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Archive for the ‘Poesía’ Category

►Greek Mythology: “The Golden Apple of Discord” /

►Poetry: “Who is The Fairest?”, by Christy Birmingham:

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"The Judgment of Paris" by Guillaume Guillon Lethière (1812).-

“The Judgment of Paris” by Guillaume Guillon Lethière (1812).-

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The Garden of the Hesperides was Hera´s  orchard, where either a single tree or a grove of immortality-giving golden apples grew. The apples were planted from the fruited branches that Gaia gave to Hera as a wedding gift when Hera accepted Zeus. The Hesperides were given the task of tending to the grove, but occasionally plucked from it themselves. Not trusting them, Hera also placed in the garden a never-sleeping, hundred-headed dragon named Ladon as an additional safeguard. 

However, in the mythology surrounding “the Judgement of Paris”, the goddess of Discord Eris managed to enter the garden and pluck a golden apple.

Eris had become  disgruntled after she was excluded from the wedding of Peleus and Tetis (Achilles ‘ parents).

Angered by this snub, Eris arrived at the celebration with a golden apple, which she threw into the proceedings, upon which was the inscription Kallisti ( ‘For the most beautiful one’ or ‘For the Fairest’).

Three goddesses claimed the apple: Hera, Athena and Aphrodite. Prince Paris of Troy as appointed to select the recipient. 

While Paris inspected them, each attempted with her powers to bribe him; Hera offered to make him king of Europe and Asia, Athena offered wisdom and skill in war, and Aphrodite, offered the world’s most beautiful woman.

This was Helen of Sparta, wife of the Greek king Menelaus. Paris accepted Aphrodite’s gift and awarded the apple to her.

Later on, he abducted her, all of Greece declared war against Troy, causing the Trojan War and the eventual destruction of Troy. 

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"The Judgment of Paris" by Claude Lorrain (1645-1646).-

“The Judgment of Paris” by Claude Lorrain (1645-1646).-

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►A Poem By Christy Birmingham: “Who is the Fairest?”

(Based on the Greek Myth of “The Golden Apple of Discord”): 

If I transported back to mythical times,

Would I be the fairest?

Would I be the one to snatch the

Apple first, savoring the

Fruit, eyes and delight of all?

 

If so, I would stand above Athena, Hera and

Aphrodite, in this beauty contest that

Judges only our outer skin, revealing nothing of

Our spirits, as though denying us the

Opportunity to reveal our sweet, fruity tastes.

 

If I transported back to mythical times,

I wonder if I would also bribe Paris to win –

And what would I offer as the winning power?

Would it be savory or sweet?

 

Indeed, the golden apple caused quite the uproar,

An apple of discord not to be forgotten,

And I only hope that my winning power is

One day revealed,

As it is a blend unlike any other:

 

It is the ability to connect with you.

 

 ©2014 Christy Birmingham.-

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The poem “Who is the Fairest?” was originally written by Christy Birmingham as a recreation of the Greek myth related to the Judgement of Paris and the Golden Apple of Discord.

►About Christy Birmingham:

Christy is a freelance writer, poet and author. She lives in British Columbia, Canada. 

She writes poetry and short stories to motivate readers and to reach out to struggling women. Her intent is to spread hope and understanding about depression, abuse and other issues.

Christy has written countless poems since childhood. She is the author of the poetry collection “Pathways to Illumination” (2013), available exclusively at Redmund Productions.

You can check out Christy Birmingham´s writer portfolio here

She also hosts two great blogs: Poetic Parfait and When Women Inspire.  (You can also check out this post at Poetic Parfait: here).

Feel free to connect with Christy at on social media at Twitter and Google Plus .

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"The Golden Apple of Discord", labelled Kallisti ("For the Most Beautiful One").-

“The Golden Apple of Discord”, labelled Kallisti (“For the Fairest” / “For the Most Beautiful One” ).-

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►Paintings : “The Judgement of Paris”:

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►Links post:
http://en.wikipedia.org/wiki/Apple_(symbolism)
http://www.mythencyclopedia.com/Fi-Go/Fruit-in-Mythology.html
http://www.spiffy-entertainment.com/applediscord.html
http://en.wikipedia.org/wiki/Hesperides
http://www.ehow.com/facts_5452761_paris-golden-apple-greek-myth.html
http://poeticparfait.com/about/

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♠Paul Auster: Short Story “Auggie Wren’s Christmas”:

Click on the title above to read the story.-

Click on the title above to read the story.-

Click on the iamge above and then at the blue arrow to listen to Auster´s story

Click on the image above to enter to the site  and then on the blue arrow to listen to Auster´s story (Read By Himself).-

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English: “Auggie Wren’s Christmas”: 

Click here to listen to Auster´s reading 

English: “Auggie Wren’s Christmas”:

Click here to read Auster´s story.

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“Auggie Wren’s Christmas”  (“Smoke”):

Description: First part of the closing chapter (5. Auggie) of the 1995 movie Smoke.
Directed by Wayne Wang and Paul Auster. Writer: Paul Auster. Leading roles: Harvey Keitel and William Hur

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♠ Truman Capote: Short Story: “A Christmas Memory”/ Cuento: “Un Recuerdo Navideño”: 

Click on teh image above to read Capote´s story.-

Click on the image above to read Capote´s story.-

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►English: “A Christmas Memory”:

Click Here to read Capote´s Story.

►Castellano: “Un Recuerdo Navideño”:

Hacer click aquí para leer el relato de Capote

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♠”A Christmas Memory” by Truman Capote (1/6):

(Note: Check Out the Following videos at Youtube linking from the first one)

Description: Narrated by Truman Capote himself, this Emmy award-winning television version of Capote’s “A Christmas Memory” is a faithful recreation of his wonderful short story (first published in Mademoiselle in 1956, later published in book form). It appeared on ABC Stage 67 in December of 1966. Starring Geraldine Page as Sook and Donnie Melvin as Buddy. Adapted for television by Capote and Eleanor Perry. Directed by Frank Perry.

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♠”Un Poema Navideño por Aquileana” / “A Christmas Poem By Aquileana”:

♠Un Poema: “Breve Crónica Navideña”:

Escucha antes de hablar

porque las noches perdidas y ganadas son todas ellas también esta noche

Cada estrella es un nacimiento, 

aun en los perdidos trópicos del cielo inmenso

Cuando decís te quiero estemos juntos, bien sabés que 

no lo jurarías para no hacer vanas tus promesas… 

Porque el agua es clara en diciembre, el manantial fluye con las palabras y el entusiasmo declina

No preciso que me quieras cerca, ni aún  a la distancia justa como para extrañarme, 

hoy no se trata de nosotros, de los vaivenes a los que nos exponemos sin darnos tregua,  desde hace tanto y tan poco… 

No concluiremos en  caídas al vacío, preámbulos a los que nos sometemos antes de despeñarnos en el eco de un abismo insondable. 

