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Mystique of Romance *Et, O ces voix d’enfants, chantant dans la coupole!* *the walls* *Of Magnus Martyr hold* *Inexplicable splendour of Ionian white and gold.* *The voice of the hidden waterfallAnd the children in the apple-treeNot known, because not looked forBut heard, half-heard, in the stillnessBetween two waves of the sea. * *the fire and the rose are one * CR On Fri, Dec 1, 2017 at 1:06 PM Chanan Mittal <[log in to unmask]> wrote: > > > > > *Dry the pool, dry concrete, brown edged,And the pool was filled with > water out of sunlight,And the lotos rose, quietly, quietly,The surface > glittered out of heart of light...Then a cloud passed, and the pool was > empty.* > > > *Go, go, go, said the bird: human kindCannot bear very much reality.* > > This is it. > CR > > On Thu, Nov 30, 2017 at 6:32 PM Chanan Mittal <[log in to unmask]> wrote: > >> Classicism of Eliot’s poetry is, in fact, a consummation of Romanticism, >> not its negation. It’s a triumph of imagination. >> >> “Here, said she, >> Is your card, the drowned Phoenician Sailor, >> (Those are pearls that were his eyes. Look!)” >> >> The personal here acquires a more universal character without ceasing to >> be personal: >> >> “I sat upon the shore >> Fishing, with the arid plain behind me >> Shall I at least set my lands in order?” >> >> And the images soar as much on wings of Romantic poesy: >> >> “The river’s tent is broken: the last fingers of leaf >> Clutch and sink into the wet bank. The wind >> Crosses the brown land, unheard. The nymphs are departed.” >> >> A transformation of Romanticism, if you like. Its spirit vibrant and >> alive. >> >> CR >> >> On Mon, Nov 27, 2017 at 8:12 PM Chanan Mittal <[log in to unmask]> wrote: >> >>> In point of fact the point I’m making is nothing new. It was raised as >>> earlier as that. It was made by Grover Smith too (TS Eliot’s Poetry and >>> Plays: A Study in Sources and Meaning). Eliot, he wrote, was admittedly a >>> classicist only ‘in tendency.’ Temperamentally a romantic, he abhorred the >>> gap between the actual and the ideal. All the same Eliot paved the way for >>> a new idiom of poetry. >>> >>> CR >>> >>> >>> >>> On Mon, Nov 27, 2017 at 6:06 PM Cox, Carrol <[log in to unmask]> wrote: >>> >>>> >>>> The New Poetic: Yeats to Eliot (Classic Criticism) C.K. Stead: Continuum >>>> >>>> ------- >>>> >>>> This alleged "new poetic" is over a century old; in other words, >>>> critics who treat Pound, Eliot, Yeats etc as "new" are duplicating the >>>> critics of 1920 who regarded Wordsworth and Shelley as the cutting edge of >>>> poetic practice. >>>> >>>> Is there anyone on the list deeply familiar with the criticism & >>>> scholarship of the last 20 hears who can give real information on what >>>> 'now' is regard as "new"? >>>> >>>> At the time when LBJ" rape of democracy in the Dominican Republic >>>> abruptly shifted my focus of energy, I was reading Merwin, Snodgrass, et al >>>> as "new," though my personal preferences were Pound & Pope. And even by >>>> 1965 the "New" critics were looking a bit moldy alongside Frye, Kenner, >>>> Davie, & others. >>>> >>>> Carrol >>>> >>>> >>>> >>>> >>>>