SUMMARY: A 1000-word dragon-themed mini poetry collection by author/artist/non-conformist, Jess C Scott. "Piety" is the prototype for Jess's London Underground Trilogy (forthcoming dragon-themed urban fantasy series; 2012). GENRE: Poetry | 1,000 words * * *
Urban VIII and Alexander VII each occupied the papal throne during the seventeenth century, and were munificent and discriminating patrons of the arts, as well as men of conspicuous erudition and imagination. They were also sensitive, inspired, and highly accomplished poets. The cultural milieu from which they sprang was a halcyon era in which literature and the arts flourished with all the apollonian refulgence of a splendid, and sometimes extravagant, opulence. The present work of adaptation, employing strictly the medium of English heroic verse, comprises a choice cornucopia of the lyrical musings of these two baroque pontiffs—compositions of orphic mellifluence and sidereal luster, which are both rare literary curiosities and ornately fashioned treasures of virtuosic neo-classical poesy. These adaptations attempt to lift the tenebrous veil of alterity and obscurity which has hitherto concealed these masterworks, diligently repolishing their aureate, marble, or onyx surfaces, and humbly offering their nacreous arabesques and argent-spangled trefoils to the discerning eye of the contemporary anglophone reader.
Whether you love poetry or haven't read it since school, The Splash of Words will help you rediscover poetry's power to startle, challenge and reframe your vision. It includes a selection of poems, each accompanied by a reflection exploring why poetry is vital to faith.
Vols. for 1921-1969 include annual bibliography, called 1921-1955, American bibliography; 1956-1963, Annual bibliography; 1964-1968, MLA international bibliography.
The Northern Song poet He Zhu is best known for his lyrics (ci) but also produced shi poetry of subtlety, wit, and feeling. This study examines the latter as a response to the options available to a late-eleventh century writer in the pentametrical and heptametrical forms of Ancient Verse, Regulated Verse, and Quatrains. Numerous comparisons are made with Su Shi, Huang Tingjian, Du Fu, and other important writers. In a major advance over previous methodologies, the author uses a clear system of metrical notation to show how sound patterns reveal the poet's artistic and emotional intentions. This innovation and the author's other meticulous explorations of He Zhu's artistry allow us to experience Chinese poetry as never before. From the reader's report: "not just an excellent study of an individual poet but also a model of reading the language of classical Chinese poetry. [..] opens up a world of interpretive territory heretofore seldom explored."
For centuries, Chinese critics have acclaimed Du Fu (712–770) as “China’s greatest poet.” He has exerted tremendous influence both as a model poet and as a cultural icon. In The Reception of Du Fu (712-770) and His Poetry in Imperial China, Ji Hao provides modern readers with a general picture of the reception of Du Fu and his work from the Song to the Qing. He also explores major shifts in interpretive approaches to Du Fu’s poetry and their poetic and cultural implications. Through the case of reading Du Fu, the book also offers an in-depth examination of subtleties of the mode of life reading and the concept of transparency. This exploration seeks to provide a new orientation to the significance of the overarching principles of reading poetry in traditional China.