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1
Christensen, Joel P. "Revising Athena’s Rage: Cassandra and the Homeric Appropriation of Nostos." Yearbook of Ancient Greek Epic Online 3, no. 1 (May 23, 2019): 88–116. http://dx.doi.org/10.1163/24688487-00301004.
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Abstract This article approaches the relationship between the Odyssey’s nostos and other Nostoi from the perspective of the epic’s treatment of Cassandra. In doing so, I emphasize two perspectives. First, rather than privileging either “lost” poems or our extant epic as primary in a “vertical” relationship, I assume a horizontal dynamic wherein the reconstructed poems and the Odyssey influenced each other. Second, I assume that, since little can be said with certainty about lost poems, references to other traditions attest primarily to the compositional methods and the poetics of our extant poem. After outlining the major narrative features of the story of Cassandra that were likely available to Homeric audiences, I argue that the suppression of her story in the Odyssey is both part of the epic’s strategy to celebrate Odysseus and Penelope and a feature of the enforcement of a male-dominated ideology.
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Townend, Matthew. "Contextualizing the Knútsdrápur: skaldic praise-poetry at the court of Cnut." Anglo-Saxon England 30 (December 2001): 145–79. http://dx.doi.org/10.1017/s0263675101000072.
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It is generally recognized that during the reign of Cnut the Danish king's court came to represent the focal point for skaldic composition and patronage in the Norse-speaking world. According to the later Icelandic Skáldatal or ‘List of Poets’, no fewer than eight skalds were remembered as having composed for Cnut: Sigvatr Þórðarson, Óttarr svarti, Þórarinn loftunga, Hallvarðr háreksblesi, Bersi Torfuson, Steinn Skaptason, Arnórr Þórðarson jarlaskáld, and Óðarkeptr. Comparing this list with the extant poetic remains, one arrives at the following collection of skaldic praise-poems (some fragmentary) in honour of Cnut: Sigvatr Þórðarson's Knútsdrápa; Óttarr svarti's Knútsdrápa; Hallvarðr háreksblesi's Knútsdrápa; Þórarinn loftunga's Ho˛fuðlausn and Tøgdrápa; and (probably) a fragment by Arnórr jarlaskáld. Of the other poets cited in Skáldatal, no verse in honour of Cnut is extant by Bersi Torfuson, and none at all by Steinn Skaptason and Óðarkeptr.
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Jia, Jinhua. "The Yaochi ji and three Daoist Priestess-Poets in Tang China." NAN NÜ 13, no. 2 (2011): 205–43. http://dx.doi.org/10.1163/156852611x602629.
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AbstractThis article examines the only extant compilation of Tang dynasty women's poetry, the Yaochi xinyong ji (Collection of new songs from Turquoise Pond), fragments of which have been rediscovered among the Dunhuang manuscripts in Russian library holdings. The study first discusses the compilation, contents, and poets of this collection, and then focuses on the works of three Daoist priestess-poets, Li Jilan, Yuan Chun, and Cui Zhongrong whose writings form the major part of this anthology. It investigates their poetry and reviews relevant sources to conduct a comprehensive examination of the lives and poems of the three poets, and concludes that they represented a new stage in the development of Chinese women's poetry.
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Nikolaev, S. I. "«Grand Hopes» of the Russian Poetry in N. I. Novikov’s Historical Dictionary of Russian Writers." Russkaya literatura 2 (2020): 35–39. http://dx.doi.org/10.31860/0131-6095-2020-2-35-39.
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In his Essay on the Historical Dictionary of Russian Writers (1772), N. Novikov states that certain writers entertain or have entertained high hopes for the future of the Russian literature. And while as far as the playwrights (Ya. B. Knyazhnin and D. I. Fonvizin) were concerned, Novikov’s hopes came true, in the case of the poets they seemed to have fallen short: the poems either haven’t survived at all, or only a negligible number has reached us, or the extant poems haven’t lived up to the hopes. Novikov, however, was pursuing a different goal: in his opinion, Russian literature did not stand still, but remained in constant flow, and new authors who were about to appear were expected to make it glorious. Rather than address just the past and the present, Novikov’s Historical Dictionary was also an attempt to predict the future.
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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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Bowie, E. L. "Early Greek elegy, symposium and public festival." Journal of Hellenic Studies 106 (November 1986): 13–35. http://dx.doi.org/10.2307/629640.
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This paper is chiefly concerned with the circumstances in which early Greek elegy was performed. Section II argues that for our extant shorter poems only performance at symposia is securely attested. Section III examines the related questions of the meaning ofelegosand the performance of elegies at funerals. Finally (IV) I try to establish the existence of longer elegiac poems intended for performance at public festivals.
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Zhang (張月), Yue. "Tao Yuanming’s Perspectives on Life as Reflected in His Poems on History." Journal of Chinese Humanities 6, no. 2-3 (May 11, 2021): 235–58. http://dx.doi.org/10.1163/23521341-12340102.
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Abstract Studies on Tao Yuanming have often focused on his personality, reclusive life, and pastoral poetry. However, Tao’s extant oeuvre includes a large number of poems on history. This article aims to complement current scholarship by exploring his viewpoints on life through a close reading of his poems on history. His poems on history are a key to Tao’s perspectives with regard to the factors that decide a successful political career, the best way to cope with difficulties and frustrations, and the situations in which literati should withdraw from public life. Examining his positions reveals the connections between these different aspects. These poems express Tao’s perspectives on life, as informed by his historical predecessors and philosophical beliefs, and as developed through his own life experience and efforts at poetic composition.
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Underwood, Verne M. "Feigned Praise: Authorship Problems in the Extant Poems of John Milton, Sr." Milton Quarterly 35, no. 1 (March 2001): 44–49. http://dx.doi.org/10.1111/1094-348x.00005.
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George, A. R. "Enkidu and the Harlot: Another Fragment of Old Babylonian Gilgameš." Zeitschrift für Assyriologie und vorderasiatische Archäologie 108, no. 1 (July 16, 2018): 10–21. http://dx.doi.org/10.1515/za-2018-0002.
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Abstract This article presents a newly deciphered Old Babylonian fragment of the Epic of Gilgameš. The passages of text preserved on it tell of Enkidu’s encounter with the prostitute and of his arrival in the city of Uruk, and clarify the relationship between other sources for the same episode. The perceived difference between the Old and Standard Babylonian poems’ treatment of Enkidu’s seduction disappears. The extant versions can be reconciled in a single narrative, common to all versions, that holds two different weeks of sexual intercourse. The different narrative strategies deployed in describing them are one of the ways in which the poem explores Enkidu’s psychological development as he changes from wild man to socialized man.
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Cowan, Robert. "OF GODS, MEN AND STOUT FELLOWS: CICERO ON SALLUSTIUS' EMPEDOCLEA (Q. FR. 2.10[9].3)." Classical Quarterly 63, no. 2 (November 8, 2013): 764–71. http://dx.doi.org/10.1017/s0009838813000232.
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Cicero's letter to his brother Quintus from February 54 is best known for containing the sole explicit contemporary reference to Lucretius’ De rerum natura, but it is also notable as the source of the only extant reference of any kind to another (presumably) philosophical didactic poem, Sallustius’ Empedoclea (Q. fr. 2.10(9).3= SB 14): Lucretii poemata, ut scribis, ita sunt: multis luminibus ingenii, multae tamen artis. sed, cum ueneris. uirum te putabo, si Sallusti Empedoclea legeris; hominem non putabo.Lucretius’ poems are just as you write: they show many flashes of inspiration, but many of skill too. But more of that when you come. I shall think you a man, if you read Sallustius’ Empedoclea; I shan't think you a human being.
