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1
Beneath stars long extinct: Poems. Pasadena, CA: Red Hen Press, 2010.
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2
Egatz, Ron. Beneath stars long extinct: Poems. Pasadena, CA: Red Hen Press, 2010.
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3
Egatz, Ron. Beneath stars long extinct: Poems. Pasadena, CA: Red Hen Press, 2010.
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4
Mistrorigo, Alessandro. Phonodia. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-236-9.
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This essay focuses on the ‘voice’ as it sounds in a specific type of recordings. This recordings always reproduce a poet performing a poem of his/her by reading it aloud. Nowadays this kind of recordings are quite common on Internet, while before the ’90 digital turn it was possible to find them only in specific collection of poetry books that came with a music cassette or a CD. These cultural objects, as other and more ancient analogic sources, were quite expensive to produce and acquire. However, all of them contain this same type of recoding which share the same characteristic: the author’s voice reading aloud a poem of his/her. By bearing in mind this specific cultural objet and its characteristics, this study aims to analyse the «intermedial relation» that occur between a poetic text and its recorded version with the author’s voice. This «intermedial relation» occurs especially when these two elements (text and voice) are juxtaposed and experienced simultaneously. In fact, some online archives dedicated to this type of recording present this configuration forcing the user to receive both text and voice in the same space and at the same time This specific configuration not just activates the intermedial relation, but also hybridises the status of both the reader, who become a «reader-listener», and the author, who become a «author-reader». By using an interdisciplinary approach that combines philosophy, psychology, anthropology, linguistics and cognitive sciences, the essay propose a method to «critically listening» some Spanish poets’ way of vocalising their poems. In addition, the book present Phonodia web archive built at the Ca’ Foscari University of Venice as a paradigmatic answer to editorial problems related to online multimedia archives dedicated to these specific recordings. An extent part of the book is dedicated to the twenty-eight interviews made to the Spanish contemporary poets who became part of Phonodia and agreed in discussing about their personal relation to ‘voice’ and how this element works in their creative practice.
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Michelson, Max. The extant poetry and prose of Max Michelson, imagist (1880-1953). Lewiston, N.Y: Edwin Mellen Press, 2000.
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6
Moss, Jeff. Bone poems. New York: Workman Pub, 1997.
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7
Moss, Jeffrey. Bone poems. New York: Scholastic, 1998.
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8
Moss, Jeffrey. Bone poems. New York: Workman Pub., 1997.
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9
Dinothesaurus: Prehistoric poems and paintings. New York: Atheneum Books for Young Readers, 2009.
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10
Florian, Douglas. Dinothesaurus: Prehistoric poems and paintings. New York: Atheneum Books for Young Readers, 2009.
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11
Florian, Douglas. Dinothesaurus: Prehistoric poems and paintings. Orlando: Harcourt, 2009.
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12
Tender napalm: With five poems from the performance sequence Lovesongs for extinct creatures. London: Methuen Drama, 2011.
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13
William, Hamilton. Familiar epistles between William Hamilton of Gilbertfield in Cambuslang and Allan Ramsay in Edinburgh: With an extract from Hamilton of Gilbertfield's version of Hary's Wallace. Kirkcaldy, Scotland: Akros, 2000.
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14
Joseph, Ritson. Robin Hood : Volume 2: A Collection of All the Ancient Poems, Songs, and Ballads, Now Extant, Relative to That Celebrated English Outlaw. University of Cambridge ESOL Examinations, 2015.
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15
Joseph, Ritson. Robin Hood : Volume 1: A Collection of All the Ancient Poems, Songs, and Ballads, Now Extant, Relative to That Celebrated English Outlaw. University of Cambridge ESOL Examinations, 2015.
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16
Joseph, Ritson. Robin Hood 2 Volume Set: A Collection of All the Ancient Poems, Songs, and Ballads, Now Extant, Relative to That Celebrated English Outlaw. Cambridge University Press, 2015.
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17
Neidorf, Leonard. The Transmission of "Beowulf". Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501705113.001.0001.
