Anglophone Literature II-2017- POEMS.docx

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  Anglophone Literature II – 2017 WALT WHITMAN (1819-1892)  LEAVES OF GRASS Come, said my Soul, Such verses for my Body let us write, (for we are one,) That should I after return, Or, long, long hence, in other spheres, There to some group of mates the chants resuming, (Tallying Earth’s soil, trees, winds, tumultuous waves,) Ever with pleas’d smile I may keep on, Ever and ever yet the verses owning–as, first, I here and now Signing for Soul and Body, set to them my name, Walt Whitman    Preface to The Picture of Dorian Gray Oscar Wilde (1854-1900) The artist is the creator of beautiful things. To reveal art and conceal the artist is art’s aim. Thecriticishewhocan   translate intoanothermanneroranewmaterialhis impression of beautiful things. Thehighest,asthelowest,formofcriticismisamodeof   autobiography . Thosewhofinduglymeaninginbeautifulthingsarecorruptwithoutbeing charming. This is a fault. Thosewhofindbeautifulmeaningsinbeautifulthingsarethe cultivated. For these there is hope. They are the elect   to whom beautiful things mean only Beauty. There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all. Thenineteenth-centurydislikeofRealismistherageofCalibanseeinghis own face in a glass. Thenineteenth-centurydislikeofRomanticismisthe   rage of   Caliban not  seeing   his own face in a glass. Themorallifeofmanformspartofthesubjectmatteroftheartist,butthe moralityofartconsistsintheperfectuseofanimperfectmedium.Noartist desires to prove anything. Even things that are true  can be proved.  Noartisthasethicalsympathies.Anethicalsympathyinanartistis an unpardonable mannerism of style.  No artist is ever morbid. The artist can express everything.  Thought and language are to the artist’s instruments of an art. Vice and Virtue are to the artist materials for an art. Fromthepointofviewofform,thetypeofalltheartsistheartofthe musician. From the point of view of feeling, the actor’s craft is the type. All art is at once surface and symbol. Those who go beneath the surface do so at their peril. Those who read   the symbol do so at their peril. It is the spectator, and not life, that art really mirrors. Diversityofopinionaboutaworkofartshowsthattheworkisnew, complex, and vital. Whencriticsdisagreetheartistisinaccordwithhimself.We canforgiveamanformakingausefulthingaslongashedoesnotadmire it.Theonlyexcuseformakingauselessthingisthatoneadmiresit intensely. All art is quite useless .   Impression du Matin  by Oscar Wilde The Thames nocturne of blue and gold Changed to a harmony in gray; A barge with ocher-colored hay Dropped from the warf: and chill and cold. The yellow fog came creeping down The bridges, till the houses’ walls Seemed changed to shadows, and St. Paul’s Loomed like a bubble o’er the town. Then suddenly arose the clang Of waking life; the streets were stirred With country wagons; and a bird Flew to the glistening roofs and sang. But one pale woman all alone, The daylight kissing her wan hair, Loitered beneath the gas lamps’ flare, With lips of flame and heart of stone.  Symphony in Yellow 1   1  Oscar Wilde (1889) An omnibus across the bridge Crawls like a yellow butterfly, And, here and there, a passerby Shows like a little restless midge. Big barges full of yellow hay Are moored against the shadowy wharf, And, like a yellow silken scarf, The thick fog hangs along the quay. The yellow leaves begin to fade 11   The titles of Whistler’s paintings Symphony in White  (1862) and Symphony in Gray and Green  (1867).
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