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    The Verse of Alfred Lichtenstein
    The Verse of Alfred Lichtenstein
    The Verse of Alfred Lichtenstein
    Ebook79 pages43 minutes

    The Verse of Alfred Lichtenstein

    By Alfred Lichtenstein

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 26, 2013
    The Verse of Alfred Lichtenstein

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      Book preview

      The Verse of Alfred Lichtenstein - Alfred Lichtenstein

      Project Gutenberg's The Verse of Alfred Lichtenstein, by Alfred Lichtenstein

      This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net

      Title: The Verse of Alfred Lichtenstein

      Author: Alfred Lichtenstein

      Posting Date: July 26, 2009 [EBook #4369] Release Date: August, 2003 First Posted: January 18, 2002 Last Updated: February 6, 2008

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK THE VERSE OF ALFRED LICHTENSTEIN ***

      Produced by Michael Pullen

      The Verse of Alfred Lichtenstein

      (a critique by Lichtenstein himself)

      I

      Because I believe that many do not understand the verse of

      Lichtenstein, do not correctly understand, do not clearly understand—

      II

      The first eighty poems are lyric. In the usual sense. They are not much different from poetry that praises gardens. The content is the distress of love, death, universal longing. The impulse to formulate them in the cynical vein (like cabaret songs) may, for example, might have arisen from the wish to feel superior. Most of the eighty poems are insignificant. They were not presented to the public. All except one (one of the last) That is:

        I want to bury myself in the night,

        Naked and shy.

        And to wrap darknesses around my limbs

        And warm luster.

        I want to wander far behind the hills of the earth.

        Deep beyond the gliding oceans.

        Past the singing winds.

        There I'll meet the silent stars.

        They carry space through time.

        And live at the death of being.

        And among them are gray,

        Isolated things.

        Faded movement

        Of worlds long decayed.

        Lost sound.

        Who can know that.

        My blind dream watches far from earthly wishes.

      III

      The following poems can be divided into three groups. One combines fantastic, half-playful images: The Sad Man, Rubbers, Capriccio, The Patent-Leather Shoe, A Barkeeper's Coarse Complaint. (First appeared in Aktion, in Simplicissimus, in March, Pan and elsewhere). Pleasure in what is purely artistic is unmistakable.

      Examples: The Athlete: in the background is a demonstration of a view of the world. The Athlete… means that it is terrible that a man must also intellectually move his bowels.—Rubbers: a man wearing rubbers is different without them.

      IV

      The earliest poetry forms a second group:

      Twilight

      The intention is to eliminate the difference between time and space in favor of the idea of poetry. The poems want to represent the effect of twilight on the landscape.

      In this case the unity of time is necessary to a certain degree. The unity of space is not required, therefore not observed. In twelve lines the twilight is represented on a pond, tree, field, somewhere… its effect on the appearance of a young man, a wind, a sky, two cripples, a poet, a horse, a lady, a man, a young boy, a woman, a clown, a baby-carriage, some dogs is represented visually. (The expression is poor, but I can find nothing better)

      The author of the poem does not want to portray a landscape that is thought to be real. The poetic art has the advantage over painting of offering ideal images. That means—in respect to the Twilight: the fat boy who uses the big pond as a toy, and the two cripples on crutches in the field and the woman on the city street who was knocked down by a cart-horse in the half-darkness, and the poet who, filled with desperate longing, is thinking in the evening (probably looking through a skylight), and the circus clown in the

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