Five Steps to Mindfulness
Miroslav Holub (1923-98) worked in the field of immunology in Prague. In English translation his collections of poetry include Vanishing Lung Syndrome (Faber and Faber, 1990) and The Rampage (Faber and Faber, 1997). His volumes of essays include The Dimension of the Present Moment (Faber and Faber, 1990).
For survival, but an act which, as the poet looks by corpse-light at the eggs inside the body in various stages of formation, affects the future birth and growth of life beyond the present moment and generation. Characteristic of the book's movement is its move out within a few lines from this carefully examined detail of the hen's carcass to cosmic questions, the possibility of an afterlife, and of the truth of promised Christian salvation.
SNYDER (1968) Gary snyder's Burning the Small Dead is collected in his book The Back Country, published by New Directions in 1968. As in many of the poems collected in the book, Burning the Small Dead explores the character of a particular place, regardless of whether that is Snyder's home on Turtle Island in California, the Pacific Northwest, or Japan. Deeply influenced by Zen Buddhism and Japanese poetry and art, Snyder applies the tenets of mindfulness as he observes small branches burning in a fire, and the result is a poem that charts the connectedness of the human and the natural worlds.
The first quatrain deals with the past, showing that any statements of monumental love from the past are false, and the second quatrain shows that the future cannot be decided because all things, even the most certain, eventually fall prey to time. The third quatrain focuses wholly on the present and is wholly in the form of a question about the legitimacy of saying Now i love you best (l. 9). The present moment is not the final or ultimate expression of the speaker's love for the lovely boy, for the hanging doubt of the first two quatrains is embodied in the fact that the present is questioned. The answer to the question comes in the couplet.
The Bridge is a far longer and more complex poem than either The Marriage of Faustus and Helen or Voyages, and we can only touch on its structure and major themes here. That Crane considered the poem to be an important modern epic is made evident in a 1927 letter to his benefactor Otto Kahn which compares The Bridge to Virgil's Aeneid I feel justified in comparing the historic and cultural scope of The Bridge to this great work. It is at least a symphony with an epic theme, and a work of considerable profundity and inspiration. The poem has eight numbered sections and contains a total of fifteen connected lyrics, including a proem dedicated to the bridge itself ( To Brooklyn Bridge ). The Bridge encompasses a number of places, historical moments, and characters. The poem also moves through an astonishing array of literary styles, from free verse to blank verse to rhymed quatrains, from montage sequences to rhythms based on ballads, blues, and jazz. The unifying symbol of the poem is...
Lady Mary Wroth (1621) Lady Mary Wroth began her sonnet sequence Pamphilia to Amphilan-thus, which she included in her prose romance The Countess of Montgomery's Urania, with Sonnet 1, referred to by its first line, When night's black mantle could most darkness prove. The speaker is Pamphilia, a young woman of virtue who attempts to convince her lover, Amphilanthus, of the value of responsible and pure living. Wroth extends the metaphor of night and darkness to suggest danger and the inability to see the future of her speaker. The imagery of the mantle in the first line emphasizes the totality of the darkness. The speaker describes sleep as death's Image, a common reference that suggests the light of life remains in danger during that time. While she sleeps her thoughts did move from a conscious awareness of herself quickly, Swifter than those most swiftness need require. Wroth emphasizes the trepidation that seizes her speaker in repetition of the term swift to indicate how quickly...
Of the earliest figures associated with the literary beat movement, Kenneth Patchen was an avant-garde writer, poet, and artist whose work consistently demonstrated his proletarian roots, as well as his commitments to pacifism, socialism, relentless experimentation with literary form, and radical human consciousness. From 1936 to 1972, Patchen published more than 36 books of poetry, fiction, and drama, including experiments in the antinovel, concrete poetry (see visual poetry), poetry and jazz (several of
To begin with a point of theory appreciation of a given text is bound up with awareness of form. The term is 'awareness' rather than 'consciousness', because one may apprehend certain signals without consciously analysing them. The contention would be that a good deal of misapprehension takes place because readers invoke inappropriate criteria. It is no good, when reading a tragedy by Shakespeare, complaining that nobody 'in real life' talks in blank verse. One should look at what the text is doing rather than seeing what it doesn't do.
To understand what Hulme and Flint's 'Secession Club', as it has come to be known, understood by the Image and its relation to poetry, we need to look more broadly at Hulme's activities in 1909. In July, Hulme followed Flint into The New Age's pages, but rather than writing on poetry, he became the journal's commentator on contemporary philosophy. In particular, his articles promoted the theories of Henri Bergson (1859-1941), who, like Hulme, had had a mathematical background, but had come to believe that, while mathematics and its related sciences could make useful statements about the external world, its procedures were unable to reveal anything about the essential nature of reality, especially the reality of human consciousness. His philosophy addressed that topic. In his first two books, Essai sur les donn es imm diates de la conscience (translated as Time and Free Will) (1889) and Mati re et m moire (Matter and Memory) (1896), Bergson argued that positivist science was not only...
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