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Beowulf is a foundational work of Western literature that originated in mysterious circumstances. This book addresses philological questions that are fundamental to the study of the poem. Is Beowulf the product of unitary or composite authorship? How substantially did scribes alter the text during its transmission, and how much time elapsed between composition and preservation? The book answers these questions by distinguishing linguistic and metrical regularities, which originate with the Beowulf poet, from patterns of textual corruption, which descend from copyists involved in the poem’s transmission. It argues, on the basis of archaic features that pervade Beowulf and set it apart from other Old English poems, that the text preserved in the sole extant manuscript (ca. 1000) is essentially the work of one poet who composed it ca. 700. Of course, during the poem’s written transmission, several hundred scribal errors crept into its text. These errors are interpreted in the central chapters of the book as valuable evidence for language history, cultural change, and scribal practice. The book reveals that the scribes earnestly attempted to standardize and modernize the text’s orthography, but their unfamiliarity with obsolete words and ancient heroes resulted in frequent errors. The Beowulf manuscript thus emerges from his study as an indispensible witness to processes of linguistic and cultural change that took place in England between the eighth and eleventh centuries.
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Joseph, Ritson. Robin Hood V2: A Collection Of All The Ancient Poems, Songs And Ballads, Now Extant Relative To That English Outlaw; To Which Are Prefixed Historical Anecdotes Of His Life. Kessinger Publishing, LLC, 2007.
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19
Joseph, Ritson. Robin Hood V2: A Collection Of All The Ancient Poems, Songs And Ballads, Now Extant Relative To That English Outlaw; To Which Are Prefixed Historical Anecdotes Of His Life. Kessinger Publishing, LLC, 2007.
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20
Ready, Jonathan L. Shared Similes in the Homeric Epics. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198802556.003.0006.
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Our Homeric poets strove to display their competence by doing what their predecessors and peers did. To discover the shared similes in the Iliad and the Odyssey, the chapter first reviews the (nearly) verbatim short vehicle portions and similar long vehicle portions found (a) in the Iliad and Odyssey or (b) in the Iliad or Odyssey and in other archaic Greek hexameter poems or lyric poems. The chapter then discusses “scenarios” to get at the mental templates underlying many of our Homeric poets’ vehicle portions, templates that reveal the extent of their use of shared vehicle portions. By linking this model of scenarios with an approach from cognitive linguistics known as Frame Semantics, one can detect the ease with which a Homeric poet learned the scenarios. Our poets’ demonstrations of their use of shared elements also comes to the fore when one examines their similes as two-part equations, each composed of a tenor and a vehicle.
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Cheshire, Paul. William Gilbert and Esoteric Romanticism. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941206.001.0001.
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William Gilbert, poet, theosophist and astrologer, published The Hurricane: A Theosophical and Western Eclogue in Bristol in 1796, while he was on intimate terms with key members of Bristol literary culture: Coleridge published an extract from The Hurricane in his radical periodical The Watchman; Robert Southey wrote of the poem’s ‘passages of exquisite Beauty’; and William Wordsworth praised and quoted a long passage from Gilbert’s poem in The Excursion. The Hurricane is a copiously annotated 450 line blank verse visionary poem set on the island of Antigua where, in 1763, Gilbert was born into a slave-owning Methodist family. The poem can be grouped with other apocalyptic poems of the 1790s—Blake’s 'Continental Prophecies', Coleridge's 'Religious Musings', Southey's Joan of Arc—all of which gave a spiritual interpretation to the dramatic political upheavals of their time. William Gilbert and Esoteric Romanticism presents the untold story of Gilbert’s progress from the radical occultist circles of 1790s London to his engagement with the first generation Romantics in Bristol. At the heart of the book is the first modern edition of The Hurricane, fully annotated to reveal the esoteric metaphysics at its core, followed by close interpretative analysis of this strange elusive poem.
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Joseph, Ritson. Robin Hood : A Collection of All the Ancient Poems, Songs, and Ballads, Now Extant Relative to That Celebrated English Outlaw: To Which are Prefixed Historical Anecdotes of His Life. Volume 2. Adamant Media Corporation, 2004.
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23
Canevaro, Lilah Grace. Uncontainable Things. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826309.003.0006.