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Watt, W. S. "Notes on the epic poems of Statius." Classical Quarterly 50, no. 2 (December 2000): 516–25. http://dx.doi.org/10.1093/cq/50.2.516.
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At their first meeting Polynices and Tydeus come to blows. They are reconciled by Adrastus, who expresses the hope that their quarrel will lead to loyal friendship between them, as it did.Esse pro fuisse dixit, says Lactantius, more ingenuously than Klotz, who tries to make the same thing more palatable by saying esse est pro imperfecti quodammodo infinitiuo. Some have taken the accusative and infinitive to be a general statement, but Heuvel is clearly right in saying that it is Tydeus and Polynices whom the poet has in mind. The most favoured solution has been Grater's conjecture isse, but (as Helm says) that produces an unnatural expression (the passages adduced by Mueller are not parallels); Mozley renders it by ‘grew’, thereby translating not what stands in his text but what ought perhaps to stand there, namely <cr>esse, a conjecture of Gil, which has been almost entirely overlooked. This contracted form is found in extant literature only at Lucretius 3.683 and (concresse) Ovid, Met. 7.416 (at 3.200 Statius flesse). The first letters of a line are particularly liable to omission; despite Hill, I do not find it at all surprising that at 1.544 perseus lost its first letter and the remnant became aureus.
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Zamani, Mohammad Mahdi, and Ne’matollah Iranzadeh. "An Analysis of the Semantic-Fields of Rabe’e Bent-e Ka’b-e Ghozdari’s Extant Poems." Half-Yearly Persian Language and Literature 23, no. 78 (June 1, 2015): 7–28. http://dx.doi.org/10.18869/acadpub.jpll.23.78.7.
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Bulloch, A. W. "An Early Theocritus Book (P. Oxy. 2064 + 3548): Placing Fragments." Classical Quarterly 37, no. 2 (December 1987): 505–12. http://dx.doi.org/10.1017/s000983880003072x.
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In 1930 Hunt and Johnson published the remains of P. Oxy. 2064, a roll containing at least some of the poems attributed to Theocritus and dating from the late second century A.d. (A. S. Hunt and J. Johnson, Two Theocritus Papyri [London: Egypt Exploration Society, 1930], 3–19). The papyrus was important, even though very fragmentary (no column is preserved complete, and very few lines are wholly intact), since at its time of publication it was one of the three earliest witnesses to the text of Theocritus. Fragments of other early papyri of Theocritus have been published since then, but P. Oxy. 2064 has remained the most important known witness prior to the fifth century because of the spread of poems which the extant fragments show it to have contained. No other papyrus allows us to reconstruct the contents of an early Theocritus book to such an extent. In 1983 the editors of Oxyrhynchus Papyri published a further collection of Theocritus fragments from various papyri (P. Oxy. 3545–3552), among which were more remains from P. Oxy. 2064 edited by P. J. Parsons under the number P. Oxy. 3548 (Oxyrhynchus Papyri L [Graeco-Roman Memoirs, 70: London, 1983], 105–22).
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Lattke, Michael. "Dating theOdes of Solomon." Antichthon 27 (November 1993): 45–59. http://dx.doi.org/10.1017/s0066477400000782.
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41 verse texts are extant of the original 42 poems (also described as hymns, psalms or songs) which comprise the so-calledOdes of Solomon—a corpus not to be confused with the 18 so-calledPsalms of Solomon.As can be seen from the Appendix, the history of the discovery and publication of these poems began with C.G. Woide at the end of the eighteenth century.1 Up to that time the only evidence for theOdes of Solomonwas twofold. On the one hand, there was an enigmatic Latin quotation of three lines (i.e. 19:6-7a) in theDivinae Institutionesof Lactantius (c.240-c.320). On the other hand, the mere titlewas listed together with the better knownin the so-calledof Ps.-Athanasios and theascribed to Nikephoros Patriarch of Konstantinopolis (c.750-828). In these two canon-listsPsalmsandOdesappear in this order among the Old Testament's ‘antilegomena’ which is a category between ‘canonical’ and ‘apocryphal’.
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Averbuch, Alexander. "Неизвестные стихотворения Василия Рубана." ВИВЛIОθИКА: E-Journal of Eighteenth-Century Russian Studies 5 (November 27, 2017): 103–42. http://dx.doi.org/10.21900/j.vivliofika.v5.583.
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This paper discusses unknown poems of Vasilii Ruban written in the last three years of his life. These texts exemplify the so-called “poetry of the mundane” (bytovaia poeziia), dealing with the author’s everyday affairs. This study seeks to tie together the commodified, communicative, and aesthetic aspects of the mundane in Ruban’s poetry. The author proposes shifting the emphasis from these texts’ literary merits to the circumstances of their creation and their immediate function. They were not written for posterity, nor to exceed the boundaries of local interest. Ruban’s patrons were the real implicit readers of his poems; they understood his communicative strategy and accepted it as such. This poetry thus constitutes a remarkable source of information about the social and private life of Ruban’s patrons and the connections between them. Analyzing patrons’ relationships with the poet and responses to his requests, the article contextualizes Ruban’s poetry of the mundane within communicative conventions extant at the time.
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Casella, Federico. "Escatologia e conoscenza salvifica in Empedocle: una rilettura della metempsicosi alla luce delle teorie fisiologiche sulla mente." Elenchos 40, no. 2 (November 26, 2019): 265–96. http://dx.doi.org/10.1515/elen-2019-0014.
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Abstract The presence of a theory of the transmigration of the soul or, according to Empedocles’ words, of the δαίμων is a controversial issue among scholars. A major difficulty arises when one tries to read the fragments of the Purifications – where this theme is particularly recurrent – in conjunction with those usually attributed to the poem On nature. The aim of this paper is to suggest a ‘method’ to analyse the extant fragments, and to offer a possible interpretation of the nature of the so–called cycle of the δαίμων. On the one hand, I shall try to show that the two poems, if read together, can provide a ‘salvific’ message. As a matter of fact, the description of the cosmic order that emerges from the poem On nature might convey the same prescription as stated in the Purifications for following the universal laws, which would ultimately allow human beings to be happy even in an age of universal evil. On the other hand, I shall propose to identify the δαίμων with the roots, which can escape from the cycle – i.e. become happy – when they are shaped as human minds, thanks to the way in which the processes of knowledge work.
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Krynicka, Tatiana. "Starożytny łaciński centon: próba przybliżenia na przykładzie „Centonu weselnego” Auzoniusza." Vox Patrum 57 (June 15, 2012): 359–78. http://dx.doi.org/10.31743/vp.4137.
