Poetry Channel: English Poems 2013 Pics Images Photos Pictures

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Sunday, 8 September 2013

English Poems 2013 Pics Images Photos Pictures

English Poems Biography
source(google.com)
In the period that followed, and before the launching of the Progressive Writers Movement in the 30s, mention should be made of Altaf Husain Hali (1837-1914) and Mohammad Iqbal (1877-1938). Hali was a poet of the newer socio-cultural concerns and advocated 'natural poetry' that had an ameliorative purpose. His Musaddas is an important example of this. He was also a theorist who opened new frontiers in Urdu criticism with his Moqaddama-e-Sher-o-Shairi (Preface to Poetry) which equals Wordsworth's Preface to Lyrical Ballads in importance, and even surpasses it in certain respects. He realized that with the impact of the West a new perspective was required. He, along with Mohammad Husain Azad (1830-1910), laid the foundations of a new poetry in 1867 under the auspices of Anjuman-e-Punjab, Lahore. Azad had asserted in the same year that Urdu poets should come out of the grooves of responses conditioned by Persian culture and root their works in the ethos of the land. Seeing no response to his pleas, he reiterated the same point seven years later on May 8, 1874 during his address on the occasion of the first mushaira of the Anjuman. These appeals failed to make and impact as sensibilities rooted in particular tradition are not easily altered even by impassioned pleas. Hali, creating a new taste for his age. Iqbal, with his remarkable religio-philosphical vision, and Josh Malihabadi (1838-1982), with his nationalistic and political fervour, produced exceptionally eloquent kinds of poetry that continue to reverberate over the years. Iqbal remained the most influential poet to achieve artistic excellence while putting forward a philosophical point of view, and his poetry, quite often, acquired the status of the accepted truth. A host of others Urdu poets and translators of English poetry who appeared on the literary scene during the first quarter of this century experimented with non-traditional poetic forms but they ultimately echoed sentiments and adopted forms that were more or less tradition-bound. They also looked towards the West, the traditional source of literary influence, but that was a world apart and too far to seek, They could reach only the Romantics who had already become outmoded in an age identified with Ezra Pound and T. S. Eliot. A characteristically modern poem in form and value, tone and tenor, remained at best an intriguing possibility.

English Poems 2013 Pics Images Photos Pictures

Thursday, 29 August 2013

English Poems 2013 Pics Images Photos Pictures

English Poems Biography
source(google.com)
A history of 600 years of poetry is a daunting row to hoe, so let’s start not with Beowulf (which is Danish anyway) but with the 1557 anthology Songs and Sonnets and see how, circa 400 years later, we arrive at Disillusionment of Ten O’clock, my favourite Wallace Stevens poem, published in 1923. That, by the way, is not Whitfield’s cut-off point, it’s mine. He soldiers bravely and chronologically through his leviathan list of poetic categories – medieval, Elizabethan, metaphysical, Cavalier, graveyard, Augustan, romantic, Hartford wits, Victorian, confessional, Georgian, war, modern, new apocalypse, postmodern, ending with performance poetry – but I incline to Macaulay’s view that ‘as civilisation advances, poetry almost necessarily declines’. Thomas Wyatt’s poem in Songs and Sonnets, says Whitfield, shattered the medieval moral narrative tradition. Its title, The Lover Showeth How He Is Forsaken of Such as He Sometime Enjoyed, does not sound promising. Read on. ‘They flee from me that sometime did me seek / With naked foot stalking in my chamber. / I have seen them gentle, tame and meek, / That now are wild, and do not once remember / That sometime they have put themselves in danger / To take bread at my hand; and now they range, / Busily seeking with a continual change. / Thank’d be fortune it hath been otherwise, / Twenty times better; but once especial, / In thin array, after a pleasant guise, / When her loose gown did from her shoulders fall, / And she me caught in her arms long and small, / Therewith all sweetly did me kiss, / And softly said, “Dear heart, how like you this?”’ Sensuous, mysterious, intellectual and above all personal, this melodious crystallisation of emotion was like nothing previously classed as poetry and set the stage for the Elizabethan golden age. Thence to the whole glorious canon of poetic greats – Donne, Milton, Blake, Keats, Hopkins, Frost, Dickinson, Yeats and, yes, in my book, Stevens. If poetry truly is the alchemy of words and the music of ideas, he has to be in the premier league. ‘The houses are haunted / By white night-gowns. / None are green, / Or purple with green rings, / Or green with yellow rings, /Or yellow with blue rings. / None of them are strange, / With socks of lace, / And beaded ceintures. / People are not going / To dream of baboons and periwinkles. / Only, here and there, an old sailor, / Drunk and asleep in his boots, / Catches tigers / In red weather.’ Don’t ask me what it means, just listen to it. Whitfield’s history is less a textbook than a rough guide, but if his enthusiasm doesn’t inspire you to buy a volume of Swinburne – aristo, atheist, aesthete, alcoholic, sadomasochist – I’ll be surprised.

English Poems 2013 Pics Images Photos Pictures