excelente, excelente, muito bom. tudo deste link,
From the Italian sonetto, which means “a little sound or song," the sonnet is a popular classical form that has compelled poets for centuries. Traditionally, the sonnet is a fourteen-line poem written in iambic pentameter, which employ one of several rhyme schemes and adhere to a tightly structured thematic organization. Two sonnet forms provide the models from which all other sonnets are formed: the Petrarchan and the Shakespearean.
Petrarchan Sonnet
The first and most common sonnet is the Petrarchan, or Italian. Named after one of its greatest practitioners, the Italian poet Petrarch, the Petrarchan sonnet is divided into two stanzas, the octave (the first eight lines) followed by the answering sestet (the final six lines). The tightly woven rhyme scheme, abba, abba, cdecde or cdcdcd, is suited for the rhyme-rich Italian language, though there are many fine examples in English. Since the Petrarchan presents an argument, observation, question, or some other answerable charge in the octave, a turn, or volta, occurs between the eighth and ninth lines. This turn marks a shift in the direction of the foregoing argument or narrative, turning the sestet into the vehicle for the counterargument, clarification, or whatever answer the octave demands.
Sir Thomas Wyatt introduced the Petrarchan sonnet to England in the early sixteenth century. His famed translations of Petrarch’s sonnets, as well as his own sonnets, drew fast attention to the form. Henry Howard, Earl of Surrey, a contemporary of Wyatt’s, whose own translations of Petrarch are considered more faithful to the original though less fine to the ear, modified the Petrarchan, thus establishing the structure that became known as the Shakespearean sonnet. This structure has been noted to lend itself much better to the comparatively rhyme-poor English language.
Shakespearean Sonnet
The second major type of sonnet, the Shakespearean, or English sonnet, follows a different set of rules. Here, three quatrains and a couplet follow this rhyme scheme: abab, cdcd, efef, gg. The couplet plays a pivotal role, usually arriving in the form of a conclusion, amplification, or even refutation of the previous three stanzas, often creating an epiphanic quality to the end. In Sonnet 130 of William Shakespeare’s epic sonnet cycle, the first twelve lines compare the speaker’s mistress unfavorably with nature’s beauties. But the concluding couplet swerves in a surprising direction:
My mistress’ eyes are nothing like the sun;
Coral is far more red than her lips’ red;
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.
I have seen roses damasked, red and white,
But no such roses see I in her cheeks;
And in some perfumes is there more delight
Than in the breath that from my mistress reeks.
I love to hear her speak, yet well I know
That music hath a far more pleasing sound;
I grant I never saw a goddess go;
My mistress when she walks treads on the ground.
And yet, by heaven, I think my love as rare
As any she belied with false compare.
Sonnet Variations
Though Shakespeare’s sonnets were perhaps the finest examples of the English sonnet, John Milton’s Italian-patterned sonnets (later known as “Miltonic” sonnets) added several important refinements to the form. Milton freed the sonnet from its typical incarnation in a sequence of sonnets, writing the occasional sonnet that often expressed interior, self-directed concerns. He also took liberties with the turn, allowing the octave to run into the sestet as needed. Both of these qualities can be seen in “When I Consider How My Light is Spent.”
The Spenserian sonnet, invented by sixteenth century English poet Edmund Spenser, cribs its structure from the Shakespearean—three quatrains and a couplet—but employs a series of “couplet links” between quatrains, as revealed in the rhyme scheme: abab, bcbc, cdcd, ee. The Spenserian sonnet, through the interweaving of the quatrains, implicitly reorganized the Shakespearean sonnet into couplets, reminiscent of the Petrarchan. One reason was to reduce the often excessive final couplet of the Shakespearean sonnet, putting less pressure on it to resolve the foregoing argument, observation, or question.
Sonnet Sequences
There are several types of sonnet groupings, including the sonnet sequence, which is a series of linked sonnets dealing with a unified subject. Examples include Elizabeth Barrett Browning’s Sonnets from the Portuguese and Lady Mary Roth’s The Countess of Montgomery’s Urania, published in 1621, the first sonnet sequence by an English woman.
Within the sonnet sequence, several formal constraints have been employed by various poets, including the corona (crown) and sonnet redoublé. In the corona, the last line of the initial sonnet acts as the first line of the next, and the ultimate sonnet’s final line repeats the first line of the initial sonnet. La Corona by John Donne is comprised of seven sonnets structured this way. The sonnet redoublé is formed of 15 sonnets, the first 14 forming a perfect corona, followed by the final sonnet, which is comprised of the 14 linking lines in order.