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The term „cento” comes from the Latin cento, which means „a cloak made of patches,” „patchwork,” as the Greek does. Poems of Homer and Vergil were favorite sources for the ancient cento poets, who rearranged their fragments into totally different stories. The oldest preserved Latin cento is the tragedy „Medea” composed by Hosidius Geta from the fragments of Vergilian poetry circa 200 AD. We know, however, about other centos having been written before that date. Altogether, sixteen Virgilian and one Ovidian cento have been preserved. Thirteen of them, including the earliest and the latest of all extant Latin centos, are contained in the Codex called Salmasianus. Since the terminus ante quem for this manuscript is 534 AD, we assume that all preserved centos have been written between 200 AD, the broadly acknowledge date for Medea, and 534 AD. Ancient Virgilian centos mainly deal with well-known classical myths (8 of 13). Four of them have Christian themes, two treat trivial matters of everyday life, two are wedding-poems. The involvement of Decimus Ausonius Magnus (ca 310-394), a renowned teacher, rhetorician and poet, with the cento is not limited to being the author of a Virgilian cento, which he composed as a response to a similar poem by the Emperor Valentinian I (321-375). Ausonius is the only ancient author we know to have described cento in more detail and to have laid down the rules of the genre. In the introductory letter to the Cento nuptialis, addressed to his friend Axius Paulus, Ausonius maintains that verses of an original text, taken over to the cento, may be divided at any of the caesurae which occur in hexameter. No section longer than one line and a half should be taken over. The quotation may not be changed, although its meaning may change according to the new context. Ausonius compares activity of the cento poets to playing the game of stomachion. Doing so he emphasizes unity within cento and its playfulness as the particularly important traits of the genre. Ancient authors usually followed the technical rules put forth by Ausonius, although not all of them would have agreed with him about the similarity between writing a cento and playing a game. While some twentieth century scholars had treated cento with undeserved contempt, the research of the last decades has given it its honour back. Centos still require our attention, especially that, through their analysis, we may try to obtain a more faithful portrait of the well educated ancient reader. This reader knew his Virgil by heart, worshipped Virgil as the divinely inspired prince of Latin poetry, and preferred Virgil’s words to his own when he ventured to describe his world.
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O’Halloran, Kieran. "Filming a poem with a mobile phone and an intensive multiplicity: A creative pedagogy using stylistic analysis." Language and Literature: International Journal of Stylistics 28, no. 2 (May 2019): 133–58. http://dx.doi.org/10.1177/0963947019828232.
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A film poem is a cinematic work which uses a written, often canonical poem as its inspiration. Film poems frequently exceed the likely intentions of the poet, becoming something new; one creative work is used as a springboard for another. Typically, however, in film poems the poem’s stylistic detail is largely irrelevant to its cinematic execution. In a previous article, I spotlighted how this oversight/limitation can be addressed by bringing film poems into stylistics teaching and assessment. That article showed how stylistic analysis of a poem can be used to drive generation of a screenplay for a film of the poem. But, it did not show how the film could be produced on that basis. In contrast, this article does just that, modelling how a student could make a film from a poem, with their mobile device, where stylistic analysis has been used to stimulate the screenplay. Accompanying this article is a film that I made on a mobile phone. This is of Michael Donaghy’s poem, Machines. In developing this approach for producing film poems via stylistic analysis, I incorporate ideas from the philosopher, Gilles Deleuze, and from his collaboration with the psychoanalyst, Félix Guattari, in their book A Thousand Plateaus. In particular, I make use of their concept of ‘intensive multiplicity’. Generally, this article highlights how common ownership of mobile devices by university students, in many countries, can be used, in conjunction with stylistic analysis, to foster a different approach to interpreting poetry creatively which, in turn, can extend students’ natural capacity for creative thinking.
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Studniarz, Sławomir. "Beckett's Early Verse and the Modernist Long Poem: A Study of ‘Enueg I’." Journal of Beckett Studies 28, no. 2 (September 2019): 197–213. http://dx.doi.org/10.3366/jobs.2019.0268.
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The premise of the article is the contention that Beckett studies have been focused too much on the philosophical, cultural and psychological dimensions of his established canon, at the expense of the artistry. That research on Beckett's work is issue-driven rather than otherwise, and the slender extant body of criticism specifically on his poetic achievements bears no comparison with the massive exploration of the other facets of Beckett's artistic activity. The critical neglect of Beckett's poetry may not be commensurate with the quality of his verse. And it is in the spirit of remedying this oversight that the present article is offered, focusing on ‘Enueg I’, a representative poem from Echo's Bones, which exhibits all the salient features of Beckett's early poetry. It is argued that Beckett's early verse display the twofold influence, that of the transatlantic Modernism of Eliot and Pound, and of French poetry, specifically the visionary and experimental works of Rimbaud, Apollinaire, and the surrealists. Furthermore, the article also demonstrates that ‘Enueg I’ testifies to Beckett's ambition to compose a complex long Modernist poem in the vein of The Waste Land or The Cantos. Beckett's ‘Enueg I’ has much in common with Eliot's exemplary disjunctive Modernist long poem. Both poems are premised on the acutely felt cultural crisis and display the similar tenor in their ending. Finally, they both close with the vision of the doomed and paralyzed world, and the prevalent sense of sterility and dissolution. In the subsequent analysis, which takes up the bulk of the article, careful attention is paid to the patterning of the verbal material, including also the most fundamental level, that of the arrangements of phonemes, with a view to uncovering the underlying network of sound patterns, which contributes decisively to the semantic dimension of the poem.
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Hartman, Megan E. "The Form and Style of Gnomic Hypermetrics." Studia Metrica et Poetica 1, no. 1 (April 22, 2014): 68–99. http://dx.doi.org/10.12697/smp.2013.1.1.05.
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Gnomic poems have often been noted for their unusual metrical style. One aspect of their style that stands out is the hypermetric usage, both because these poems contain a notably high incidence of hypermetric verses and because the verses are frequently categorized as irregular. This paper analyses hypermetric composition in Maxims I, Maxims II, and Solomon and Saturn in detail to illustrate the major stylistic features of gnomic composition. It demonstrates that, contrary to the conclusions of some previous scholars, the hypermetric verses basically follow the form for hypermetric composition that can be found in most conservative poems, but with the inherent flexibility of hypermetric metre pushed to a greater extent than in most narrative poems, making for lines that are longer, heavier, and more complex. This alternate style highlights the importance of each individual aphorism and characterizes the solemnity of the poems as a whole. By composing their poems in accordance with the trends of this specialized style, poets may have been marking their composition as separate from narrative poems and encouraging their audience to consider each individual poem in the larger context of Old English wisdom poetry.
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Mérida Jiménez, Rafael M. "«El corpus medieval de la lírica popular catalana con voz femenina»." Revista de Literatura Medieval 30 (December 31, 2018): 219–32. http://dx.doi.org/10.37536/rpm.2018.30.0.74051.
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Resumen: El presente trabajo tiene como objetivo analizar la presencia de la voz femenina en el corpus de la lírica popular catalana de la Edad Media. Con tal propósito, y tras presentar los resultados de las líneas de investigación principales en el área románica, se estudiará el Corpus d’antiga poesia popular de Josep Romeu i Figueras y serán comentadas las características temáticas y formales de este conjunto formado por veinticuatro poemas. Por último, se propone la inclusión de tres piezas adicionales, de origen diverso, que nos permitirán reflexionar sobre cuestiones relacionadas con sus tipologías textuales, culturales y lingüísticas.Palabras clave: Lírica catalana de la Edad Media, Poesía tradicional europea, La mujer en la literatura catalana medieval, Estudios de género, Josep Romeu i Figueras.Abstract: The goal of this essay is the analysis of female voices in Catalan traditional poetry from the Middle Ages. After introducing the main achievements of previous research in Romance literatures, we will study Josep Romeu i Figueras’ Corpus d’antiga poesia popular as well as the formal and thematic traits of the extant group of 24 poems. Last, the article suggests to include 3 more texts, whose presence will offer the opportunity to think about some issues related to textual, cultural and linguistic typologies.Keywords: Medieval Catalan Poetry, European Traditional Poetry, Women in Medieval Catalan Literature, Genre Studies, Josep Romeu i Figueras.
