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In the poetry of Daud Kamal, water figures as an image of mercy, as in the Quran, and as a mirror that reflects a divine hidden presence. The rock pool evokes the memory of Gandhara and other foundational civilizations born in love and creative ferment. Conversely, the images of drought, heat, and dust symbolize a parched spiritual order. The river, a recurring archetypal image in Kamal’s poetry, represents the fluid self that is subsumed into collective identity to become a poetic distillate of history.
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In his youth Blas de Otero was a very perceptive reader of the poetry of Saint John of the Cross. Evidence of his reading are clearly visible in his first book of poems, which has the same title as one of the three most important mystical poems written by the aforementioned Carmelite mystic: The Spiritual Canticle. The aim of this article is to investigate the poetic language of Blas de Otero’s Spiritual Canticle and describe the way it was influenced by the poetics of Saint John of the Cross.
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The aim to the note is to examine two poems featuring the mountains — the Beskidy and the Pieniny ranges.Both poems — “Z gór” (From the mountains) and “Spowiedź Dunajca” (Confession of the Dunajec) — come from an 1872 volume, Oderwane nuty (Torn Notes) by a forgotten poet of the positivism era, Aleksandra Korpaczewska (1849–1872). The image of the mountains created by Korpaczewska testifies to the poet’s romantic inspirations and fascination with the natural world. The poetic vision of the scenery she describes features topographic and cultural realities; there are clear references to various sensations, which play a significant role in the experience of the mountains. Their varied beauty is presented by various stylistic means — especially numerous comparisons and anthropomorphisation. Given the forgotten status of both poems and their historical-literary value, it is worth bringing them back from obscurity and devoting more attention to them in the future.
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