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Her translation maintains the 12,110 lines of the original poem and matches them line for line. [ 1 ] [ 5 ] Wilson rejected a standard set by the 18th-century translation (1725–26) by Alexander Pope that the tone be "grand, ornate, rhetorically elevated", stating this is not present in the original and prioritised simple, readable language.
The poem opens with the possible bonds of friendship, and then kinship, between the parents. Then, it moves to bonds formed by two people learning and getting to know each other. From these abstractions, it comes to concreteness with the picture of red earth in the rain, drawing a parallel with the lover's journey from aloneness to union.
A complete listing and criticism of all English translations of at least one of the three cantiche (parts) was made by Cunningham in 1966. [12] The table below summarises Cunningham's data with additions between 1966 and the present, many of which are taken from the Dante Society of America's yearly North American bibliography [13] and Società Dantesca Italiana [] 's international ...
Her debut poetry collection, Archaic Smile, was awarded the 1999 Richard Wilbur Award and was a finalist for both the Yale Younger Poets Series and the Walt Whitman Award. Her poems have appeared in The Best American Poetry anthologies of 1994, 2000, 2015, 2016, and 2017.
The last words of the ode, potenti ... maris deo ' to the god who has power over the sea ' are found in the manuscripts and in the ancient commentator Porphyrio; nonetheless, Nisbet and Hubbard in their commentary (1970), following a conjecture of Zielinski (1901), [4] suggest that the original reading may have been potenti ... maris deae ' to the goddess who has power over the sea ', i.e. Venus.
In 2002, her family published a manuscript Tarrosa-Subido had been working on at the time of her death. Titled Private Edition: Sonnets and Other Poems (Milestone Publications), the retrospective volume contains 89 poems, a few of them revised and retitled versions of the originals. One of them is "To My Native Land," which is one of her most ...
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In a review for the New Statesman, Rowan Williams writes: "The decision to use unrhymed iambic pentameter for the translation is a highly successful one; it is a kind of default rhythm for so much English poetry, especially for long narrative poems, a metre that unobtrusively maps on to ordinary speech patterns and holds our attention just ...