Modern Sonnets
The sonnet has continued to engage the modern poet, many of whom also took up the sonnet sequence, notably Rainer Maria Rilke, Robert Lowell, and John Berryman. Stretched and teased formally and thematically, today’s sonnet can often only be identified by the ghost imprint that haunts it, recognizable by the presence of 14 lines or even by name only. Recent practitioners of this so-called “American” sonnet include Gerald Stern, Wanda Coleman, Ted Berrigan, and Karen Volkman. Hundreds of modern sonnets, as well as those representing the long history of the form, are collected in the anthology The Penguin Book of the Sonnet: 500 Years of a Classic Tradition in English (Penguin Books, 2001), edited by Phillis Levin.
o clip também, do poets.org
Tuesday, September 20, 2016
história de uma forma
'To be or not to be', is it poetry?
"To be, or not to be- that is the question:
Whether 'tis nobler in the mind to suffer 1750
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles,
And by opposing end them. To die- to sleep-
No more; and by a sleep to say we end
The heartache, and the thousand natural shocks 1755
That flesh is heir to. 'Tis a consummation
Devoutly to be wish'd. To die- to sleep.
To sleep- perchance to dream: ay, there's the rub!
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil, 1760
Must give us pause. There's the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
Th' oppressor's wrong, the proud man's contumely,
The pangs of despis'd love, the law's delay, 1765
The insolence of office, and the spurns
That patient merit of th' unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would these fardels bear,
To grunt and sweat under a weary life, 1770
But that the dread of something after death-
The undiscover'd country, from whose bourn
No traveller returns- puzzles the will,
And makes us rather bear those ills we have
Than fly to others that we know not of? 1775
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pith and moment
With this regard their currents turn awry 1780
And lose the name of action."
dizem que é uma "tradução", daqui:
“The question for him was whether to continue to exist or not – whether it was more noble to suffer the slings and arrows of an unbearable situation, or to declare war on the sea of troubles that afflict one, and by opposing them, end them. To die. He pondered the prospect. To sleep – as simple as that. And with that sleep we end the heartaches and the thousand natural miseries that human beings have to endure. It’s an end that we would all ardently hope for. To die. To sleep. To sleep. Perhaps to dream. Yes, that was the problem, because in that sleep of death the dreams we might have when we have shed this mortal body must make us pause. That’s the consideration that creates the calamity of such a long life. Because, who would tolerate the whips and scorns of time; the tyrant’s offences against us; the contempt of proud men; the pain of rejected love; the insolence of officious authority; and the advantage that the worst people take of the best, when one could just release oneself with a naked blade? Who would carry this load, sweating and grunting under the burden of a weary life if it weren’t for the dread of the after life – that unexplored country from whose border no traveller returns? That’s the thing that confounds us and makes us put up with those evils that we know rather than hurry to others that we don’t know about. So thinking about it makes cowards of us all, and it follows that the first impulse to end our life is obscured by reflecting on it. And great and important plans are diluted to the point where we don’t do anything.”
do mesmo sítio, e para matemáticos:
Facts About ‘To Be Or Not To Be’:
1. The first performance of Hamlet was by the King’s Men at the Globe theatre between 1600 and 1601.
2. The first actor to perform the ‘to be or not to be’ soliloquy was Richard Burbage (1567-1619), the famous Elizabethan tragic actor, for whom Shakespeare wrote most of his tragic roles.
3. The first American performance of ‘to be or not to be’ was by Lewis Hallam, who played Hamlet in The American Company’s production of the play in Philadelphia in 1759.
4. The ‘to be or not to be’ soliloquy is 33 lines long, and consists of 262 words. Hamlet, the play in which ‘to be or not to be’ occurs is Shakespeare’s longest play with 4,042 lines.
5. It takes four hours to perform Hamlet on the stage, with the ‘to be or not to be’ soliloquy taking anywhere from 2 to 4 minutes.
6. There is evidence that William Shakespeare played the ghost of Hamlet’s father in the play.
7. Hamlet is the most frequently performed play around the world. It has been calculated that a performance begins somewhere in the world every minute of every day.
8. Edwin Booth, the older brother of John Wilkes Booth, Abraham Lincoln’s assassin, performed ‘to be or not to be’ for one hundred nights in his role of Hamlet at the Winter Garden Theatre, New York, in the 1864/65 season.
9. The castle, Elsinor, where ‘to be or not to be’ is spoken, really exists. It is called Kronborg Castle and is in the Danish port of Helsingør. It was built in 1423 by the Danish king, Eric of Pomerania.
10. The opening line of the soliloquy, ‘to be or not to be, that is the question,’ is the most searched for Shakespeare quote on the internet.