No te muevas. Sólo permanece así con ese gesto de presunta estabilidad, tu mano apoyada apenas sobre tu cara. 

Este momento se quedará conmigo. Lo presiento. 

Hoy es noche de nacimiento. Las luces titilan en los arboles de navidad, los niños esperaron tanto este día como nosotros

el fin de la batalla, para volver a amarnos, incluso mejor… Casi  identificándonos  de nuevo como ajenos conocidos, como siempre,

Mira hacia arriba, pronto las luces de estruendo estallarán como olas amarillas contra una roca. 

En el cielo se abrirán como flores y entre las estrellas guían senderos de constelaciones perdidas.

La mesa navideña con velas rojas incluidas . Y vos y yo, los dos…

 frente a frente con las copas en las manos y la vista clavada en un  inevitable

punto fijo.  Las pupilas  negras en el centro perfecto de tus ojos (de los míos). 

Pero no ne mires complacientemente. Hoy no se trata de nosotros, sino del cielo, la permanencia y la celebración

Hoy es Navidad, y con Él todo nace nuevamente. 

Y así, nosotros…

Aquileana /Amalia Pedemonte. 24 de Diciembre de 2013.-

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♠ A Poem: “Brief Christmas Chronicle”:

I beg you to listen before you talk 

because all the past nights, the lost ones, the ones we won are also this night

Each star entrains a new birth,

even if it is lost among the tropics of the never -ending sky

When you say I love you, I want us to be together , you know that you don´t mean it… 

You wouldn´t swear it as you don´t like to break  promises …

Water is clear in December, water runs out of clear springs,

And, as we flow within words, our enthusiasm declines…

I don´t want  you to remain close to you, not even at a fair distance well enough for you to miss me,

Today is not about us, nor about these fluctuations to which we expose ourselves without realizing  for how long we do.

No need to end by again falling in that nonsense vacuum preamble we are so used to… 

 To which we submit shivering before falling in a bottomless pit .

Do not move. Just stay like this, with this gesture of alleged stability; your hand softly resting just on your face.

This moment will stay with me forever . I can almost feel it…

Tonight is a night of birth . The lights flicker on Christmas trees, the kids have waited so long for this day to arrive 

the same way we beg for peace after a battle, in order to surrounder another time to love.

Probably better … Almost identifying ourselves again, as ever…

Look up now, soon the  fireworks will collide above as yellow waves against a heavenly rock …

In the sky they will blossom like  flowers and among the stars their paths will lead us to lost domain of golden constellations.

The Christmas table. Red candles glowing. And you and I, us, here …

 Face to face rising the glasses; whilst looking at an unswerving  point.

I stare at the black pupils of your eyes; and so you do…

But, don´t look  at me with that indulgently  glance

Today is not about you nor me neither us,

It is just about the sky, the festivities of birth and redemption

Today is Christmas, and with Him everything is born…

And so we are…

Aquileana / Amalia Pedemonte.December 24, 2013 . -

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♠Bonustrack: John Lennon: “Happy Christmas” (War is Over):

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♠Updates: Thanks Delvina Lavoie for The Prix Lighthouse Award Nomination:

At Migration X-3 (December 31st 2013):

Click on the image above to check out the Award Nomination.-

Click on the image above to check out the Award Nomination.-

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♠Informe Anual WordPress 2013:

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♠Poetry / Poesía:

William Shakespeare: “Sonnet  CXVI” / “Soneto CXVI”:

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♠Poesía: William Shakespeare: “Soneto CXVI”:

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Soneto 116 en castellano.-

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♠William Shakespeare: “Sonnet 116″:

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♠William Shakespeare: “Sonnet 116″:  “Let me not to the marriage of true minds”:

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♠William Shakespeare´s Sonnet 116:

“Summary & Analysis”:

Shakespeare´s Sonnet 116  was first published in 1609. Its structure and form are a typical example of the Shakespearean Sonnet

The poet begins by stating he should not stand in the way of true love. Love cannot be true if it changes for any reason. Love is supposed to be constant, through any difficulties. In the sixth line, a nautical reference is made, alluding that love is much like the north star to sailors. Love should also not fade with time; instead, true love lasts forever.

This sonnet attempts to define love, by telling both what it is and is not. In the first quatrain, the speaker says that love—”the marriage of true minds”—is perfect and unchanging; it does not “admit impediments,” and it does not change when it find changes in the loved one. In the second quatrain, the speaker tells what love is through a metaphor: a guiding star to lost ships (“wand’ring barks”) that is not susceptible to storms (it “looks on tempests and is never shaken”). In the third quatrain, the speaker again describes what love is not: it is not susceptible to time. Though beauty fades in time as rosy lips and cheeks come within “his bending sickle’s compass,” love does not change with hours and weeks: instead, it “bears it out ev’n to the edge of doom.” In the couplet, the speaker attests to his certainty that love is as he says: if his statements can be proved to be error, he declares, he must never have written a word, and no man can ever have been in love.

The poet makes his point clear from line 1: true love always perseveres, despite any obstacles that may arise. He goes on to define love by what it doesn’t do, claiming that it stays constant, even though people and circumstances may change. Love never dies, even when someone tries to destroy it. Rather than being something that comes and goes, love is eternal and unchanging – so much so that the poet compares it to the North Star, which never moves in the sky and guides lost ships home. This metaphorical star is mysterious and perhaps incomprehensible, even though we can chart its location.

Moving on to a new image, love isn’t at the beck and call of time (or time’s consequences, age and death); mortality isn’t an issue for true love, which doesn’t fade even when youth and beauty disappear. Love doesn’t change as the days go by; rather, it remains strong until the lover’s dying day (or beyond…chew on that for a while).

Finally, the poet stakes his own reputation on this definition, boldly claiming that if anyone can prove him wrong, he’ll eat his words. That is to say, if this idea of love turns out to be wrong, then he’ll take back everything he wrote and it’ll be as though it never existed. Furthermore, if this specific portrayal of love is somehow proved to be the wrong one, then nobody, as far as the poet is concerned, has ever loved at all.

