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网友对Love Songs (免费公版书)的评论
棒棒棒！双十一送爱看书的男朋友，超级喜欢，放包里随身携带很方便
诗写得很有意思，有共鸣，不少小诗都令人会心一笑。很喜欢。
这本书是英文原版的Kindle上是免费公版书。诗写得very good,每一句我都自己理解,作笔记,收获更多英语词汇。
宝贝不错，白色超有型
First off, I mostly wanted to write this brief review in order to address the quality of this edition as a Kindle freebie download. It is a transcription of the 1918 reprinting of the 1917 original. A few of the poems were slightly changed between the two editions, but not in a fashion that detracts or is of other than strict academic/scholarly interest. It is important to note that the Table of Contents is not active. Of more importance, the formatting is very challenging. All of the titles in the Table of Contents run together. The poems are broken into stanzas, but all of the lines run together within each stanza. Since Teasdale ended most lines with a comma, semi-colon or dash you can actually read the poems without too much difficulty. I was willing to accommodate this formatting challenge, but if you are sensitive to that, be forewarned. (Also note that this volume is a bit of a collectible, so your alternative to this Kindle freebie could be only a fairly pricey hardbound edition.)
For what it's worth, and if you are mostly just a wanderer browsing for freebie poetry, I was surprised by how much I enjoyed this volume. Teasdale is sometimes dismissed as an over-the-top Victorian Romantic, with a penchant for lushly romantic and indulgent phrases, descriptions and themes. While it is true that some of these drift a little close to Hallmark territory, there are also some bracing and edgy moments, as well as some very clear eyed assessments of love, lovers and the beloved. There is also a very surprising and unexpected sense of humor behind many of the sentiments expressed. This is more mature and perceptive work than Teasdale is generally given credit for, and so ended up being a very happy find for me.
This slim volume of lyric poetry by Sara Teasdale is well worth a read by any student of American poetry. This is a woman who seems to have been completely forgotten by academia in the past fifty years; she never or rarely appears in high school or college textbooks of American literature. Yet, in her heyday back in the 1910s and 1920s she was often considered a serious rival (and often compared favorably ) to such poets as A.E. Housman and Edna St. Vincent Millay- which is no small claim to fame. Although I agree with the consensus that her work does not reach the level of a Millay and that perhaps her poetic sensibility is perhaps not quite as acute, there are poems in this volume that convey a lyric quality that- in my opinion- still deserves to be read and studied today. Perhaps she was overly estimated in her own day but the neglect and obloquy with which she is treated today seems overly harsh. She deserves rehabilitation, it seems to me. Read a few of her poems and compare them with other lyric poets of the 20th century and you be the judge.
As a lyricist and Love Ballad songwriter, I have sought a revival for lyrical, metered, precision, rhymed poetry in my writing, from a discipline where the lyrics Were the song, flowing, graceful, and moving that could make the music strongly emotional. Where lyrics were the song.
Sara Teasdale influenced me more with her haunting, forlorn, yet absolutely enchanting love poetry than all of my study of the Elizabethans like Shakespeare and Elizabeth Barrett Browning. Sara captures the soul of a love song the way it should be--every poem is a song. I have read, analyzed, and sought to emulate her lyrical style. There is a place in today's poetry cosmos for a return to precision in writing, with metered,rhyming schemes that tell a simple, yet plaintive and profound message. That is my quest. And I owe a great portion of it to Sara Teasdale, and her inspirational poetry on love, lost love, and the beauty of the quest.
Sara Teasdale's poetry is full of passion and emotion, and it speaks to the reader even today, so long after it was first published. It is sad that the very same passion undoubtedly led to her suicide in early 1933. She wrote mainly of love, nature, and death, but of course "Love Songs" which was published in 1917 focused on love, though the other major themes are sometimes also there. It was her third major work (4th overall as "Sonnets to Duse and Other Poems" from 1907 is difficult to find, unfortunately, and was not a major publication).
"Love Songs" is an unusual collection, as many of the poems are from "Helen of Troy and other Poems" and "Rivers to the Sea". Section one is mostly republished poems from these earlier works (although some of the poems have slight changes), and section three is half republished works and half new works. Sections two and four of the book are entirely new poems. This doesn't subtract from the overall impact of the work though, and this is certainly a collection worth seeking out for those who love early 20th century poetry.
This work was recognized in 1918 by the Columbia University Poetry Society (an award which was to become the Pulitzer Prize for Poetry just two years later) which was sponsored by The Poetry Society of America. Love played a major role in several of the Pulitzer works that year, as it is a significant factor in Ernest Poole's "His Family" which won the first Pulitzer for Novel (later changed to Fiction), and Jesse Lynch Williams' comedy "Why Marry?" (a.k.a. "And So They Got Married") which won the first Pulitzer for Drama. Pulitzer had not made a provision for awarding works of Poetry, so the first couple of awards were given by grants from the Poetry Society of America.
Though probably not her best work, "Love Songs" is still well worth seeking out. From the introduction, which is in and of itself a poem, to "A November Night", it is full of passion, whether it be the passion of new love, on-going love, or the loss of love, Sara Teasdale paints incredible pictures with her words. It would not be a proper review without a couple of examples:
The Look (first published in "Rivers to the Sea")
Strephon kissed me in the spring,
Robin in the fall,
But Colin only looked at me
And never kissed at all.
Strephon's kiss was lost in jest,
Robin's lost in play,
But the kiss in Colin's eyes
Haunts me night and day.
To-night (first published in "Love Songs")
The moon is a curving flower of gold,
The sky is still and blue;
The moon was made for the sky to hold,
And I for you.
The moon is a flower without a stem,
The sky is luminous;
Eternity was made for them,
To-night for us.
I highly recommend "Love Songs", though I give this book only four-stars because her later works are even better.
The format of this book is a joke. It looks like something someone threw together on Microsoft Word. All kinds of different fonts inside that look terrible together, sandwiched in a cheap, flimsy cover. There are two typos on the back so obvious it's clear it was never read through. Seriously an appalling presentation of a great poet's work.
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