11. More than 200 women have performed ‘to be or not to be’ in the role of Hamlet on the professional stage.
12. The first woman to have performed ‘to be or not to be’ on the stage was Sarah Siddons, the toast of Dury Lane, and famous in her time for her Lady Macbeth. She first played Hamlet in 1776.
13. The ‘to be or not to be’ soliloquy has appeared in over 50 film adaptations of Hamlet since 1900.
14. The storyline of Disney film The Lion King is based on Hamlet.
15. Tom Stoppard’s acclaimed play, Rosencrantz and Guildenstern are dead, features two minor characters in Hamlet.
16. At least two films have been named after quotes from the ‘to be or not to be’ soliloquy – 1991’s Star Trek VI: The Undiscovered Country (line 24, “The undiscovered Country, from whose bourn“) and 1998’s What Dreams May Come (line 11 “For in that sleep of death, what dreams may come“)
17. In a 1963 debate in Oxford, Malcolm X quoted the first few lines of the ‘to be or not to be’ to make a point about “extremism in defence of liberty.”
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to be or not to be font.
a Shakespearean app.
Monday, September 29, 2014
Full fathom five thy father lies; / Of his bones are coral made; / Those are pearls that were his eyes:
Full fathom five thy father lies;
Of his bones are coral made;
Those are pearls that were his eyes:
Shakespeare.
no Ulysses, no Waste Land e em Pollock.
porque nunca posso escrever pearls sem me lembrar deste verso.
Tuesday, September 16, 2014
uma série de dinossauros inúteis
a discutir assuntos "tecnológicos", alegria, alegria. (Vitorino: amor profundo)
outras cenas:
"England is in the hands of the jews. In all the highest places: her finance, her press. And they are the signs of a nation's decay. Wherever they gather they eat up the nation's vital strength." tantos anos passaram, quase tantos inícios a ler este livro e outras tantas desistências, dois casamentos atrás, quantas mais profissões declaradas e não declaradas. agora vejo-o claramente, nem sei se seria sério ou possível a leitura aqui há quase trinta anos. tudo se torna mais fácil, tantas ajudas, mas a liberdade de ler palavra a palavra. quase apenas Shakespeare é tão pronto a ser memorizado como este Joyce, não me admira ser tratado como bíblia. depois deste livro ou, lendo este livro, como olhar para a maior parte do que se publica hoje? este exercício de liberdade vasta, assim o vejo. (e o lobo antunes que tem de publicar primeiro na hungria, seja onde for, e depois no seu país por causa do marketing da editora). liberdade total.
. .
— Just one moment.
— Yes, sir, Stephen said, turning back at the gate.
Mr Deasy halted, breathing hard and swallowing his breath.
— I just wanted to say, he said. Ireland, they say, has the honour of being the only country which never persecuted the jews. Do you know that? No. And do you know why?
He frowned sternly on the bright air.
— Why, sir? Stephen asked, beginning to smile.
— Because she never let them in, Mr Deasy said solemnly.
A coughball of laughter leaped from his throat dragging after it a rattling chain of phlegm. He turned back quickly, coughing, laughing, his lifted arms waving to the air.
— She never let them in, he cried again through his laughter as he stamped on gaitered feet over the gravel of the path. That's why.
On his wise shoulders through the checkerwork of leaves the sun flung spangles, dancing coins.
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sentimentos contraditórios: não fosse este livro e eu não seria quem sou, ou o mundo não seria como é. os sonhos diurnos do autor, crípticos e obscuros, citações mil em línguas vivas e mortas, alusões, evocações, excertos e citações, a memória do artista, várias demãos. entre este livro e o contador, a distância entre uma história e um retrato. eu não faço mais do que retratos ténues não conto nada, vejo e mostro.
Friday, July 19, 2013
o mundo, a vida e as estrelas
já em pensamentos alucinados, que devem fazer parte do verão. fui afastada da matemática depois do 9º ano, devia ter uns 13 anos, por imposição do sistema educativo da altura que me obrigava a "escolher" e que me permitia opções como religião e moral, antropologia ou sociologia e me obrigava a jornalismo mas que me impedia de ter matemática ou qualquer outra disciplina de uma área não humanista. penso que as qualidades desse sistema estão à vista, finalmente, nos dias de hoje (e a carrada de advogados em posições financeiras?).
