Pope and Stanley Greenfield have specifically debated the meaning of the word sylf modern English: self, very, own , which appears in the first line of the poem. In 2000 Bernard J Muir produced a revised second edition of The Exeter Anthology of Old English Poetry, first published in 1994 by the Exeter University Press, in two volumes, which includes text and commentary on The Seafarer. Well, Pound is credited, as I also suggested, with in many ways modernizing Yeats, helping Yeats become the particular voice that he did in the teens and twenties. If he was mad, is there some way in which his poetry might not be mad? When reading any poem in a language other than its original, keep in mind that many literary features — fun things like word play, alliteration, meter, and the connotations of important words — have probably been lost in translation. Forgot I had written this. Special thanks to Richard Sieburth.
The seafarer communicates the anxious feelings and the solitude of life on the wintry sea in relation to the more tempered life lived by those on land. He left the United States. Pound's Poems and Translations is published by the Library of America. Raffel seems to actually have the original text in his favor here for once, although Pound's still retains more of the original wording. He hath not heart for harping, nor in ring-havingNor winsomeness to wife, nor world's delightNor any whit else save the wave's slash,Yet longing comes upon him to fare forth on the water. Theres more alliteration in line four, and once again Pound elects to stay true to the poetics while Raffel's translation talks about a hundred ships, something apparently invented by the translator himself.
In the second half of his own translation Raffel talks about sweating in the cold, once again seemingly not related to the original but reasonable in terms of overall meaning. Days little durable, And all arrogance of earthen riches, There come now no kings nor Cæsars Nor gold-giving lords like those gone. The Seafarer is an giving a first-person account of a man alone on the sea. There are only derivations, variations, translations, through which the past is continuously being made present. Unless explicitly set forth in the applicable Credits section of a lecture, third-party content is not covered under the Creative Commons license.
Talking about himself, the seafarer compares his state to that of the people on land. He also insists, however, cannily and provocatively on the mediated quality of his words. Eliot's poem, The Love Song of J. Moaneth alway my mind's lust That I fare forth, that I afar hence Seek out a foreign fastness. PennSound Ezra Pound page edited by Richard Sieburth , by Richard Sieburth Interview with Richard Sieburth by Al Filreis, May 22, 2007, 44:15 : Note: The bracketed page numbers for non-Cantos materials are taken from the Library of America edition of Pound's Poems and Translations. Days little durable, And all arrogance of earthen riches, There come now no kings nor Cæsars Nor gold-giving lords like those gone.
For example, the famous poet Ezra Pound wrote a beautiful, although not very accurate, translation. Bosque taketh blossom, cometh beauty of berries, Fields to fairness, land fares brisker, All this admonisheth man eager of mood, The heart turns to travel so that he then thinks On flood-ways to be far departing. Ming Xie, following Old English scholar Fred C. In the arguments assuming the unity of The Seafarer, scholars have debated the interpretation and translations of words, the intent and effect of the poem, whether the poem is , and, if so, the meaning of the supposed allegory. The poem is explained as a dialogue between The Old Sailor and Youth, and ends at line 66. Could he write great poetry, even great poetry that expressed Fascistic and anti-Semitical views? Storms, on the stone-cliffs beaten, fell on the stern In icy feathers; full oft the eagle screamed With spray on his pinion. So that all men shall honour him after And his laud beyond them remain 'mid the English, Aye, for ever, a lasting life's-blast, Delight mid the doughty.
He had, as we already talked about in our first lecture, an important relationship to Frost. Cuckoo calleth with gloomy crying, He singeth summerward, bodeth sorrow, The bitter heart's blood. He wants to transmit the impulse. Raffel takes the line and translates it for meaning, ignoring the word order. Another piece, 'The Seafarer trio' was recorded and released in 2014 by Orchid Classics. Lest man know not That he on dry land loveliest liveth, List how I, care-wretched, on ice-cold sea, Weathered the winter, wretched outcast Deprived of my kinsmen; Hung with hard ice-flakes, where hail-scur flew, There I heard naught save the harsh sea And ice-cold wave, at whiles the swan cries, Did for my games the gannet's clamour, Sea-fowls, loudness was for me laughter, The mews' singing all my mead-drink. So that all men shall honour him after And his laud beyond them remain 'mid the English, Aye, for ever, a lasting life's-blast, Delight mid the doughty.
This creates a bitter yearning, which however is quickly transformed into a sober realization of the ephemeral, trivial nature of earthly life in comparison to the eternal bliss of the afterlife, the hope of which provides a foil to the hardships of the sea, which now retrospectively take on an allegorical character. There are five alliterative patterns, all of which depend upon a division of each single line into two half-lines, separated by a long space in modern editions. The Poetic Achievement of Ezra Pound. Cambridge: Cambridge University Press, 2008. In addition to these strong stresses, the line is held together by alliterative links that join the words strongly and audibly across the caesura.
Not so much later he would replace the idea of the vortex with another related image, which is the ideogram. For some reason the other version of this on youtube the one uploaded from Italy doesn't play for me. On earth's shelter cometh oft to me,Eager and ready, the crying lone-flyer,Whets for the whale-path the heart irresistibly,O'er tracks of ocean; seeing that anyhowMy lord deems to me this dead lifeOn loan and on land, I believe notThat any earth-weal eternal standethSave there be somewhat calamitousThat, ere a man's tide go, turn it to twain. In the second line Raffel moves even farther from the original, while Pound once again adopts as similar a word order as possible, and even has some of the alliteration. Pound uses more alliteration in line seven, pretty closely mimicking the sound of the Anglo-Saxon version as well as the meaning. This is the Pound who wrote those remarks about Imagism that we talked about last time.