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- Herausgeber: Booksell-Verlag
- Kategorie: Poesie und Drama
- Sprache: Englisch
In "A Lover's Diary, Complete," Gilbert Parker intricately weaves a tapestry of love, longing, and introspection, capturing the nuanced complexities of romantic relationships through the lens of a poetic diary. The narrative is rich in its lyrical prose, characterized by Parker's keen observational skills and deep emotional resonance. Rooted in the early 20th century literary context, it reflects the era's evolving perspectives on love and individuality, as well as the modernist inclination towards introspection and subjective experience. Through a series of intimate entries, Parker masterfully articulates the joys and sorrows of love, encouraging readers to reflect on their own experiences of passion and heartache. Gilbert Parker, a Canadian author and politician, crafted this work amidst a backdrop of personal and societal change, drawing from his own romantic trials and triumphs. Having traveled widely and experienced various cultures, Parker'Äôs perspectives were deeply influenced by his encounters and the prevailing zeitgeist of his time. His literary career, marked by a blend of fiction and biography, uniquely positioned him to explore the intricate dance of love within the parameters of societal expectations and personal fulfillment. "A Lover's Diary, Complete" invites readers to delve into their own hearts and minds, encouraging a profound engagement with the text. It is a compelling exploration of the universal themes of love and longing, making it an essential read for anyone seeking to understand the depths of human emotion. Parker's eloquent prose and reflective insights render this work not only a literary gem but also a mirror reflecting the ever-timeless nature of love.
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Veröffentlichungsjahr: 2019
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A Lover's Diary, Complete
Table of Contents
INTRODUCTION
‘A Lover’s Diary’ has not the same modest history as ‘Embers’. As far back as 1894 it was given to the public without any apology or excuse, but I have been apologising for it ever since, in one way—without avail. I wished that at least one-fifth of it had not been published; but my apology was never heard till now as I withdraw from this edition of A Lover’s Diary some twenty-five sonnets representing fully one-fifth of the original edition. As it now stands the faint thread of narrative is more distinct, and redundancy of sentiment and words is modified to some extent at any rate. Such material story as there is, apart from the spiritual history embodied in the sonnets, seems more visible now, and the reader has a clearer revelation of a young, aspiring, candid mind shadowed by stern conventions of thought, dogma, and formula, but breaking loose from the environment which smothered it. The price it pays for the revelation is a hopeless love informed by temptation, but lifted away from ruinous elements by self-renunciation, to end with the inevitable parting, poignant and permanent, a task of the soul finished and the toll of the journey of understanding paid.
The six sonnets in italics, beginning with ‘The Bride’, and ending with ‘Annunciation’, have nothing to do with the story further than to show two phases of the youth’s mind before it was shaken by speculation, plunged into the sadness of doubt and apprehension, and before it had found the love which was to reveal it to itself, transform the character, and give new impulse and direction to personal force and individual sense. These were written when I was twenty and twenty-one years of age, and the sonnet sequence of ‘A Lover’s Diary’ was begun when I was twenty-three. They were continued over seven years in varying quantity. Sometimes two or three were written in a week, and then no more would be written for several weeks or maybe months, and it is clearly to be seen from the text, from the change in style, and above all in the nature of the thought that between ‘The Darkened Way’, which ends one epoch, and ‘Reunited’, which begins another and the last epoch, were intervening years.
The sonnet which begins the book and particularly that which ends the book have been very widely quoted, and ‘Envoy’ has been set to music by more than one celebrated musician. Whatever the monotony of a sonnet sequence (and it is a form which I should not have chosen if I had been older and wiser) there has been a continuous, if limited, demand for the little book. As Edmund Clarence Stedman said in a review, it was a book which had to be written. It was an impulse, a vision, and a revealing, and, in his own words in a letter to me, “It was to be done whether you willed it or no, and there it is a truthful thing of which you shall be glad in spite of what you say.”