 

Along with Sonnets 18 (“Shall I compare thee to a summer’s day?”) and 130 (“My mistress’ eyes are nothing like the sun”), Sonnet 116 is one of the most famous poems in the entire sequence. The definition of love that it provides is among the most often quoted and anthologized in the poetic canon. Essentially, this sonnet presents the extreme ideal of romantic love: it never changes, it never fades, it outlasts death and admits no flaw. What is more, it insists that this ideal is the only love that can be called “true”—if love is mortal, changing, or impermanent, the speaker writes, then no man ever loved. 

In the first quatrain Shakespeare uses repetition of the words “love” and “love” (line 2), “alters” and “alteration” (line 3) and “remover” and “remove” (line 4) to create a feeling of constancy and strength.  This complements his allusion to the marriage ceremony in line one. (Grimes, 2007)

The second quatrain uses two metaphors to describe love, both concerned with light, navigation and the sea. 

The first metaphor compares love to “an ever-fixed mark” such as a lighthouse, used by sailors during bad weather to avoid peril. 

The second compares love to a star, a light in the heavens which can be used to navigate by, but “whose worth’s unknown”.  This second image is the most interesting for how many decisions are made on a daily basis in the name of an emotion that is not really understood.

The second quatrain explains how love is unchanging. According to  Neely, “Love is a star, remote, immovable, self-contained, and perhaps, like the ‘lords and owners of their faces,’ improbably and even somewhat unpleasantly cold and distant.”  The second quatrain continues Shakespeare’s attempt to define love, but in a more direct way

Shakespeare mentions “it” in the second quatrain according to Douglas Trevor, “The constancy of love in sonnet 116, the “it” of line five of the poem, is also – for the poet – the poetry, the object of love itself.” Not only is there a direct address to love itself, the style Shakespeare’s contemplation becomes more direct. Erne states, “Lines five to eight stand in contrast to their adjacent quatrains, and they have their special importance by saying what love is rather than what it is not.” This represents a change in Shakespeare’s view that love is completely undefinable. This concept of unchanging love is focused in the statement, “love is an ever-fixed mark’. 

The first two lines of quatrain three (lines 9 – 10) tell us that although physical beauty, “rosy lips and cheeks”, may fade and die, love is not affected by time. This sentence is interesting for a few reasons. Firstly Time is personified by referring to it as “him” but it is also compared to Death, always a close relative anyway, by giving “him” a “bending sickle”, the Grim Reapers scythe.

The last two lines of quatrain three (11-12) sum up the point of the whole poem: love doesn’t change over time. It endures the passing of time, which is depicted as fleeting and “brief,” and lasts until “the edge of doom,” otherwise known as Judgment Day, the end of time, or whatever you want to call it.

The final two lines of the sonnet (couplet) provide a dramatic and quite bold closing statement.

Line 13 uses rather legalistic language to basically say, “If these ideas are wrong and anyone can prove that I’m incorrect…”

The final line resolves this challenge through a somewhat complicated twist; by saying that the poet has never written anything and that nobody has ever really been in love before if love actually turns out to be less than eternal, the poem’s truth immediately becomes impossible to dispute.

As Linda Gregerson highlights in her article on Shakespeare´s “Sonnet 116″:

“The couplet represents a last, desperate attempt to regain control. It rests upon a sort of buried syllogism: I am obviously a writer (witness this poem); I assert that love is constant; therefore love must be constant. As any logician could testify, however, these premises have no necessary relationship to their conclusion. The couplet is designed to shut down all opposition, to secure the thing (unchanging love) the poem has staked its heart on. It is sheer bravado, and of course it fails. What fails as logical proof, however, succeeds quite brilliantly as poetry”.

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“Shakespeare´s Sonnet 116″: “Slideshare”:

Click above to watch the video.

“Which is the Central Idea in Sonnet 116?”. Click above to watch the video.

 Click above to search for topics regarding Sonnet 116.-

Click above to search for more topics regarding Sonnet 116.-

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William Shakespeare (1564-1616).-

William Shakespeare (1564-1616).-

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Links Post:
http://en.wikipedia.org/wiki/Sonnet_116
http://www.shmoop.com/sonnet-116/summary.html 
http://www.shakespeares-sonnets.com/sonnet/116
http://www.sparknotes.com/shakespeare/shakesonnets/section7.rhtml
http://www.theatlantic.com/past/docs/unbound/poetry/soundings/shakespeare.htm
http://barraoc.hubpages.com/hub/Sonnet-116-by-William-Shakespeare-An-Analysis
http://aquileana.wordpress.com/2013/10/15/poetry-william-shakespeare-soneto-xviii-sonnet-xviii/
http://www.shakespeares-sonnets.com/sonnet/130

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♠Poetry / Poesia: John Keats:

“Bright Star”  (Sonnet) / “Estrella Brillante” (Soneto):

John Keats

John Keats (1795 / 1821).-

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♠Poesía: John Keats: “Estrella Brillante”: Reseña:

“Si firme y constante fuera yo, brillante estrella, como tú”… es el inicio del último poema que escribió John Keats el 28 de septiembre de 1820, mientras se alejaba de la isla de Wight,  rumbo a  Nápoles. El viaje a Italia era la última oportunidad de conquistar lo imposible, que en su caso, era buscar una posibilidad de sanar de la tuberculosis que persiguió como una epidemia a varios miembros de su familia. 

El poema “Estrella Brillante “fue  uno de sus últimos poemas, dedicándoselo a su amada Fanny Brawne. Exceptuando los que escribió por pura desesperación en el puerto de Nápoles durante la cuarentena que le obligó a estar encerrado en el navío María Crowther durante una semana. 

 “Estrella Brillante ” es uno de los poemas románticos de Keats, que tanto su amigo Charles Brown en Inglaterra como su fiel y último compañero Joseph Severn en Italia, coincidieron en definirlos como la melancolía de lo inalcanzable.

John Keats murió en los brazos de su amigo Joseph Severn el 23 de febrero de 1821, en el 26 de la Plaza de España, en la ciudad de Roma. Está enterrado en el Cementerio Protestante de aquella ciudad. Junto a él está enterrado Joseph Severn y también las cenizas del poeta Shelley.

Según lo reglamentado por las autoridades italianas, todos los muebles de Keats fueron quemados, menos un piano, porque era alquilado. Los suelos, ventanas y paredes del cuarto fueron destruidos y mandados a hacer de nuevo. Los empapelados de las paredes fueron removidos y renovados. Se hacía así siempre con las víctimas de tuberculosis.

