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Alcools par Guillaume ApollinaireAlcools est un recueil de poèmes de Guillaume Apollinaire, paru en 1913.Ce recueil, qu'Apollinaire mit 15 ans à élaborer, annonce la quête de modernité, de jeu avec la tradition, de renouvellement formel de la poésie de l'auteur. Alcools est un recueil pluriel, polyphonique, qui explore de nombreux aspects de la poésie, allant de l'élégie au vers libre, mélangeant le quotidien aux paysages rhénans dans une poésie qui se veut expérimentale, alliant une presque perfection formelle et une grande beauté à un hermétisme, un art du choc, de l'électrochoc, qui valut à Apollinaire d'être qualifié de mystificateur. Alcools montre le poète déchiré par ses ruptures amoureuses (avec Annie Playden, avec Marie Laurencin), ruptures qui résonnent au travers de poèmes tels que Mai, Les Colchiques et, surtout, La Chanson du mal-aimé.Apollinaire abolit la temporalité interne (classique mise en vigueur par Ronsard) au sein de ses poèmes, le passé, le présent, le futur se mêlent en un seul et même univers de vin et d'ivresse. Le poète distille aussi l'espace, en mettant en scène l'univers de son enfance. Il modifie la perception poétique classique du temps et de l'espace : La Chanson du mal-aimé, Zone. Il se distingue comme le dieu poète en établissant une cosmogonie personnelle. Il réécrit les mythes fondateurs avec Orphée. Il se réclame d'Apollon. Mais il réinvente aussi la forme poétique dans son style : il détruit la conception classique syntaxique de Ronsard. Il est le précurseur du surréalisme, il consacre une nouvelle poésie d'ivresse et de mythes.C'est après avoir assisté à une lecture par Blaise Cendrars de sa future publication, La Prose du Transsibérien et de la petite Jehanne de France, qu'Apollinaire aurait décidé de transformer à son tour son futur recueil. Il y plaça Zone en ouverture, ce qui lui donna valeur de manifeste, et supprima toute trace de ponctuation, s'inspirant de l'innovation de Cendrars. Alcools ayant été publié avant la Prose du Transsibérien, on attribue souvent à tort la primeur de la suppression de la ponctuation à Apollinaire. Selon lui, en poésie, le rythme du vers et de la respiration suffisent. Au-delà de cette considération, cette suppression lui permit de faire naître des images inédites en rapprochant certains termes comme par accident. On pense par exemple au vers de Zone : Ils croient en Dieu ils prient les femmes allaitent des enfants où, dans une première lecture, à cause de l'utilisation transitive du verbe croire , l'absence de ponctuation conduit à lire le verbe prier comme étant lui aussi transitif, les femmes apparaissant alors comme complément d'objet direct du verbe. Ce procédé crée également des ambiguïtés de sens, enrichissant les lectures possibles.

The Divine Comedy is a long Italian narrative poem by Dante Alighieri, begun c. 1308 and completed in 1320, a year before his death in 1321. It is widely considered to be the pre-eminent work in Italian literature[1] and one of the greatest works of world literature.[2] The poem's imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church by the 14th century. It helped establish the Tuscan language, in which it is written, as the standardized Italian language.[3] It is divided into three parts: Inferno, Purgatorio, and Paradiso.The narrative takes as its literal subject the state of souls after death and presents an image of divine justice meted out as due punishment or reward,[4] and describes Dante's travels through Hell, Purgatory, and Paradise or Heaven,[5] while allegorically the poem represents the soul's journey towards God,[6] beginning with the recognition and rejection of sin (Inferno), followed by the penitent Christian life (Purgatorio), which is then followed by the soul's ascent to God (Paradiso). Dante draws on medieval Roman Catholic[7][8][9][10][11] theology and philosophy, especially Thomistic philosophy derived from the Summa Theologica of Thomas Aquinas.[12] Consequently, the Divine Comedy has been called "the Summa in verse".[13] In Dante's work,[14] the pilgrim Dante is accompanied by three guides:[4] Virgil (who represents human reason),[15] Beatrice (who represents divine revelation,[16] theology, faith, and grace),[17] and Saint Bernard of Clairvaux (who represents contemplative mysticism and devotion to Mary).[18] Erich Auerbach said Dante was the first writer to depict human beings as the products of a specific time, place and circumstance as opposed to mythic archetypes or a collection of vices and virtues; this along with the fully imagined world of "The Divine Comedy", different from our own but fully visualized, suggests that the Divine Comedy could be said to have inaugurated modern fiction[citation needed].The work was originally simply titled Comedìa (pronounced [kome¿di¿a]; so also in the first printed edition, published in 1472), Tuscan for "Comedy", later adjusted to the modern Italian Commedia. The adjective Divina was added by Giovanni Boccaccio, and the first edition to name the poem Divina Comedia in the title was that of the Venetian humanist Lodovico Dolce,[19] published in 1555 by Gabriele Giolito de' Ferrari.

Lesley Castle (Jane Austen)This is a parodic-humorous piece from Jane Austen's Juvenilia (like Frederic & Elfrida, Jack & Alice, or Love and Freindship). From the dates given to the letters, Lesley Castle was probably written in early 1792 (when she was 16). It contains some amusing bits, but may be slightly confusing overall, since Jane Austen introduces a number of separate sub-plots and supporting characters. For this reason, I wasn't motivated enough to scan in the whole thing, but only certain selected portions (cutting away a few of the sub-plots but retaining most of the funnier parts).My Brother has just left us. "Matilda (said he at parting) you and Margaret will I am certain take all the care of my dear little one, that she might have received from an indulgent, and affectionate and amiable Mother." Tears rolled down his cheeks as he spoke these words-the remembrance of her, who had so wantonly disgraced the Maternal character and so openly violated the conjugal Duties, prevented his adding anything farther he embraced his sweet Child and after saluting Matilda and Me hastily broke from us and seating himself in his Chaise, pursued the road to Aberdeen. Never was there a better young Man! Ah! how little did he deserve the misfortunes he has experienced in the Marriage state. So good a Husband to so bad a Wife! for you know my dear Charlotte that the Worthless Louisa left him, her Child and reputation a few weeks ago in company with Danvers and dishonour. Never was there a sweeter face, a finer form, or a less amiable Heart than Louisa owned! Her child already possesses the personal Charms of her unhappy Mother! May she inherit from her Father all his mental ones! Lesley is at present but five and twenty, and has already given himself up to melancholy and Despair what a difference between him and his Father! Sir George is 57 and still remains the Beau, the flighty stripling, the gay Lad, and sprightly Youngster, that his Son was really about five years back, and that HE has affected to appear ever since my remembrance. While our father is fluttering about the streets of London, gay, dissipated, and Thoughtless at the age of 57, Matilda and I continue secluded from Mankind in our old and Mouldering Castle, which is situated two miles from Perth on a bold projecting Rock, and commands an extensive veiw of the Town and its delightful Environs. But tho' retired from almost all the World, (for we visit no one but the M'Leods, The M'Kenzies, the M'Phersons, the M'Cartneys, the M'Donalds, The M'kinnons, the M'lellans, the M'kays, the Macbeths and the Macduffs) we are neither dull nor unhappy on the contrary there never were two more lively, more agreable or more witty girls, than we are not an hour in the Day hangs heavy on our Hands.