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The article presents the discussion on translations standing as a testament to the art of fidelity and creativity. Topics include world of translation has seen a flourishing of talent, as exemplified by the quality and ingenuity found in the translated works; and translators behind these works, often poets, novelists, or writers themselves, bringing a unique perspective to their craft.

The article reports that the accomplishments of individual poets and despite the diversification that arose from the expansion of English as a global language, albeit one stained indelibly by imperialism as readers have been left adrift by the abandonment of poetic convention in the hundred or so years since Des Imagistes and Prufrock and Other Observations.

C . Day Lewis said of The Wounded Prince ( 1948) that Douglas LePan was a poet "in whom the New and the Old World have met." Like the other New World/Old World or Atlantic world poets, such as T.S. Eliot and W.H. Auden, LePan represents the individual in nature and the modern world. The other transatlantic poets had a United States-Britain axis, whereas LePan had a CanadaBritain connection. LePan and poets like him deserve study as part of a diversity of voices from smaller literatures, for the sound of beauty and not the noise of fame. During LePan's life, others knew of his accomplishments, but since his death, still others may have forgotten what Northrop Frye and Margaret Atwood knew - that LePan's poetry warranted close and considered attention. Before a close reading of some of his most lyrical poems, I provide a context, the critical reception of LePan as a poet, particularly in the years from 1948 to 1987, and some germane discussions of LePan's poetry in subsequent years. [ABSTRACT FROM AUTHOR]

The article discusses role of poets as a sounding board for the aspirations of their community in Canada. It mentions poem seeks to give form and language to an absolutely unique experience of the world, as experienced by a unique subjectivity; and also mentions poem "Déblais" by Paul Bélanger which shows what matters is the surface that is now clear, smooth, uncluttered.

This article locates the origins of contemporary understandings of world poetry in a set of institutions and poetic practices that developed in the 1960s, as evinced by a series of performances in London at that time, including the 1965 International Poetry Incarnation, organized by Allen Ginsberg; Andrei Voznesensky’s near-simultaneous performance at the Theatre Royal Stratford; Kamau Brathwaite’s 1967 performance of Rights of Passage at the Jeanetta Cochrane Theatre; and a 1969 bilingual performance of Aimé Césaire’s Cahier d’un retour au pays natal, directed by John La Rose. The concerns of the Caribbean Artists Movement, which sponsored the latter two performances, seem far from the Cold War and counterculture context of the International Poetry Incarnation. Yet both took inspiration from the theatrical performances of Russian poets like Voznesensky. Such surprising interconnections reflect a newly self-conscious poetic internationalism, for which Voznesensky, Ginsberg, Brathwaite, and La Rose all sought a formal embodiment in the global rhythms of the performed and tape-recorded word. [ABSTRACT FROM AUTHOR]

This article explores several aspects of the early modern poetic tradition as an antidote to presentism in comparative and world literature studies. A passage from Giovanni Battista Pigna’s Renaissance synthesis of Aristotelian and Horatian poetics is used to comment on comparative readings in general. This is followed by close readings of two dream poems by the early modern Italian Giovanni Aurelio Augurello and the modernist Spanish poet Antonio Machado, both of which relate to Renaissance literary traditions in different ways. Two different agonistic poems, one by Pierre-Daniel Huet and one attributed to a Frisian folk hero, are also subject to analysis in order to explore how the process of historical selection reshapes the literary corpus and subjugates certain types of writing to neglect. [ABSTRACT FROM AUTHOR]

Tom Conley’s essay studies verbal and visual signs in the poetry of François Béroalde de Verville (1556–1626). Exhumed and printed in her Poésie amoureuse de l’âge baroque: Vingt poètes maniéristes et baroques (1990), a “collage of poems focusing on the tortures of love,” Gisèle Mathieu-Castellani offers a selection of verse from Béroalde’s Les Soupirs amoureux (1583), the third volume of his Les Apprehensions spirituelles, “a collection of poetry, political theory and occult philosophy.” Examining in detail the first (and only) edition of Les Soupirs amoureux, Conley stresses how the volume as a whole appears not only as verse but also as a visual and physical object. He contends that the amorous sigh or “soupir” is a signifier – a plot point – integral to a serial pattern of iterations that order what otherwise would be a patchwork of sonnets, elegies, odes, and complaintes. Given that, like his mentor, Henri IV, who was known for his visual acuity, Béroalde invests his verse with an ocular or even lenticular character of the kind that perhaps he had gained from his commentaries of the copperplate illustrations in Jacques Besson’s Theatrum instrumentorum (1576) and, later, his revised edition of the French translation (1546) of Francesco Colonna’s richly pictured Hypnerotomachia poliphilii (1600). [ABSTRACT FROM AUTHOR]

Plato’s characterization of speech genres insists that lyric poetry must be uttered by the poet speaking as him- or herself, a demand often occurring in the history of poetic theories around the world. The grammatical person of the speaker is easily confused or hijacked, however, as accounts of fictionality or insincerity remind us. Widespread social media that influence large numbers of people otherwise unknown to each other are particularly susceptible to such appropriation. Trolling, formerly a merely disruptive communicative behaviour, has achieved global prominence through the use of bots or virtual electronic subjects to which embodied human subjects attribute feeling and agency. This is the “global poetics” of today. The age-old tension between lyric and drama continues. [ABSTRACT FROM AUTHOR]

