" Perhaps Maya Angelou, whose own poetry is sometimes labeled doggerel, said it best: "It wasn't only what he said and it wasn't only how he said it; it was both of those things, and maybe there was a third thing in it, the spirit of Muhammad Ali, saying his poesies — 'Float like a butterfly, sting like a bee.
|
|
Fischbacher, 1884. Rambert's Dernières Poesies were edited (1903) by Henri Warnery, whose Eugène Rambert (Lausanne, 1890) contains a critical estimate.
|
|
Frederick Madden, Privy Purse Expenses of Princess Mary (London, 1831), pp. 8, 84, 267 Mary wrote poems, and it was said she was chided "for writing 'ydill poesies' in her prayerbook".; .
|
|
"Jane Mulfinger: 30 Underwood Street," Time Out London, July 1995. Five site-specific versions followed in Estonia, London, Brussels, Turin and Northern Ireland.Hespel, Olivier. "Jane Mulfinger ou quand les rebuts se font poesies," Vlan, October 19, 1996.
|
|
Frontispice of the book Les Poesies by Daniel Lesueur published in 1896 and representing Daniel Lesueur, young girl (1854–1921) Jeanne Lapauze, née Loiseau (1860–1920) was a French poet and novelist who used the nom de plume Daniel Lesueur.
|
|
The Comte de Lautreamont is known to have read Gagne. In Lautreamont's Poesies, Gagne is grouped with twelve tragic poets which included Lord Byron and Goethe. Gagne has also been compared to Goriot, one of the main characters of Balzac's Le Père Goriot.
|
|
"Première année: Suisse" ("First Year: Switzerland"), S.160, was published in 1855. Composed between 1848 and 1854, most of the pieces (Nos. 1, 2, 3, 4, 6, 8 and 9) are revisions of Album d'un voyageur: Part 1: Impressions et Poesies. "Au lac de Wallenstadt" (No.
|
|
Thomas Howell (fl. 1568), was an English poet. Howell was probably a native of Dunster in Somerset. He published in 1568 ‘The Arbor of Amitie, wherein is comprised pleasant Poems and pretie Poesies, set foorth by Thomas Howell, Gentleman,’ 8vo, 51 leaves (Bodleian Library), with a dedicatory epistle to Lady Ann Talbot.
|
|
The collection was most notable for Italian paintings of the High and Late Renaissance, especially Venetian works. The collection included no fewer than five of the poesies painted for Philip II of Spain, of which two are now shared between Edinburgh and London, two always in London (Wallace Collection and National Gallery), and one in Boston. A series of four mythological allegories by Veronese are now divided between the Fitzwilliam Museum in Cambridge, and the Frick Collection (with two, one illustrated above) and Metropolitan Museum in New York. Another Veronese series, the four Allegories of Love now in the National Gallery, hung as overdoors in the central salon, which also held the larger Veronese series, three of the Titian poesies and Correggios.
|
|
His text Els Òrsidesis a criticism to the intellectuals that do not assume the critical challenges of the country. From there, he edited with notes and studies, L'Atlàntida, Canigó, La nacionalitat catalana and the first edition of Poesies from Màrius Torres (1947). Once returned to Catalonia in 1948, he focused on publishing tasks, discovering essential authors to the modern Catalan literature (Màrius Torres, Llorenç Villalonga and Mercè Rodoreda).
|
|
"Correspondence", The Library, Vol. 8 (1927), 129-30; McKerrow. "A Hundreth Sundrie Flowres", RES, 3 (1927), 111-4; Bowers, F. T. "Notes on Gascoigne's A Hundreth Sundrie Flowres and The Poesies", Harvard Studies and Notes, 16 (1934); Bowers, Fredson T. "Gascoigne and the Oxford Cipher", Modern Language Notes 52 (1937), 183-6. but Ward's Gascoigne theory is still put forth by some modern Oxfordians, while others have disavowed it.
|
|
Choix des poesies originales des troubadours, 1817 It is believed to have come from Limousin or Marche in the north of the Occitan region. The unknown author takes Boethius's treatise De consolatione philosophiae as the groundwork of his composition. The poem is a didactic piece composed by a clerk. The Cançó de Santa Fe dates from 1054–1076, but probably represents a Catalan dialect that evolved into a distinct language from Occitan.
|
|
Leading collectors, including the King, tended to keep nudes, many mythological, in relatively private rooms;See Cabinet (room); such paintings were known as "cabinet pictures". in Phillip's case "the room where His Majesty retires after eating", which contained the Titian poesies he had inherited from Phillip II, and the Rubens he had commissioned himself.Portús, pp. 62–63. The Venus would be in such a room while in the collections of both Haro and Godoy.
