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Journal articles on the topic 'Classical Greek poetry'
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1
Greene, Robin J. "Post-Classical Greek Elegy and Lyric Poetry." Brill Research Perspectives in Classical Poetry 2, no. 2 (June 17, 2021): 1–130. http://dx.doi.org/10.1163/25892649-12340004.
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Abstract This volume traces the development of Greek elegy and lyric in the hands of Hellenistic and Roman-era poets, from literary superstars such as Callimachus and Theocritus to more obscure, often anonymous authors. Designed as a guide for advanced students and scholars working in adjacent fields, this volume introduces and explores the diverse body of surviving later Greek elegy and lyric, contextualizes it within Hellenistic and Roman culture and politics, and surveys contemporary critical interpretations, methodological approaches, and avenues for future study.
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Graff, Richard. "Prose versus Poetry in Early Greek Theories of Style." Rhetorica 23, no. 4 (2005): 303–35. http://dx.doi.org/10.1525/rh.2005.23.4.303.
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Abstract The rise of prose in Greece has been linked to broader cultural and intellectual developments under way in the classical period. Prose has also been characterized as challenging poetry's traditional status as the privileged expression of the culture. Yet throughout the classical period and beyond, poetry was still regularly invoked as the yardstick by which innovation was measured. This paper investigates how poetry figures in the earliest accounts of prose style. Focusing on Isocrates, Alcidamas, and Aristotle, it argues that although each author distinguishes between the styles of prose and poetry, none is able to sustain the distinction consistently. The criteria for what constitutes an acceptable level of poeticality in prose were unstable. The diverse conceptions of poetic style were tied to intellectual polemics and professional rivalries of the early- to mid-fourth century bce and reflect competing aims and ideals for rhetorical performance in prose.
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Bzinkowski, Michał, and Rita Winiarska. "Images of Sculptures in the Poetry of Giorgis Manousakis." Classica Cracoviensia 19 (December 31, 2016): 5–14. http://dx.doi.org/10.12797/cc.19.2016.01.
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The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.
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Skarbek-Kazanecki, Jan. "When poetry becomes autobiography: anecdote as an interpretative tool in the Greek classical epoch." Tekstualia 2, no. 61 (August 15, 2020): 19–36. http://dx.doi.org/10.5604/01.3001.0014.3810.
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The article discusses the role of biography in the reception of archaic poetry in the classical period. As it is illustrated by a fragment of Critias (295W), in the fi fth century B.C. the archaic poetic traditions, previously transmitted orally through performance, began to be interpreted from a biographical perspective: fi rst-person statements were mostly associated with the poets themselves and treated as a source of biographical information; in other words, archaic poetry came to be seen as a kind of autobiography. Anecdotes about poets were used to interpret the same poems which had provided the basis for these false stories: as an interpretative tool, they simplifi ed old compositions, not always clear for the reader. Until the 1980s, classical philologists often relied on false testimonies from the classical and Hellenistic era, limited by their attachment to the biographical perspective.
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Camilleri, Anna. "Byron and Antiquity, ‘Et Cetera - ’." Byron Journal 48, no. 2 (December 1, 2020): 145–56. http://dx.doi.org/10.3828/bj.2020.20.
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Byron’s interest in the classical past is manifest throughout his life and work. Alongside citations from and references to a remarkable catalogue of writers, thinkers, and historical figures, we also have extensive poetic responses to classical places, classical architecture, and to Greek and Roman art and sculpture. Yet it is clear that Byron’s classical pretentions are by no means underpinned by a thorough grasp of classical languages. His Greek in particular was extremely poor, and his Latin compositions barely better than the average eighteenth-century schoolboy’s. As I shall go on to demonstrate, this does not mean that attending to those moments when he does stray into classical allusion or composition is uninteresting, but it is Latin and not Greek that Byron engages with most frequently. Specifically, Byron’s less than proper Latin becomes a means by which he negotiates less than proper subject matter in his poetry.
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Pormann, Peter E. "Greek Thought, Modern Arabic Culture: Classical Receptions since the Nahḍa." Intellectual History of the Islamicate World 3, no. 1-2 (2015): 291–315. http://dx.doi.org/10.1163/2212943x-00301011.
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This article surveys the growing, yet largely understudied field of classical receptions in the modern Arab world, with a specific focus on Egypt and the Levant. After giving a short account of the state of the field and reviewing a small number of previous studies, the article discusses how classical studies as a discipline fared in Egypt; and how this discipline informed modern debates about religous identity, and notably views on the textual history of the Qurʾān. It then turns to three literary genres, epic poetry, drama, and lyrical poetry, and explores the reception of classical literature and myth in each of them. It concludes with an appeal to study this reception phenomenon on a much broader scale.
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Agosti, Gianfranco. "Literariness and Levels of Style in Epigraphical Poetry of Late Antiquity." Ramus 37, no. 1-2 (2008): 191–213. http://dx.doi.org/10.1017/s0048671x00004975.
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Nowadays, scholars usually speak of a ‘renaissance’ of poetry in the Greek literature of late antiquity, underlining at the same time the new relevance of poetic communication in late antique society and the renewal of our interest in this not so well-known production of late Greek literature. Renaissance and related terms are, of course, effective ways to describe the flowering of Greek poetry from the fourth to sixth centuries CE, so long as this does not undervalue the importance of continuity (which is not the same as tradition). Even the most significant innovation in late antique Greek poetry, namely the so-called ‘Nonnian manner’ or ‘modern style’, stems from a longtime sedimentation and perfectioning of linguistic and stylistic features which can be traced back to the Hellenistic age. Albert Wifstrand, in his seminal book of 1933, already pointed to this major fact, which Mary Whitby has systematically dealt with in an important article of 1994. Moreover, recent studies demonstrate that for a proper understanding of late antique poetry one must take into account Christian poetic production as well, which stands four-square within the traditions of Greek literature (in spite of the fact that classical = pagan is an equation which dies hard for some classicists). In the present paper both pagan and Christian epigrams will be considered to equally represent the aesthetics of late antiquity (or estetica antico-bizantina, to use Averincev's terminology).