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Del Puppo, Dario. "Text and Document in Dante’s Vita nova." Romanic Review 112, no. 1 (May 1, 2021): 10–23. http://dx.doi.org/10.1215/00358118-8901779.
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Abstract This article considers the importance of material philological features of the early manuscripts of Dante’s Vita nova for the work’s critical reception. Over the centuries, editors (most notably Giovanni Boccaccio) have recast textual meaning in the work mainly by marginalizing the poet’s glosses and by reformatting the poems. Attention to the material features of the earliest extant manuscript of the Vita nova (MS Martelli 12) with respect to later copies, however, prompts us to consider the creative interplay between Dante’s prosimetrum and the material features of the manuscript. To interpret a text critically is to acknowledge and to examine also how a manuscript or print edition orients textual interpretation. The editorial history of the Vita nova teaches us about the cultural processes and discourses of literary culture and about Italian literary history.
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Gillespie, Stuart. "Imitating the Obscene: Henry Higden's Versions of Horace's Satire 1.2 and Juvenal's Satire 6." Translation and Literature 29, no. 2 (July 2020): 199–219. http://dx.doi.org/10.3366/tal.2020.0418.
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Henry Higden has hitherto been known, if at all, for two works of English classical imitation: of Juvenal's Satire 13 (printed 1686) and Satire 10 (printed 1687), the second an influence on Dryden. Other than a failed stage play, these are Higden's sole recorded works. This article argues that he was also the author of two closely related imitations, probably also composed in the late 1680s but circulated anonymously, and both extant in manuscript copies. Higden's versions tend to make more rather than less emphatic the sexual content of these Latin poems, providing a reason why one who was called to the bar in 1686 and well known in polite circles would not have wished to claim them publicly as his work. A text of the 313-line Horatian imitation is printed for the first time within this contribution.
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Christensen, Joel P. "Eris and Epos." Yearbook of Ancient Greek Epic Online 2, no. 1 (August 23, 2018): 1–39. http://dx.doi.org/10.1163/24688487-00201001.
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Abstract This article examines the development of the theme of eris in Hesiod and Homer. Starting from the relationship between the destructive strife in the Theogony (225) and the two versions invoked in the Works and Days (11–12), I argue that considering the two forms of strife as echoing zero and positive sum games helps us to identify the cultural and compositional force of eris as cooperative competition. After establishing eris as a compositional theme from the perspective of oral poetics, I then argue that it develops from the perspective of cosmic history, that is, from the creation of the universe in Hesiod’s Theogony through the Homeric epics and into its double definition in the Works and Days. To explore and emphasize how this complementarity is itself a manifestation of eris, I survey its deployment in our major extant epic poems.
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Rasouli Firoozabadi, Ameneh, and Habib Jadidoleslamy. "RHETORIC (PROSODY) IN THE LYRICS OF BIDDLE DEHLAVĪ." Malaysian Journal of Languages and Linguistics (MJLL) 6, no. 2 (November 20, 2017): 101–6. http://dx.doi.org/10.24200/mjll.vol6iss2pp101-106.
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In the Persian poem, the elements constituting the music are: metrical prosody, the rhymes, and homophony of words in the poem that is the result of the artistic repetition of the various phonetic units of the language. Harmony between these elements and poem content can be considered as a footnote of this phonetic phenomenon and Complementary of the musical quality of the lyrics. In the form of “sonnet”, with regard to the structural characteristics, the mentioned musical elements can be divided into two groups: one is related to the sonnet structure (which is constantly in a sonnet) and other is related to the couplet (which in the different couplet of a sonnet may be changed). The Biddle Dehlavī lyrics is described by “roam” adjective, but his sonnet meter is to a large extent “ordinary”, because high frequency meters of the sonnet, which four fifth of sonnets were versified in that format, are according to the lyric tradition of that time period. However, in low frequency meters of his sonnets, there are uncommon meters that distinguishes it from other poets. Most of the readers of Biddle poems and experts in the Biddle poems believe that his sonnets are the most valuable of his poems. In the other hand, because of its history and lyric nature, the sonnet form has a stronger link to the musics and the meter role is more highlighted in his sonnets.
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Jesus, Dulcirley De. "Poema-mundo: corpo-poema." Revista do Centro de Estudos Portugueses 34, no. 52 (December 31, 2014): 55. http://dx.doi.org/10.17851/2359-0076.34.52.55-75.
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<p>Entre os poemas de Herberto Helder em que há uma certa ênfase à relação entre as noções de mundo, de corpo e de linguagem, merece destaque <em>Do mundo </em>(2006), publicado pela primeira vez em 1978. Nele, há referências tanto a um mundo em gênese e formação quanto a um corpo orgânico que se move em seus processos de metamorfose. Todavia, tais imagens são produtos de uma construção que se dá por referências inconcretas. Estas, por sua vez, no devir de uma linguagem que irradia significações, enfeixam-se em um movimento de convergência que resulta em imagens como: o “corpo-poema”, ou o “poema-corpo”, e o “mundo-poema”, ou o “poema/mundo”; ou ainda o corpo-mundo-poema. Tais blocos de imagens materializam-se na poesia de Herberto Helder pelos processos de fusões, transmutações e de metamorfoses porque passam a linguagem, o que ocorre na mesma medida em que as palavras tornam-se coisa, corpo, mundo; corpo-mundo naquilo que esses espaços possuem de afinidade, como reitera Maffei: “Um profundo vitalismo, assim, faz a ‘imagem’ possuir características de corpos vivos e do próprio universo, por sua vez também um corpo vivo.”1 Apesar da existência de uma comunicação intensa entre essas imagens nas duas obras, daremos ênfase, neste artigo, à leitura de <em>Do mundo </em>e sua relação com o espaço que lhe é homônimo com a palavra poética, já que, como é sugerido pelo próprio título, esse poema confere um tratamento especial à relação entre nome e coisa, palavra e realidade, linguagem e mundo.</p> <p>Among Herberto Helder’s poems that have emphasis in relation between the notions of world, body and language, the book <em>Do mundo </em>(2006), first published in 1978, deserves our attention. In this book, we could find references such in a world in genesis and formation as to a organic body that moves in their metamorphoses processes. However, these images are products of a construction that is not given by concrete references. These, in turn, in <em>devir </em>of a language that radiate meanings, reunites in a convergence movement that results in images such as: “body-poem”, or “poem-body”, and the “world-poem” or the “poem/ world”; or the body-world-poem. Such image blocks are materialized in the poetry of Herbert Helder by mergers process, transmutations and metamorphosis because they transpose the language, which occurs to the same extent that the words become thing, body, world; body-world in which these spaces have affinity, as Maffei reiterates: “A deep vitalism, thus, makes the ‘image’ possess characteristics of living bodies and the universe, itself, turns also a living body”. Despite the existence of an intense communication between these images in both works, we will emphasize, in this article, the reading of <em>Do Mundo </em>and its relation with the namesake space with the poetic word, remembering, as suggested by the title itself, this poem gives special treatment to the relation between name and thing, word and reality, language and world.</p>
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Bammesberger, Alfred. "Proverb from Winfrid’s Time and Bede’s Death Song: Some Textual Problems in Two Eighth-Century Poems Revisited." Anglia 138, no. 2 (June 4, 2020): 259–76. http://dx.doi.org/10.1515/ang-2020-0022.