|
|
Gilles wrote two Latin chronicles, Chronicon majus and Chronicon minus, dealing with the history of the world, spanning from its creation up to 1349. This work, which was expanded by another writer to encompass 1352, is valuable for containing the history of northern France and Flanders in the first half of the 14th century. It is published by J. J. de Senet in the Corpus chronicorum Flandriae. Gilles also wrote some French poems, Poesies de Gilles Li Muisis, which have been published by Baron Kervyn de Lettenhove.
|
|
Briony Neilson, 'Settling Scores in New Caledonia and Australia:French Convictism and Settler Legitimacy' Australian Journal of Politics and History: Volume 64, Number 3, 2018, pp.391-406 She edited and annotated his posthumous collection Poesies, published (in French) in 1931.‘Poet in Exile’ Sydney Morning Herald 20 January 1964 p1 Wolla Meranda was also a painter, and would include portraits of her characters in each of her books. She also contributed art to sundry other publications, such as A. G. Stephens' Commemorative Ode for the Opening of the Commonwealth Parliament published in 1927.
|
|
It was a place that was very dear to her as the Maspons family owned the manor house at Bigues and often visited there. Her poetry was published in numerous magazines and Catalan periodicals during her lifetime. Between 1865 and 1882, her writing appeared in such reviews as Calendari Català (Catalan Calendar), Lo Gay Saber, La Renaxensa, La Veu de Montserrat, La Llumanera de Nova York (The New York Feather), La Veu de Catalunya and Il·lustració Catalana. She also published two collections of poems Salabrugas (1874) and Poesies (Poems, undated).
|
|
The painting was one of the "poesie" painted by Titian for Philip II of Spain. With Diana and Callisto and Diana and Actaeon, both now shared by London and Edinburgh, it was one of three Titian poesies given by Philip V of Spain to the French ambassador, the Duke of Gramont, who in turn presented them to Philippe II, Duke of Orléans, Regent of France from 1715–1723.Brigstocke, Hugh; Italian and Spanish Paintings in the National Gallery of Scotland, p. 183, 2nd Edn, 1993, National Galleries of Scotland, For most of the 18th century it was in the Orleans Collection in Paris.
|
|
Maglanovic, an alleged narrator of La Guzla; book frontispiece La Guzla, ou Choix de poesies illyriques, recueillies dans la Dalmatie, la Bosnie, La Croatie et l'Hertzegowine (The Guzla, or a Selection of Illyric Poems Collected in Dalmatia, Bosnia, Croatia and Herzegovina) was an 1827 literary hoax of Prosper Mérimée. It was presented as a collection of translations of folk ballads narrated by a guzlar (gusle player) Hyacinthe Maglanović, complete with invented commentaries. Of 29 ballads, one of them, Triste ballade de la noble épouse d'Assan-Aga, was an authentic one. The Russian poet Alexander Pushkin translated 11 ballads from La Guzla into his cycle '.
|
|
Watson, 185-6. According to Reitlinger, his most active phase of collecting began in about 1715,Reitlinger, 27, see also Watson, 185ff the year he became Regent on the death of his uncle Louis XIV, after which he no doubt acquired an extra edge in negotiations. He also began to be presented with many paintings, most notably the three of Titian's poesies, now in Boston and shared by Edinburgh and London, which were given by Philip V of Spain to the French ambassador, the Duc de Gramont, who in turn presented them to the Regent.Brigstocke, 181 for the two "Diana" subjects in Edinburgh/London.
|
|
In 1893 she became well-known in Catalan magazines and continued to write until the publication of her first collection, Poesies, in 1910. At this time, Salvà was introduced to the government through a young Josep Carner and her name was shared in publications about the new century. Salvà also began writing in prose – notably a diary about her trip to the Holy Land in 1907 with Costa i Llobera – and translating. She then became invariably linked to poet Frédéric Mistral thanks to her translations of the his works, especially Mireia (1917); these also made her the first literary translator of the modern era.
|
|
Gilabert was basically unknown until his poems were published in a modern edition by Martí de Riquer in Poesies (Els Nostres Clàssics: Barcelona, 1954). Many of his poems are found only in the Cançoner Vega-Aguiló, which has suffered damage to do poor humidity, rendering much of his work illegible to the naked eye. Ultraviolet innovations have, however, permitted this difficulty to be overcome and now his poems have been copied in their entirety. The Vega-Aguiló only records their author as "Próxita", but the library of the Escorial contains a sixteenth-century Occitan chansonnier with some works by "Mossèn Gilabert de Próxita, poeta".
