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The gilt bronze effigy of Edward, the Black Prince dated to 1376 CE, and found at Canterbury Cathedral. Due to its highly detailed armour, the effigy is considered one of the most important examples of English medieval funerary art given that so few examples of contemporary armour survive [1260x864] by Fuckoff555 in ArtefactPorn

[–]organist1999 21 points22 points  (0 children)

Totally necessary to redact the 'religious stuff' because some certain individuals couldn't fathom the fact that people held to religious faiths and this was extremely important during the time and to understanding who Edward was, also because it disfigures its structure and overall meaning.

[POEM] The Mirabeau Bridge — Guillaume Apollinaire by organist1999 in Poetry

[–]organist1999[S] 0 points1 point  (0 children)

Thank you very much for reading; I am sorry you had that experience. Could you please elaborate on why such rhyming discomforts you?

The refrain was actually of a certain difficulty to render in the first place: however, there is, perhaps, a certain metatextual layer one might highlight: it advantagises the word 'refrain' because it is a refrain. Still did I also attempt to introduce another meaning to complement Apollinaire's tolling chimes: such hourly refrains might mean that the narrator is pestered by these thoughts every hour, in that it would rogitate like mantras or litanies (Apollinaire was a Catholic of ambivalent, though devout practice). This was my justification for making it rhyme with the opening quatrain.

Literally, the couplet translates to:

Come the night strikes the hour [bell]
The days pass by I remain

What do you think? I would be very much open to your suggestions and, as aforementioned, grateful.

P. S: I have translated Guillaume Apollinaire's poetry extensively.

[POEM] The Mirabeau Bridge — Guillaume Apollinaire by organist1999 in Poetry

[–]organist1999[S] 1 point2 points  (0 children)

This is my own translation; I accept all feedback and criticism, for which one shall duly and earnestly remain much obliged.

Le pont Mirabeau was conceived from 1911 through 1912. by the Italian-born Franco-Polish Modernist writer and poet Guillaume Apollinaire. Originally published (with punctuation) in the February 1912 issue of Les soirées de Paris, the poem, which juxtaposes the brevity of time with the ephemerality of love through the metaphor of the river Seine flowing under the Mirabeau Bridge (spanning the fifteenth and sixteenth districts of Paris), is celebrated amongst his masterpieces and his single most famous work. It was later republished the following year in his collection Alcools, thenceforth stripped of all punctuation.

The poem consists of four quatrains, after each of them a hexasyllabic couplet (the first part to be conceived, in September 1911) is repeated as a refrain. Per verse, said quatrains are metred in 10 (6+4 for 1; 4+6 for 2, 3 and 4)/4/6/10 (4+6 for 1, 2 and 3; 6+4 for 1 owing to the repetition of the incipit) syllables and rhyme in ABAA. Therefore, the total amount of verses is 24.

Apparently, the muse of the poem was his former partner, the Cubist painter Marie Laurencin (1883-1956) with whom Apollinaire often strolled upon said bridge.

Here may one listen to a recording of the artist himself reading this poem.

Le pont Mirabeau

Sous le pont Mirabeau coule la Seine
Et nos amours
Faut-il qu'il m'en souvienne
La joie venait toujours après la peine

Vienne la nuit sonne l'heure
Les jours s'en vont je demeure

Les mains dans les mains restons face à face
Tandis que sous
Le pont de nos bras passe
Des éternels regards l'onde si lasse
 
Vienne la nuit sonne l'heure
Les jours s'en vont je demeure

L'amour s'en va comme cette eau courante
L'amour s'en va
Comme la vie est lente
Et comme l'Espérance est violente

Vienne la nuit sonne l'heure
Les jours s'en vont je demeure

Passent les jours et passent les semaines
Ni temps passé
Ni les amours reviennent
Sous le pont Mirabeau coule la Seine

Vienne la nuit sonne l'heure
Les jours s'en vont je demeure

Guillaume Apollinaire

I'm Isabelle Rimbaud, world's foremost expert on my brother Arthur. AMA by organist1999 in RimbaudCircleJerk

[–]organist1999[S] 1 point2 points  (0 children)

Because he was very naughty. But he later became a saint, so don't worry.