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Fearn, David. "Greek Lyric of the Archaic and Classical Periods." Brill Research Perspectives in Classical Poetry 1, no. 1 (December 19, 2019): 1–113. http://dx.doi.org/10.1163/25892649-12340001.
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Abstract What is distinctive about Greek lyric poetry? How should we conceptualize it in relation to broader categories such as literature / song / music / rhetoric / history? What critical tools might we use to analyze it? How do we, should we, can we relate to its intensities of expression, its modes of address, its uses of myth and imagery, its attitudes to materiality, its sense of its own time, and its contextualizations? These are the questions that this discussion seeks to investigate, exploring and analysing a range of influential methodologies that have shaped the recent history of the field.
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Phillips, Tom. "Unapprehended relations." Classical Receptions Journal 12, no. 1 (January 1, 2020): 109–27. http://dx.doi.org/10.1093/crj/clz024.
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Abstract This article addresses P.B. Shelley’s ‘Hymn to Mercury’ and allusions to classical literature in ‘Ode to Liberty’. Congruities emerge between Shelley’s poetic practice, his conception of poetry’s social role, and his understanding of the relationship between antiquity and the present. When translating and reshaping ancient Greek poetry, he brings to the surface morally significant features of that poetry which only emerge in the dialogues that his writing creates. In doing so, he enacts literary history as a process that both reflects and enables expansions of the moral imagination.
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Bowie, Ewen L. "Greek Table-Talk before Plato." Rhetorica 11, no. 4 (1993): 355–71. http://dx.doi.org/10.1525/rh.1993.11.4.355.
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Abstract: This essay analyses conversation at archaic and classical Greek banquets and symposia, using first epic, then elegiac and lyric poetry, and finally Old Comedy. Epic offers few topics, mostiy arising from the situation of a guest. Those of sympotic poetry, from which prose exchanges may cautiously be inferred, are more numerous:reflection, praise of the living and the dead, consolation of the bereaved, proclamations of likes and dislikes, declarations of love,narrative of one's own erotic experiences or (scandalously) of others',personal criticism and abuse, and the telling of fables. Many of these verbal interventions are competitive. Comedy reinforces the prevalence of an ethos of entertainment, corroborating the telling of fables and adding creditable anecdotes about one's career, singing skolia,and playing games of "comparisons" and riddles.
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Shamsuddin, Salahuddin Mohd, and Siti Sara Binti Hj Ahmad. "Theatrical Art in Classical European and Modern Arabic Literature:." International Educational Research 1, no. 1 (June 14, 2018): p7. http://dx.doi.org/10.30560/ier.v1n1p7.
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No doubt that Classical Arabic Literature was influenced by Greek Literature, as the modern Arabic literature was influenced by European Literature. The narrative poetry was designed for the emergence of theatrical poetry, a poetry modeled on the model of the story with its performance in the front of audience. This style was not known as Arabic poetry, but borrowed from the European literatures by the elite of poets who were influenced by European literatures looking forward to renew the Arabic poetry. It means that we use in this article the historical methodology based on the historical relation between European and Arabic literature in the ancient and modern age.
The first who introduced the theatrical art in Arab countries was Mārūn al-Niqqāsh, who was of a Lebanese origin. He traveled to Italy in 1846 and quoted it from there. The first play he presented to the Arab audience in Lebanon was (Miser) composed by the French writer Molière, in late 1847.
It is true that the art of play in Arabic literature at first was influenced by European literatures, but soon after reached the stage of rooting, then the artistic creativity began to emerge, which was far away from the simulation and tradition.
It is true also that European musical theatres had been influenced later by Arabic literature and oriental literatures. European musical theatres (ʿAlāʾ al-Dīn and the magical lamp), the play (Māʿrūf Iska in Cairo) and the musical plays of (Shahrzād) are derived from (One thousand and one Nights).
This study aims to discover the originality of theatrical art in modern Arabic literature. Therefore it is focused on its both side: Its European originality and its journey to Arab World, hence its artistic characteristics in modern Arabic literature. We also highlight its journey from the poetic language to the prose.
12
Markley, A. A. "Tennyson's Classical Dramatic Monologues and the Approximation of Greek and Latin Poetry." Victorian Review 25, no. 1 (1999): 35–49. http://dx.doi.org/10.1353/vcr.1999.0002.
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Makhortova, Varvara. "Classical Antiquity in the Poetry of Sophia de Mello Breiner Andresen." Stephanos Peer reviewed multilanguage scientific journal 44, no. 6 (December 30, 2020): 96–102. http://dx.doi.org/10.24249/2309-9917-2020-44-6-96-102.
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The article analyses the influence of Ancient Greek philosophy and mythology, noticeable in the poetry of Sophia de Mello Breyner Andresen. The results of the analysis show that Sophia de Mello’s poetry, seemingly non-philosophic, is based on the ideas close to the theories proposed by ancient philosophers from Pre-Socratics philosophers to Socrates, Plato and Aristotle. The ideas of the unity between the human being and the Universe, as well as Plato’s theory of the Truth, the Good and the Beauty gain the special importance for the Portuguese writer. The ancient myths are reinterpreted by Sophia de Mello. The Ancient Greece is represented as the symbol of harmony between the human being and the Nature.
14
Spelman, Henry. "SCHOOLS, READING AND POETRY IN THE EARLY GREEK WORLD." Cambridge Classical Journal 65 (August 28, 2019): 150–72. http://dx.doi.org/10.1017/s1750270519000046.
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This essay explores the practices through which a thin stratum of society acquired deep experience with written literature in the early Greek world. Combining a pessimistic view about the popularity of schools with an optimistic view about the stability of institutional patterns, I argue that from an early date elite ideology valorised education through the intensive study of certain written texts. Schools thus worked to institutionalise an enduring and important connection between economic capital and cultural capital acquired through reading and performing poetry. It was in the Classical period, if not before, that the interconnected practices of literate education and literary reading acquired their distinctive social character. Fully understanding the complex interface between orality and literacy in the early Greek world entails understanding some highly literate subcultures on their own terms.