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Chapter 5 deploys a range of case studies to push the analysis beyond the bounds of the Homeric poems, into the Hesiodic corpus (broadly defined). One recurring object type—the jar—is used to compare the central themes, concerns, and perspectives of each of the poems in which it appears, in order to offer an example of the extent to which ‘attentiveness to things’ can nuance our reading, not only of one poem, but of a range of poetry together. This intertextuality of objects is further tested in the Catalogue of Women, an ideal site for an extended exploration of the relationship between women, objects, and agency.
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Jansohn, Christa. Glocal Shakespeare. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0008.
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This chapter takes a closer look at the reception of Shakespeare’s poetry in Germany. Since no translation of the poems has attained ‘classical’ status comparable to the Schlegel-Tieck version of the plays, the field has, especially since about 1900, appeared to be open for a great variety of translators with very different biographical backgrounds and approaches. More than seventy German translations of the whole sonnet sequence are extant, and more than one-hundred-and-forty enthusiasts have tried their hand at selections of individual poems. Venus and Adonis and The Rape of Lucrece have been rendered into German by more than twenty-five translators; A Lover’s Complaint by thirteen translators. The account is not limited to translations of the narrative poems and the sonnets, but also discusses their reception in a wider context, including the less known presence of Venus and Adonis on stage and in music.
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Ready, Jonathan L. Orality, Textuality, and the Homeric Epics. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198835066.001.0001.
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This book queries from three different angles what it means to speak of Homeric poetry together with the word “text.” Scholarship from outside the discipline of classical studies on the relationship between orality and textuality motivates and undergirds the project. Part I uses work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics and what the poets were striving to do when they performed. Looking to folkloristics, Part II examines modern instances of the textualization of an oral traditional work in order to reconstruct the creation of written versions of the Homeric poems through a process that began with a poet dictating to a scribe. Combining research into scribal activity in other cultures, especially in the fields of religious studies and medieval studies, with research into performance in the field of linguistic anthropology, Part III investigates some of the earliest extant texts of the Homeric epics, the so-called wild papyri. Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE. By looking at oral texts, dictated texts, and wild texts, this book traces the intricate history of Homeric texts from the Archaic to the Hellenistic period, long before the emergence of standardized written texts. Researchers in a number of disciplines will benefit from this comparative and interdisciplinary study.
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Issa, Islam. Paradise Lost in Arabic. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198754824.003.0023.
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This chapter outlines the extant Arabic translations of Milton’s works, then attends to the ways in which three translators—Maḥmūd, Enani, and Aboud—have translated parts of Paradise Lost into Arabic. Close readings of these three translators’ renderings of key images reveal telling correspondences and differences that bring to light the attention to detail in, and thus specific value of, Enani’s translation. The chapter describes Enani’s use of, for example, pre-Islamic archaisms, Qur’ānic style, and prose rhyme, as translational techniques that portray Milton’s grand style, stylize the poetic prose, and strengthen characterization. Enani’s translation theories—and Issa’s interview with Enani—confirm the translator’s key objectives of conveying the rūḥ [spirit], naghamah [tone], and uslūb [style] of the original. The chapter ends with a reflection on future translations, with particular emphasis on Milton’s shorter poems.
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Reisner, Noam. Pre-Eminent among Gentiles. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198754824.003.0024.
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This chapter examines the various extant Hebrew translations of Milton’s Paradise Lost and Samson Agonistes. Both poems were first translated into elaborate biblical and midrashic Hebrew in the nineteenth century by interested Jewish readers with widely differing religious, spiritual, and literary agendas. As this chapter argues, a close examination of these translations, and their implicit and explicit aims, reveals much about the vexed, fertile relationship between Jewish and Christian consciousness. Even more interestingly, this discussion ultimately sheds fresh and important light on the peculiar Hebraic integrity of Milton’s English verse. This chapter proposes that, when viewed in light of these translations, many previous questions raised with respect to Milton’s putative anti-Semitism and his ambivalent Hebraism may be rethought and readdressed from the outside in, as it were, with startling results.