|
|
According to Maria Dowling, "Anne tried to educate her waiting-women in scriptural piety" and is believed to have reproved her cousin, Mary Shelton, for "having 'idle poesies' written in her prayer book."Dowling 1986, 232. If Cavendish is to be believed, Anne's outrage at Wolsey may have personalised whatever philosophical defiance she brought with her from France. Further, the most recent edition of Ives's biography admits that Anne may very well have had a personal spiritual awakening in her youth that spurred her on, not just as catalyst but expediter for Henry's Reformation, though the process took years. In 1528, sweating sickness broke out with great severity.
|
|
Amer's participation in the foundation and maintenance of the Barcelona Floral Games facilitated Victoria's participation in poetic contests. She obtained an award in 1859 with "Anyorança" ("Yearning") and was still awarded several times: 1865 for "Amor de mare" ("Motherly love"), 1873 for "Una visita a ma pàtria" ("A visit to my homeland"), 1880 for "Joventut perduda" ("Lost youth") and 1883 for "Lo meu niu" ("My nest"). The great participation of Victoria Peña in numerous contests provoked even the criticisms of people like for example Miquel dels Sants Oliver. Francesc Matheu collected much of her poetry in 1909, after the writer died, in a book published in Barcelona, "Poesies de Victòria Penya d'Amer" ("Poems by Victòria Penya d'Amer").
|
|
Diana and Callisto is part of a series of seven famous canvasses, the "poesies", depicting mythological scenes from Ovid's Metamorphoses painted for Philip II of Spain after Maximilian II, Holy Roman Emperor had declined Titian's offer to paint them for him.Brigstocke, 180 and 183-4 The work remained in the Spanish royal collection until 1704 when King Philip V gave it to the French ambassador. It was soon acquired by Philippe II, Duke of Orléans, nephew of Louis XIV, and Regent of France during the minority of Louis XV, for his collection, one of the finest ever assembled. After the French Revolution, the Orleans collection was sold to a Brussels banker by Louis Philippe II, Duke of Orléans in 1791, two years before he was guillotined.
|
|
His most important work is Notitia utriusque Vasconiae, tum Ibericae, tum Aquitanicae, qua praeter situm regions et alia scitu digna (1638 and 1656), a description of Gascony and Navarre. His collection of 537 Basque proverbs or adages, Atsotizac edo Refravac, included in a volume of his poems Gastroa Nevrthizetan, printed in Paris in 1657 under the French title Les Proverbes Basques Recueillis Par Le Sr D’Oihenart, Plus Les Poesies Basques du mesme Auteur, was supplemented by a second collection, Atizen Venquina. The proverbs were edited by Francisque Xavier Michel (1847), and the supplement by P. Hariston (1892) and by V. Stempf (1894). See Julien Vinson, Essai d'une bibliographie de la langue basque (Paris, 1891); , Arnaud d'Oihenart et sa famille (Paris, 1885).
|
|
Polo Also the Third Carlist War triggered popular cultural response, this time reduced almost entirely to the Basque linguistic realm and evading typical historical categories; this production is acknowledged in Karlisten Bigarren Gerrateko bertsoak, anthology edited by Antonio Zavala (1997).Antoni Zavala (ed.), Karlisten Bigarren Gerrateko bertsoak, Oiartzun 1997, The Catalan response is usuallythough not always, see e.g. samples of Catalan poetry by F. S. Pomell from his Un de margarides. Poesies carlistes volume (1871): "Si Deu vol que algún dia — vingau entre nosaltres / La Mengua catalana — també vos parlarém, / Lo crit gloriós y mágich — de Visca nostra Reyna / Que pels espays retrunvi — en catalá 'I darem", quoted after del Burgo 1978, p. 783 associated with Jacinto Verdaguer Santaló, by some of his contemporaries considered "prince of the Catalan poets".
|
|
Diana and Actaeon is part of a series of seven famous canvases, the "poesies", depicting mythological scenes from Ovid's Metamorphoses painted for Philip II of Spain (after Maximilian II, Holy Roman Emperor had declined Titian's offer to paint them for him).Brigstocke, 180 and 183-4 The work remained in the Spanish royal collection until 1704, when King Philip V gave it to the French ambassador. It was soon acquired by Philippe II, Duke of Orléans, nephew of Louis XIV, and Regent of France during the minority of Louis XV, for his collection, one of the finest ever assembled. After the French Revolution, the Orleans collection was sold to a Brussels dealer by Louis Philippe II, Duke of Orléans in 1791, two years before he was guillotined.Brigstocke, 11 This dealer then exhibited many pictures from the collection (including the Titians) in London.
