Tag Archives: poetry

Ignacio Manuel Altamirano

Ignacio Manuel Altamirano: (1834-1893) Mexican novelist and poet. A full-blooded Indian, Altamirano was an adherent of Benito Juarez and fought against the French intervention in Mexico. In 1869, he founded Renacimiento, a review to encourage literary activity, almost moribund after fifteen years of turbulence. He became the mentor of the younger generation, to whom he advocated the importance of creating a literature rooted in national life. His poetry consists of a single volume of Rimas (1880), written before 1867 and notable for its description of the Mexican landscape. Altamirano’s preoccupation with purely Mexican themes and customs is also evident in the prose works for which he is best known: Clemencia (1869), a love story set against the background of the French intervention; La navidad en las montanas (1870), a novelette; and El Zarco (1901), a novel dealing with bandits in the state of Morelos.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Delmira Agustini

Delmira Agustini: (1886-1914) Uruguayan poet. Together with Gabriela Mistral, Juana de Ibarbourou, Alfonsina Storni, and Dulce Maria Loynaz, Agustini is one of the key voices in the rich tradition of Spanish American poetry by women. Influenced by Ruben Dario’s Modernismo, her poetry is marked by sensuality and eroticism. Agustini published three collections of poetry: El libro blanco (1907); Cantos de la manana (1910); and Los calices vacios (1913). At the time of her death, she was working on Los astros del abismo (1954). Agustini’s biography has drawn almost as much attention as her writing. She was raised in cultivated and conventional surroundings in Montevideo, but was murdered by her estranged husband less than a year after their marriage.

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Andres Bello

Bello, Andres (1781-1865) Venezuelan, scholar, poet, humanist, and educator. He was one of the great figures of nineteenth-century Latin America, often referred to as the intellectual father of the continent. His complete works total twenty-six volumes. Bello studied classical literature, law, and philosophy. His interest in science was stimulated by having known Alexander von Humboldt. He was active in the wars of independence through his political work in Europe, primarily England, where he lived for almost twenty years. There he met Bentham and James Mill and translated Byron. A poet greatly influenced by Spain’s Golden Age writers (Garcilaso, Lope de Vega, and Calderon), in Britain Bello wrote his best-known verses: Alocucion a la poesia (1823; tr in The Odes of Bello, Olmedo, and Heredia, 1920), asserting Latin America’s right to literary independence; and La agricultura de la zona torrida (1826; tr A Georgic of the Tropics, 1954), notable for its description of the plants of America, in which realistic detail is combined with Horatian overtones. Yet, along with Bello’s exaltation of America through nature or culture, there is a sadness and solitude evoked, as well as a bitterness that true liberty had yet to be realized in the newly established republics.

From 1829 to his death he resided in Chile. In 1830 he started the newspaper El Araucano and was its principal editor until 1853. He was founder and first president of the University of Chile (1842), and was the chief architect of the Chilean civil code (1855), also adopted in Ecuador and Colombia. Though a creature of the Enlightenment, Bello was also close to the Romantic movement. Bello’s Gramatica de la lengua castellana (1847). still considered an important grammar, advocated the enrichment of the Spanish language. His vast culture–humanistic, scientific, and legal–was dedicated to writing manuals and other works with a pedagogic purpose, within a liberal humanist tradition. Other works available in English include the Anthology of Andres Bello (1981) and his Filosofia del entendimiendo (1881; tr Philosophy of the Understanding, 1984).”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Claribel Alegria

“Claribel Alegria: (1924-2018) Salvadoran writer, born in Nicaragua. Alegria has published poetry, novelas, and novels. Her work ranges from the intimate lyric to agonized denunciation of the horrors that have beset Central America. Her Sobrevivo (1978) won the Casa de las Americas award in poetry. She excels at a narrative poetry that that is compact, tender, fanciful, and even fantastic, Alegria deals with love, solitude, family life, and injustice from a political and feminist stance, as in La mujer del Rio Sampul (1987; tr Woman of the River, 1990). She has coauthored many books with her husband, Darwin J. Flakoll, particularly testimonial accounts of the Nicaraguan revolution and the lives of Salvadoran women. Cenizas de Izalco (1966; tr Ashes of Izalco, 1989) is a recreation of the peasant uprising of 1932. Luisa en el pais de la realidad (1987; tr Luisa in Realityland, 1987) is an experimental novel.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Brewer’s Curious Titles: Annus Mirabilis

