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"Night Poetry."
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Song for a summer night : a lullaby
\"As night falls on a soft summer evening, children are drawn out of their houses by the sights and sounds of the world after dark\"--Front jacket flap.
Book
Open Floor
Open-floor nights are those sessions, usually in the back rooms or basement bars of pubs, at which anyone can get up and have their five minutes performing their poetry, music, comedy or whatever it is they think they can do. This chapter is a somewhat personal attempt to track the continuity of regular poetry sessions in Liverpool, beginning where most examinations of Liverpool poetry end: the disappearance (whether permanent or simply on tour) of Adrian Henri, Roger McGough and Brian Patten.
Book Chapter
Haiku night
Share the wonder of nighttime with baby! Simple poems and delightful illustrations celebrate the enchanting world that comes to life once baby is asleep.
Book
Parnell and Early Eighteenth‐Century Irish Poetry
This chapter contains sections titled:
References and Further Reading
Book Chapter
In the middle of the night : poems from a wide-awake house
26 poems that imagine all the antics that household objects get up to while we sleep he night away.
Book
Metaphors for Metamorphosis: The Poetics of Kenosis and the Apophasis of Self in Saint John of the Cross
Spanish mystic Saint Juan (John) of the Cross (1542–1591) began writing poetry while imprisoned by his own monastic order. He developed manuals for contemplation, in part, in the form of commentaries on his principal poems. Their first-person narrators were women who underwent metamorphoses in order to pursue love: one became a dove in her despair; another became flame itself; the last disguised herself as a knight. Juan explained that all three represented the soul that is seeking God. For readers, these metaphors could engender cognitive dissonance, through which they might step outside of themselves and move closer to union with the Divine. This process of human self-emptying and self-negation mirrored the self-emptying (kenosis) of Christ in traditional Christology and the negation (apophasis) of human pretense at knowledge about God in apophatic (“negative”) mysticism.
Journal Article
The Prophets and the Goddess
This text discusses how W. B. Yeats, Aleister Crowley, Ezra Pound and Robert Graves had access to the forbidden knowledge of the Goddess. These four poets experienced a confrontation with their unconscious and let the grace of the Goddess touch their heart strings. Consequently, through this surrendering, they created avant-garde poetry and were inspired to write seditious manifestos that would teach humanity an esoteric creed. This creed, based on humans' eternal divine essence, aspires to liberate the eternal feminine. These poets became the instruments of the Goddess. As defenders of the Light, they took arms against the forces of inertia and proclaimed the eleusis of a new faith. This creed pledges to overthrow the anachronistic religious and social institutions and initiate a new world order and a new divinity based on the ancient rites of the Great Goddess. No matter how disparate these four were in character, they shared the vision of transmitting esoteric knowledge to profane humanity. They were specifically chosen by the Goddess as Her troubadours and they pave Her way to the religious consciousness of the people.
eBook
Yo confieso, nosotros denunciamos: culpa y revelación en la poética nocturna de Octavio Paz
La poesía de Octavio Paz utiliza la noche como un espacio de reflexión y confesión, donde explora dilemas existenciales y sociales, y conecta circunstancias de base vital con la propia historia. En varios de sus poemas, hasta llegar a “Nocturno de San Ildefonso”, la noche simboliza la angustia y una “noche del siglo XX”, vinculada a las injusticias del poder. La voz poética revisa una juventud idealista que avanza hacia una madurez crítica, que asume la culpa de participar pasivamente en los horrores del pasado. La confesión poética de Paz implica el reconocimiento de errores ideológicos y la necesidad de responder a promesas incumplidas, además de denunciar hechos de represión y totalitarismo, como la matanza estudiantil de 1968 en México. La poesía, convertida en denuncia, transfigura el presente, iluminando la verdad y buscando la justicia.
The poetry of Octavio Paz uses the night as a space for reflection and confession, where he explores existential and social dilemmas, and connects vital circumstances with his own history. In several of his poems up to “Nocturno de San Ildefonso”, night symbolizes anguish and a “night of the 20th century”, linked to the injustices of power. The poetic voice revisits an idealistic youth advancing towards a critical maturity, assuming the guilt of passively participating in the horrors of the past. Paz’s poetic confession implies the recognition of ideological errors and the need to respond to unfulfilled promises, in addition to denouncing repression and totalitarianism, such as the student massacre of 1968 in Mexico. Poetry, turned into denunciation, transfigures the present, illuminating the truth and seeking justice.
A poesia de Octavio Paz utiliza a noite como espaço de reflexão e confissão, onde explora dilemas existenciais e sociais, relacionando circunstâncias vitais com a sua própria história. Em vários dos seus poemas até “Nocturno de San Ildefonso”, a noite simboliza a angústia e uma “noite do século XX”, ligada às injustiças do poder. A voz poética revisita uma juventude idealista em direção a uma maturidade crítica, assumindo a culpa de participar passivamente dos horrores do passado. A confissão poética de Paz implica o reconhecimento de erros ideológicos e a necessidade de responder a promessas não cumpridas, além da denúncia da repressão e do totalitarismo, como o massacre de estudantes no México em 1968. A poesia, transformada em denúncia, transfigura o presente, ilumina a verdade e busca a justiça.
Journal Article