15
James, Alan, Harold Tarrant, and Lindsay Watson. "The Cambridge history of classical literature, volume I, parts 1 (Early Greek poetry)." History of European Ideas 14, no. 3 (May 1992): 427. http://dx.doi.org/10.1016/0191-6599(92)90218-2.
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Verbeke, Demmy. "On Knowing Greek (and Latin): Classical Elements in the Poetry of Stevie Smith." International Journal of the Classical Tradition 16, no. 3-4 (November 26, 2009): 467–83. http://dx.doi.org/10.1007/s12138-009-0133-3.
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Skarbek-Kazanecki, Jan. "Greek symposion as a space for philosophical discourse: Xenophanes and criticism of the poetic tradition." Tekstualia 1, no. 56 (July 21, 2019): 35–52. http://dx.doi.org/10.5604/01.3001.0013.3286.
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The aim of the present article is to discuss the relation between the philosophy and poetry in archaic Greece on the example of Xenophanes of Colophon (6th century BC), the poet best known for a critique of anthropomorphic imagery of the traditional religion. The initial problem lies in understanding the performative aspect of the elegiac poems of Xenophanes; analysis of the fragment 1W and 2W has revealed that the Xenophanes’ literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question, wiz. how the poetic fragments fi t with the Xenophanes’ compositions in which he attacks the traditional beliefs and poetic ideas of Homer or Hesiod. The particular focus has been on the fragments of elegies that are presumed to belong to the collection named Sylloi: as the author has suggested, the critique of traditional mythical narratives, as well as undermining the authority of other poets, can be interpreted as an expression of performative practices functioning at the symposia of the archaic and classical epochs. By removing the division between the „philosophy” and „poetry”, the different aspects of Xenophanes’ fragments start to coincide with the phenomenon of ancient symposium, understood as a space for the intellectual competition.
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THOMAS, ROSALIND. "Performance and written literature in Classical Greece: envisaging performance from written literature and comparative contexts." Bulletin of the School of Oriental and African Studies 66, no. 3 (October 2003): 348–57. http://dx.doi.org/10.1017/s0041977x03000247.
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This paper examines the nature of performance literature in Ancient Greece, comparing it with other modern and medieval examples. It concentrates on archaic Greek ‘song culture’, and especially choral praise poetry. It discusses the social and cultural significance of the original performances and, drawing on comparative examples, investigates the ‘gap’ between performance and text, possible cultural explanations and interpretations of ‘difficult’ performed literature—particularly competitive and religious—which stand out in comparison to performance literatures elsewhere.
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Brumbaugh, Michael E. "THE GREEK ὝΜΝΟΣ: HIGH PRAISE FOR GODS AND MEN." Classical Quarterly 69, no. 1 (May 2019): 167–86. http://dx.doi.org/10.1017/s0009838819000624.
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Over a hundred instances of the word ὕμνος from extant archaic poetry demonstrate that the Greek hymn was understood broadly as a song of praise. The majority of these instances comes from Pindar, who regularly uses the term to describe his poems celebrating athletic victors. Indeed, Pindar and his contemporaries saw the ὕμνος as a powerful vehicle for praising gods, heroes, men and their achievements—often in service of an ideological agenda. Writing a century later Plato used the term frequently and with much the same range. A survey of his usage reveals instances of ὕμνοι for gods, daimones, heroes, ancestors, leading citizens, noble deeds, sites and landscapes. Despite abundant evidence of Plato's own practice, studies of the Greek hymn posit an extreme narrowing of the genre in the classical period and cite the philosopher as the sole witness to, if not the originator of, this development. Two passages in particular, one from the Republic and one from the Laws, are seen to support the claim that by the fourth century b.c.e. the term ὕμνος refers exclusively to songs for gods. In Republic Book 10, we find the memorable edict on poetic censorship: ‘But we must know that of poetry only ὕμνοι for the gods and ἐγκώμια for the good must be admitted into our city.’ Laws Book 3 offers what appears to be an even more straightforward pronouncement: ‘Back then our music was divided according to its various types and arrangements; and a certain type of song was prayers to the gods, and these were called by the name ὕμνοι.’ From these two statements has arisen the consensus that Plato saw a divine recipient as the defining feature of the ὕμνος and, moreover, that this position reflects the communis opinio from at least the fourth century b.c.e. onward.
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Moula, Evangelia E., and Konstantinos D. Malafantis. "Homer’s Odyssey: from classical poetry to threshold graphic narratives for dual readership." Journal of Literary Education, no. 2 (December 6, 2019): 52. http://dx.doi.org/10.7203/jle.2.13779.
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This article’s focus is some unconventional adaptations of the Odyssey in graphic language, belonging to the threshold literary field and contextualized in different historical and cultural milieus. Since ancient Greek literature in general and Homer in particular, ceased to be considered as sacred scripts, they discarded the centuries-long formalistic and idealistic approach and served as a vehicle for criticism or as a mirror of each receiving culture’s present. The kind of relation established between each adaptation and its pre-text is defined by the inscribed meta-narratives in its body. The graphic adaptations under discussion, countercultural, demystifying or even subversive, participate in the so called “cross-audience phenomenon”, addressing a dual readership, both children and adults. They aim at undermining the heroic ethos, provoking skepticism and criticizing allusively the contemporary politics. They also trivialize the original by means of humorous, satiric or ironic imitation. This way they facilitate dialogue between past and present, by creating a contact zone within which pluralism is the major trait.
Key words: The Odyssey, classics’ reception, comic book adaptations, threshold literature, pluralism
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Hedreen, Guy. "Image, Text, and Story in the Recovery of Helen." Classical Antiquity 15, no. 1 (April 1, 1996): 152–84. http://dx.doi.org/10.2307/25011034.
