By Castillo, Ana; Cortázar, Julio; Keats, John; Poe, Edgar Allan; Cortázar, Julio; Poe, Edgar Allan; Keats, John
The Argentinian author Julio Cortázar was once in actual fact prompted via his predecessors John Keats and Edgar Allan Poe. despite the fact that, to what volume? Which points of the 2 Romantics were stored and which of them reworked by means of Cortázar’s mind's eye? And is there a typical bond within the works of Keats and Poe that is additionally the typical denominator for his or her works? And why those specific pictures, topics, or principles? This books attempts to respond to a lot of these questions and is of curiosity to every body who desires to understand extra approximately Cortázar
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Extra info for Keats, Poe, and the shaping of Cortázar's mythopoesis
192). " Lycius soon tires of Lamia's unworldly bliss and longs to return to the world, for Love in a palace is perhaps at last More grievous torment than a hermit's fast: — (II, 11. 3 4 ) As Lycius listens to the sounds of trumpets outside the palace, he is reminded of "the noisy world almost forsworn" (II, 1. 33) and attempts to convince Lamia to leave the palace and announce their love to the rest of the world. As Lamia, grown weak and frightened at the thought of losing Lycius, pleads with him, trying to change his mind, his behavior towards her takes a sadistic turn.
The poem was written at an important point in Keats's life; his brother Tom had died shortly before, and he had recently met Fanny Brawne, who was destined to play a crucial role in Keats's life. ^O Coleridge's "Christabel"— conceived in a similar mood—presents an analogous mysterious atmosphere where legend blends with nightmare. Moreover, the story of Tom Keats's own infatuation with the fictitious "Amena" of the love letters seems to have been in the back of Keats's mind. Keats—who had received the packet of "Amena's" letters shortly before—was convinced that this painful episode had contributed to accelerate his brother's death.
Somoza, introverted and obsessive, sublimates his desire for Thérèse (his friend's wife and, as such, "taboo") by translating it into the desire to enter the world of the goddess Haghesa, whose statuette he has unearthed. But this goddess is the ruler of the dead; her rituals demand that he become her high priest, the one who will carry out the ritual sacrifices in her honor. Somoza, in his obsession, succumbs to the onrush of "ancestral memories," and gradually abandons his modern identity as he passes into Haghesa's own time.