Fanny Brawne se enteró de la muerte de John Keats un mes después. Pasó en duelo seis años. El poema “Estrella brillante” se publicó por primera vez en 1838, diecisiete años después de la muerte de Keats.

En su lápida está labrada una lira de ocho cuerdas, cuatro de ellas rotas. Y las palabras que pidió fueran grabadas sobre su tumba: “Aquí yace aquel cuyo nombre fue escrito en el agua” (“Here Lies One whose name was writ in water”).

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►ENGLISH SECTION ►

♠Poetry: John Keats: “Bright Star” (Sonnet):

John Keats´s poem: Bright Star".-

John Keats´s poem: Bright Star”.-

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♠Audio Video: Sonnet By John Keats:

“Bright Star” (“Bright Star, Would I were Stedfast as thou Art”)

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♠”Analysis of John Keats´s Sonnet Bright Star”: 

Colleen Walles highlights on her thorough article on Romanticism at  HSC Online that:

“The bright star in the sonnet can be a metaphorical conceit for the appeal and danger of fickle, female sexuality as in “La Belle Dame Sans Merci”. Keats identifies with the evening star and the symbolism is organic in the octave even when he rejects isolation and identification with nature. He implicitly contrasts the sublime and eternal beauty of nature to human life and individual freedom. The sestet privileges concrete over abstract but undermine notions of permanence by paradoxical passivity and a downward movement to acceptance of loss and death”.

As Patrick Gillespie craftily highlights on his post Bright Star by John Keats, His Sonnetat PoemShape.wordpress.com

“Bright Star is one of Keats’s earlier poems and I can’t help but detect the opening of Shakespeare´s Sonnet 116

Shakespeare equates love to a star and this association was surely present in Keats’ s mind from the time he first read Shakespeare’s Sonnet. That is, the star isn’t only a symbol of steadfastness and stability, but also love. And love, in Keats’s mind, is unchangeable and ever-fixèd (or else it isn’t love)”.

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Click on Shakespeare´s Sonnet to read its analysis.-

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John Keats (1795 / 1821).-

John Keats (1795 / 1821).-

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♠”Bright Star” By John Keats: Sonnet Structure:

(Credit: Patrick Gillespie, Bright Star by John Keats, His Sonnet” at PoemShape.wordpress.com)

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♠Structure of John Keats´s  Sonnet “Bright Star”:

In many of Keats’s poems, the speaker leaves the real world to explore a transcendent, mythical, or aesthetic realm. At the end of the poem, the speaker returns to his ordinary life transformed in some way and armed with a new understanding. Often the appearance or contemplation of a beautiful object makes the departure possible. The ability to get lost in a reverie, to depart conscious life for imaginative life without wondering about plausibility or rationality, is part of Keats’s concept of negative capability. In “Bright star, would I were stedfast as thou art,” the speaker imagines a state of “sweet unrest” in which he will remain half-conscious on his lover’s breast forever. As speakers depart this world for an imaginative world, they have experiences and insights that they can then impart into poetry once they’ve returned to conscious life. 

The final rhyming couplet speaks of life and death. He wishes to ‘live ever’ listening to her ‘tender-taken breath’, ‘or else swoon in death’. Here once again we can observe the interaction between the moment and eternity – if he continues to love her he will live eternally, stedfast like the star. If he ceases to hear her breath – ceases to love – he will die. Interestingly, this last line could almost be the volta in the poem – as the love seems to for the first time to question whether the moment, love, will last forever, and what the alternative would be.

As Lilia Melani points out in her analysis of Keats ´s sonnet at academicbrooklyn.cuny.edu:

“Once the poet eliminates the non-human qualities of the star, he is left with just the quality of steadfastness. He can now define steadfastness in terms of human life on earth, in the world of love and movement. As in so many poems, Keats is grappling with the paradox of the desire for permanence and a world of timelessness and eternity (the star) while living in a world of time and flux. The paradox is resolved by the end of the poem: joy and fulfillment are to be found here, now; he needs no more. There is a possible ambiguity in the last line; is Keats saying that even if love doesn’t enable him to live forever, he will die content in ecstasy and love?”

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♠John Keats´s  Sonnet “Bright Star”: Allusions & Meanings (Modern English):

(Credit: Lilia Melani: Analysis of “Bright Star”)

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♠Original Manuscript of  Keats´s Sonnet “Bright Star” (1819):

This famous sonnet was written by Keats in his copy of 'The Poetical Works of William Shakespeare' (1819).-

This famous sonnet was written by Keats in his copy of ‘The Poetical Works of William Shakespeare’ (1819).-

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♠Links Post:
http://anywayidontcare.blogspot.com.ar/2011/12/poemas-de-john-keats.html?spref=tw
http://canal-literatura.com/blog/sin-categoria/homenaje-a-john-keats-el-poeta-de-la-melancolia-inalcanzable/
http://www.sparknotes.com/poetry/keats/themes.html
http://www.press.uchicago.edu/Misc/Chicago/542409.html 
http://poemshape.wordpress.com/2009/05/10/bright-star-by-john-keats-his-sonnet/
http://academic.brooklyn.cuny.edu/english/melani/cs6/star.html
http://www.youtube.com/watch?v=Fg2QoGJ4-h0 (Trailer”Bright Star”)
http://aquileana.wordpress.com/2013/09/21/poesia-john-keats-al-otono-poetry-john-keats-to-autumn/ (“To Autumn”, Poem By John Keats)
http://aquileana.wordpress.com/2009/04/25/john-keats-la-belle-dame-sans-merci/ (“La Belle Dame Sans Merci”. Poem By John Keats).
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❖Worth Reading❖ A Sonnet by Irina Dimitric:

“My Sweet Rose” at Irina´s Poetry Corner

►MY SWEET ROSE►

How sweet and pure thy perfume grows,
As sweet as seasoned showers to the ground
Upon which thy gracious beauty glows,
I swear my love for ever to thee bound.
Ah, my sweetest rose! I long and pine
For cosy softness of thy velvet shine.
Come, do not tarry! Make haste ere Time’s quick pace
Hath ploughed the furrow through my flesh and bones.
Why did thou forsake me? Thou needed space?
For thou did love me, that too, the Almighty knows.
But when I sleep, our two hearts meet in dreams,
My groaning melancholy gone in thy embrace.

All days as nights do seem to me
Until the day my eyes see thee.