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Ancient Greek visual representations of the recovery of Helen by Menelaos are generally thought to depend closely on two distinct poetic sources. This paper argues that this belief is untenable. The principal theoretical assumption underlying it, that there will always be a close fit between ancient Greek poetic and artistic representations of a given story, is not the only conceivable relationship between poetry and art in Archaic and Early Classical Greece. The empirical evidence advanced to support the belief, the occurrence of similar motifs in both the poetic sources and the visual representations, is strained: scholars have read into the pictures motifs or intentions, including nudity and seduction, that are known from literature but have not been given unambiguous visual form in the pictures. This paper argues that the relationship between the artistic and literary representations of the recovery of Helen is much more distant and less direct than most scholars have thought. The same general story underlies all the pictorial representations of the subject in the Archaic and Early Classical periods, but no specific poetic source was necessarily behind the story circulating among the artists. This study draws attention, in particular, to methods of storytelling that are unique to the visual arts. It addresses in detail one of the most striking and problematic aspects of the iconography of the recovery of Helen, the variety of physical settings of the event, and argues that the pictorial elements of setting provide important narrative information that verbal narratives would convey in a different way.
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SHIJA, Terhemba. "Tragedy and its Cathartic Effect in Tiv Praise Poetry: A Reflection on Misery and Death in the Praise Poetry of Obadiah Kehemen Orkor." Nile Journal of English Studies 1, no. 1 (March 7, 2016): 67. http://dx.doi.org/10.20321/nilejes.v1i1.38.
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<p>There is an ironic sense of fatalism in the Praise Poetry of the Tiv people which is created to elicit honour, heroism and success. It is an art form that evokes extreme emotions but also purges them in a manner that puts the reader or hearer in control of himself.</p><p>This paper examines a selection of oral poems by Obadia Orkor from Ukum district of Benue State to prove that Tiv art is a secular craft that seeks rational interpretation of man’s tragic fate in the same manner Greek tragedies did in classical times.</p>
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D’Alessio, Giovan Battista. "The Problem of the Absent I." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 42, no. 1 (November 12, 2020): 1–30. http://dx.doi.org/10.1163/17246172-40010032.
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Abstract One of the greatest paradoxes of ancient Greek lyric poetry is its fundamental tension between the vivid evocation of a performance communicative context and the capability of the text to transcend the context itself. A key aspect of this is the way in which language can exploit both poles of this tension: the presentness of the performance and the transcendence of the text. This is a source of crucial interpretative problems, as well as of complex expressive potentialities. The focus of this paper is to examine some of the ways in which the shift of the use of first person indexicals serves the dialogue between text and performance, proceeding through three stages. In the first place I briefly analyze some different genres of discourse (drama, epistle, lyric) that in Archaic and Classical Greek display a complex use of indexicality calling attention to the ‘mediated’ nature of the communication process (§ 2). In the second stage I revise some examples of ‘mediated’ indexicality in Greek lyric in general (§ 3) and in Pindaric poetry in particular (§ 4). In the third stage I locate these cases within a wider comparative approach, exploring a suitable theoretical explanation of this important feature (§ 5).
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CORTÉS GARCÍA, Manuel. "Algunas consideraciones sobre estética musical árabe." Revista Española de Filosofía Medieval 6 (October 1, 1999): 131. http://dx.doi.org/10.21071/refime.v6i.9665.
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At the beginning, the poetry was considered as the genesis of the arabic art, and after then the prose of adab, both of them appeared with the idea of the "beauty science". This idea would be projected on the music. On the other hand, the greek heritage of the classic arabic philosophy legacy was reflected during the first manuscripts of the arabic philosophers and musical theoreticians as al-Kindf (s.IX) and al-Farabf (s.X), as a result appeared a new conception of the "beauty" and "aesthetic". By this way, taking as a point of reference the greek classical world, the new parameters would appear as an result of this own reality and idiosyncrasy. Their poetry and musical legacy, joined to the philosopher and religious mind would complete the work of the "aesthetic musical art". The study of the arabic middle music prove that the harmony in the poetry, lingüistic and rhitmycal contents, go in parallel with the melodic content until it reached a harmonic relation and in definitive cosmic, and as a result an "aesthetic ideal". This ideal was based on "beauty" and the "aesthetic emotion" produced by the art and all that as reflet to the harmonic until the corp and the spirit and oriented to the spherical work and to the divinity.
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Battezzato, Luigi. "Pauline A. LeVen: The Many-Headed Muse. Tradition and Innovation in Late Classical Greek Lyric Poetry." Gnomon 90, no. 5 (2018): 396–400. http://dx.doi.org/10.17104/0017-1417-2018-5-396.
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Gillespie, Stuart. "A Checklist of Restoration English Translations and Adaptations of Classical Greek and Latin Poetry, 1660–1700." Translation and Literature 1, no. 1 (April 1992): 52–67. http://dx.doi.org/10.3366/tal.1992.1.1.52.
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Nelson, Stephanie. "Hesiod and Classical Greek Poetry: Reception and Transformation in the Fifth Century B.C.E by Zoe Stamatopoulou." Classical World 111, no. 3 (2018): 442–43. http://dx.doi.org/10.1353/clw.2018.0028.
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Nielsen, Rosemary M., and Robert H. Solomon. "Horace and Hopkins: The Point of Balance in Odes 3.1." Ramus 14, no. 1 (January 1985): 1–15. http://dx.doi.org/10.1017/s0048671x00005026.
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In May of 1868, less than two years after Gerard Manley Hopkins left the English Church to become a Roman Catholic and after eight months spent teaching at Newman's Oratory School in Birmingham, the classical scholar burned nearly all of his poetry; he called the act ‘the sacrifice of my innocents’. Austin Warren describes Hopkins as feeling caught through his life between conflicting desires to be a pdet and to be a saint. This strain and the anxieties it produced appear in his later poems, such as ‘The Wreck of the Deutschland’ and ‘Heaven Haven’, and in his journals and letters. In the latter he describes the emotional effect he wanted poems to have upon readers: some poems must, Hopkins asserted, ‘explode’ within the reader. Intensifying the psychological reaction of the readers of literature was one of Hopkins's aims when he created poetry, just as it was a goal when he wrote redactions of the speeches in Shakespeare's tragedies or when he chose from among variant readings for Greek drama. In September 1868, when he entered the priesthood as a Jesuit, Hopkins began a new life of personal intensity and, perhaps to his own surprise, a second poetic career. But a number of poems survived the destruction. One is his translation of Horace's Odes 3.1, the longer of the only two extant translations of complete Latin poems. As with A. E. Housman's sole surviving translation of a Latin ode, Horace's 4.7, this one reveals a profound identification with Horace, a subtle understanding of the original poem, and an intense revelation of the mind of the English writer during the period of translating. The emotional intensity, technical virtuosity and psychological richness of the translation make Hopkins's version of 3.1 a significant poem for scholars of English and classical poetry.