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Fearn, David. Ecphrasis and the Politics of Time in Pythian 1. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0004.
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This chapter offers a new interpretation of the elaborate opening frame of Pindar’s Pythian 1 within the broader encomiastic strategies of this poem. In it the ecphrastic and hymnic qualities of this opening are discussed, and especially its use of the volcanic eruption of Mount Etna. The poem’s treatments of the following are revealed: the interrelation between myth and history; divine and mortal time; the nature and extent of the divide between divine and mortal realms; and the prospects for encomiastic memorialization within these parameters. The poem provides a self-reflexive commentary on itself and its prospects, as a ruptured array of heroic and divine myth and human historicity, sociopolitical agency, and totalitarian attempts to control time. It is aimed not only at Hieron and Sicily, but also at others across the Greek world. This complex reception is prefigured in visual, ecphrastic terms.
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Green, Steven J., ed. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198789017.003.0001.
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The Introduction sets out the state of scholarship on Grattius’ poem to date and the central aim of the volume to bring the poem to the attention of a range of new audiences. It offers short introductory sections on the name and reputation of the poet; the scope of the poem beyond its current extant form; the date parameters for the poem; and its subject matter and generic affiliation with both didactic poetry and hunting literature. For the benefit of reader orientation, it also provides a summary of the papers in the volume, and sets out in tabular form the structure of the extant poem.
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Sobecki, Sebastian. Last Words. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198790778.001.0001.
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No medieval text was designed to be read hundreds of years later by an audience unfamiliar with its language, situation, and author. By ascribing to these texts intentional anonymity, we romanticize them and misjudge the social character of their authors. Instead, most medieval poems and manuscripts presuppose familiarity with their authorial or scribal maker. Last Words: The Public Self and the Social Author in Late Medieval England attempts to recover this familiarity and understand the literary motivation behind some of the most important fifteenth-century texts and authors. Last Words captures the public selves of such social authors when they attempt to extract themselves from the context of a lived life. Driven by archival research and literary inquiry, this book will reveal where John Gower kept the Trentham manuscript in his final years, how John Lydgate wished to be remembered, and why Thomas Hoccleve wrote his best-known work, the Series. This book will include documentary breakthroughs and archival discoveries, and will introduce a new life record for Hoccleve, identify the author of a significant political poem, and reveal the handwriting of John Gower and George Ashby. Through its investments in archival study, book history, and literary criticism, Last Words charts the extent to which medieval English literature was shaped by the social selves of their authors.
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Boyd, Barbara Weiden. Homer in Love. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680046.003.0008.
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Chapter 7 considers a second central theme in Ovid’s Homeric reception, desire, and its evocation through repetition. The erotic tradition of Homeric reception that Ovid inherited can be seen in the longest extant fragment of the elegiac poem Leontion, in which the Hellenistic poet Hermesianax offers a catalogue of ancient poets and the women they loved. In Tristia 1.6, Ovid expands upon the central trope of this catalogue, in which poetry is personified as the beloved object of a poet’s desire. The love-poet, suggests Ovid, strives continually to renew his love by recreating the great loves of past poetry, aspiring always to surpass them. Discussions of Ovid’s treatment of Penelope in Heroides 1, Calypso in Ars amatoria Book 2, and Circe in the Remedia amoris explore Ovid’s continuing interest in figuring himself as a second Homer by imagining Homer as an elegiac poet.
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Robinson, Peter. Poetry & Money. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622539.001.0001.
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Poetry & Money: A Speculation is a study of relationships between poets, poetry, and money from Chaucer to contemporary times. It begins by showing how trust is essential to the creation of value in human exchange, and how money can, depending on conditions, both enable and disable such trustfully collaborative generations of value. Drawing upon a vast range of poetry for its exemplifications, the book includes studies of poetic hardship, religious verse and debt redeeming, the South Sea Bubble and the financial revolution, debates upon metallic and paper currency in the eighteenth and nineteenth centuries, as well as modernist struggles with the gold standard, depression, inflation, and the realised groundlessness of exchange value. With its practitioner’s attention to the minutiae of poetic technique, it considers analogies between words and coins, and between poetic rhythm and the circulation of currencies in an economy. Through its close readings of poems over many centuries directly or indirectly engaged with money, it proposes ways in which, while we cannot escape monetary economies, we can resist, to some extent, being ensnared and diminished by them – through a fresh understanding of values money may serve to enable, ones which are nevertheless beyond price.