|
|
James Maidment, Letters and Papers of James the Sixth (Edinburgh, 1838), p. 164. Marie was considered an excellent convert. James Caldwell minister of Falkirk dedicated his The Countesse of Marres Arcadia, or Sanctuarie Containing morning, and evening meditations, for the whole weeke (John Wreittoun: Edinburgh, 1625), to her, including a dedicatory letter by P. Anderson mentioning that "The Countesse of Pembroke's Arcadia is for the bodie; but the Countesse of Marre her Arcadia is for the Soule", and "amongst the many Noble Ladies of this Kingdome, your Honour to bee a true Paterne of modest Pietie, a perfect mirror of feminine gravitie, & a liberall supplier of the necessities of the poore, yea, in time of dearth, and scarsetie: And as his Majestie long since, in his Booke of Poesies, called your Noble Father the Phoenix of al the Nobility; so may the world esteeme your Honour to be another elect Lydia of that same Noble qualitie". The reference is to Lydia of Thyatira, an early convert to Christianity.
|
|
Whoever the author may have been, there is no doubt about the importance of the work, which is the most systematic and comprehensive treatise of the time on its subject. It is "contrived into three books: the first of poets and poesies, the second of proportion, the third of ornament." Puttenham's book covers a general history of the art of poetry, and a discussion of the various forms of poetry; the second treats of prosody, dealing in turn with the measures in use in English verse, the caesura, punctuation, rhyme, accent, cadence, proportion in figure, which the author illustrates by geometrical diagrams, and the proposed innovations of English quantitative verse; the section on ornament deals with style, the distinctions between written and spoken language, the figures of speech; and the author closes with lengthy observations on good manners. He deprecates the use of archaisms, and although he allows that the purer Saxon speech is spoken beyond the Trent, he advises the English writer to take as his model the usual speech of the court, of London and the home counties.
|
|
Ward was refuted "heartlessly" by Willcock and Walker in their 1936 critical edition.Whigham and Rebhorn, p. 20. Ward published several articles in scholarly journals announcing his discovery that Oxford was the author of works attributed to George Gascoigne, and in 1926 he published a reprint edition of Gascoigne's A Hundreth Sundrie Flowres, which included an introduction advancing the theory that it was in fact compiled and edited by Edward de Vere, 17th Earl of Oxford. Oxford supposedly also contributed some poems and revealed his authorship using an acrostic that spelled out "Edward de Vere" in the poem "The absent lover (in ciphers) disciphering his name, doth crave some spedie relief as followeth".Ward, B. M. A Hundreth Sundrie Flowres From the Original Edition of 1573, (1926) London: F. Etchells and H. Macdonald, pp. vii-xxxix. Ward claimed that the motto on the title page, which was signed to 22 of the 100 poems, was Oxford's; that the signature Si Fortunatus Infoelix was the posy of Christopher Hatton, a commoner, and thereby identified Hatton's contributions; and that the initials F.I. in The Poesies of George Gascoigne (1575) stood for the principal letters in Hatton's supposed motto.
|
|
279 – in regional periodicals.the first one to be mentioned is L’Oloti, until 1890 appearing as El Olotense (note the change of language from Spanish to Catalan), the review he co-founded in 1887 and published by Centre Catalanista d’Olot, Dasca Batalla 2004, p. 235. Until 1895 Vayreda was publishing only in local Olot or Girona periodicals, starting that year he was first published in a Barcelona review. He published in La Renaixença, La Veu de Catalunya, Catalunya Artística, Joventut, Revista Olotense, L’Oloti, Sanch Nova, Luz, La Ilustració Llevantina, Catalunya Artistica, La Ilustració Catalana, Cu-Cut!, see Tayadella 2013, p. 290-4 Often set in the recent war, they were gaining popularity among readers; encouraged, in 1895 Vayreda started to participate in local literary competitions and turned out to be fairly successful.Tayadella 2013, pp. 280-282, Tayadella 1993, pp. 156-159 He wrote also few unedited poems.David Prats, Dues poesies inèdites de Marià Vayreda, [in:] Revista de Girona 183 (1997), pp. 32-34 In 1898 he published his first major work, Recorts de la darrera carlinada, a set of 14 carefully arranged stories from the Third Carlist War.
|
|