Academic literature on the topic 'Cypriot Love poetry'

DIALOGUE ABOUT THE MYSTICAL LOVE: SAINT JOHN OF THE CROSS, CYPRIEN DE LA NATIVITÉ DE LA VIERGE AND PAUL VALÉRY This article concerns the timeless dialogue between Saint John of the Cross OCD, Spanish mystic of 16th century, Cyprien de la Nativité de la Vierge OCD, the 17th-century translator of his poems, and Paul Valéry, who delves into their texts as a reader, poet, and translator. Valéry shares his insights about Saint John’s text and its translation by the mentioned French Carmelite monk in the Introduction, which he writes to the jubilee edition of the Spiritual Canticle (1941). In this article we examine the contribution of mentioned three participants to “author-translator-receiver” configuration, focusing on their approach to the poetry, poetic translation, and work on the poetic text.

The article examines the peculiarities of mythological characters in the Latin poetry of the baroque period in Ukraine. This period contributed a lot to intercultural relations between Ukraine and Western Europe and gave a birth to the phenomenon of the baroque Ukrainian poetry, written in Latin language. In the present paper much research has been devoted to the poetic works of Theophan Prokopovych, Grygoriy Vyshnevsky and Ilarion Yaroshevytsky; their poetic texts are found in printed editions ("Elegia paraenetica", "Epinikion", "Elegia Alexii", "Comparatio vitae monasticae", "Descriptiuncula Kijowiae", "Possesoris horum librorum luctuosum vale") and manuscripts ("Iter laureatum", "Cupido seu amor alatus"). The study analyzes the poetry in various genres, such as panegyric, elegy, epigram, lyrical poem. Addressing to the ancient legacy was defined as the sufficient and necessary feature of the baroque style. The article suggests the idea that a poet gives a preference to one or another mythological character in his individual author's interpretation. The analysis of the poetic texts reveals the most productive mythological characters, which can be classified into the following categories: 1) art (Apollo with the Muses, the winged horse Pegasus); 2) martial arts (Mars); 3) celebrations (Bacchus, Hymenaeus); 4) love (Venus, Cupid, Cypride ); 5) natural phenomena (Aurora, Lucifer, Phosphorus, Titan, Zephyrus, Thetis). The research has demonstrated that contamination of the two worldviews was natural for the baroque poet. This contamination was embodied in the bizarre combination of Christian and ancient elements in their literary works. It was traced that Latin poets of the Ukrainian baroque completely followed the literary traditions of the classical theory of poetry, what was marked in the form of the poetic work and its content.

The article tells about the transformation of a wandering ancient story about the passion of a mother to her stepson, shows how each era brings about changes in the depiction of the heroine, set in a boundary situation between happiness and duty. In the tragedy of Euripides "Hippolytus" the main character is the king´s son, and Phaedra is a performer of the will of the goddess Cypris. Without knowing, Hippolytus violated ethics law that prescribed to honor equally all the gods and goddesses: he loved to worship the goddess of the hunt Artemis and didn´t bring enough victims to Aphrodite. According to the mythological sources, the election of Phaedra as the instrument of revenge can be explained by the fact that Phaedra carries the burden of a tragic guilt for her grandfather, who told Hephaestus about the affair between Aphrodite and Ares. Euripides describes the suffering of Phaedra. His character brings her life as a gift to the children. The tragedy of the debt victory is displayed brighter by the Greek author than by the French one. But the image of Phaedra, made by Jean Racine, is nobler than it was made by Euripides. The heroine of Euripides sacrifices herself for the sake of duty and commits suicide, but makes a low act, leaving a note that slanders Hippolytus, but the queen by Racine, dying, emphasizes the innocence of her stepson. The stepson´s attitude to the passion of his stepmother changes too. For Hippolytus by Euripides the passion of Phaedra is the evidence of low-lying nature of women, for Hippolytus by Jean Racine it is the touching continuation of conjugal love at first, and then, when Phaedra separates him in her mind from the father, and emphasizes that loves Hippolytus, it is a horrible discover, but not the reason for the generalization, reasoning and discrimination against all women. The continuation of the incarnation of vagrant story about Phaedra we see in the poetry of Marina Tsvetaeva in the tragedy "Phaedra". Tsvetaeva simplifies antique tragedy, removing the problem of choosing between happiness and duty, but in the poem she returns to the tragic beginning of it, highlighting the theme of the sublime punishments with passion that is emphasized in the interpretation ofR. Viktyuk, who created a cinema play "Passion about Phaedra in four dreams of Roman Viktyuk" on the basis ofTsvetayeva´s texts.

There are many literary societies in the field of New Turkish poetry. One of them is the literate community gathered around the magazine called Hisar, which is more commonly remarkable for Mehmet Çınarlı. Nevzat Yalçın is a Cypriot poet and belongs to this group. He is a Hisar poet who studied Turkish Language and Literature in Ankara and has poetry books called "A' Street" and "Sun and Man." When the poems of this Hisar poet are read collectively, it is seen that some elements come to the fore. These elements are "Highlighting Some Colors," "Foreign Places and Longing for Lover," "Tradition," "Politics and Criticism," "Detracting the West," "Mythology," "Some Common Uses among the Community", "Grammar Errors," and "Prominence of Hand Use" were examined under nine headings in this study. When Nevzat Yalçın's poetry is examined, it is seen that the poet wrote poems on numerous subjects. In order to be able to analyze these poems, the reader must have a certain knowledge and be aware of the media of the period. In the poet's poetry, especially blue and yellow are prominent colors drawing attention to the longing for a lover abroad. It is also seen that there are poems reflecting the past at a time when the tradition is criticized by many poets. It is also stated that the poet wrote some poems with a critical attitude towards some of the Turkish politicians and the West. Another theme of the poet's poetry is mythology. Another point is that Nevzat Yalçın does not deny the expressions used among the people. Another prominent element in Yalçın's poetry is grammatical elements. The processing of the hand limb draws attention to the poet's poems.

AbstractThis paper considers the Hellenistic poets' attitude towards pre-Trojan war myths; in particular, it examines the Hellenistic reception of six narratives from the Cypria: the marriage of Peleus and Thetis; the duel between the Dioscuri and Idas and Lynceus; the story of Telephus; the love affair between Achilles and Deidameia; the abandonment of Philoctetes on Lemnos; and the involvement of the Achaeans with the priest Anius and his daughters, the Oenotropae. Furthermore, it is argued that the reception of these stories from the Cypria may be seen as a metaliterary comment upon epic poetry, firstly because narratives from the Epic Cycle are adapted to fit epic subgenres, such as the elegy, the epyllion, the hymn and the idyll, and secondly because the neoteric versions of these narratives put particular emphasis on certain motifs, types of hero and narrative techniques which are typical of Hellenistic poetics.