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AbstractThe sequence Oft daedlata domę foręldit (four words) in the Old English Proverb from Winfrid’s Time (ProvW, 1) defies grammatical analysis because foręldit ‘delays’ requires an accusative object. It is proposed to read Oft daed lata domę foręldit as five words, with daed (= dǣd) ‘deed’ functioning as direct object. This suggestion does not require any emendation because word division in Old English is by no means regular and there is some space between daed and lata in the manuscript anyway. The dative forms domę and gahwem (2a) function as instrumentals, with gahwem perhaps subordinated to domę. The meaning of the simplex lata lies in the area of ‘late-comer’, but ‘sluggard’, ‘laggard’ or other derogatory terms are not suitable. With regard to its genre, ProvW may be viewed in conjunction with Bede’s Death Song (BDS). The vocabulary of BDS presents some problems, but, above all, the construction of the five verse-lines is not totally clear. It is proposed that the comparative thoncsnotturra (2a) has absolute function, and that the adverbial than (2b), meaning ‘then’, introduces a fresh clause. ProvW and BDS may belong to a larger group of self-contained texts no longer extant. In a wide sense they represent the category of Wisdom Poetry in a Christian context.
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Chapman, Wayne K. "Yeats’s White Vellum Notebook, 1930–1933." International Yeats Studies 2, no. 2 (May 1, 2018): 40–59. http://dx.doi.org/10.34068/iys.02.02.03.
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This essay examines the present state of affairs concerning “one of the great literary manuscripts of our time, the great vellum notebook” that Sotheby’s advertised and sold for the first time in 1985. That sale and a subsequent one in 1990 are related to the contents of the notebook as ascertained from finding aids used by the editors of the Cornell Yeats series, including Chapman, as well as from the examination of extant microfilms of the notebook, the location of the original having been lost. Particularly useful for new and on-going textual-genetic studies in Yeats collections at the National Library of Ireland and elsewhere, part III (“Yeats’s White Vellum Notebook [‘MBY 545’]: An Inventory”) lists all poems, plays, essays, introductions, prefaces, notes, diary entries, and materials for A Vision as they occur by page and folio position within the manuscript notebook, as well as within the Cornell series if, to date, corresponding reproductions and/or transcriptions have appeared there.
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Rice, James L. "Varvara Petrovna Turgeneva in Unpublished Letters to Her Son Ivan (1838-1844)." Slavic Review 56, no. 1 (1997): 1–14. http://dx.doi.org/10.2307/2500652.
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—V. P. Turgeneva to Ivan Sergeevich, Spasskoe, 30 July 1838On the eve of World War I the St. Petersburg Public Library acquired, from an anonymous donor, 124 letters from V. P. Turgeneva to her son, Ivan Sergeevich, written from 1838 to 1844. His side of the correspondence is not extant, but his youthful personality is often vividly evoked by his mother’s words, and his letters are reflected and occasionally quoted in hers. These letters from the hand of V. P. would comprise, an archivist once observed, a thick book.1 During the era they represent, I. S. (“Milyi drug i syn, Vanichka,” somewhat more frequently “Mon cher Jean”) entered Berlin University to study philosophy, traveled in Europe, published twenty short poems and the comic verse narrative Parasha, met Vissarion Belinskii and became his friend, began his lifelong friendship with the Viardots, was first stricken with gallstones and other complaints, published his first story (already mature and polished, “Andrei Kolosov“), and wrote part of a work of fiction now seen as a key to his creativity (“Perepiska,” published in 1856).
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Oberlin, Adam. "Fabian Sietz, Erzählstrategien im Rappolsteiner Parzifal. Zyklizität als Kohährenzprinzip. Studien zur historischen Poetik 25. Heidelberg: Universitätsverlag Winter, 2017, 328 S." Mediaevistik 31, no. 1 (January 1, 2018): 480–81. http://dx.doi.org/10.3726/med012018_480.
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Wolfram von Eschenbach’s Parzival survives in nearly 90 codices and manuscript fragments, the latter as small as portions of a single folio and the former as Sammelhandschriften with several hundred extant folia. One example of a longer ms. among them is Cod. Sang. 857, also known as the Nibelungenlied B ms. or St. Galler Epenhandschrift, which includes as complete texts or fragments Parzival, Nibelungenlied, Diu Klage, Karl der Große (Stricker), Willehalm (also Wolfram von Eschenbach), and a few other shorter poems and religious writings. Another example is the object of research in Fabian Sietz’s wide-ranging study of narrative strategies, <?page nr="481"?>namely Cod. Donaueschingen 97 in the Karlsruhe Landesbibliothek – the remarkably complete and well-preserved Rappolsteiner Parzival (the codex has been digitized and can be found here: <ext-link ext-link-type="uri" xlink:href="https://digital.blb-karlsruhe.de/id/101664">https://digital.blb-karlsruhe.de/id/101664</ext-link>). Unlike the St. Gall ms., the Rappolsteiner Parzival includes not only Wolfram’s text but also a continuation adapted from Chrétien de Troyes’ Conte du Graal.
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Ali, Watad. "A Linguistic Issue In By NafīS AL-Dīn Abū L-Faraj Ibn Al-Kaṯār (Thirteenth Century)." Journal of Semitic Studies 65, no. 2 (September 1, 2020): 531–48. http://dx.doi.org/10.1093/jss/fgaa018.
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Abstract The treatise by Nafīs al-Dīn Abū l-Faraj Ibn al-Kaṯār, also known as Shams al-Ḥukamā, active circa the end of the thirteenth century CE, is written in Middle Arabic in the Arabic script. Verses of the Torah and quotes from Samaritan religious poems are written in Samaritan Hebrew letters. The treatise is extant in a number of Samaritan manuscripts kept in various libraries in Israel and abroad. While the title of this work is , its contents encompass numerous topics in a variety of fields: linguistics, exegesis, religious law and more. Among the linguistic issues it addresses, for example are topics in phonology, morphology, syntax and semantics. The present article discusses two interrelated linguistic issues in phonology and morphology, the first dealing with the conjugation of irregular verbs: the phonological discussion focuses on the concept of ‘iwaḍ (compensation) and in morphology we discuss I/y verbs and, by the way, also I/n verbs. In addition, I examine this work's affinities with the grammatical theories expounded by the Samaritan grammarian Ibn Mārūṭ and the rabbinic grammarian Yehuda Ḥayyūj.
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Gosfield, Avery. "I Sing it to an Italian Tune . . . Thoughts on Performing Sixteenth-Century Italian-Jewish Sung Poetry Today." European Journal of Jewish Studies 8, no. 1 (June 25, 2014): 9–52. http://dx.doi.org/10.1163/1872471x-12341256.
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Although we know that Jewish musicians and composers were active in Renaissance Italy, very few compositions by Jewish authors or music specifically destined for the Jewish community has survived. There are few exceptions: Salamone Rossi’s works, the tunes from Guglielmo Ebreo da Pesaro’s dance manuals, Ercole Bottrigari’s transcriptions of Jewish liturgy, a handful of fragments. If we limit the list to pieces with specifically Jewish content, it becomes shorter still: Rossi’s HaShirim asher liShlomo and Bottrigari’s fieldwork. However, next to these rare musical sources, there are hundreds of poems by Jewish authors that, although preserved in text-only form, were probably performed vocally. Written in Italian, Hebrew and Yiddish, they usually combine Italian form with Jewish content. The constant transposition and transformation of form, language and content found in works such as Josef Tzarfati’s Hebrew translation of Tu dormi, io veglio, Elye Bokher’s Bovo Bukh, or Moses of Rieti’s Miqdash Me’at (an artful reworking of Dante’s Divina Commedia) mirror the shared and separate spaces that defined Jewish life in sixteenth-century Italy. None of these poems have come down to us with musical notation. However, several have extant melodic models, while others have indications, or are written in meters—like the ottava or terza rima—that point to their being sung, probably often to orally transmitted melodies. Even if it is sometimes impossible to ascertain the exact tune used in performance, sung poetry’s predominance in Jewish musical life remains undeniable. HaShirim asher liShlomo, usually considered the most important collection of Jewish Renaissance music, might not have ever been performed during its composer’s lifetime, while Rieti’s Miqdash Me’at survives in over fifty manuscripts, including four Italian translations. In one of these, translator/author Lazzaro of Viterbo writes, tellingly, about looking forward to hearing his verses sung by his dedicatee, Donna Corcos.