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Phillips, Tom. "The Many-Headed Muse: Tradition and Innovation in Late Classical Greek Lyric Poetry by Pauline A. LeVen." American Journal of Philology 136, no. 2 (2015): 357–61. http://dx.doi.org/10.1353/ajp.2015.0029.
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Yasin, Ghulam, Shaukat Ali, and Kashif Shahzad. "Resonances of greek-latin classics in the works of Fyodor Dostoevsky: a critical analysis." Acta Scientiarum. Language and Culture 43, no. 1 (April 8, 2021): e55354. http://dx.doi.org/10.4025/actascilangcult.v43i1.55354.
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This research aims to probe the classical elements in the works of Fyodor Dostoevsky and to show the author’s bent towards the classical authors and traditions. Dostoevsky is the giant literary figure of 19th-century Russian literature and he belongs not only to a particular time but to all times like many other great classic writers. The research is significant for exposing the author’s affiliation towards the epic poetry of Homer and Hesiod and the dramas of the preeminent Athenian tragedians, Aeschylus, Sophocles, and Euripides. Dostoevsky also becomes classic based on his dealings with the themes dealt by the classics like love, fight for honour, real-life presentation, the conflict between vice and virtue and the struggle of his tragic heroes to reach their goal. The research proves that Dostoevsky is a classic among the classics because of having close resonance with the classics in the art of characterization, the portrayal of tragic heroes, theme building and by including some elements of tragedy. The qualitative research is designed on the descriptive-analytic method by using the approach of Classicism presented by Mark Twain.
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Pontani, Filippomaria. "The World on a Fingernail: An Unknown Byzantine Map, Planudes, and Ptolemy." Traditio 65 (2010): 177–200. http://dx.doi.org/10.1017/s0362152900000878.
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MS Vat. Gr. 915 (bombyc., ca. 266 × 170 mm, 258 fols.) is a most interesting collection of archaic, classical, and Hellenistic Greek poetry (from Homer and Hesiod to Pindar, from Theocritus and Lycophron down to Moschus and Musaeus) put together during the early Palaeologan Renaissance, more exactly between the last years of the thirteenth century and 1311 (theterminus ante quemis provided by the subscription on fol. 258v). The contents of this codex as well as the textual facies of several of its items have led various scholars, each from a different perspective, to conclude that it was produced in the circle of Maximus Pianudes, the most outstanding Greek scholar of his age (of which he is also in a sense the “eponymous hero”); more on this will be said below in §3.
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Henderson, W. J. "Die klassiflkasie van die antieke Griekse liriekvorms." Literator 15, no. 1 (May 2, 1994): 145–58. http://dx.doi.org/10.4102/lit.v15i1.656.
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Early Greek lyric poetry was composed for and performed on specific occasions. Instead o f a general term such as our 'lyric particular forms of 'lyric’ were composed for particular occasions and for particular ways of performance. In this article such distinctions as are encountered among the poets themselves, as well as the theoretical classifications of the 'lyric' forms in the Classical period (5th to late 4th century) as exemplified by Plato and Aristotle, and in the Hellenistic or Alexandrian period (late 4th to 1st century B.C.) - as reflected, inter alia, in the Chrestomatheia of Proclus (410-485 C.E.) are examined.
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Cano-Echevarría, Berta. "Puttenham’s failed design." Cahiers Élisabéthains: A Journal of English Renaissance Studies 94, no. 1 (August 2, 2017): 57–73. http://dx.doi.org/10.1177/0184767817722368.
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Despite the popularity of Renaissance pattern poetry, this verse form was neglected in the English poetical tradition. I suggest that this lack of recognition may be explored by looking into its presentation as an oriental import, which chose to ignore its relationship with classical Greek models. The inspiration for George Puttenham’s shift of attribution from the West to the East in his Arte of English Poesie can be explained by the early modern fascination with travel writing and by Puttenham’s knowledge of the work of a fellow literary theorist, Richard Willes, and his novel poetical compositions.
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Babaee, Ruzbeh, and Wan Roselezam Wan Yahya. "Yeats’ “Leda and the Swan”: A Myth of Violence." International Letters of Social and Humanistic Sciences 27 (May 2014): 170–76. http://dx.doi.org/10.18052/www.scipress.com/ilshs.27.170.
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W. B. Yeats‟ "Leda and the Swan", first published in the Dial in 1924, is an example of Irish poetry drawing on Classical Greek and Latin texts to create a commentary on the political atmosphere in Ireland. The poem is based on the story of Leda, who was raped by Zeus in the form of a swan and later gave birth to Helen of Troy. In Yeats‟s poem, Leda represents Ireland, forcefully violated by a foreign power — Great Britain. The present study reviews mythological as well as political aspects of Yeats‟ “Leda and the Swan” and investigates the act of violence in the poem.
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Marks, Jim. "Odysseus and the Cult of Apollo at Delos." Classica - Revista Brasileira de Estudos Clássicos 29, no. 1 (March 15, 2017): 157. http://dx.doi.org/10.24277/classica.v29i1.411.
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This paper explores literary representations of the cult of Apollo on Delos. This island is, to be sure, mentioned only occasionally in early Greek poetry, but details specific to the cult do appear. Thus, for example, Odysseus describes a palm tree he saw at an altar of Apollo on Delos (Od. 6.162-3), and a third-century inscription from the island mentions just such a feature. References to a palm, altar, and temple at Delos in later classical authors, including Callimachus, Pliny, Cicero, and Plutarch, demonstrate that the Archaic period traditions represented by the Homeric passages continued to shape how successive generations of visitors understood Delos. The material record makes clear that the Greek epic tradition documents a time when Delos was already a well attended sanctuary, and that later constructions at the site attempted to remain consistent with the details preserved in the epics.
