“The summer grasses:
Of mighty warlords’ visions
All that they have left.”
Matsuo Basho, Poem (translation by Bernard Lionel Einbond)
Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.
“The summer grasses:
Of mighty warlords’ visions
All that they have left.”
Matsuo Basho, Poem (translation by Bernard Lionel Einbond)
Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.
Posted in English Language Arts, Quotes, Reference
Tagged asian-pacific history, poetry, professional development
“Clouds now and again
Give a soul some respite from
Moon-gazing—behold.”
Matsuo Basho, Poem (translation by Bernard Lionel Einbond)
Excerpted from: Schapiro, Fred, ed. The Yale Book of Quotations. New Haven: Yale University Press, 2006.
Posted in English Language Arts, Quotes
Tagged asian-pacific history, poetry, readings/research
Here is a Cultural Literacy worksheet on the haiku as a poetic form. This is a half-page worksheet with a two-sentence reading and two comprehension questions. It is, in other words, a perfectly spare but complete introduction to the form itself. This joins a number of other documents and quotes posts on Mark’s Text Terminal. The search bar to your right will help you locate these materials.
If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.
“Takamura Kotaro: (1883-1956): Japanese poet and sculptor. Son of the noted traditionalist sculptor Takamura Koun (1852-1934), Takamura was a pioneering modernist in both art and literature, having spent years studying in Europe and the U.S. His sculpture reflected a passion for the work of Rodin, but his is best known as a poet. His 1914 collection Dotei (Journey) ranks as Japan’s first anthology of free verse in the colloquial language, anticipating the work of Hagiwara Sakutaro. Takamura’s most celebrated work is Chieko-sho (1941; tr Chieko’s Sky, 1978), a stunning verse record of the slow descent into madness of his wife, the painter Naganuma Chieko (1886-1838). Takamura’s reputation was tarnished by his unabashedly patriotic wartime poetry.”
Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.
“Simile: (Latin neuter of similis ‘like’) A figure of speech in which one thing is likened to another, in such a way as to clarify and enhance an image. It is an explicit comparison (as opposed to the metaphor, q.v., where the comparison is implicit) recognizable by the use of the words ‘like’ or ‘as.’ It is equally common in prose and verse and is a figurative device of great antiquity. The following example comes from Graham Greene’s Stamboul Train:
‘The great blast furnaces of Liege rose along the line like ancient castles burning in a border raid.’
And this instance in verse from Ted Hughes’ poem February:
‘The wolf with its belly stitched full of big pebbles;
Nibelung wolves barbed like black pine forest
Across a red sky, over blue snow…’
See also EPIC SIMILE.”
Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.
“Vernacular: (Latin vernaculus “domestic, native, indigenous’) Domestic or native language. Now applied to the language used in one’s native country. It may also be used to distinguish between a ‘literary’ language and a dialect; for instance, William Barnes’s ‘vernacular poems,’ and outstanding example of dialect (q.v.) poetry.”
Excerpted from: Cuddon, J.A. The Penguin Dictionary of Literary Terms and Literary Theory. New York: Penguin, 1992.
“Formalism or Russian Formalism: Russian school of literary criticism that flourished 1914-28. Making use of the linguistic theories of Ferdinand de Saussure, Formalists were concerned with what technical devices make a literary text literary, apart from its psychological, sociological, biographical, and historical elements. Though influenced by the Symbolist movement, they sought to make their analyses more objective and scientific than those of the Symbolists. The movement was condemned by the Soviet authorities in 1929 for its lack of political perspective. Later, it became influential in the West, notably in New Criticism and structuralism.”
Excerpted/Adapted from: Stevens, Mark A., Ed. Merriam-Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.
“To what poem is Joan Didion referring in the title of her book Slouching Toward Bethlehem (1968)? She refers to the last line of ‘The Second Coming‘ (1921) by William Butler Yeats: ‘And what rough beast, its hour come round at last,/Slouches toward Bethlehem.'”
Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.
“When was Poetry magazine founded? The forum for works by many of the most influential American poets of the first part of the twentieth century was founded in Chicago in 1912 by Harriet Monroe.”
Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.
The Weekly Text from Mark’s Text Terminal for the second Friday of Women’s History Month 2022 is this reading on Sylvia Plath and its attendant vocabulary-building and comprehension worksheet.
I cannot think of Sylvia Plath, or hear her name for that matter, without thinking of the scene in Annie Hall in which Woody Allen (and yes, I am well aware that Woody Allen is for good reason in bad odour these days, which, alas, does not change my assessment of Annie Hall as one of the great American films), playing comedy writer Alvy Singer and visiting Annie Hall’s apartment (Diane Keaton, whose real name is Diane Hall–probably not a coincidence–plays Annie). Alvy (Allen) picks up a copy of Ms. Plath’s Ariel and remarks, “Interesting poetess, whose tragic suicide was misinterpreted as romantic by the college-girl mentality.”
I’ve not read Ariel, published in 1965 two years after Ms. Plath’s death, which I’d wrongly assumed was her sole volume of verse. In researching this post, however, I learned that she published in 1960 The Colossus and Other Poems. Many years ago, while still possessed of callow literary sensibilities, I did read The Bell Jar, which I recall as at once humane, bitter, and mordant. Did you know Ms. Plath originally published this roman a clef under the pseudonym Victoria Lucas? I didn’t until I did the preliminary work for this post. In any event, if you happen to stumble across a first edition of the book with a dust jacket, it is worth relatively serious money, as the article under the foregoing link explains.
If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.
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