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Ahmed J., Nada, Abdul Monem S. Rahma, and Maha A. Hmmood Alrawi. "A Novel Coding and Discrimination (CODIS) Algorithm to Extract Features from Arabic Texts to Discriminate Arabic Poems." International Journal of Advanced Pervasive and Ubiquitous Computing 11, no. 1 (January 2019): 1–14. http://dx.doi.org/10.4018/ijapuc.2019010101.
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This article proposes a new algorithm to discriminate Arabic poems by inserting Arabic poems texts and coding Arabic letters, extracting letters features depending on letter shapes to construct a multidimensional contingency table, and analyses the frequencies of letters in the inserted texts statistically. The proposed coding and discrimination (CODIS) algorithm could be applied for different Arabic texts in any media. A sample of five poems for six poets was examined to implement a CODIS algorithm. A Chi-Square statistic is used to determine the relation between the features and discriminate poems.
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Miola, Robert S. "Lesse Greeke? Homer in Jonson and Shakespeare." Ben Jonson Journal 23, no. 1 (May 2016): 101–26. http://dx.doi.org/10.3366/bjj.2016.0154.
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Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.
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Jeep, John M. "Stabreimende Wortpaare in den früheren Werken Hartmanns von Aue: Erec, Klage, Minnesang." Yearbook of Phraseology 7, no. 1 (October 1, 2016): 55–80. http://dx.doi.org/10.1515/phras-2016-0004.
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Abstract Building upon recent phraseological studies on Old High and Middle High German texts, the alliterating word pairs in the early works of Hartmann von Aue are catalogued and analyzed philologically, thus contributing to an emerging complete listing of the paired rhetorical expressions through the Early Middle High German period. The first extant courtly Arthurian romance, Hartmann's Erec, a shorter piece of his known as Diu Klage, and a handful of poems he composed are by all indications from the last decade of the twelfth century, despite later manuscript transmission. Each pair is listed, described in the context in which it appears, and compared with any extant pairs from earlier German works. What emerge are insights into the evolution of these expressions, in some cases through centuries. On the one hand, Hartmann employs alliterating expressions that date to the Old High German period, while on the other hand apparently creating new ones. As in findings in earlier texts, pairs recorded on multiple occasions are likely to have been used by other authors. Typical for medieval German texts – when compared to similar modern expressions – is the insight that there is a fair amount of variation concerning the sequence of the alliterating elements and/or the inclusion of morpho-syntactic modifiers such as pronouns, possessives, adjectives, or adverbs. Modern translations of Hartmann's works into German and English show just how varied these phrases can appear in translation. When known, later examples of the alliterating word-pairs are cited, albeit for obvious reasons only in an incomplete fashion. The long-term project is designed to continue to chart the emergence of the early German alliterating word-pairs chronologically.
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Rutherford, Ian. "Pindar on the Birth of Apollo." Classical Quarterly 38, no. 1 (January 1988): 65–75. http://dx.doi.org/10.1017/s000983880003127x.
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Pindar must have narrated the myth of the birth of Apollo in many poems. We know of at least three, perhaps four versions: his only extant account of the birth itself is in Pa. XII; the latter of the two surviving sections of Pa. VIIb describes the flight of Asteria from Zeus, her transformation into an island and (probably) Zeus' desire to have Apollo and Artemis born there; the birth also seems to have been mentioned in the Hymn to Zeus immediately after the address to Delos and the account of Delos being rooted to the sea-bed in fr. 33c–d; finally a source reports that according to Pindar Apollo passed from Delos to Delphi via Tanagra and this would probably have followed an account of the birth, though it could refer to a lost part of Pa. XII or the Hymn to Zeus. These accounts have never been the subject of systematic investigation, which is regrettable, because they make up an important aspect of Pindar's attitude to religion. In this preliminary study I focus on two interrelated aspects: the stance Pindar takes towards the Homeric Hymn to Apollo and the role he attributes to Zeus.
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Anae, Nicole. "Gothic Secret Histories and Representing Australian Colonial Deaths at Sea: The Case of Captain Charles Wright Harris and the Wreck of the SS Admella (1859)." Journal of Victorian Culture 25, no. 4 (July 8, 2020): 512–36. http://dx.doi.org/10.1093/jvcult/vcz061.
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Abstract Extant ephemera documenting the wreck of the SS Admella off the South Australian coast on 6 August 1859 offers a compelling story of real-life maritime calamity characterized by death and extraordinary heroism. The much less written about account, however, is the story lying in between ‘official accounts’ of the wreck, and those that emerged in the contemporary reports of the day, including a body of verse termed ‘Admella poetry’. Verse forms and telegraphic reports of the wreck appear to be at odds with other witness statements, and official records have corrupted details from either telegraphic reports or published survivor statements, or both. This re-reading of one of the key heroic fatalities in the story of the wreck of the SS Admella – 37-year-old Captain Charles Wright Harris, a passenger aboard the Admella – theorizes on his death at sea as mapping plural histories. I argue that the account of the event preserved as political and bureaucratic memory – and its counterpoint – the account of the event preserved in the popular press and Admella poems, characterizes an alternative Victorian cultural memory, a gothic secret history concerning the wreck of the SS Admella and colonial deaths at sea.
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خيري محمد سعيد, نادية. "A Contrastive study of 'Inversion' in Modern English and Modern Arabic Poetry." Al-Adab Journal 1, no. 122 (December 9, 2018): 105–28. http://dx.doi.org/10.31973/aj.v1i122.235.
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The present paper respects 'inversion' as a habit of arranging the language of modern English and Arabic poetry . Inversion is a significant phenomenon generally in modern literature and particularly in poetry that it treats poetic text as it is a violator to the ordinary text.
The paper displays the common patterns and functions of inversion which are spotted in modern English and Arabic poetry in order to show aspects of similarities and differences in both languages. It concludes that inversion is most commonly used in English and Arabic poetry in which it may both satisfy the demands of sound correspondence and emphasis.
English and Arabic poetic languages vary in extant to their manipulation of inverted styles as they show changeable frequencies of inversion.
Finally , it is notable to mention other significant complementary roles of inversion in this paper as : to shape the aesthetic and the semantic indication , to add ambiguity and lay out to the poems , to represent the state of the poet in writing , and to modify the context . The manipulation of inversion as an information – packaging mechanism ( end focus and new information ) is also another compatible aspect of inversion in both languages. .
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Manning, Logan. "Touchstone poetry: writing as a catalyst for moments of development." English Teaching: Practice & Critique 15, no. 3 (December 5, 2016): 375–93. http://dx.doi.org/10.1108/etpc-01-2016-0010.
