In the fantasy of love, the male speaker seems able to enjoy union with the beloved woman, although in most cases she appears distant and heterogeneous, sublimated as the Lacanian object or the Levinasian Stranger. Merwin's love poetry follows the tradition of the troubadours in the Middle Ages in its conventional portrait of the female Other as elusive and enigmatic. This essay traces Merwin's erotic mode back to The Dancing Bears (1954) and then reads its full outburst in The Compass Flower (1977) and Finding the Islands (1982) in light of psychoanalytical and philosophical formulations of alterity. Merwin's love poetry successfully conjures up what Jacques Lacan terms the " Other jouissance " in order to circumscribe the paternal function and its limitation of the loving subject. The essay sheds light on an under-explored Yiddish woman poet while expanding the narrative of American Yiddish literature to include the unique experience of Holocaust refugees in Montreal, Canada.īlending the sensual, the natural, and the spiritual, W. Tracing the imagistic shift in Korn’s writing from thriving trees to lifeless paper, this essay explores what Korn regarded as the transformation of Yiddish from an organic, indigenous aspect of interwar Poland to an uprooted, moribund refugee language within a culturally divided urban space. The lush natural description and images of Polish-Jewish harmony of Korn’s pre-war poetry were replaced in her post-war poetry by somber symbolism, in which the recurring motif of white paper signifies the futile attempt to recreate a vanished world. Yet a profound sense of dislocation marks the poetry she produced in this post-war urban setting, where a declining Yiddish culture formed a “third solitude” bounded on either side by Quebec’s hostile Anglo-Protestant and French-Catholic communities. When Rokhl Korn settled in Montreal in 1948, the period she called her “years of wandering” (na v’nod yorn) finally came to an end. The present paper seek to analyse the poem by taking three perspectives through the application of Theory of Gaze, Cixous concept of Symbolic City (male city) and Freud's concept of psychoanalysis in forwarding the content of the poem, 'Thirteen Ways of Likewise Wallace Stevens too in his poem 'Thirteen Ways of Looking at a Blackbird'takes an active position to advocate that essence can be derived from several perspectives. It is the thematic concern of both the poems that are most likely to arrest the emotions of the readers more than the poet himself since both the poems can be regarded as a subversive litany against the permanence of Art and Christian Paradise. Since every form of literary work belongs to the public once it is produced, the paper justifies this notion with the help of theoretical tools that helps in communicating the sense of void created by reading in between the lines. The aim of this paper is solely to unravel the complicated layers with which modern writers have dexterously used to show art rather than to conceal art, an opinion expressed by Sir Philip Sidney against the contemporary writers and poets. This itself prepares the ground to undertake research in Wallace Stevens poems 'Thirteen Ways of Looking at a Blackbird' and 'Sunday Morning'. Since poetry provides a better scope for expanding our knowledge resources, thereby helping us to widen our mental horizons by improvising our vision to see beyond the edge. Poetry being regarded as the earliest and oldest form of composition surely has better claims for praise and defence, as Sidney shares it in his essay 'An Apology for Poetry': Poetry is not to be condemned for it is " the sweet food of sweetly uttered knowledge ".
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