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Babayan, Kathryn. The City as Anthology. Stanford University Press, 2021. http://dx.doi.org/10.11126/stanford/9781503613386.001.0001.
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Household anthologies of seventeenth-century Isfahan collected everyday texts and objects, from portraits, letters, and poems to marriage contracts and talismans. With these family collections, Kathryn Babayan tells a new history of the city, at the transformative moment it became a cosmopolitan center of imperial rule. Bringing people's lives into view for a city with no extant state or civic archives, Babayan reimagines the archive of anthologies to recover how residents shaped their communities and crafted their urban, religious, and sexual selves. Babayan highlights eight residents—from king to widow, painter to religious scholar, poet to bureaucrat—who anthologized their city, writing their engagements with friends and family, divulging the many dimensions of the social, cultural, and religious spheres of life in Isfahan. Through them, we see the gestures, manners, and sensibilities of a shared culture that configured their relations and negotiated the lines between friendship and eroticism. These entangled acts of seeing and reading, desiring and writing converge to fashion the refined urban self through the sensual and the sexual—and give us a new and enticing view of the city of Isfahan.
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Prickett, Stephen. Tractarianism and the Lake Poets. Edited by Stewart J. Brown, Peter Nockles, and James Pereiro. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199580187.013.5.
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In this chapter the author looks at the influence of Coleridge and Wordsworth on the Tractarians. Whereas Keble openly declared his admiration for Wordsworth in his Christian Year and Lectures on Poetry, the no less profound influence of Coleridge on Newman, though rarely acknowledged, was clearly present, both in his Anglican and Catholic periods. The chapter concludes with discussion of the revolutionary implications of Keble’s Crewian Oration, which was given in 1839 when Oxford bestowed an honorary degree on Wordsworth. This discussion draws upon the only extant translation of the Latin text, which is in the author’s possession, and has never been published.
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Fearn, David. Pindar's Eyes. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.001.0001.
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This book assesses the ways in which Pindar, as well as other epinician poets, investigates the theme of aesthetic, and specifically visual, experience in early classical Greece. Major case studies offer complete readings of Pindar’s Nemean 5, Nemean 8, and Pythian 1. These poems reveal Pindar’s deep interest in the relation between lyric poetry and the material and visual world of commemorative and religious sculpture and other significant visual phenomena. The book offers an account of the reception of Pindaric themes in the Aeginetan logoi of Herodotus’ Histories and also offers new insights into Simonides’ own material-cultural interests, a fresh treatment of narrative style and material culture in Bacchylides, and a visual and material-cultural reading of Pindar’s Nemean 10. Pindar uses the concept of vision within his poetry to assess the extent to which either encomiastic poetry or sculpture can achieve its commemorative or religious purposes; this book uses current theoretical methodologies to evaluate how this is done. New claims are made about the nature of classical Greek visuality and ritual subjectivity. Literary studies of Pindar’s evocation of cultural attitudes through elaborate use of the lyric first person are combined with art-historical treatments of ecphrasis, of image and text, and of art’s framing of ritual experience in ancient Greece. Pindar uses a particularly complex and alluring poetic language to create empowering and highly valued paradigms for social, cultural, and religious subjectivity.
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Jones, Chris. Fossil Poems and the New Philology. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824527.003.0005.
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This chapter argues that a second phase of poetic Anglo-Saxonism began to overtake the first as the science of the New Philology began to make itself felt from the 1830s onwards. This rendered obsolete the first model of Anglo-Saxon as the living root of English literary tradition. Instead poets began to tap the etymological meaning of modern English words of Anglo-Saxon origin, as well to resurrect extinct words and grammatical forms from Anglo-Saxon. New readings of Walt Whitman and William Morris are made on the basis of unpublished manuscript evidence and William Barnes is identified as the first post-medieval poet to consciously imitate the alliterative rules of Anglo-Saxon poetry.
