular consideration is paid to “Mise Éire”, one of Pearse’s best-known poems. Finally, similarities are considered between MacDonagh and the hero of The Wandering Hawk (1915–1916), Pearse’s unfinished, English-language, school story for children. Taken together, these various investigations reveal that, despite differing temperaments and at times divergent approaches to Irish writing, Pearse and MacDonagh enjoyed a mutually stimulating friendship that impacted positively on their literary careers.     

Max Pulver’s Himmelpfortgasse: Fictionalizing the 1920s Cocaine Craze in German-Speaking Europe

Abstract

In the years following the end of the First World War, cocaine achieved unprecedented popularity in Europe, a development reflected in the number of novels dealing with cocaine use by writers from across the Continent. One such is Max Pulver’s Himmelpfortgasse, first published in 1927, which tells of a Munich-based intellectual torn between his respectable bourgeois existence and his cocaine-fuelled passion for a young Viennese painter. After a brief interlude in Berlin, the protagonist follows his new love to Vienna, but their relationship soon deteriorates. The plot of the novel is unremarkable, but its depiction of three separate cocaine-using cliques, each based in a different city and each with a distinct social position and political orientation, vividly illustrates the extent to which recreational use of cocaine spread across geographical, socio-economic, and ideological divides in the period in question. Moreover, the narrator’s essayistic reflections on the function, effects, and social practice of cocaine use allow for productive cross-reading with contemporary toxicological sources. Pulver’s novel also occupies a curious position in literary history. As well as being one of several European cocaine novels of the inter-war period, it shows substantial thematic and stylistic links to the treatment of cocaine in the writings of Expressionist poet Gottfried Benn dating to the previous decade. Himmelpfortgasse’s Expressionist elements add to its distinctiveness, but have probably also contributed to the novel’s relative lack of commercial and critical success.     

Iskandar's Bibulous Business: Wine,Drunkenness and the Calls to the Sāqī in Nizāmī Ganjavī's Sharaf-nāma

The twelfth-century poet Nizāmī Ganjavī has produced his version of the adventures of Alexander as a unique composition mingling known Persian historiography and Qur'anic legends with unusual non-Islamic, especially Greek, elements in order to create his Iskandar-nāma (containing two parts, the Sharaf-nāma and the Iqbāl-nāma) as a synthesis of eastern and western cultures. A first point is the examination of the reasons behind the importance given to wine and drunkenness within the narrative. The poet has stressed this further by heading each chapter with a call to the sāqī. The essay examines the appositeness of the invocations with the episodes in the narrative, it analyses examples of wine imagery (containing references to medicine, to the mirror and to religion) and questions the relation between authorial persona, narrator and characters, examining in particular the famous teetotaler claim in one of the introductory chapters of the first part of the Iskandar-nāma.     

The Event in John Latham and Bob Cobbing

ABSTRACT

This article documents some examples of the event-responsive poetry of the British poet Bob Cobbing (1920–2002) and compares it to the unique theory of the event structure developed by British sculptural and conceptual artist John Latham (1921–2006). It establishes points of intersection between their practices, and particularly at the level of aesthetics where very little comparative work exists. While both men are best known for their experimental 1960s work (Cobbing in relation to sound and concrete poetry, and Latham in relation to conceptual art) this article focusses on their earlier work as being preparatory to their later, more developed practice. Artistic affinities are contextualized in relation to World War II, the dialectic of romantic and classical art, and the institution of welfare-capitalism. How poet and artist both visually represented time (drawing on scientific discourses to do so) is further identified as a link between their practices.