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Journal articles on the topic 'Praise poem'
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Maddock, Lelys. "Praise poem… in praise of an accountant." Accounting, Auditing & Accountability Journal 32, no. 4 (May 24, 2019): 1207–8. http://dx.doi.org/10.1108/aaaj-05-2019-045.
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Moses, croc E. "Praise Poem for Amahle." Agenda 25, no. 3 (September 2011): 96–97. http://dx.doi.org/10.1080/10130950.2011.610996.
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Henderson, W. J. "Die antieke Griekse lofgedig." Literator 17, no. 1 (April 30, 1996): 153–68. http://dx.doi.org/10.4102/lit.v17i1.592.
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Ancient Greek praise poems Arguing from both the surviving texts themselves and from ancient theorists, the present article deals with early Greek lyric poems in praise of human beings. This type of lyric falls under the more “secular types” of ancient Greek lyric, in the sense that they were addressed, not to a divine being, but to a human being. The context or space of such “secular” lyric performance includes, not only the public gathering of officials and the populace, but also the private and intimate circle of individuals with shared interests. Both choral odes and solo-lyrics are therefore involved. The lyric types discussed are the praise poem, the war poem, the political poem and the dirge.
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Dwyer, Jaclyn. "Praise Poem for American Girls." Ploughshares 39, no. 1 (2013): 39–40. http://dx.doi.org/10.1353/plo.2013.0011.
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Kabir, Saleh Muhammad, Zakir Alhaj Shariff, and Muhammad Tukur Abdullahi. "Zajal al-Asīr fī Madḥ al-Shaykh Usman Al-Bashir, Qaṣīdah Nūnīyah li-Musa Kalim Al-Qali: Dirāsah Taḥlīlīyah Adabīyah." Al-Ma‘rifah 18, no. 1 (April 30, 2021): 97–108. http://dx.doi.org/10.21009/almakrifah.18.01.09.
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This study aims to study the life of the poet Musa Kalim Al-Qali and his eulogy poem. The method used in this study is the descriptive-analytical approach, where the researchers read the selected poem and then follow it with study and analysis. The poem chosen was Zajal al-Asīr which contains his praise to Sheikh Usman Al-Bashir. The results of this study indicate that (1) the beginning of the poem (maṭla‘ al-qaṣīdah) invites the reader to follow what he will say about the praised Sheikh; (2) good disposal (ḥusn al-takhalluṣ) of the poem, the poet proceeded directly with the topic, noting that he did not explore his poem with a prologue or propaganda introduction; (3) a good syllable (ḥusn al-maqṭa‘) in the poem, the last words upon which the poet stood was well tolerated and kept a pleasure in listening in the most eloquent expression and the most beautiful meaning; (4) the sincerity of emotion (ṣidq al-‘āṭifah), the poem was distinguished by the sincerity of emotion, the heat of feeling, and the acuity of feeling.
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Collison, David J. "In praise of the refereed poem." Critical Perspectives on Accounting 9, no. 3 (June 1998): 386. http://dx.doi.org/10.1006/cpac.1996.0235.
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Vayntrub, Jacqueline. "Beauty, Wisdom, and Handiwork in Proverbs 31:10–31." Harvard Theological Review 113, no. 1 (December 27, 2019): 45–62. http://dx.doi.org/10.1017/s0017816019000348.
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AbstractThe book of Proverbs concludes with an alphabetic acrostic that describes and praises its feminine subject (Prov 31:10–31). The poem’s praise closes with a generalized critique of beauty, its deceptiveness and short-lived nature (v. 30). What function does this critique of beauty serve in light of the praise of the woman and her deeds? How do the poem and, specifically, this critique of beauty function in the broader organization of the book of Proverbs? This study argues that the poem rejects innate beauty in favor of acquired wisdom, a message that can be found elsewhere in Proverbs. The poem rejects beauty through an appeal to a rhetorical device—the “totalizing description”—which is used elsewhere to argue for a subject’s beauty or perfection. Through the structure of the alphabetic acrostic, the poem carefully embeds its message of willed action and acquired wisdom; using a description of the woman’s successive deeds, the poem shows how each deed leads to the enduring success of the woman’s family, her community, and the subsequent generation.
