Advice to a Young Poet: Conseils a un jeune poete
Advice to a Young Poet: Conseils a un jeune poete
"In Advice to a Young Poet Max sets out to answer a question posed by the young man's father: 'What is a lyrical line?' It is his last major statement on poetry, the final development of the thinking of twenty-five years. 'Men used to believe, ' he wrote in the 1916 preface to Le Cornet à Dés, 'that artists are inspired by angels and that there are different categories of angels.' By 1941, after the years of prayer and contemplation at Saint-Benoît-sur-Loire, this is no longer what 'men used to believe', but a fact in the interior life of a poet, the interior life without which a poet cannot be permeable. Only in a mind that is permeable is that conflagration possible ('the conflagration, ' he called it in his Art Poétique of 1922, 'after the encounter of a harmonious man with himself') which produces the lyrical line, the 'consecrated line' identified by its euphoria and its euphony."-from John Adlard's introduction
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"In Advice to a Young Poet Max sets out to answer a question posed by the young man's father: 'What is a lyrical line?' It is his last major statement on poetry, the final development of the thinking of twenty-five years. 'Men used to believe, ' he wrote in the 1916 preface to Le Cornet à Dés, 'that artists are inspired by angels and that there are different categories of angels.' By 1941, after the years of prayer and contemplation at Saint-Benoît-sur-Loire, this is no longer what 'men used to believe', but a fact in the interior life of a poet, the interior life without which a poet cannot be permeable. Only in a mind that is permeable is that conflagration possible ('the conflagration, ' he called it in his Art Poétique of 1922, 'after the encounter of a harmonious man with himself') which produces the lyrical line, the 'consecrated line' identified by its euphoria and its euphony."-from John Adlard's introduction
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