During this significant other quantity to ]i]Singing the physique of God[/i] (Oxford 2002), Steven P. Hopkins has translated into modern American English verse poems written by means of the South Indian Srivaisnava thinker and saint-poet Venkatesa (c. 1268-1369).
These poems, in 3 various languages - Sanskrit, Tamil, and Maharastri Prakrit -- composed for one specific Hindu god, Vishnu Devanayaka, the "Lord of Gods" at Tiruvahindrapuram, shape a microcosm of the saint-poet's paintings.
They surround significant issues of Venkatesa's devotional poetics, from the play of divine absence and presence on the earth of non secular feelings; the "telescoping" of time earlier and destiny within the everlasting "present" of the poem; love, human vulnerability and the impassible perfected physique of god; to the devotional event of a "beauty that saves" and to what Hopkins phrases the paradoxical coexistence of asymmetry and intimacy of lover and cherished on the middle of the divine-human come across.
Moreover, those poems shape not just a thematic microcosm, yet a linguistic one embracing all 3 of the poet's operating languages. just like the remembered global of Proust's Combray within the style of madeleine dipped in tea, or Blake's global in a Grain of Sand, we style and spot, during this one specific position, and during this one specific kind of Vishnu, a number of protean types and powers of the divine, and hint a veritable summa of theological, philosophical, and literary designs.
Each translated poem kinds a bankruptcy in itself, has its personal person brief Afterword, in addition to specific linguistic and thematic notes and statement. the amount concludes, for comparative purposes, with a translation of Tirumankaiyalvar's luminous cycle of verses for Devanayaka from the Periyatirumoli.
As a lot a controversy as an anthology, this e-book can be of curiosity to scholars and students of South Asian reviews, comparative faith, and Indian literatures.
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Like the gathering Lorca/Blackburn that i latterly shared, this booklet is additionally placed out by way of a small San Francisco press. .
It is my excitement to offer one other quantity of poetry from the good Iberian author Federico García Lorca. extra attractive poetry--but this time an entire translation of a truly early quantity of his poem. although it's notably an early paintings, the important existential subject matters of loss of life and alienation, in addition to love and man's setting, run during the volume.
If you will commence with just one quantity of Lorca's poetry, don't begin with this one! as a substitute, opt for the "Selected Poems" placed out through New Directions--this is the anthology to start interpreting Lorca in English.
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The magic of Andalusia is crystallized in Federico Garcia Lorca's first significant paintings, Poem of the Deep track, written in 1921 while the poet was once twenty-three years previous, and released a decade later. during this team of poems, in keeping with saetas, soleares, and siguiriyas, Lorca captures the passionate flamenco cosmos of Andalusia's Gypsies, ""those mysterious wandering people who gave deep music its definitive form.
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Extra resources for An Ornament for Jewels: Love Poems for the Lord of Gods
In the very ﬁrst pada of the ﬁrst verse the epithet for A Devanayaka in Tamil—atiyarpa¯n meyyai—The Lord of Truth [or of Body] for His Servants—is taken from Tiruman˙kaiyalvar’s tirumoli of this same form of Vishnu, translated in the last section of this anthology. In the usual form of the epithet, atiyava¯rkku meyyane¯, mey can mean ‘‘truth’’ or ‘‘body,’’ 34 an ornament for jewels emphasizing this Lord of Truth as one who places his body at the feet of those ¯ lvar reference who surrender to Him—his servants or ‘‘slaves’’ (ati).
Such a ﬁll-in occurs in my translation of verse 49 of the Prakrit Acyutasatakam. ’’ Both these images are mean to evoke frailty and transience—for some commentators ghana also has the sep_ arate meaning of ‘‘cloud’’—but kandalikanda houses a particularly evocative image. In Tamil, as the commentators note, white-ﬂowering kandalı¯ evokes na¯ykkutai, a small frail growth seen in ﬁelds after rain. _ I have tried in my translation of this Prakrit verse to foreground this image, which has called for a bit of padding.
Distance and intimate encounter: this oscillation, this rhythm of desire, is at the heart of the poems, and at the heart of religious love in Ven˙katesa’s theology. All seems out of our control, even our sudden awareness of deep indissoluble union. Ultimately, in Ven˙katesa’s devotional poetics, beyond our willing it, in various discrete and particular encounters, we are suddenly made aware that Vishnu/Devanayaka is ‘‘our’’ god; ‘‘my’’ god; He is within me; He is mercy and grace (arul), love (anpu) and ˙ ‘‘sweetness’’ (inpam), within ‘‘you’’ and within the very structures of intimate address itself.