R. Cheran speaks on his trajectory as a Tamil poet, journalist, and intellectual, during the years of conflict in Sri Lanka and on his current work as a playwright, activist, and collaborator in the development of Tamil diaspora studies with Chelva Kanaganayakam in Toronto, Canada. This interview provides a glimpse of the histories of dislocation, censorship, and exile that framed Tamil political, cultural, and intellectual life throughout the latter half of the twentieth century and the beginning of the twenty-first century. Precariously positioned as an artist and scholar who eschewed the non-democratic, militant positions of successive Sri Lankan governments and Tamil militant organizations, Cheran interrogates evolving notions of Tamil nationalism as articulated in the postwar context and looks to the future of the idea of the Tamil nation in Sri Lanka and around the world. This interview is a transcript of the public interview held at Trans(sub)continental Imaginations: Three Centuries of South Asian Literary English, a symposium in memory of Chelva Kanaganayakam, University of Toronto at Mississauga, 25 March 2015. [ABSTRACT FROM AUTHOR]

The article provides an overview of Canadian poetry published in 2013. Books noted include "Red Doc>" by Anne Carson, "Correspondences" by Anne Michaels, and "Ocean" by Sue Goyette. Other poets noted include Don Domanski, Russell Thornton, and Adam Dickinson. Emphasis is given to topics such as poetry awards, Canadian identity, and intertextual experimental collaborations.

The rise and fall of W. B. Yeats's enthusiasm for Rabindranath Tagore as a poet is analyzed here as due primarily to Yeats's own changing aspirations for restoring a pristine Ireland. Reinforcing this psychological interpretation is a post-colonial argument that finds Yeats, notwithstanding his opposition to colonial rule in Ireland and India, as unable to appreciate the Bengali poet as intellectually and politically a fully mature and autonomous individual. Once Tagore had rejected his British knighthood in protest against the Jallianwalla Bagh massacre, it is argued, he no longer fitted the benign but condescending stereotype of serene, spiritual Oriental that had helped propel him to the Nobel Prize. [ABSTRACT FROM AUTHOR]

This article presents an introduction to the special issue of the "University of Toronto Quarterly" which features Rabindranath Tagore.

The personal, cultural, and political relationships of Rabindranath Tagore with Italy make an intriguing component of the poet's complex relationships with the West. This article focuses on Tagore's two visits to Italy in the 1920s, drawing heavily upon Italian sources. It examines the tensions between liberal anti-fascists like Tommaso Gallarati Scotti and admirers of Benito Mussolini like Carlo Formichi as they strove to influence their celebrated guest, and the impact on him of testimony by wives of anti-fascists who had been tortured. It confirms that Tagore's 1930 conciliatory handwritten letter was actually sent to Mussolini. However, when Hitler and Franco rose to power, Tagore fully understood the ominous nature of fascism, and he made public appeals against it. [ABSTRACT FROM AUTHOR]

The article focuses on Canadian poet Duncan Campbell Scott's poem "Night Hymns on Lake Nipigon." In the central stanzas of the poem the poet presents an instance of the blending of European and Native in the Canadian wilderness near the beginning of the twentieth century. In using the word 'haunted' to describe the 'lonely reaches' of Lake Nipigon, Scott was enlisting two senses of the word to suggest that the landscape of western Ontario is frequented or inhabited by loons and to evoke the long-standing association of the loon's cry with the supernatural. But the 'reaches' of Lake Nipigon are not the only features of Scott's poem that are 'haunted.'

This article critically evaluates the opera "Peter Grimes," by Benjamin Britten. The least helpful statements about the opera with regard to the alleged open secret of Grimes's homosexuality come from Benjamin Britten himself. In his novel "The Swimming-Pool Library," Alan Hollinghurst offers two divergent views of Britten's Billy Budd as a queer opera. Britten claims that he wanted to express his awareness of the perpetual struggle of men and women whose livelihood depends on the sea—difficult though it is to treat such a universal subject in theatrical form.

This article critically evaluates the opera "Peter Grimes," by Benjamin Britten. A literary critic approaching the history of the composition of Benjamin Britten's Peter Grimes encounters a somewhat unusual circumstance. "Peter Grimes" is unusual because the first germ of the opera was provided by the novelist and critic E. M. Forster in a radio talk on the English poet George Crabbe that Britten came upon in a 1941 issue of the Listener. Throughout the opera, Britten uses all the stage and musical resources of opera, including extensive interludes, to produce this particular environment, for more was at stake for him than the opera itself. If Crabbe on his best behavior was barely suitable for joining the ranks of accepted poets, and even more of a challenge for an opera, the person whom Britten actually chose to make his protagonist embodies everything that troubled Crabbe's contemporaries about his writing.

The article presents a discussion of Canadian poetry published in 1997. Titles include "Practising Death" by Mia Anderson, "Picking Wild Raspberries" by Rosemary Aubert, and "Not Yet But Still" by Margaret Avison.

Talks about science and the influence of poet Oscar Wilde on William Butler Yeats. Identification of science according to Yeats; Factors that influenced Yeats's dislike of science; Intellectual and artistic debts of Yeats to Wilde.

Examines the alternative strategies to modernism which are found in the writings of Afro-Caribbean Canadian poets Dionne Brand, Claire Harris and Marlene Philip. Social issues prominent in their writings; Characteristics of the modern poetics; Analysis of the poems of Harris in the books "Translation into Fiction" and "Travelling to Find a Remedy"; Analysis of the poetics of Brand in the book 'Primitive Offensive.

Pays tribute to Canadian poet H. Northrop Frye who died on January 23, 1991. Family background; Career background; Description of Frye according to friends and colleagues.

Focuses on poet Dylan Thomas' craftsmanship. Comparison between Thomas' craft and Thomas Hardy's; Use of catachresis in Thomas' works; His strategy of ambiguous apposition.