Deep in my hidden country stands a peak, and none hath known its name and none, save I, hath even skill to seek: thence my wild spirit came.…
Christopher John Brennan was an Australian poet and scholar. Biography Brennan was born in Sydney, to Christopher Brennan (d.1919), a brewer, and his wife Mary Ann (d.1924), née Carroll, both Irish immigrants. His education took place at two schools in Sydney: he first attended St Aloysius' College, and after gaining a scholarship from Patrick Moran, he boarded at St Ignatius' College, Riverview. Brennan entered the University of Sydney in 1888, taking up studies in the Classics, and won a travelling scholarship to Berlin. There he met his future wife, Anna Elisabeth Werth; there, also, he encountered the poetry of Stéphane Mallarmé.About this time, he decided to become a poet. In 1893 Brennan's article "On the Manuscripts of Aeschylus" appeared in the Journal of Philology, Brennan began forming a theory about the descent of Aeschylus' extant manuscripts in 1888. Returning to Australia, Brennan took up a position as a cataloguer in the public library, before being given a position at the University of Sydney. In 1914, he produced his major work, Poems: 1913. After Brennan's marriage broke up in 1922, he went to live with Violet Singer, the 'Vie' of his later poems, and, as a result of both his divorce and increasing drunkenness, he was removed from his position at the University in June 1925. The death of Violet Singer in an accident left him distraught, and he spent most of his remaining years in poverty. Brennan died in 1932, after developing cancer. Brennan was not a lyric poet. It was not emotion that drove his work, rather, it displays at its best an architectural, and mythological resonance that informs it. His chief work was designed to be read as a single poem, complete, yet formed of smaller works. It covers not only the basic details of his life, such as his wooing of his wife in the early portions, but also human profundities through mythology, as in the central Lilith section, and the Wanderer sequence. As such, it is among the most widely discussed works of Australian poetry, judging from the prominence of criticism about it and Brennan. Brennan belonged to no particular group in Australian literature. Neither a balladist, nor a member of the emergent "Vision" school, his closest affinities are with the generation of the 1890s, such as Victor Daley. This is not surprising since the bulk of his work was produced during this period. However his importance in Australian letters rests upon the seriousness he approached his task as a poet and his influence upon some later poets, such as Vincent Buckley. Recognition Brennan influenced many of Australian the writers of his generation and who succeeded him, including R. D. FitzGerald, A. D. Hope, Judith Wright and James McAuley. In remembrance, the Fellowship of Australian Writers established the Christopher Brennan Award which is presented annually to an Australian poet, recognising a lifetime achievement in poetry. Brennan Hall and Library at St John's College within the University of Sydney, the Christopher Brennan building in the University's Arts Faculty, and the main library at Saint Ignatius' College, Riverview are named in his honour.)
Christopher John Brennan şiirleri
And does she still perceive, her curtain drawn, white fields, where maiden Dawn is anguish'd with the untold approach of joy? or in the wooing forenoon softly pass…
And shall the living waters heed our vain desire, insensate Art! and fill the common dust I knead upgather'd from the trodden mart?…
An hour's respite; once more the heart may dream: the thunderwheels of passion thro' the eve, distantly musical, vaporously agleam, about my old pain leave…
Autumn: the year breathes dully towards its death, beside its dying sacrificial fire; the dim world's middle-age of vain desire is strangely troubled, waiting for the breath…
If questioning would make us wise No eyes would ever gaze in eyes; If all our tale were told in speech No mouths would wander each to each.…
Black on the depths of blackest skies whence even the levin seems withdrawn, the cities threaten: burning eyes ask what dread hand hath slain the dawn.
Come out, come out, ye souls that serve, why will ye die? or will ye sit and stifle in your prison-homes dreaming of some master that holds the winds in leash and the waves of dark…
Dawns of the world, how I have known you all, so many, and so varied, and the same! dawns o'er the timid plains, or in the folds of the arm'd hills, or by the unsleeping shore;…
Deep mists of longing blur the land as in your late October eve: almost I think your hand might leave its old caress upon my hand —…
Dies Dominica! the sunshine burns strong incense on the breathing fields of morn: lucid, intense, all colour towards it yearns that souls of flowers on the air are born.…
Droop'st thou and fail'st? but these have never tired; winds of the region, free, they shine and sing, unurged, unguerdon'd: hast thou then desired to be with them and trail'st a u…
Each day I see the long ships coming into port and the people crowding to their rail, glad of the shore: because to have been alone with the sea and not to have known of anything h…
The droning tram swings westward: shrill the wire sings overhead, and chill midwinter draughts rattle the glass that shows the dusking way I pass…
Fire in the heavens, and fire along the hills, and fire made solid in the flinty stone, thick-mass'd or scatter'd pebble, fire that fills the breathless hour that lives in fire alo…
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