By Boris A. Novak
A collision among modern poetics and the Renaissance lyric, among aestheticism and political engagement, The grasp of Insomnia is a suite of Slovenian poet Boris A. Novak's verse from the final fifteen years, together with a variety of poems by no means ahead of to be had in English. In those delicate translations, Novak stands published as either innovator and observer; as critic Aleš Debeljak has written: "The poet's energy in bearing witness to Sarajevo and Dalmatia, to his youth room and his retired father, to the detached passage of time and the determined ache of loss, confirms the depression clairvoyance of Walter Benjamin, who said that what's crucial hides within the marginal, negligent, and rarely saw information. Whoever strives to determine the 'big picture' will unavoidably omit the basic . . . [Novak's] wide-open eyes needs to watch over either the wonderful thing about this lifestyles and the horror of its destruction."
Born in Serbia in 1953, Boris A. Novak is a poet, playwright, editor, essayist, and translator of Bosnian, British, American, French, Provençal, Italian, and German poetry into Slovenian. He has additionally written for kids and released works of literary feedback. he's one in every of an important residing Slovenian poets, and has extra then fifty-three books to his identify. he's a Professor on the division for Comparative Literature and Literary conception on the school of Arts of the college of Ljubljana.
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Extra resources for The Master of Insomnia: Selected Poems (Slovenian Literature)
All this is done, and the monk sings the whole song up to this point to the assembled company. At the end of this word-for-word repetition of the story so far, the mother interrupts and tries to send the monk back to take care of his sheep, but Kostantinos says that they are now his reponsibility and ties his mother between two mules which tear her apart (Laografia 2, 1910, pp. 73-6). (8) Cyprus, late nineteenth century. This version shares many of the characteristics of example 7, notably the curious device by which the recognition takes place and the exact repetition of, in this case, eightyone lines of the song.
A dialogue ensues, in which he asks for signs by which her lost husband may be recognised. She tells him and he at first pretends to her that her husband is dead and that it has been decreed she must marry him. She replies that she would rather die or turn Turk than marry anyone but Konstantinos, so that he rejoices in her fidelity and the song ends (Argenti and Rose, 1949, pp. 732-3). (12b) Region unknown, 1844. A beautiful girl is weaving at a golden loom. A merchant reins in his horse as he passes and greets her, asking why she doesn't get married.
Drawing his conclusions not from oral-formulaic theory or from counting repetitions in Toda songs, Emeneau found that 'the song language is in theory completely formulaic' (my italics). The discovery is not an empirical one but derives from a fairly formal proof that Toda song language is different in structure from any spoken language.
The Master of Insomnia: Selected Poems (Slovenian Literature) by Boris A. Novak