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Appiah, Kwame Anthony. "Boundaries of Culture." PMLA/Publications of the Modern Language Association of America 132, no. 3 (May 2017): 513–25. http://dx.doi.org/10.1632/pmla.2017.132.3.513.
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So begins Constantine Cavafy's classic poem of November 1898, “Waiting for the Barbarians,” in Edmund Keeley and Philip Sherrard's assured translation. Cavafy was a writer who tested all manner of boundary conditions. His every identity came with an asterisk. He was a Greek who never lived in Greece. A government clerk of Greek Orthodox upbringing, in a tributary state of a Muslim empire, he spent his evenings on foot, looking for pagan gods in their incarnate, carnal versions. He was a poet who resisted publication, save for broadsheets he circulated among close friends; a man whose homeland was a neighborhood, and a dream. Much of his poetry is a map of Alexandria overlaid with a map of the classical world—modern Alexandria and ancient Athens—as Leopold Bloom's Dublin neighborhood underlies Odysseus's Ithaca. And I conjure Cavafy because, as I want to persuade you, he is representative precisely in all his seeming anomalousness.
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Faraone, Christopher. "Stanzaic Structure and Responsion in the Elegiac Poetry of Tyrtaeus." Mnemosyne 59, no. 1 (2006): 19–52. http://dx.doi.org/10.1163/156852506775455324.
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AbstractThis study seeks to revive, defend and further illustrate the suggestion of Weil (1862) (adopted by Rossi (1953/4)) that the longer fragments of Tyrtaeus (nos. 10-12 in West 1992) were composed in five-couplet units (Weil called them 'strophes' but I prefer 'stanzas') that either alternate between exhortation and meditation (e.g. 10.1-30 or 11.1-20) or contrast, for example, the defensive and offensive modes of hoplite warfare (11.21-38), men skilled and unskilled in warfare (12.1-20) or the differing honors that await those war-heroes who die on the battlefield and those who return home alive (12.21-30 and 35-44). These units, moreover, often display a kind of responsion (similar to that found in ancient Greek choral poetry), which allows the poet to draw attention to the stanzaic architecture of the poem and emphasize parallels and contrasts between the individual stanzas. Weil's theory, moreover, provides us with evidence of later re-performances of these poems, especially Tyrtaeus 12, where the transmitted text shows clear signs of a subsequent performance (perhaps in classical Athens as the Platonic paraphrases in the Laws suggest) by a poet who was ignorant or careless of the earlier archaic practice.
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Gualberto, Rebeca. "Adaptation against Myth: Gary Owen’s Iphigenia in Splott and the Violence of Austerity." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 119. http://dx.doi.org/10.14198/raei.2021.35.06.
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This article explores, from the standpoint of socio-political myth-criticism, the processes of revision and adaptation carried out in Gary Owen’s 2015 play Iphigenia in Splott. The play, a dramatic monologue composed in the rhythms of slam poetry, rewrites the classical Greek myth of Iphigenia in order to denounce the profound injustice of the sacrifices demanded by austerity policies in Europe—and more specifically, in Britain—in the recession following the financial crash of 2008. Reassessing contemporary social, economic and political issues that have resulted in the marginalisation and dehumanisation of the British working class, this study probes the dramatic and mythical artefacts in Owen’s harrowing monologue by looking back to Euripides’s Iphigenia in Aulis, the classical play which inspires the title of Owen’s piece and which serves as the mythical and literary background for the story of Effie. The aim is to demonstrate how Owen’s innovative adaptation of the sacrifice of Iphigenia, slurred out in verse, resentful and agonising, speaks out a desperate plea against myth, that is, against a dominant social ethos that legitimises its own violence against the most vulnerable—those who, as in the classical myth, suffer the losses that keep our boats afloat.
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Obed, Rana Jabir. "A Poetic Re-Telling of the Orphic Myth: A Political Study of Denise Levertov’s “A Tree Telling of Orpheus”." Journal of Social Sciences Research, SPI 1 (November 15, 2018): 331–35. http://dx.doi.org/10.32861/jssr.spi1.331.335.
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Modern poets, such as William Butler Yeats, Ezra Pound, William Carlos Williams, Edna St. Vincent Millay, and Rainer Maria Rilke, have used classical myths in a modern context to explain modern issues and to feed up from the rich material of Greek and Roman mythology. Denise Levertov takes the right of all authors to knock into the heart of Western and classical traditions and to reinvent them for her time. Though Levertov’s early poetry expresses her appreciation of nature and of the epiphanic moments of daily life, during the late 1960s her work became progressively concerned with political and social issues. She conveys her offense in poems of distress over Vietnam and of commonality with the alternative culture that opposed the war. Levertov insists upon the connectedness of public and private spheres. The Vietnam War was a major preoccupation of the youth movement of the 1960s, whose protests against it caused the occasional disruption of Levertov’s “A Tree Telling of Orpheus.” This paper aims to retell the Greek myth of Orpheus and his famous song of perception and revitalization, which includes all the aspects of life and rebirth, with a modern revision. Levertov compares the awaking trees captivated by Orpheus’s song along with the awakening of the revolutionary consciousness that lays at the heart of` the countercultural movement of the 1960s.
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Hadjimichael, Theodora A. "Book review: 2014. The Many-Headed Muse: Tradition and Innovation in late Classical Greek Lyric Poetry, written by LeVen, P." Greek and Roman Musical Studies 3, no. 1-2 (February 9, 2015): 170–72. http://dx.doi.org/10.1163/22129758-12341034.
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Reis, Rafael Vidal dos. "A interculturalidade entre a literatura italiana do Duecento e a literatura árabe-siciliana do Emirado da Sicília." Revista Italiano UERJ 12, no. 1 (September 5, 2021): 19. http://dx.doi.org/10.12957/italianouerj.2021.62147.
