- EAN13
- 9782384691821
- Éditeur
- Human and Literature Publishing
- Date de publication
- 05/08/2023
- Langue
- anglais
- Fiches UNIMARC
- S'identifier
Livre numérique
-
Aide EAN13 : 9782384691821
- Fichier EPUB, libre d'utilisation
- Fichier Mobipocket, libre d'utilisation
- Lecture en ligne, lecture en ligne
4.49
There are beauties and characteristics of poetry of any country which cannot
be plainly seen by those who are born with them; it is often a foreigner's
privilege to see them and use them, without a moment's hesitation, to his best
advantage as he conceives it. I have seen examples of it in the work of
Western artists in adopting our Japanese traits of art, the traits which
turned meaningless for us a long time ago, and whose beauties were lost in
time's dust; but what a force and peculiarity of art Utamaro or Hiroshige, to
believe the general supposition, inspired in Monet, Whistler and others! It
may seem strange to think how the Japanese art of the Ukiyoye school, nearly
dead, commonplace at its best, could work such a wonder when it was adopted by
the Western hand; but after all that is not strange at all. And is it not the
same case with poetry? Not only the English poetry, but any poetry of any
country, is bound to become stale and stupid if it shuts itself up for too
long a time; it must sooner or later be rejuvenated and enlivened with some
new force. To shake off classicism, or to put it more abruptly, to forget
everything of history or usage, often means to make a fresh start; such a
start often begins being suggested by the poetry of some foreign country, and
gains a strength and beauty. That is why even we Japanese, I dare say, can
make some contribution to English poetry...
be plainly seen by those who are born with them; it is often a foreigner's
privilege to see them and use them, without a moment's hesitation, to his best
advantage as he conceives it. I have seen examples of it in the work of
Western artists in adopting our Japanese traits of art, the traits which
turned meaningless for us a long time ago, and whose beauties were lost in
time's dust; but what a force and peculiarity of art Utamaro or Hiroshige, to
believe the general supposition, inspired in Monet, Whistler and others! It
may seem strange to think how the Japanese art of the Ukiyoye school, nearly
dead, commonplace at its best, could work such a wonder when it was adopted by
the Western hand; but after all that is not strange at all. And is it not the
same case with poetry? Not only the English poetry, but any poetry of any
country, is bound to become stale and stupid if it shuts itself up for too
long a time; it must sooner or later be rejuvenated and enlivened with some
new force. To shake off classicism, or to put it more abruptly, to forget
everything of history or usage, often means to make a fresh start; such a
start often begins being suggested by the poetry of some foreign country, and
gains a strength and beauty. That is why even we Japanese, I dare say, can
make some contribution to English poetry...
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