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Purpose Extant research has painted a clear picture of the myriad ways that schools are failing to provide a meaningful education, and meaningful literacy pedagogies, to all youth. Given this crisis shouldered disproportionately by youth of color in urban schools, this paper aims to take a retrospective approach to understanding the lasting reverberations of a high school poetry class on a group of students who experienced urban traumas including but not limited to educational injustices. In contrast to the representations of failing schools, some current research offers various portraits of urban students engaging in empowering ways in classrooms that make critical use of media arts, poetry and hip hop. The questions driving this study are based on what happens once students step out of these alternative classroom spaces. For youth who have dropped out of the traditional system, what was the nature of the writing they produced in an alternative literacy learning space and what relationship did it have to their development as young adults? Design/methodology/approach Using qualitative case study methodology, this paper explores the memorable writing produced in the context of a high school poetry class by six case study participants to understand its meaning in their lives over time. It is through a dialogic lens that this research makes sense of the relationship between the written words produced by these youth, their actions in and on the world in their early adulthood, and their moments of development as survivors of trauma and as civic actors. Findings Student discussion of what I describe as touchstone poems revealed how these poems functioned to reorganize experiences and memories for the case study participants that enabled them to feel increased agency in relation to their personal and socio-cultural struggles. Originality/value For these students who were perpetually labeled as at-risk, poetry class served as a space where they could collectively engage in positive risk-taking that held meaning in their lives after high school and catalyzed the development of agentive identities.
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Ullyatt, T. "The urge to begin anew: Visions of America in some American long poems." Literator 18, no. 1 (April 30, 1997): 93–110. http://dx.doi.org/10.4102/lit.v18i1.532.
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The basic purpose of this article is to survey the visions of America embodied in a number of American long poems from different literary periods. Since there have been a considerable number of long poems written in America during its almost 350-year history, it has been necessary to make some stringent selections. The texts used here have been chosen for their literary-historical importance. Starting with Michael Wigglesworth's 1662 poem, The Day of Doom, the article proceeds to the work of Joel Barlow and, to a lesser extent, Philip Freneau from the late eighteenth and early nineteenth centuries before approaching Walt Whitman’s Leaves of Grass from the late nineteenth century, and Alien Ginsberg's poem. Howl, from the mid-twentieth century.
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Hunter, Richard. "(B)ionic man: Callimachus' iambic programme." Proceedings of the Cambridge Philological Society 43 (1998): 41–52. http://dx.doi.org/10.1017/s0068673500002133.
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A concern with the methods and style of praise and blame recurs, unsurprisingly, throughout Callimachus'Iambi. Theiambosis the aggressive modepar excellence, and Callimachus is the most generically-conscious of poets; whether he is writing hymns, aetiological elegy or funerary epigram he is always overtly engaged with the history and development of the literary form in which he operates. The nature of iambic poetry is, however, the explicit subject of two poems in particular,Iambus1 andIambus13, which thus have a special claim to be considered ‘programmatic’. The thirteenthIambusreturns to the choliambic metre of the first four poems, the metre most associated with Hipponax, who appears himself in the firstIambusas the authorising ‘voice’ for these poems, and is apparently spoken in the voice of the poet who to some extent takes up again the themes ofIambus1 (and indeed ofAitiafr.1); thus the temptation to see a ‘closed’ poetry book, framed by these two poems, is very strong.
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Cloete, T. T. "Simboliek in Totius se werk." Literator 11, no. 1 (May 6, 1990): 77–90. http://dx.doi.org/10.4102/lit.v11i1.795.
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Totius’ works are not symbolic in the sense that they exhibit any affinity with or influence by the European Symbolism of the time. Nevertheless, much that is symbolic is found in his works. Although he was inclined to interpret the images and symbols in his own poems at times, and even wrote allegorical poems, he also wrote really good symbolic poems. It emerged that the symbol has something universal, to such an extent that it is even possible to compile dictionaries of symbols, and the very fact that one can compile a dictionary of symbols, is sufficient proof that a symbol is not something particular but rather general. Many of the symbols used by Totius can be explained in the terms in which De Vries and Cirlot described these and similar symbols. However valuable symbols may be in poetry, the merit of a poem lies in much more than in the symbol(s) occurring in it. Thus the symbolic poems by Totius are not automatically better than the poems which are less heavily symbolic. However, some of his best poems do constitute excellent symbolic poetry.
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Dutta, Ashim. "India in Yeats’s Early Imagination: Mohini Chatterjee and Kālidāsa." International Yeats Studies 2, no. 2 (May 1, 2018): 20–39. http://dx.doi.org/10.34068/iys.02.02.02.
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W. B. Yeats’s interest in India persisted throughout his variegated life and career, starting in the late nineteenth century and lasting through the final decade of his life. This article concentrates on his early years when he first came to terms with Indian philosophy, religion, and literature via the Vedāntist-Theosophist Mohini Chatterjee and the work of the fifth-century Sanskrit playwright Kālidāsa. With a view to examining critically Yeats’s creative engagement with, and appropriation of, these disparate materials, this article closely reads a discarded 1880s poem on Chatterjee’s teaching and its later 1929 version, “Mohini Chatterjee,” as well as his early Indian poems, collected in Crossways. The reading of these poems is supplemented by critical analysis of the relevant Indian texts, which will illuminate the poems concerned as well as the extent of Yeats’s imaginative improvisation.
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Malamud, Martha. "Double, Double: Two African Medeas." Ramus 41, no. 1-2 (2012): 161–89. http://dx.doi.org/10.1017/s0048671x00000308.
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When Seneca's Medea flies off in her serpent-drawn chariot, shedding ruin, heartbreak and death and leaving it all behind her on the stage, we are too stunned to wonder where she might be headed. As it turns out, this enterprising exile continued her career with great success in Roman Africa. This essay considers two remarkable Later Roman Medeas: Hosidius Geta's early third (?) century tragedy Medea and Dracontius' late fifth century epyllion Medea. Both were products of the flourishing, experimental, literary culture of Roman Africa that produced such writers as Apuleius, Tertullian, Augustine, Corippus, Martianus and Fulgentius. Although the two poems present radically different heroines, both exhibit the sophisticated allusivity, wordplay and interest in formal structures and rules that characterise Latin literature from Africa. One Medea makes a lethal intervention in Vergilian poetics; the other Medea channels a distinctively Statian Muse.Hosidius Geta's Medea is a short tragedy consisting of eight scenes and three choral songs that recounts the familiar events of Medea's vengeance in an unfamiliar form—it is the first extant example from antiquity of a cento. Mystery shrouds the origins of this Medea—we are unlikely ever to know for certain where, when or by whom it was written. It is probably a late second or very early third century text from Roman Africa. It is first mentioned by Tertullian, who brings it up as an example of the kind of improper manipulation of scripture perpetrated by heretical readers—that is, as a perverted form of reading. Tertullian's digressive expostulation is the first account we have both of Hosidius' Medea and of the cento form, i.e., the creation of poems made entirely from lines or half lines of a master-text. Tertullian's wording, however, implies that his readers will immediately recognise what a cento is, suggesting that this art form had been around for a long time. More interestingly, in light of the later Christian adoption of the cento form, he disapproves of the reading practices their composition implies, and finds Scripture especially vulnerable to such abuse. It is not hard to see why the fundamentalist preacher Tertullian would be alarmed by the poetics of the cento, for centos expose the multivalent nature of language, forcing the reader constantly to focus on the protean ability of words to change their meanings depending on context. To one whose goal is to establish truth according to the authoritative rule of faith, such linguistic play is threatening.
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Fox, Adam. "‘Little Story Books’ and ‘Small Pamphlets’ in Edinburgh, 1680–1760: The Making of the Scottish Chapbook." Scottish Historical Review 92, no. 2 (October 2013): 207–30. http://dx.doi.org/10.3366/shr.2013.0175.