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RESUMO: Neste artigo, busca-se apresentar e confirmar as seis marcas da literatura e da cultura árabe, do período do Emirado da Sicília para o nascimento da literatura italiana no Duecento, período que remete a Scuola Siciliana. Os objetivos são comprovar a inserção das seis marcas utilizadas por Ibn Hamdis, mas que a partir do processo de interculturalidade e transferência cultural, e a adoção dos seus conceitos foi possível comprovar as contribuições/heranças árabes para o nascimento da Literatura Italiana, além de refutar a hipótese de que a poesia lírica amorosa ter sido originada da Literatura Provençal, assim como, colocar a Literatura Árabe Clássica no mesmo pé de igualdade das Literaturas Clássicas: Grega e Latina para a fundação da Literatura Italiana no mapa literário.Palavras-Chave: Poesia Lírica. Poesia Sarcástica. Scuola Siciliana. Duecento. Interculturalidade. ABSTRACT: In questo articolo cerca di presentare e confermare le sei marche della Letteratura e Cultura Araba nel periodo dell’Emirato di Sicilia per il nascimento della Letteratura Italiana nel Duecento, periodo che fa riferimento alla Scuola Siciliana. Gli obbiettivi sono verificare le inserzioni delle sei marche usati per Ibn Hamdis, ma che attraverso del processo d’interculturalità e di trasferimento culturale ed adozione dei suoi concetti fu possibile dimostrare i contributi arabi per il nascimento della Letteratura Italiana, oltre di rifiutare l’ipotesi di che la poesia lirica amorosa fu originata della Letteratura Provenzale, così come a mettere la Letteratura Classica Araba nella stessa egualità delle Letterature Classiche: Greca e Latina per la fondazione della Letteratura Italiana nel cammino letterario.Parole-Chiave: Poesia Lirica. Poesia Sarcastica. Scuola Siciliana. Duecento. Interculturalità. ABSTRACT: In this article, we will intend to present and confirm the six signatures of Arab literature and culture, from the Sicily emirate to the birth of the Italian Literature during the Duecento, the age of Scuola Siciliana. Our main goal is to prove the insertion of the six signatures used by Ibn Hamdis. Through the process of interculturality and cultural transfer as well as the adoption of his concepts, it was possible to inform the Arab contributions and heritages tot the birth of Italian literature; on the other side, we want to refute the hypothesis that the lyric poetry had its origin in the Provençal poetry. Furthermore, we intend to match the Classical Arab literature with Greek and Latin literatures regarding of the foundation of Italian literature in the studies of literature.Keywords: Lyric poetry. Satirical poetry. Scuola Siciliana. Duecento. interculturality.
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Andrews, Avery D. "Homeric Recitation, with Input from Phonology and Philology." Antichthon 39 (2005): 1–28. http://dx.doi.org/10.1017/s0066477400001532.
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It is widely assumed that the aoidoi, the original performers of Homeric poetry or its antecedents, sang a chant restricted to three or four notes, to the accompaniment of a 4-stringed instrument (Danek and Hagel 1995, Marshall 2002). The prestigious later performers from classical times, the rhapsodes, did not have the instrument, and the vocal characteristics of their performances are quite uncertain. In this paper I will discuss various aspects of a conjectured rhapsodic style, based on the reconstruction of the Ancient Greek pitch accent by Devine and Stephens (1994), together with some consideration of issues concerning the hexameter rhythm. For some initial orientation, it might be useful to listen to the short sample on the CD accompanying this issue; various features of the style will be discussed with reference to that.
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Prokopov, Kirill. "Plato’s words of magic: pharmakon and epode." ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 13, no. 1 (2019): 294–306. http://dx.doi.org/10.25205/1995-4328-2019-13-1-294-306.
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Corpus Platonicum is one of our primary evidence on the history of Greek magic in the classical period and with other sources it gives the knowledge on those who practiced magic-working (magoi, goetes, pharmakeis and epodoi). Plato is well known for his critics of magicians in the Republic and the Laws yet picturing Socrates as a magician and enchanter in other dialogues. I will address this apparent inconsistency by examining pharmakon (drug) and epode (incantation) as two magical terms that we know already from pre-platonic texts, while in the dialogues Plato uses them for depicting a variety of Socratic philosophical practices: in the Charmides Socrates presented as a follower of Thracian medical-magical practitioner, in the Theaetetus he appears as a midwife of the souls, in the Phaedo as a prophet and a servant of Apollo and in the Republic as a lover of poetry who places his own incantation in opposition to poetry’s mimetic charm. As it follows, the magic of Socrates is a counter-magic to the bewitchment and jugglery of a sophistry and mimetic poetry. By enchanting pharmakon with epode Socrates neutralizes the risk of pharmakon being dangerous drug: a model for a method that Socrates is famed for yet expressed in the words of magic.
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Wypustek, Andrzej. "Laughing in the Face of Death: a Survey of Unconventional Hellenistic and Greek-Roman Funerary Verse-Inscriptions." Klio 103, no. 1 (June 1, 2021): 160–87. http://dx.doi.org/10.1515/klio-2020-0305.
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Summary Starting from late Classical-early Hellenistic age a series of witty, lighthearted and irreverent funerary verse-inscriptions aiming to produce some effect of amusement or laughter appeared on a number of monuments, reaching their apogee during Greek-Roman era. Most of them originated in Asia Minor and Rome. Some earliest examples were related to widespread hedonistic exhortations on tombs. Their later ramifications, consisting of ironical or playful expressions, amusing puns and instances of black humour, were written in a more satirical vein, except with inscriptions dedicated for animals that were rife with sentimental motifs. Remarkably diverse as they were, such verse-inscriptions cannot be defined in terms of a distinctly separate, continuous tradition, but they shared some common features. Lacking – for the most part – conventional and formulaic elements, they struck us as heavily individualised, which sets them apart from the mainstream tradition of funerary poetry. This in turn might shed some light on social standing or/and mentality of individuals who opted for such expressive ways of remembering the dead.
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Shishkin, Valeriy. "Towards the usage of Figura Etymologica in the Septuagint." Tirosh. Jewish, Slavic & Oriental Studies 18 (2018): 15–29. http://dx.doi.org/10.31168/2658-3380.2018.18.1.1.