© irina dimitric 2013

இڿڰۣ-ڰۣ—

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Irina Dimitric Dixit:

The first version of this poem was written in 2011 for Wednesday Writing Essential prompt at gather.com:

‘Write a response without any verbs of being and at least one allusion to Shakespeare.’ We were allowed to borrow a line from Shakespeare. Line Two in this poem is borrowed from one of his sonnets; I might still, one day, find which one! Or, perhaps you could find it for me. However, I did find the sonnet which provided the idea for my final couplet: it is Sonnet 43

I started revising the poem three days ago, polishing the metre and rhyme. It was Aquileana’s brilliant post on John Keats http://aquileana.wordpress.com/ that renewed my interest in the sonnet. When I looked up Sonnet on Google, I realised my original version was only a sonnet-like poem: it consisted of three quatrains and a couplet, but the rhyme in the second half of the second quatrain had to be altered and consequently adjusted in the third quatrain; and I paid more attention to metre. Although the language is archaic in some lines, I can call it a Modern Sonnet owing to its peculiar rhyming scheme:  a b a b c c d a d a a d e e.

This is my very first and only sonnet. I hope you like it. ~  Have a nice weekend! ~ Irina :) 

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♠Cat Forsley: “100 Days of Love” (Poetry AudioBook):

Book Cover "100 Days of Love" by canadian author Cat Forsley.

Book Cover “100 Days of Love” by Cat Forsley.

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♠Review Cat Forsley´s “100 Days of Love”:

(By Aquileana ).-
Cat Forsley´s book explores the nature of loving feelings since it begins to shyly grow between a boy and a girl until it becomes real love later on. 
 
All through the  poems we can see how love is a glowing feeling that travels throughout spaces and time, reaching everything.
 
The circle of love is in fact the circle of life: Love´s way of taking and giving back life to earth.
 
Love represents the infinite nature of energy and change: the boy and the girl soon become man and woman but then they return to innocence and finally take part of the main process: integration.
As love take part of all union, love is the universal way of joining Life: the union of the opposites (genre:, male/female)  in a perfect circular structure.
 
The main topics are as the ones that lays beneath the surface of the words.
 
That is to say: poetic images which entrain deep feelings. Underlying senses that unwrap specific sensations and inexhaustible meanings.
 
The feeling of identity and union in “The Everlasting now”.  Affinity patterns within questions and answers in “Philosophy 101″. Complexity of simple things in “This Tiny Daisy”. Reconnaissance and new beginnings in “Garden”. Eternity in “No Time”. Finally, return to the essential priorities, union of opposites and  integration in “Last Days”…
 
Forsley´s poetry is highly symbolic and richly meaningful. And, above all, open-hearted and genuine. Her poems whispered to the soul and touches the heart.  Forsley´s voice is her main strength. Her reading is perfectly clear and as pure as the fresh water of a flowing river. 
 
Her audiobook, which  is 40 minutes of poetry (30 tracks/poems) is truly beautiful and I absolutely recommend it.
 
Love as the main feeling, viewed from a multiple and comprehensive perspective. Holistically conceived as the source of Life, and its inexhaustible light. Forsley´s trip is a challenge, a way to dive into the depths of human soul…
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Tiny Daisy.  Excerpts form "100 Days Of Love", by Cat Forsley.

A Poem: “Tiny Daisy”. Excerpts from “100 Days Of Love”, by Cat Forsley.

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♠”Listening to Previews and Buying 100 Days of Love“:

Click on the image to purchase the book.  If You mouse over the individual pieces on CDBaby, You can hear Previews of "100 Days of Love".-

Click on the image to purchase the book. If You mouse over the individual pieces on CDBaby, You can hear Previews of “100 Days of Love”.-

Review at CDBaby. click on the image to visit the site.-

Review at CDBaby. Click on the image above to visit the site.-

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Cat Forsley´s “100 Days of Love”

 Available On Amazon, CDBaby and iTunes. ► 

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♠”100 Days of Love”: “Poems´s Excerpts”:

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♠”100 Days of Love”:

“More Interviews and Reviews at Cat Forsley´s  Website”:

Click above to get more information at Cat Forsley´s wenbsite.-

Click above to get more information at Cat Forsley´s site.-

Click above to visit Cat Forsley´s website.

Click above to visit Cat Forsley´s website.

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♠CAT FORLSEY, BRIGHT STAR…
SILVERSTAR1________________________________________________________________________________________________________________________________
♠Links Post:
http://catforsley.me/
http://catforsley.me/100-days-of-love-reviews-and-links/
http://catforsley.me/2013/11/02/100-days-of-love-cat-forsley-my-audio-book-is-out/
http://poeticparfait.com/2013/11/12/interview-with-cat-forsley-author-of-100-days-of-love/
http://catforsley.me/2013/11/12/100-days-of-love-audio-book-review/

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♠Bonustrack: This Post Has been Rebbloged at Partager la Magie.

Many thanks Delvina Lavoie:

Click on Cat´s picture above to check out this post  at "Partager la Magie".-

Click on Cat´s picture above to check out this post at “Partager la Magie”.-

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♠Last But Not Least:

“Prize Sisterhood of The World Bloggers”:

Merci Delvina d´avoir nominé mon blog dans Migrationx3

Click on the Image to check out the post.-

Click on the Image to check out the post.-

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“Premio Blog del Año 2013″:

Gracias Rotze por haberme nominado en En Algún Lugar de Mi Alma

Hacer click sobre la imagen para ver el post de la nominación.-

Hacer click sobre la imagen para ver el post-

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♠Poetry: William Shakespeare: “Soneto XVIII” / “Sonnet XVIII”:

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♠William Shakespeare: “Soneto 18″: 

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Soneto18

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♠”¿Quién era el Mancebo Destinatario de 126 de los 154 Sonetos de Shakespeare”?

Henry Wriothesley, Tercer Conde de Southampton: ¿El Fair Youth de los sonetos?.-

Henry Wriothesley, Tercer Conde de Southampton: ¿El Fair Youth de los sonetos?.-

126 de los 154 sonetos están dirigidos a un joven, con frecuencia llamado “Fair Youth”.

Básicamente, existen dos teorías acerca de la identidad de Mr. W.H.: la que lo identifica con el joven y la que afirma que se trata de una persona distinta. Tres son los personajes a los que se dirigen la mayoría de los sonetos: un hermoso joven, un poeta rival y la dama del pelo negro; convencionalmente, cada uno de estos destinatarios son conocidos por los sobrenombres de, respectivamente,  Fair Youth, The Rival Poet y  Dark Lady.