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This article considers the development of the ‘chapbook’ in Scotland between 1680 and 1760. Chapbook is here defined as a publication using a single sheet of paper, printed on both sides, and folded into octavo size or smaller. The discussion focuses on production in Edinburgh which at this time was the centre of the Scottish book trade. While very few works were produced in these small formats in the city before the last quarter of the seventeenth century, the three generations thereafter witnessed their emergence as an important part of the market. This chapbook literature included ‘penny godlies’ and ‘story books’, poems and songs, which had long been staples of the London trade. Indeed, much output north of the border comprised titles pirated from the south. It is suggested, however, that an independent repertoire of distinctively Scottish material also began to flourish during this period which paved the way for the heyday of the nation's chapbook in the late eighteenth and early nineteenth centuries. The Edinburgh trade is shown to be much more extensive than has been appreciated hitherto. Discovery of the testament of Robert Drummond, the Edinburgh printer who died in 1752, reveals that he produced many such works that are no longer extant. It demonstrates not only that a number of classic English chapbooks were being reprinted in Scotland much earlier than otherwise known, but also that an indigenous Scottish output was well established before the reign of George III.
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Langmann, Sten, and Paul Gardner. "The intersemiotic affordances of photography and poetry." Semiotica 2020, no. 236-237 (December 16, 2020): 85–102. http://dx.doi.org/10.1515/sem-2018-0050.
Full textAbstract:
AbstractThis article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph.
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Sienaert, M. "Aspekte van Lacaniaanse psigo-analise as kode by ’n semiotiese lesing van Breytenbach se ('yk')." Literator 12, no. 2 (May 6, 1991): 23–34. http://dx.doi.org/10.4102/lit.v12i2.756.
Full textAbstract:
As representative of Breyten Breytenbach’s more recent writings, the anthology of prison poems ('yk') appears to a great extent hermeneutically closed on a first reading. Recurring references to the poet’s position in his own discourse, as well as the expression of despairing feelings of depersonalisation experienced by prisoners in general, however provide the key to a possible reading of these poems, especially when analysed in terms of the French psycho-analyst Jacques Lacan’s theory of subjectivity. This article highlights relevant aspects of this theory, showing subjectivity to be a process which is always constituted in relation to discourse, and offers a reading of the poem "Nekra" to illustrate the way in which it elucidates the Breytenbach discourse.
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Martos, Josep Lluís. "La poesia en la prosa de Joan Roís de Corella: delimitació i transmissió del corpus." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (December 26, 2019): 243. http://dx.doi.org/10.7203/scripta.0.16368.
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Resum: L’obra en prosa de Joan Roís de Corella es caracteritza per incorporar-hi poesies. En aquest sentit, aquest treball té un doble objectiu, que es marca des del seu títol: d’una banda, delimita el corpus, que arriba a catalogar vint-i-un poemes, d’una extensió molt diversa, des d’un sol vers fins a vint-i-vuit; d’una altra banda, estudia la transmissió textual d’aquests poemes, amb especial atenció als trets que caracteritzen els diferents testimonis i a les particularitats de transmissió dels poemes.Paraules clau: Joan Roís de Corella, poesia, transmissió textual, corpus, codicologia.Abstract: The work in prose by Joan Roís de Corella is characterized by the incorporation of poetry. In this sense, this work has a double objective, which is marked by its title. On the one hand, it delimits the corpus, which is able to catalog twenty-one poems, from a very diverse extent, from one vers up to twenty-eight. On the other hand, it studies the textual transmission of these poems, paying special attention to the features that characterize the different testimonies and to the particularities of transmission of poems.Keywords: Joan Roís de Corella, poetry, textual transmission, corpus, codicology.
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Vetushko-Kalevich, Arsenii. "Nordic Gods in Classical Dress." Journal of Latin Cosmopolitanism and European Literatures, no. 2 (November 13, 2019): 57–71. http://dx.doi.org/10.21825/jolcel.v2i0.8303.
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The 19th century in Sweden, like in many other European countries, saw a large decline in the quantity of Neo-Latin literary production. However, a range of skillful Latin poets may be named from this period: Johan Lundblad, Johan Tranér, Emil Söderström, Johan Bergman and others, engaged as well in translating from Swedish into Latin as in composing poems of their own. It was also in the 19th century that the longest Latin poem ever written in Sweden came out – “De diis arctois libri VI” by Carl Georg Brunius (1792–1869), remarkably neglected by the scholars, although it was published twice during the lifetime of its author (1822 and 1857).
The subject of the poem fits perfectly in the intellectual movement of the period, namely national romantic interest in the Nordic antiquities. The six books represent a summary of Eddaic mythology from the creation of the Universe until the Ragnarök.
Brunius’ admiration for the Scandinavian Middle Ages is apparent; later it turned out to be productive in architecture, the field in which Brunius is most remembered nowadays. Brunius does not seek to turn Scandinavian gods into Greek ones. He accurately follows his sources (both the prosaic and, to a somewhat smaller extent, the poetic Edda) in content, sometimes even in wording. However, it should be born in mind that the writer was a classicist by his education. Although many compositional traits of ancient epos are lacking in the poem, it is full of the allusions to classical authors at the phrasal level. Some of them are formulaic verse elements, others deliberate and exquisite quotations. It is this elegant combination of close adherence to the sources with the use of the ancient authors (Virgil, Lucretius, Ovid, Horace) that the paper is mainly focused on.
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Soleymanzadeh, Alireza. "Arabic-Persian Motifs of ʿUd̲h̲rī Love in the Georgian Romantic Poem of "The Man in the Panther's Skin"." International Journal of Linguistics, Literature and Translation 3, no. 5 (May 31, 2020): 113–20. http://dx.doi.org/10.32996/ijllt.2020.3.5.13.
Full textAbstract:
"The Man in the Panther's Skin" is the masterpiece of Shota Rustaveli (c. 1160—after c. 1220), the greatest Georgian Christian poet, who has been translated into nearly 45 languages in the world so far. In this article we are going to study the Motifs of ʿUd̲h̲rī Love (AR: al-ḥubb al-ʿud̲h̲rī) in Rustaveli's book. The Ghazal (ode) of Ud̲h̲rī is a literary product of the Islamic-Arab community in which love derives its principles from religion of Islam and the like. In fact, during the era of the Umayyad caliphate (661-750 BCE) was born ʿUd̲h̲rī as a new kind of ode in the Arabic poetry in the Arabian Peninsula and has made its way into other lands, including Iran, and this kind of love poem penetrated through Iran into Rustavli's poetry.ʿUd̲h̲rī poem was narration of true, intense and chaste love between lover and a beloved far from sensuality, debauchery and lechery. Therefore, their lifestyles were very similar to mystic. The main purpose of this study is to find out the extent to which Rustaveli was influenced by ʿUd̲h̲rī poem. The research method in this article is to compare the specific and objective features which inferred from the Arabic-PersianʿUd̲h̲rī literature with the narrative in the Rustaveli's work. This does not mean, of course, that we will examine all the ʿUd̲h̲rī poetry works written before Rustaveli's book in the world; rather, we mean matching the specific Motifs of Arabic-Farsi works with the Rustaveli's poem. The results of this study show that there is a complete similarity between the motifs in the poems of Rustaveli's work and the motifs of the ʿUd̲h̲rī poets in all its components. This study also confirms that if we omit some details of the story in Rustaveli's book, we will find that Rustaveli was thoroughly familiar with Islamic ʿUd̲h̲rī literature and implemented it in his book "The Man in the Panther's Skin".