Best of
Poetry

1935

मधुशाला


Harivansh Rai Bachchan - 1935
    His son is India's best-known cinema superstar - Amitabh Bachchan. The core of this book is a long sequence called Madhushala (the house of wine) which could be compared to the Rubaiyat in imagery and metre.

Burnt Norton


T.S. Eliot - 1935
    

The Song of Songs: A New Translation


Anonymous - 1935
    In their lyrical new translation, Ariel Bloch and Chana Bloch restore the sensuousness of the original language and strip away the veils of mistranslation that have obscured the power and meaning of the poem. Presented en face, this translation is scrupulously faithful to the Hebrew text.

Llanto por Ignacio Sánchez Mejía


Federico García Lorca - 1935
    The introduction illuminates the two conflicting trends--Europeanization (the intellectual spirit and formal rhetoric) and Africanization (popular song and oral tradition) in modern Spain's greatest poet.

Between The World And Me


Richard Wright - 1935
    This poem, originally published in the magazine Partisan Review, is about a nameless narrator walking in the woods and stumbling upon the aftermath of a lynching.

Theory of Flight


Muriel Rukeyser - 1935
    

The Works Of Thomas Lovell Beddoes


Thomas Lovell Beddoes - 1935
    Reprints the very scarce Oxford edition of Beddoes' Complete Works.

Sung Under the Silver Umbrella


International Association for Childhood Education - 1935
    It is like domesticating a creature of the wild. The creature domesticated is a mood or impression; it is the poet's wonder, his discovery that what he has been looking at is unique. I dwell on the word domesticated, for the poem made for childhood has to be lived with more familiarly than the poem made for grown-up people; the mood or the impression has to be made completely domestic. The old nursery rhymes did this perfectly:Goosey-goosey gander, Where do you wander?Upstairs and downstairsAnd to my ladys chamber. Here the inquiring and exploring aimlessness which is goosiness in its essence is given in swift, bold strokes. And it is idle for us to exclaim that one does not enter into conversation with a goose one meets on a stairway, and that if one does he does not get such a well-worded answer. The wonder has been felt, the impression rendered; that wild, winged thing, the goose of all time, has been domesticated completely. In an enormous lot of verse intended for childhood there is a fault - it domesticates the domestic. Plates and clocks and pinafores are just plates and clocks and pinafores; the impression ofthem as unique things has not been rendered in arresting measures. The makers of them have not been aroused to a discovery as has one of the poets represented here by hearing how hens talk before they go to sleep:One of them moved, and, turned around, Her feathers made a ruffled sound,A ruffled sound, like a bushful of birds, And she said her little asking words. One of the merits of this collection is that it does not domesticate the domestic. Poetry exists that we may have an accompaniment to our thoughts - something rhythmical, liberated, of another dimension going along with our accustomed toil, pastime and distraction. At all periods of our lives we have need of this accompaniment; we have particular need of it, judging by the way we demand it then, in the period of infancy and childhood. Hence "Ring-a-ring-a-rosy" and "Oranges, oranges, four for a penny", and all the play-rhymes that children who have not been brought up in solitude know; hence the universality and immortality of Mother Goose's rhymes. Of course these are to be distinguished from poetry - Mother Goose's are rhymes merely. But they do for our unreflective days what high poetry should do for our reflective days - they make an accompaniment for the thoughts of childhood, they put alongside the active and practical lives of children the rhythmical, liberated accompaniment. There is a stage in our lives when knowledge of the world and types of human character have to come to us as a legend, as a piece of mythology, and it is natural and fitting that they should come to us in rhyme:The King was in his counting-house,Counting out his money, The Queen was in her parlorEating bread and honey. Kings and Queens should exist for us in this handsomeness and opulence before they exist for us as heads of states, and the rhyming way is surely the proper way of introduction to such personalities. Then, too, there is an oral stage in our lives when our minds are receptive to words, when words naturally take the form of rhymes, and when rhymes become a favorite possession. Rhymes that give some impression, that hold some mood, should be around us then - poems of the kind that can enter the mind of a child and remain one of its possessions...