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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 present article is an attempt at understanding the various stages of artistic expressions through which Indian mystic poetry has passed and argues that this art form has not become stagnant or dead. It aims to show that it continues to flourish and evolve. It also focuses on a period of transition where a new poetry seems to appear against the background of conventional poetry. This article deals with the concerned question from a critical point of view and clearly marks the various phases of its development, divided into three different stages. It explains that each phase, though complete in itself, serves as a link to the following one. The utmost care has been taken to present the arguments related to mystic poetry in as clear a manner as possible so as to remove the misperceptions that prevails about it. Some important poets like Maithili Sharan Gupt, Mahadevi Verma and Harivansh Rai Bachchan have been discussed in this article in order to have a synoptic view of growth and evolution of Indian mystic poetry. In short, an attempt has been made to present a journey of Indian mystic poetry from the 19th century to the post-Independence period. [ABSTRACT FROM AUTHOR]

The present article is an attempt at understanding the various stages of artistic expressions through which Indian mystic poetry has passed and argues that this art form has not become stagnant or dead. It aims to show that it continues to flourish and evolve. It also focuses on a period of transition where a new poetry seems to appear against the background of conventional poetry. This article deals with the concerned question from a critical point of view and clearly marks the various phases of its development, divided into three different stages. It explains that each phase, though complete in itself, serves as a link to the following one. The utmost care has been taken to present the arguments related to mystic poetry in as clear a manner as possible so as to remove the misperceptions that prevails about it. Some important poets like Maithili Sharan Gupt, Mahadevi Verma and Harivansh Rai Bachchan have been discussed in this article in order to have a synoptic view of growth and evolution of Indian mystic poetry. In short, an attempt has been made to present a journey of Indian mystic poetry from the 19th century to the post-Independence period. [ABSTRACT FROM AUTHOR]

Unlike numerous traditions, poetic inspiration of Moorish poets is not spiritual but carnal because it takes root in the desire for a woman, who taste like Baudelaire's Fleurs du mal. Love poems find their reason in the context of their production. In this case, the decisive moment of the meeting and the long-lasting impression it leaves on the poet. Love poems are not the privilege of a handful, they are primarly composed in the specific Arabic dialect (assāniyya), with the aim of reaching the woman's heart, like Bedouin Arabic pre-islamic poetry. So her first name, her body, her qualities and defects, from erotised become poetised. [ABSTRACT FROM AUTHOR]

During World War II in France some poets considered themselves to have a significant social role and became porte-paroles of the oppressed. They took part in hand-to-hand fight, but also with a pencil in hand, raising their voices to declare their faith in freedom and show that their patriotic verses could become a deadly weapon against the Nazi occupation and the suffering of the people. The poets therefore became messengers of peace and hope, and the fighters memorized their poems or distributed them legally or secretly. But it's possible to look at things from a different angle: there were a number of poets who refused any literary engagement, as was the case with the former Surrealists, then there were poets engaged on the side of the Collaboration, and there were those who refused to or even they couldn't publish their works under the Occupation for various reasons: material, moral or other. This paper deals with this topic, which is in fact very large and complex, taking into account the limitations of the article. [ABSTRACT FROM AUTHOR]

The article informs about works and life of Paul Claudel, a French poet, who was nominated for the Nobel Prize in Literature. Topics include working on Rue de Constantinein the Documentation Service of the Peace Conference with mention of the diplomatic profession with an international commission; and tenderness for Poland and for a Polish woman, Rosalie Lintner, at war with Bolshevik Russia, of the West's defense against the Revolution, and France sent a military mission in German empire.

The article explores French author, Jean Cocteau's creative process in crafting the screenplay for "L'Éternel Retour." It focuses on his annotated cover and technical breakdown, the document, once owned by the poet, reveals the playful interplay of poetic verses and cinematic instructions. It is reported that the visual elements, including a sketch of the film's protagonists, offer insights into the narrative.

The article delves into the friendship between Guillaume Apollinaire and the Chilean poet Vicente Huidobro, examining a confident and relaxed dedication by Apollinaire dated June 3, 1917. It mentions that the dedication, found in a cherished collection, serves as a token of friendship to Huidobro, who, like Apollinaire, was a foreign poet choosing French as his writing language during the same period.