Volume 2 of The works of Francis Thompson, Poems contains a section titled A Narrow Vessel, starting with the following description:
Being a little dramatic sequence on the aspect of primitive girl-nature towards a love beyond its capacities
It consists mostly of poems about unhappy love affairs with girls; they are often bitter and reproachful, sometimes telling of “sin.” CONTINUE READING / CONTINUER LA LECTURE…
L’amour véritable choisit librement sa voie, il viole la moralité et l’ordre social. Il sera donc nié, censuré, banni et persécuté. Mais il finira par vaincre ses ennemis. CONTINUE READING / CONTINUER LA LECTURE…
Les couleurs ne sont pas comme vous les pensez, et vous ne comprenez pas la liberté et l’amour. Tout se trouve présenté à l’envers. Révolution. CONTINUE READING / CONTINUER LA LECTURE…
Des traditions populaires ont longtemps été associées au 1er mai, avant qu’il ne soit devenu le symbole du mouvement ouvrier ; certaines d’entre elles sont héritées de fêtes religieuses antérieures au christianisme, comme celle de Beltaine chez le Celtes, célébrant le renouveau et l’amour. Ainsi des jeunes (ou petites) filles s’habillent en blanc et on élit parmi elles la « Reine de Mai ». Elles peuvent aussi danser autour d’un poteau, « L’Arbre de Mai ». CONTINUE READING / CONTINUER LA LECTURE…
The little flower of burning desires
Is waiting for a caress
And a poet’s kiss.
But the kiss comes only within a dream
In a faraway world. CONTINUE READING / CONTINUER LA LECTURE…
Of the 8 Sonnets of a Little Girl, only two were published in Dowson’s lifetime: a modified version of the 8th, and this one, the 4th, in its original version. It appeared with the title “Sonnet to a little Girl” in London Society, volume 50, November 1886, over the initials E.C.D. Notice that while the title is dedicated to “a little girl,” in the first sentence of the poem he writes about the child “his” and “him.” CONTINUE READING / CONTINUER LA LECTURE…
From “The Third Book of Songs” of Underneath the Bough, I present today what I consider one of the most important poems by Katharine Bradley and Edith Cooper. In it, they defiantly proclaim in front of the world, “pressing sore,” their beautiful forbidden passion: “My Love and I took hands and swore, / Against the world, to be / Poets and lovers evermore,” laughing, dreaming and singing to the symbols of death, “Indifferent to heaven and hell.” They seek the “fast-locked souls” faithful to poetry, “Who never from Apollo fled.” CONTINUE READING / CONTINUER LA LECTURE…
Dans Chansons des champs, la deuxième partie du recueil Les pommiers en fleur : idylles de France et de Normandie d’Émile Blémont, beaucoup de poèmes traitent de l’amour sur un ton léger, présageant des relations de courte durée et des sentiments papillonnant d’une fille à une autre. Par contre le poème qui suit exalte la beauté d’un amour unique, durable et fidèle, aspiration secrète qui s’est longtemps heurtée aux déconvenues de la vie. CONTINUE READING / CONTINUER LA LECTURE…
Following Wordsworth’s “Lucy Poems,” I will now present another poem about someone called Lucy, from Boudoir Ballads by Joseph Ashby-Sterry. The style is light and softly erotic, quite different from Wordsworth’s romantic pathos. As several other poems by Ashby-Sterry, I illustrate it with a painting by Graham Ovenden, also of a girl called Lucy. CONTINUE READING / CONTINUER LA LECTURE…
Between 1799 and 1801, William Wordsworth composed five poems about an unknown woman or girl called Lucy, telling his love for her and her unfortunate death. They have since been called the “Lucy poems,” although he did not use this designation. The order in which they are usually given follows that in later editions of his works, such as the 1815 edition of Poems by William Wordsworth, where the first three appear in the part “Poems founded on the affections,” pages 128 to 131, and the last two in the part “Poems of the imagination,” pages 313 to 315. CONTINUE READING / CONTINUER LA LECTURE…