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Cefalu, Paul. God is Love. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198808718.003.0005.
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The fourth chapter describes the extent to which Augustine as well as a broad group of early modern homilists and poets were influenced by the ontological conception of love described in John’s First Epistle: “God is love, and hee that dwelleth in love, dwelleth in God, and God in him” (1 John 4: 16). For John, responsive love expressed toward God is achieved fundamentally through an embrace of Christ’s Word, particularly because God’s love for Christ is expressed eternally for the Son prior to the Incarnation. This chapter addresses the unique ways in which three early modern English poets—George Herbert, Henry Vaughan, and Thomas Traherne—appropriate the Johannine understanding of agape and an ontological conception of God’s love.
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Spelman, Henry. Introduction to Part Two. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0007.
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This introduction announces the theme of the next three chapters: Pindar’s sense of literary history and specifically his use of other lyric poetry. Pindar capitalizes on his audiences’ familiarity with other lyric to an extent that has perhaps not yet been adequately recognized. His poems use related poetry to tell stories about themselves and their place in life. By examining different sorts of references and allusions across the corpus, one can discern a coherent view of the poetic world, both past and present. Understanding Pindar entails understanding an immanent literary history that reaches into and shapes his present. Methodological and historical questions of early Greek intertextuality are addressed.
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Bullard, Paddy, ed. The Oxford Handbook of Eighteenth-Century Satire. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780198727835.001.0001.
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Eighteenth-century Britain thought of itself as a polite, sentimental, enlightened place, but often its literature belied this self-image. This was an age of satire, and the century’s novels, poems, plays, and prints resound with mockery and laughter, with cruelty and wit. The street-level invective of Grub Street pamphleteers is full of satire, and the same accents of raillery echo through the high scepticism of the period’s philosophers and poets, many of whom were part-time pamphleteers themselves. The novel, a genre that emerged during the eighteenth century, was from the beginning shot through with satirical colours borrowed from popular romances and scandal sheets. This handbook is a guide to the different kinds of satire written in English during the ‘long’ eighteenth century. It focuses on texts that appeared between the restoration of the Stuart monarchy in 1660 and the outbreak of the French Revolution in 1789. Outlier chapters extend the story back to first decade of the seventeenth century, and forward to the second decade of the nineteenth. The scope of the volume is not confined by genre, however. So prevalent was the satirical mode in writing of the age that this book serves as a broad and characteristic survey of its literature. The Handbook of Eighteenth-Century Satire seeks to reflect developments in historical criticism of eighteenth-century writing over the last two decades, and to provide a forum in which the widening diversity of literary, intellectual, and socio-historical approaches to the period’s texts can come together.
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Ferriss-Hill, Jennifer. Horace's Ars Poetica. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691195025.001.0001.
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For two millennia, the Ars Poetica (Art of Poetry), the 476-line literary treatise in verse with which Horace closed his career, has served as a paradigmatic manual for writers. Rarely has it been considered as a poem in its own right, or else it has been disparaged as a great poet's baffling outlier. Here, this book fully reintegrates the Ars Poetica into Horace's oeuvre, reading the poem as a coherent, complete, and exceptional literary artifact intimately linked with the larger themes pervading his work. Arguing that the poem can be interpreted as a manual on how to live masquerading as a handbook on poetry, the book traces its key themes to show that they extend beyond poetry to encompass friendship, laughter, intergenerational relationships, and human endeavor. If the poem is read for how it expresses itself, moreover, it emerges as an exemplum of art in which judicious repetitions of words and ideas join disparate parts into a seamless whole that nevertheless lends itself to being remade upon every reading. This book is a logical evolution of Horace's work, which promises to inspire a long overdue reconsideration of a hugely influential yet misunderstood poem.
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Whitlatch, Lisa. The Conditions of Poetic Immortality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198789017.003.0009.
