Another Reason (Penguin Poets)

A few poets such as John Gower and John Milton were able to write poetry in more than one language. Another example is Jerzy Pietrkiewicz , a Polish poet.

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When he moved to Great Britain, he ceased to write poetry in Polish, but started writing novel in English. Many universities offer degrees in creative writing though these only came into existence in the 20th century. While these courses are not necessary for a career as a poet, they can be helpful as training, and for giving the student several years of time focused on their writing. From Wikipedia, the free encyclopedia. For other uses, see Poet disambiguation. For the American rapper, see The Poetess.

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This is about the history of the poet profession. For a history of poetry, see History of poetry.

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Metaphysical poets

Poetry of different cultures and languages. Retrieved from " https: Views Read Edit View history. In other projects Wikimedia Commons Wikiquote. This page was last edited on 16 November , at By using this site, you agree to the Terms of Use and Privacy Policy. Orpheus , poet of classical mythology. James Carney And from within the Christian tradition comes a poem whose hints of pantheism have long been thought to harbour traces of Druidism: I arise today Through the strength of heaven Light of sun, Radiance of moon, Splendour of fire, Speed of lightning, Swiftness of wind, Depth of sea, Stability of earth, Firmness of rock.

Kuno Meyer There is no European tradition which offers richer information about the encounter between paganism and Christianity, or about its subtlety. By the early Middle Ages, Ireland was already an historically self-conscious place, where a poet could look back on the vanqushing of heathendom, but with full knowledge of its traditions and mythology: Medieval Irish poets refer to their own traditions, and even to the vestiges of a lost mythology, as continental poets do to the Greek and Roman classics.

Those who have anywhere encountered early Irish poetry are aware of the many finely-tuned and precise lyrics penned by monks, sometimes in the margins of manuscripts. It is customary, for instance, to mention the quatrain written by a monk who rejoices that the storminess of the night means he need not fear a Viking raid.

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Crotty These monastic pieces are terse, accurate in description and finely modulated in tone and phrasing. They celebrate the beauty of worship, or the loveliness of Nature as a gift of God. They are conscious of the sacrifice at the heart of celibacy, and of the contrast of their own feelings with those expressed in more worldly poems.

How good to hear your voice again, Old love, no longer young, but true, As when in Ulster I grew up And we were bed-mates, I and you. That is one of the ways we can reassure ourselves that we are not repeating the bad habits of late Romanticism, as it is still often claimed that the early Yeats did, and was perhaps bound to do.

More specifically and this is really an overlapping claim he is accused of misrepresenting the bright, accurate quality of early Irish poetry, dimming it in the spurious and cloudy glamour of the Celtic Twilight. Unfortunately, like so many things that people think they know, this is inaccurate: The poems are powerful and memorable, and many are the translators who have essayed one or more of them. The whole work so to call it has been translated twice in recent decades: Both are represented here. The differences between these two superb translations turn on a venerable point of dispute among translators: Carson leans rather more towards this aim, and the intricacy and formal self-consciousness of Irish verse make that a laudable endeavour.

His translations of the poems possess a finely-achieved combination of strength and musicality.

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And these lines, with all their menacing command, may originate at the very beginning of our era. Play was each, pleasure each, Till Ferdiad faced the beach; Loved Ferdiad, dear to me: Sigerson, Bards of the Gael and Gall This is one stanza of a lament in which the first two lines are a refrain. Does it sound too Edwardian?

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Yet it is close enough to the original both in content and form. With the collapse of the Gaelic order in the seventeenth century, the bards who used to praise the chieftains and earls were left to lament a way of life being pulverised before their eyes, one in which they had enjoyed esteem and commanded sustenance. There were those among them who knew how to harness their bitterness and misery to the intricate forms and expressive rhetoric developed in the bardic poetry of the middle ages. In his poem on this subject, the refrain is instinct with hauteur, the contempt of the old Gaelic order for the venality and rapacity of an invader seen as essentially lacking in nobility: Now I shall cease, death comes, and I must not delay By Laune and Laine and Lee, diminished of their pride, I shall go after the heroes, ay, into the clay — My fathers followed theirs before Christ was crucified.

And there is another reason why it should have been included: But it is this poem, above all, which prompted the admiration.