qualquer disciplina que obrigue ao pensamento abstracto, como a matemática não aplicada ou a filosofia ou ainda a música ensinam a pensar, a elaborar sistemas mais ou menos complexos, conforme a capacidade de quem pensa, de reconhecer elementos, combinações, evoluções, perspectivas no tempo como no espaço e no intervalo que abrange os dois e ainda outros como a memória, a sensação, a percepção. a evolução e os sistemas (se nascesse de novo gostaria de acrescentar engenharia de sistemas ao que sei) vieram, pasmando, da formação seguradora; riscos, cadeias causais, investigação de ocorrências 'aleatórias' e etc. e assim encho-me de felicidade encontrando a matemática em autores-mestres da combinação (e este?) e da manipulação de cadeias de significado ou de acontecimentos, consequências, linhas lógicas, paralelismos, choques e desvios de rumo, influências e modos de interactividade entre pessoas, objectos, grupos de pessoas, cidades ou geografia, crenças e fábulas; a história enfim.
o que entendemos por conhecimento nasce dessa semente de desassossego que é a curiosidade e a vontade de saber como funciona isto, porquê, que os profetas bíblicos colocaram para sempre na mão de uma mulher. um orgulho.
(e obrigada ao Armando pela inspiração)
Friday, January 25, 2013
Saturday, October 6, 2012
provocações
"Esquecer uma mulher inteligente custa um número incalculável de mulheres estúpidas." disse António Lobo Antunes e "O amor é sempre uma anormalidade que provoca graves atrasos mentais.", disse Miguel Esteves Cardoso.
nas quotes de um perfil do fb que não pertencia a um homem. nem uma coisa nem outra me alegram por aí além, especialmente a primeira. no local dedicado às citações tenho o monólogo de Macbeth porque foi a primeira coisa que me veio à cabeça na altura mas não tenho vontade de alterar. a dagger of the mind, escrevia o mestre. espero não morrer sem voltar a estudar Shakespeare.
hoje a noite é silenciosa.
(eric kayser, a padaria mais do que gourmet, abre no que era a livraria Portugal. assim se descobrem lealdades: por mais que goste de pão com sementes, essa notícia enche-me de tristeza)
Sunday, January 29, 2012
painters on poets
"The critic Richard Altick says, for example, that between 1760 and 1900 there existed around 2,300 paintings based on Shakespeare's plays alone.", daqui.
Saturday, January 14, 2012
'the painting of a sorrow' (2)
"Unlike Huxley's "feelies" (films that you can touch or "finger") in Brave New World, Morel's projected images can be perceived throught the sense of smell as well as by touch (a procedure he says was easily achieved), and through the perception of heat. "No witness will admit that these are images," he boasts to the narrator. He is also certain that his "imitations of people" lack consciousness - "like the characters in a film," he adds. (Like books, I think. Like friends remembered.), Manguel a falar de Morel em A Reading Diary. porque se a preocupação da representação desapareceu das imagens, a verosimilhança não morreu na escrita, mesmo na que se auto-referencia. Horácio sobrevive a tudo o que foi feito entretanto; o conjunto continua a ter de ser coerente
um argumento reiterado: a imagem não tem alma (consciência, aqui). mas captar a alma tem sido um desígnio desde que se personalizou a imagem (abandonar o ícone, ou o símbolo). pode até ser naquilo em que certa arte fotográfica se tornou (excluindo a foto virtual ou o documentário, reading with a purpose - o movimento contrário: apresentar/captar ).
continuando. ""Who would not distrust someone who said, 'I and my friends are apparitions, a new type of photography'?" As I walked around Buenos Aires I thought I remembered, the ghosts seemed to ask the same ironic question. In my adolescence, I never had the sense of being in a "remembered" place.
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a receita anterior de wholemeal pancakes era pavorosa, tenta-se de novo.
Thursday, January 12, 2012
'the painting of a sorrow'
'a face without a heart', em Narrating the visual in Shakespeare.
(mais tarde ou mais cedo)
Wednesday, July 20, 2011
rir
alguém nas literaturas comparadas podia pôr lado a lado o heyoka e Falstaff.
ou alguém já o fez.
o que me faz rir, a mim, mas que não é clown:
(entre Gogol e Bartleby)
"Aproveitou ainda para corrigir o próprio estilo do texto." na p.64.
"*** Como se prova pela fotografia incluída nesta página." na p.68
"A folha em branco, por sua vez, observa com atenção o rosto do escritor." na p.109
Rui Manuel Amaral em Doutor Avalanche.
como o heyoka, pegar nas Grandes Questões e virá-las ao contrário.
Thursday, August 26, 2010
o som e a fúria (2)
life is nothing but "a tale / Told by an idiot, full of sound and fury / Signifying nothing." está em Macbeth e passa para o título de Faulkner.
"Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing."
Macbeth na cena V.