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This chapter focuses on Grattius’ praise of the mercurial figure of Hagnon in the central portion of the extant poem and argues that Grattius takes us on an intertextual journey back through Virgil’s Eclogues (the figure of Menalcas) to Lucretius (the figure of Epicurus), and ultimately to Theocritus (the figure of Daphnis), in an effort to secure for hunting positive associations that are absent from the Roman forebears. By means of such intertextual dialogue, as well as pointed use of the language of dowries, Grattius subtly promotes the notion that hunting is an eternal symbiotic relationship between man, god, and nature, which ensures its sustainability.
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Couper, Sarah. Informed Choice. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198787525.003.0013.
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The intertextuality of John Rolland’s Court of Venus, announced in its opening quotation and subsequent displays of scholarship and poetic skill, is central to the poet-narrator’s self-construction as a man improved by studying literature. However, the extent of Rolland’s reading is obscured by his unacknowledged use of key sources, including dictionaries, to populate his poem with Classical figures and cultivate a learned diction. While this might be read as pretension to a literary elite Rolland associates with the bygone court of David Lyndsay, the moral vision of his poem is greatly enlarged by its attempt to align such bookish learning with knowledge gained through experience—foregrounded by allusion to Chaucer’s Wife of Bath. In this way The Court of Venus models an urbane, knowing morality working towards wisdom and self-governance while recognizing the diversity, and disruptive desire, of human nature.
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Boutin, Aimée. “Cry Louder, Street Crier”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039218.003.0006.
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This chapter follows representations of peddlers from Baudelaire to François Coppée, Charles Cros, and Jean Richepin, and finally to symbolists such as Stéphane Mallarmé and Joris Karl Huysmans. It considers whether they perceived the city-as-concert as harmonious or dissonant by analyzing the extent to which their poems reflect or inflect the discourse on the picturesque. Poetry about peddlers incorporates the vitality of street noise, the formal experimentation of popular song, and the aural acuity of flâneur-writing into the art of the establishment or the avant-garde. Such mixing of high and low registers is especially salient when Mallarmé's Chansons bas are read alongside Jean-François Raffaëlli's illustrations of types in the tradition of the Cris de Paris. The parodic poetry of Cros and Richepin, written in reaction to Coppée's moralizing sentimental dizain, in a way sets the stage for Mallarmé's “lowly songs.”
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Abbott, Helen. Repackaging Baudelaire. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0003.
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Beginning with a survey of known Baudelaire settings, this chapter analyses the extent of reworkings of Baudelaire’s poetry, including those made by the poet himself, through the different editions of Les Fleurs du mal, and translations of his work beyond France. The rationale for the selected corpus of song settings is then outlined (focus on an important time period for transmission of Baudelaire’s poetry across Europe; analysis of groups of Baudelaire poems set to music by a given composer; focus on scores which converge around the mélodie genre). It explores definitions of a ‘song set’ as: (a) a looser grouping than the ‘song cycle’ of the German Lied tradition; and (b) shaped by both aesthetic and commercial concerns. These concerns influence the analysis which seeks to balance ‘quantifiable’ features of song settings against the challenges of evaluating songs which emerge from a given historical and cultural context.
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Abbott, Helen. Conclusions. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0009.
Full textAbstract:
Baudelaire’s appearance in song is not a chance by-product of his reception history but an integral part of it. The 1880–1930 period covered in this book shows how Baudelaire’s poetry adapted to new musical soundscapes during an era of development in song forms across Europe. Not all agree that Baudelaire’s poetry is ‘well-suited’ to musical settings, but the reach of his poetry is extensive, and the varying levels of ‘success’ of each song confirm that song is predicated on impermanence. Baudelaire settings remain open to new interpretations and resist conformity of treatment. While there are commonalities around the extent of note-per-syllable writing, treatment of the e surnuméraire, and the setting of one musical phrase per poetic line, most features examined show limited correlation. All of the poems undergo some deformation, because composers need to prepare the surface of the text to enable their music to bond with it.
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Strojan, Marjan. Milton in Serbian/Montenegrin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198754824.003.0021.