Fair Youth es un joven sin nombre a quien se dirigen los sonetos que van del 1 al 126. El poeta escribe del joven con un lenguaje romántico, hecho que ha llevado a varios comentaristas a sugerir una relación homosexual, aunque otros lo interpretan como un amor platónico.

El Soneto 18 queda comprendido dentro de la lista de los poemas dedicados a Fair Youth.

Los primeros poemas de la colección no sugieren una relación personal estrecha; por el contrario, en ellos se recomiendan los beneficios del matrimonio y del tener hijos. Con el famoso soneto 18 (“Shall I compare thee to a summer’s day”: “Debería compararte a un día de verano”), el tono cambia dramáticamente hacia un intimidad romántica.

El soneto 20 se lamenta explícitamente de que el joven no sea una mujer. La mayoría de los siguientes sonetos describen los altibajos de la relación, culminando con una relación entre el poeta y  Dark Lady. La relación parece terminar cuandol Fair Youth sucumbe ante los encantos de la dama.

Ha habido varios intentos para identificar al destinatario de los sonetos.

El mecenas de Shakespeare durante un tiempo, Henry Wriothesley, tercer conde deSouthampton, es el candidato que más veces ha sido sugerido para su identificación, aunque el último mecenas de Shakespeare,William Herbert, tercer conde de Pembroke, ha sido recientemente señalado como otra posibilidad .

Ambas teorías están relacionadas con la dedicatoria de los sonetos a ‘Mr. W.H.’, “the only begetter of these ensuing sonnets” (el único inspirador de los siguientes sonetos): las iniciales se podrían aplicar a cualquiera de los dos condes. 

La única edición de los sonetos de Shakespeare publicada en  1609, está dedicada a “Mr. W.H.” . 

Aparece firmada al final con las iniciales ‘T.T.’ se corresponde con Thomas Thorpe, el editor de Shakespeare, aunque no hay certezas de ello.  

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DEDICATORIA DE LOS SONETOS DE SHAKESPEARE (1609).-
Edición de los sonetos de Shakespeare, publicada en 1609, y dedicada a"Mr. W.H.".-

Edición de los sonetos de Shakespeare, publicada en 1609, y dedicada a”Mr. W.H.”.-

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William Shakespeare (1564-1616).-

William Shakespeare (1564-1616).-

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«ENGLISH SECTION»

♠William Shakespeare: “Sonnet 18″:

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♠William Shakespeare´s Sonnet 18:

“Summary & Analysis”:

The speaker opens the poem with a question addressed to the beloved: “Shall I compare thee to a summer’s day?”The sonnet’s opening question supposes a negative answer, even if the reasons for not comparing are based on comparisons. A “Summers day” is a day of summer not metonymically the season of summer. The youth, compared to a summer’s day, is more “louely,” both more ‘beautiful’ and more ‘loving,’ and is more “temperate:” “temperate” of weather is neither too hot nor too cold and of persons is not given to extremes or equitable. A summer’s day is subject to variety and the wind’s harshness (“Rough windes do shake the darling buds of Maie”), where “darling” (dear + ling) means ‘small’ and ‘precious.’ 

 Summer’s days tend toward extremes: they are shaken by “rough winds”; in them, the sun (“the eye of heaven”) often shines “too hot,” and frequently, when masked by the clouds (“gold complexion dimm’d”), too coolly.

And summer is fleeting: its date is too short, and it leads to the withering of autumn, as “every fair from fair sometime declines.”

The poet’s argument now foresees a time when the youth will grow to time (“ when … to time thou grow’st”). ‘To grow to’ was a legal term occuring in the law of leases which should “Find no determination,” a ‘determination’ being where the lessee dies without heirs and possession of the estate reverts to the lessor. 

The “immortall lines” are either those of the poet in which the youth is engraved or engrafted, which because immortal will forestall any ‘growing-to’ time. The “lines of life,” will prevent any ‘growing-to’ or being ceded to time.

The final quatrain of the sonnet tells how the beloved differs from the summer in that respect: his beauty will last forever (“Thy eternal summer shall not fade…”) and never die. In the couplet, the speaker explains how the beloved’s beauty will accomplish this feat, and not perish because it is preserved in the poem, which will last forever; it will live “as long as men can breathe or eyes can see.”

On the surface, the poem is simply a statement of praise about the beauty of the beloved; summer tends to unpleasant extremes of windiness and heat, but the beloved is always mild and temperate. Summer is incidentally personified as the “eye of heaven” with its “gold complexion”.

An important theme of the sonnet (as it is an important theme throughout much of the sequence) is the power of the speaker’s poem to defy time and last forever, carrying the beauty of the beloved down to future generations. The beloved’s “eternal summer” shall not fade precisely because it is embodied in the sonnet: “So long as men can breathe or eyes can see,” the speaker writes in the couplet, “So long lives this, and this gives”.-

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William Shakespeare (1564-1616).-

William Shakespeare (1564-1616).-

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♠Shakespeare´s Sonnet 18:  “Shall I Compare Thee to a Summer Day?”:

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♠All Sonnets By William Shakespeare:

Click on the Image above to  get all Sonnets By shakespeare.-

Click on the Image above to get all Sonnets By shakespeare.-

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♠William Shakespeare: “Sonnets”:

Click on the Book Cover above to Read the book.-

Click on the Book Cover above to Read the book.-

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♠Audio Book: 

Click on the image above to download the Audio Book.-

Click on the image above to download the Audio Book.-

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“Shakespeare´s Sonnets”: Complete Audiobook:

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♠Links Post:
http://shakespeareintranslation.com/2011/03/05/soneto-18-manuel-mujica-lainez/#.UloIO9IrdBk
http://pdcrodas.webs.ull.es/literatura/shakespeare_sonetos.htm
http://www.williamshakespeare-sonnets.com/sonnet-18
http://www.gutenberg.org/ebooks/1041
http://es.wikipedia.org/wiki/Sonetos_(Shakespeare)
http://www.williamshakespeare-sonnets.com/sonnet-18
http://www.sparknotes.com/shakespeare/shakesonnets/section2.rhtml 
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♠”Thanks Christy Birmingham for the Mention of this Post on Your Blog”:

Click above on the picture to visit Christy´s Blog.-

Click above to read the post at Poetic Parfait.-

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♠Martin Heidegger: 

“Caminos de Bosque”: “¿Y Para Qué Poetas?” / 

“Off The Beaten Track”: “Why Poets”?:

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Hölderlin: "Mnemosyne".-

Hölderlin: “Mnemosyne”.-

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¿y para qué poetas en tiempos de penuria?. Hölderlin contesta humildemente a través de la boca del amigo poeta, Heine, a quien interpelaba la pregunta:

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Los poetas son aquellos mortales que, cantando con gravedad al dios del vino, sienten el rastro de los dioses huidos, siguen tal rastro y de esta manera señalan a sus hermanos mortales el camino hacia el cambio. Ahora bien, el éter, único elemento en el que los dioses son dioses, es su divinidad. El elemento éter, eso en lo que la propia divinidad está todavía presente, es lo sagrado. El elemento del éter para la llegada de los dioses huidos, lo sagrado, es el rastro de los dioses huidos. Pero ¿quién es capaz de rastrear semejante rastro? Las huellas son a menudo imperceptibles y, siempre, el legado dejado por una indicación apenas intuida. Ser poeta en tiempos de penuria significa: cantando, prestar atención al rastro de los dioses huidos. Por eso es por lo que el poeta dice lo sagrado en la época de la noche del mundo. Por eso, la noche del mundo es, en el lenguaje de Hölderlin, la noche sagrada.

El tiempo es de penuria porque le falta el desocultamiento de la esencia del dolor, la muerte y el amor. Es indigente hasta la propia penuria, porque rehuye el ámbito esencial al que pertenecen dolor, muerte y amor. Hay ocultamiento en la medida en que el ámbito de esa pertenencia es el abismo del ser. Pero aún queda el canto, que nombra la tierra. Qué es el propio canto? ¿Cómo puede ser capaz de él un mortal? ¿Desde dónde canta el canto? ¿Hasta dónde penetra en el abismo?

No es la totalidad del querer la que constituye primordialmente el peligro, sino el propio querer bajo la forma de la autoimposición dentro de un mundo permitido únicamente como voluntad. El querer que es querido por esta voluntad ya se ha decidido por el mando incondicionado. Con esta decisión, se ve completamente entregado a manos de la organización total. Pero es sobre todo la propia técnica la que impide cualquier experiencia de su esencia. Porque mientras se despliega por completo, desarrolla en las ciencias una especie de saber al que siempre le queda cerrada la posibilidad de alcanzar algún día el ámbito esencial de la técnica y sobre todo la de volver a pensar su origen esencial.

La esencia de la técnica sólo surge a la luz del día lentamente. Ese día es la noche del mundo transformada en mero día técnico. Ese día es el día más corto. Con él nos amenaza un único invierno infinito. Ahora, no sólo se le niega protección al hombre, sino que lo salvo de todo lo ente permanece en tinieblas.

El peligro consiste en esa amenaza que atañe a la esencia del hombre en su relación con el propio ser y no en peligros casuales. Este peligro es el peligro. Se esconde de todo ente en el abismo. A fin de que el peligro sea visto y mostrado, tiene que haber esos mortales que son capaces de alcanzar antes el abismo.

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heidegger poetas 04

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El poema piensa el ser de lo ente, la naturaleza, como riesgo. Todo ente es arriesgado en un riesgo. En cuanto arriesgado, se encuentra en la balanza. La balanza es el modo que tiene el ser de pesar a cada ente, esto es, de mantenerlo en el movimiento del sopesar. Todo arriesgado se encuentra en peligro. Los ámbitos de lo ente se pueden diferenciar según el tipo de relación que mantienen con la balanza. Desde la perspectiva de la balanza también debe aclararse la esencia del ángel, siempre que admitamos que es él el que tiene el rango más alto de todo el ámbito de lo ente.

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Rilke. (Vol III P. 438).-

Rilke. (Vol III P. 438).-

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La vida corriente del hombre actual es la de la autoimposición sobre el mercado desprotegido de los cambistas. El traspaso de la balanza al ángel es, por contra, lo inhabitual. Es inhabitual incluso en el sentido de que no sólo representa la excepción dentro de la regla, sino que lleva al hombre, en relación con su esencia, fuera y más allá de la regla de la protección y la desprotección. Por eso, el traspaso sólo ocurre «a veces». Aquí, esto no significa de vez en cuando y arbitrariamente, sino raras veces y en el momento justo, en un caso siempre único y de modo único. El traspaso de la balanza del mercader al ángel, esto es, la inversión de la separación, ocurre como interiorización rememorarte en el espacio interno del mundo cuando existen esos que «a veces.., hasta nos arriesgamos más… un soplo más…».

Desde el momento en que esos más arriesgados arriesgan el propio ser y por lo tanto se arriesgan en el ámbito del ser, el lenguaje, son esos que dicen. Pero entonces ¿el hombre no es ese que posee el lenguaje por naturaleza y constantemente lo arriesga? Es verdad. En este caso, incluso ese que quiere de la manera habitual también arriesga ya el decir en su producción calculadora. Así es. Entonces, los más arriesgados no pueden ser sólo esos que dicen. El decir de los más arriesgados debe arriesgar expresamente el dicho. Los más arriesgados sólo son lo que son cuando son los que más dicen.

Los más arriesgados convierten la desprotección no salvadora en lo salvo de la existencia mundanal. Ésta, es lo que hay que decir. En el decir se vuelve a los hombres.

Su canto escapa a toda autoimposición intencional. No es ningún querer en el sentido de un deseo. Su canto no pretende ni trata de alcanzar algo que haya que producir, En el canto, se introduce el propio espacio interno del mundo. El canto de estos rapsodas no pretende nada ni es un oficio.

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Hölderlin. "Sonetos a Orfeo".-

Hölderlin. “Sonetos a Orfeo”.-

Hölderlin. "Sonetos a Orfeo".-

Hölderlin. “Sonetos a Orfeo”.-

Hölderlin. "Sonetos a Orfeo".-

Hölderlin. “Sonetos a Orfeo”.-

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Ese soplo más, que arriesgan los más arriesgados, no significa sólo y en primer lugar la medida apenas perceptible, por lo fugaz, de una diferencia, sino que significa de modo inmediato la palabra y la esencia del lenguaje. Esos que son un soplo más arriesgados se arriesgan al lenguaje.

El canto ni siquiera persigue eso que hay que decir. El canto es la pertenencia a la totalidad de la pura percepción. Cantar es ser llevado por el empuje del

viento desde el inaudito centro de la plena naturaleza. El propio canto es «un viento».