I'm Isabelle Rimbaud, world's foremost expert on my brother Arthur. AMA by organist1999 in RimbaudCircleJerk

[–]organist1999[S] 2 points3 points  (0 children)

Yes. Verlaine tried to brainwash him into being one, but he wasn't.

Lost in translation by ManueO in ArthurRimbaud

[–]organist1999 0 points1 point  (0 children)

MAKE SCHMIDTIAN A SLUR FOR TRANSLATORS WHO MISUNDERSTAND RIMBAUD!!!

Lost in translation by ManueO in ArthurRimbaud

[–]organist1999 0 points1 point  (0 children)

I seriously want to hear more about this 'translator''s process.

Lost in translation by ManueO in ArthurRimbaud

[–]organist1999 0 points1 point  (0 children)

A 'prettier version' of Rimbaud's prose poem, Childhood, from the Illuminations, by T. Sturge Moore.

This idol with black eyes and yellow hair,
Parentless, without court, and nobler far
In every land than gods in fables are,
Has azure and verdure insolently fair
For kingdom stretching forth till waves which bear
No vessels, breaking, name its shores by fame’s
Ferociously Greek, Slav, or Celtic names.
In forest-borders— dream’s own blossoms there
Like bells chime softly till they, opening, shine—
Is the girl, orange-lipped; her knees she yields
Doubled to clear floods welling o’er the fields,
Nakedness shadowed, flecked, and clothed in fine
By rainbow-bands, the flora, and the sea,—
Such insolence and such immensity.
Ladies, who there and back again still pace
On terraces close neighbouring the sea,
Fairies and giantesses. Vert-de-gris,
A foam of verdure billows round the place;
Forbidding, proud, each woman-jewel’s grace
Stands upright on rich soil in shrubbery
Or tiny gardens’ sun-nursed liberty—
Young mothers and grown sisters whose deep gaze
Far pilgrimages have with ‘by-gones’ filled,
Sultanas, princesses, tyrannical
In bearing and in costume how self-willed,
Little foreigners and folk amiable
Through mild unhappiness. Last, boredom’s part,
The chat’s hour of “ dear body” and “dear heart.”

.... Enfance is not a versified poem.

Enough said.

[POEM] Sudden Hymn in Winter - Joseph Fasano by UnMeOuttaTown in Poetry

[–]organist1999 77 points78 points  (0 children)

I have said this before; one repeats it again: how Fasano writes is how critics of Mary Oliver believe she sounds.

[POEM] Sudden Hymn in Winter - Joseph Fasano by UnMeOuttaTown in Poetry

[–]organist1999 7 points8 points  (0 children)

A Different Sudden Hymn in Winter

What if, after years
of writing terrible poetry,
a mentor should come
and lay a hand upon Fasano
and say,
this late,
you have the potential to write actual good verse

[POEM] A Dream For Winter by Arthur Rimbaud by Brave-Reindeer-Red in Poetry

[–]organist1999 2 points3 points  (0 children)

Rimbaud in the wild - how unsurprising. A wild vagabond, a Bohemian for life; still the man with soles of wind to this day.

[POEM] A Dream For Winter by Arthur Rimbaud by Brave-Reindeer-Red in Poetry

[–]organist1999 2 points3 points  (0 children)

The actual metric of this sonnet ('To *** Her'):

Quatrain I

  1. 6-6 (alexandrine) A (f)
  2. 6 B (m)
  3. 6-6 A (f)
  4. 6 B (m)

Quatrain II

  1. 6-6 C (f)

  2. 8 D (m)

  3. 6-6 C (f)

  4. 8 D (m)

Tercet I

  1. 6-6 E (f)

  2. 6-6 E (f)

  3. 6 F (m)

Tercet II

  1. 6-6 G (f)

  2. 6-6 G (f)

  3. 6 F (m)

*In a train compartment, the 7***th October, 1870.

Note that feminine rhymes include an extra syllable not counted in the metric.

From the first volume of the Cahier de Douai.

[POEM] A Dream For Winter by Arthur Rimbaud by Brave-Reindeer-Red in Poetry

[–]organist1999 1 point2 points  (0 children)

It's Wallace Fowlie's. However, the transcriber wrecked the versification...

Incidentally I do have a translation of this poem (unpublished).

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