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In this article, the author deals with the question of how the Septuagint renders a Hebraic construction that contains the absolute infinitive and a finite verb. The author bases his considerations on E. Tov’s article “Renderings of Combinations of the Infinitive Absolute and Finite Verbs in the Septuagint — Their Nature and Distribution” that was published in “The Greek and Hebrew Bible. Collected Essays on the Septuagint”. It has been conducted a comparison between the groups indicated by E. Tov (there are six in the whole and two of them are used most of all, namely a finite verb with the participle and a finite verb with a noun) and a kind of figura etymologica, i. e. verb with object. Technically, LXX’s renderings are almost the same as the figura mentioned above. Comparing functions and meanings of the Hebraic and Greek constructions (i. e. figura etymologica), the author has made a conclusion that the way Hebraic constructions were rendered is not literal Hebraism as much as an appropriate possibility to translate correctly the essence of these constructions in Greek. Furthermore, the author compares places from the Greek prose and poetry with their counterparts in the LXX. It turns out that these are almost identical with the two main rendering types by means of which constructions with the infinitive absolute and a finite verb are translated. Apart from this, it finds out that behind Greek renderings lie not constructions with the infinitive absolute of Masoretic text, but combinations of a verbal form with an object, in addition in most cases they are created from/have different roots. The fact that the translators of the LXX found Greek equivalents surprisingly freely suggests again a thought about the consciousness of their choice and their knowledge of the Greek classical literature.
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Ludlow, Morwenna, and Sophie Lunn-Rockliffe. "Education and Pleasure in the Early Church: Perspectives from East and West." Studies in Church History 55 (June 2019): 6–34. http://dx.doi.org/10.1017/stc.2018.12.
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Early Christian teachers and preachers were often cautious about, if not suspicious of, pleasure, but they also had a lively awareness of the psychological aspects of pedagogy, and of the power of pleasure and delight to persuade, move, instruct and even convert. This article explores the treatment of pleasure as a pedagogical tool, tracing this subject through the lens of sermons, letters, treatises and poetry written in Latin and Greek and drawing out both classical and biblical themes. It notes that, while most of the authors considered acknowledge pleasure as a potential problem in pedagogy, it is a problem they attempt to navigate. The article sketches out various approaches to the problem, noting especially the pleasure involved in reading, performing and expounding Scripture; pleasure used as a conscious educational strategy; and discussions which weigh up the dangers and gains of pleasure in education.
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Barbosa, Tereza Virgínia Ribeiro. "Eurípides e a consciência trágica do limite." Aletria: Revista de Estudos de Literatura 7 (December 31, 2000): 21–28. http://dx.doi.org/10.17851/2317-2096.7..21-28.
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Resumo: A nossa condição de seres humanos frente à realidade é, desde a Grécia, uma questão pulsante. Procuramos captar e compreender a multiplicidade das coisas que se nos apresentam e o instrumento que temos para isso é sempre o λόγος; em todos seus inúmeros sentidos. Nesse caso, perguntamo-nos, desde sempre: seria esse λόγος; capaz de exprimir todas as realidades que existem para o ser? Tomando como ponto de partida essa pergunta, procuramos em nosso trabalho analisar alguns aspectos da poesia do último dos trágicos gregos, Eurípides, onde observamos as possibilidades da linguagem frente às realidades possivelmente inexprimíveis.Palavras-chave: Eurípides; tragédia grega; λόγος.Abstract: Our status as human beings confronted with reality has been, since classical Greece, a palpitating question. We try to capture and comprehend the multiplicity of elements that are presented to us, and the tool we have to do is always the λόγος, in all the realities that there are for a given being? Departing from this question, in our work, we try to analyze some aspects in the poetry of the last of tragic Greeks, Euripidis, through wich we observed the possibilities offered by language confronted with realities that are possibly inexpressible.Keywords: Euripidis; Greek tragedy; λόγος.
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Thomas, Oliver. "N. Yasumura Challenges to the Power of Zeus in Early Greek Poetry. London: Bristol Classical Press, 2011. Pp. xi + 223. £50. 9780715636787." Journal of Hellenic Studies 133 (2013): 161. http://dx.doi.org/10.1017/s0075426913000128.
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Rawles, Richard. "Literature - (E.) Irwin Solon and Early Greek Poetry. The Politics of Exhortation. (Cambridge Classical Studies). Cambridge UP, 2005. Pp. 350. £50. 9780521851787." Journal of Hellenic Studies 127 (November 2007): 157–58. http://dx.doi.org/10.1017/s0075426900001725.
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Prins, Yopie. "“LADY'S GREEK” (WITH THE ACCENTS): A METRICAL TRANSLATION OF EURIPIDES BY A. MARY F. ROBINSON." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 591–618. http://dx.doi.org/10.1017/s1060150306051333.
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How to map women's poetry at the end of the nineteenth century was a question already posed by Vita Sackville-West in 1929, in her essay, “The Women Poets of the 'Seventies.” She speculated that the 1870s “perhaps might prove the genesis of the literary woman's emancipation,” as a time of transition when “women with a taste for literature” could follow the lead of Victorian poetesses like Elizabeth Barrett Browning, while also leading women's poetry forward into the future (111). According to Sackville-West, “Mrs. Browning” seemed an exemplary woman of letters to this generation, because “she had been taught Greek; her father had been a man of culture; and she had married a poet” (112). With the formation of women's colleges and the entry of women into higher education, however, another generation of literary women was emerging. What distinguished these new women of letters was a desire for classical education independent of fathers and husbands, demonstrating an independence of mind anxiously parodied byPunchmagazine: The woman of the future! she'll be deeply read, that's certain,With all the education gained at Newnham or at Girton;Or if she turns to classic tomes, a literary roamer,She'll give you bits of Horace or sonorous lines from Homer.Oh pedants of these later days, who go on undiscerningTo overload a woman's brains and cram our girls with learning,You'll make a woman half a man, the souls of parents vexing,To find that all the gentle sex this process is unsexing. As quoted by Sackville-West in her essay (114), this parody is an equivocal tribute to the generation of women just before her own. Although (in her estimation) the women poets of the seventies produced “nothing of any remarkable value,” nevertheless she admired their intellectual ambition: “a general sense of women scribbling, scribbling” was the “most encouraging sign of all” that the woman of the future was about to come into being, as an idea to be fulfilled by the New Woman of thefin de siècle(131).