Así pues, es verdad que el poema dice claramente, aunque de modo poético, quiénes son esos más arriesgados que la propia vida. Son aquellos que se arriesgan «un soplo más…». No por casualidad, en el texto del poema las palabras «un soplo más» van seguidas de puntos suspensivos. Expresan lo callado.

Los más arriesgados son los poetas, pero aquellos poetas cuyo canto vuelve nuestra desprotección hacia lo abierto.

Los poetas del género de esos más arriesgados se encuentran en camino hacia la huella de lo sagrado, porque experimentan como tal la falta de salvación. Su canción por encima de la tierra salva y consagra. Su canto celebra lo intacto de la esfera del ser… , de tal modo, que sólo en el advenimiento de su palabra se hace presente el futuro. Cuanto más puro es ese advenimiento, tanto más presente será su permanencia. Cuanto más se reserva lo que viene en la predicción, tanto más puro es el advenimiento.-

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Martin Heidegger (1889/1976).-

Martin Heidegger (1889/1976).-

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♠Descargar “Caminos de Bosque” de Martin Heidegger:

Hacer click en la imagen de la cubierta del libro para descargar "Caminos de Bosque".-

Hacer click en la imagen para descargar “Caminos de Bosque”.-

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♠Reseña de “Caminos de Bosque “de Martin Heidegger (Holzwege):

Hacer click sobre la imagen para leer el artículo completo, “A propósito de Holzwege”.-

Hacer click sobre la imagen para leer el artículo completo, “A propósito de Holzwege”.-

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♠Descargar “¿Y Para Qué Poetas?” de Martin Heidegger:

(Incluido en el libro”Caminos de Bosque” (Holzwege), Alianza, Madrid, 1996, pp. 241-289. Traducción de Cortés H y Leyte, A):

Hacer click sobre la imagen (título) para leer el texto.-

Hacer click sobre la imagen/título para leer el texto.-

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♠Descargar cincuenta y cuatro obras de Martin Heidegger:

Hacer click sobre el Logo para descargar 27 títulos de Heidegger.-

Hacer click sobre el Logo para descargar veintisiete títulos de Heidegger.-

Hacer click sobre el Logo para descargar otros 27 títulos de Heidegger.-

Hacer click sobre el Logo para descargar otros veintisiete títulos de Heidegger.-

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♠English Section: Martin Heidegger: 

“Off The Beaten Track”: “Brief Review”:

daseOriginally published in German under the title “Holzwege”, this collection of texts is Heidegger’s first post-war work and contains some of the major expositions of his later philosophy.  

Although translations of the essays have appeared individually in a variety of places, this is the first English translation to bring them together as Heidegger intended. It is an invaluable resource for all students of Heidegger, whether they study philosophy, literary theory, religious studies, or intellectual history.

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“To be a poet in a destitute time means: to attend, singing, to the trace of the fugitive gods. 

This is why the poet in the time of the world’s night utters  the holy.”  (Martin Heidegger. “Off the Beaten Track”, “Why Poets?”).-

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♠Martin Heidegger: “Further Analysis on the Concepts of Dasein, Ereignis and Poetic Habitation“:

According to “Being and Time”, the a priori transcendental conditions for intelligibility are to be interpreted in terms of the phenomenon of heritage, that is as culturally determined structures that form pre-existing fields of intelligibility into which individual human beings are thrown and onto which they project themselves. 

A key aspect of this idea is that there exist historically important individuals who constitute heroic cultural templates onto which I may now creatively project myself.

In the later philosophy, as in “Off the Beaten Track”, these heroic figures are reborn poetically as the divinities of the fourfold, as “the ones to come” and as the “beckoning messengers of the godhead” (“Building Dwelling Thinking”). 

When Heidegger famously announces that only a god can save us or that “the last god is not the end but the other beginning of immeasurable possibilities for our history” (“Off the Beaten Track”), he has in mind not a religious intervention in an ‘ordinary’ sense of the divine, but rather a transformational event in which a secularized sense of the sacred—a sensitivity to the fact that beings are granted to us in the essential unfolding of Being—is restored.

The notion of dwelling as poetic habitation opens up a path to what Heidegger calls “the mystery” (Ereignis). Even though the world always opens up as meaningful in a particular way to any individual human being as a result of the specific heritage into which he or she has been enculturated, there are of course a vast number of alternative fields of intelligibility ‘out there’ that would be available to each of us, if only we could gain access to them by becoming simultaneously embedded in different heritages. But Heidegger’s account of human existence means that any such parallel embedding is ruled out, so the plenitude of alternative fields of intelligibility must remain a mystery to us.

In Heidegger’s later philosophy this mysterious region of Being emerges as a structure that, although not illuminated poetically in dwelling as a particular world-as-fourfold, nevertheless constitutes an essential aspect of dwelling in that it is ontologically co-present with any such world. Appropriation is necessarily a twofold event: as Dasein (Being-There) is thrown into an intelligible world, vast regions of Being are plunged into darkness. But that darkness is a necessary condition for there to be any intelligibility at all. 

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♣”Etymology of Heideggerian words used before”:

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♠Download “Off the Beaten Track” by Martin Heidegger:

Click on the cover book above to read "Off the Beaten Track".-

Click on the cover book above to read “Off the Beaten Track”.-

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English translations of Heidegger's writings. Click on the Logo to Check them.-

English translations of Heidegger’s writings. Click on the Logo to Check them.-

Index Martin Heidegger´s  "Off the Beaten Track".-

Index Martin Heidegger´s “Off the Beaten Track”.-

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♠Bonustrack: “Heidegger Speaks” (Video with Subtitles in English):

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♠”Heineken §§ Heidegger”:

“La Cerveza del Ser-Ahí” (Alemán: da- Ahí; sein – Ser) / 

“Dasein´s Beer” (German: da – There; sein – Being):

"Heidegger: Das Bier Die Dasein".-

“Heidegger: Des Dasein Bier”.-

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Links Post:
http://www.heideggeriana.com.ar/textos/rilke.htm
http://wikipedia.qwika.com/it2en/Sentieri_interrotti
http://www.pinterest.com/search/?q=Heidegger
http://chronicle.com/article/Heil-Heidegger-/48806/
http://www.cabinetmagazine.org/issues/25/durantaye.php
http://www.goodreads.com/book/show/314937.Off_the_Beaten_Track
http://aquileana.wordpress.com/2008/01/19/martin-heidegger-caminos-de-bosque/
http://larisadelser.wikispaces.com/file/view/Heidegger-epocaimagenmundo.pdf
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