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The focus of this chapter is the first Serbian translation of Paradise Lost, which appeared in Belgrade in 1989. It was a reprint of Djilas’s translation of the epic, published twenty years earlier in the USA. Djilas’s task of translation was also an act of intellectual rebellion and a means of keeping himself sane during his long years of incarceration in a Yugoslav prison. The chapter analyses select passages of Djilas’s translation alongside their counterparts from the original as well as with some extant Serbian renderings of the poem. This analysis demonstrates that, in his translation, Djilas successfully brought together the culturally different epic traditions of his native Montenegro and of the nearby Dalmatian coast, but he was less successful in solving the fundamental prosodic question of how to make Milton’s dense iambic pentameter fit an equally compact trochaic verse.
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Stewart, Edmund. Greek Tragedy on the Move. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747260.001.0001.
Full textAbstract:
This work is one of the first full studies of the dissemination of Greek tragedy in the archaic and classical periods. Drawing on recent research in network theory, it seeks to reinterpret classical tragedy as a Panhellenic art form. It thereby offers a radically new perspective on the interpretation of the extant tragic texts, which have often been seen as the product of the fifth-century Athenian democracy. Tragedy grew out of, and became part of, a common Greek (or Panhellenic) culture, which was itself sustained by frequent travel and exchange. This book shows how Athens was a major Panhellenic centre within a wider and, by the fifth century, well-established network of festivals and patrons. The part played by non-Athenians in the festival culture of Attica is fully reassessed and it is estimated that as much as a quarter of all tragic poets who produced plays in Athens during the classical period were non-citizens. In addition, the book re-examines the evidence for tragedies that were probably or certainly performed outside Athens and shows how and why they were calculated to appeal to a broad Panhellenic audience. The stories they contained were themselves tales of travel. Together the works of the tragedians told and reworked the history of the Greek peoples and showed how they were connected through the wanderings of their ancestors. Tragedy, like the poets and their creations, was meant to travel and this is the first full study of tragedy on the move in the archaic and classical periods.
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Williams, Gareth D. The Etna Idea. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190272296.003.0002.
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As a preface of sorts to our later investigation (especially in Chapter 6) of the symbolic properties of Pietro Bembo’s representation of Mount Etna, Chapter 1 explores the rich diversity of Greco-Roman treatments of the volcano from Pindar down to Virgil, Ovid, Seneca, and the so-called Aetna poem (its authorship unknown). In mapping the Classical dimensions and contours of the cumulative Etna Idea, this chapter not only functions as a form of excavation into the literary geology of Pietro’s mountain, but also defines the question that much of the rest of this study seeks to address: in what ways, and to what extent, does Pietro challenge, exploit, and depart from (even upstage) the imaginative applications that are already encoded in Etna’s literary past?
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Hornblower, Simon. Sicily and Magna Graecia (South Italy). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198723684.003.0002.
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The Alexandra is full of allusions to and whole sections about south Italy and to a lesser extent Sicily. This makes it likely that the poet came from southern Italy. Eastern Sicily hardly features, despite the ancient glories of its Greek cities. But western Sicily was important in Lykophron’s time for kinship reasons to do with the supposed Trojan origins of Elymian cities like Egesta and Eryx, whose support Rome needed in the mid-third-century BC: Troy was the mythical mother-city of Rome. In Italy, many places prominent in the poem (especially Croton and its neighbours) also featured in the ancient histories of the war against Hannibal, a recent event in 190 BC, and of Roman colonization policies of the 190s.
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Lloyd, Howell A. Humanist Engagements. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198800149.003.0003.
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Bodin arrived in Toulouse c.1550, a brief account of the economy, social composition, and governmental institutions of which opens the chapter. There follow comments on its cultural life and identification of its leading citizenry, with remarks on the treatment of alleged religious dissidents by the city itself, and especially on discordant intellectual influences at work in the University, most notably the Law Faculty and the modes of teaching there. The chapter’s second part reviews Bodin’s translation and edition of the Greek poem Cynegetica by Oppian ‘of Cilicia’, assessing the quality of his editorial work, the extent to which allegations of plagiarism levelled against him were valid, and the nature and merits of his translation. The third section recounts contemporary wrangling over educational provision in Toulouse and examines the Oratio in which Bodin argued the case for humanist-style educational provision by means of a reconstituted college there.