“A long poem (1997) by John Dryden (1631-1700). The annus mirabilis (wonderful year) was 1666, the year of the Fire of London and of continuing war with the Dutch. Queen Elizabeth II alluded to the phrase in a speech at the Guildhall, London, when she referred to 1992 and ‘annus horribilis’ (a coinage that had been suggested to her by a ‘sympathetic correspondent’); this was the year when fire caused extensive damage to the royal residence at Windsor Castle, Princess Anne was divorced, and the Duke of York separated from the Duchess of York, topless photos of whom appeared in the tabloids.”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Term of Art: Synesthesia

synesthesia: A medical (or psychological) term describing the occurrence when stimulating one sense organ causes another to respond. It is as though in eating one were to receive strong visual sensations of color rather than, or along with, sensations of taste. As a literary device, synesthesia has been used in certain types of poetry of the 19th and 20th centuries, especially that of the Symbolists. Rimbaud’s “Sonnet des voyelles,” expressing the sounds of the common vowels in terms of colors, is an excellent use of this device.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Allegory

“Allegory (noun) The use of metaphoric, often schematic storytelling and characters for two levels of meaning, with that beneath the surface narrative expressing deeper human truths, whether with a spiritual or moral message or as a form of satire; a literary work whose characters, settings, and incidents have their own verisimilitude but also mask hidden, parallel significations; symbolic narrative. Adj. allegorical; adv, allegorically; n. allegorization, allegorist; v. allegorize.

‘Tolstoy describes her as a creature so sensitive that we wonder she can’t speak. Now we see her lying at his feet, she bends her head back and gazes at him with her speaking eyes. The very suspicion of allegory destroys the validity of the scene.’ Joyce Cary, Art and Reality”

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

Dante’s 11

Dante was a keen follower of Pythagoras, the sixth-century BC Greek philosopher and mathematician who sought to explain the world, both spiritual and material, by numbers. Pythagoras believed that the mathematical principles that underlay the universe, gave it harmony, literally a music of the spheres. Dante, in his great work, Divine Comedy, sought to create the divine song.

The key number for Dante was 11—the union of 5 and 5—and its multiples. The Inferno, Purgatorio, and Paradiso, have thirty-three cantos each, and the poem is written in hendecasyllabic rhyme (eleven syllables long). Dante twice provides dimensions of Hell, stating that that circumference of the ninth bolgia (ditch) in the Eighth Circle is 22 miles (miglia ventidue), and the tenth bolgia is 11 miles. There is nothing accidental about this mention of 11 and its multiple 22; twenty-two forms part of the well-known fraction 22/7 which expresses the Pythagorean value of pi.

Three and nine also figure prominently in Dante’s numerology. The three books of the Divine Comedy delineate the nine circles of Hell, the nine rings of Mount Purgatory and the nine celestial bodies of Paradise.”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

Battle of Lepanto

“Battle of Lepanto: A naval engagement in the Gulf of Corinth on October 7, 1571, fought between the forces of the Ottoman Empire and those of a holy league comprising Spain, Venice, and the papacy. Under the leadership of Don John of Austria, the Christians overwhelmingly defeated the Turks, ending their naval domination of the Mediterranean. Cervantes took part in the battle and was wounded in the left hand.”

It is the subject of a poem by G.K. Chesterton.

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Brewer’s Curious Titles: “When Lilacs Last in the Dooryard Bloomed”

“An elegy on the death of President Abraham Lincoln (1809-65) by the US poet Walt Whitman (1819-92), published in 1865-6 and incorporated into Leaves of Grass in 1867. Lincoln was assassinated on the evening of 14 April 1865, and died the following morning. It was lilac time.

‘When lilacs last in the dooryard bloomed,

And the great star early drooped in the western sky in the night,

I mourned, and yet shall mourn with ever-returning spring.’

There is a musical setting for soloists, chorus and orchestra (1970) by the US composer Roger Sessions (1896-1985). The US writer Ray Bradbury (1920-2012) entitled one of his early collections of poetry When Elephants Last in the Dooryard Bloom’d (1973).”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.