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İsmailova, E. "PRAISE OF HUMAN FEELINGS IN M.SHAHRIYAR'S POEM “SAHANDIYA”." East European Scientific Journal 3, no. 5(69) (June 15, 2021): 37–40. http://dx.doi.org/10.31618/essa.2782-1994.2021.3.69.60.
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There is nothing that can affect the spirit and national consciousness of the people as an artistic word. Glorification, propagation and transmission of human feelings from generation to generation is the highest task of the art of speech and literature. In this sense, there is a greater task and responsibility before genius masters of a word. In keeping the people alive, instilling human feelings, and glorifying the highest human feelings such as patriotism, heroism, and bravery, the poets held a leading position in all periods of society. The works of the poet Mohammad Hussein Shahriyar (1906-1988), the most famous figure of both South and North Azerbaijani literature, and the pearls of art he created, especially the poem “Sahandiya” written in a modern style, are of great interest to many readers today. The main purpose of the article is to acquaint the modern reader with the valuable heritage of the poet, promote this heritage by demonstrating the artistic features and importance of the poem “Sahandiya”, which is considered one of the masterpieces among the poet's works written in the native language.
Although the poet does not speak in an open context in the poem, the city of M.A. Sabir, remembering Shamakha and Shirvan, actually reminds of the problem of divided Azerbaijan.
The last parts of the poem are dedicated to the problem of separation, one of the most painful issues of a divided Azerbaijan. The master described the enthusiasm of the poets of North Azerbaijan for his voice as the support of the mountains, the clear dawn of the waters of the Araz, holding the lamp in the darkness, "the sturgeon of that foal." Due to these features - the high appreciation of national and spiritual interests, the poem "Sahandiya" remains relevant at all times.
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Földi, Zsombor J., and Gábor Zólyomi. "A Praise Poem of Warad-Sîn, King of Larsa, to Nippur." Altorientalische Forschungen 47, no. 1 (August 5, 2020): 57–66. http://dx.doi.org/10.1515/aofo-2020-0004.
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AbstractThis paper publishes a praise poem of Warad-Sîn, king of Larsa. The manuscript, a one-column tablet, comes from a private collection and is unprovenanced. The text might be an excerpt from a longer composition. Its 20 lines long text praises first Nippur, the city of Enlil, then Warad-Sîn speaks in the first person about the commission given to him by Enlil, about his deeds to the city, and about their permanence. The author of this text appears to be familiar both with the literary corpus and the royal inscriptions of the early Old Babylonian period.
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Kuzner, James. "George Herbert’s “The Flower” and the Problem of Praise." Modern Language Quarterly 82, no. 1 (March 1, 2021): 27–53. http://dx.doi.org/10.1215/00267929-8742413.
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AbstractThis essay dwells on George Herbert’s “The Flower” and on how its speaker can love and praise God. Writing of praise and doubt, Stanley Cavell remarks that the problem of skepticism is partly a problem of finding an object that one can praise, a search that certainly occurs in “The Flower.” While Herbert’s speaker seeks God as that object, his own memory impedes him, making him question God’s goodness and forcing him not only to abandon forms of remembering that Herbert’s sources—from psalmists to theologians—employ so as to rise to praise, but also to use form in order to forget. The essay’s conclusion compares Herbert’s poem with another strange praise poem, Paul Celan’s “Psalm.” The essay claims that if Cavell sees praise as signaling a triumph over doubt, “The Flower” shows, as only verse can, how praise and doubt accompany each other, using doubt to keep praise at a distance from both psalmic theology and skeptical philosophy.
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Taylor, K. W. "A Vietnamese literary riddle from the sixteenth and seventeenth centuries: Hoàng Sĩ Khải's Tứ Thời Khúc." Journal of Southeast Asian Studies 51, no. 1-2 (June 2020): 95–113. http://dx.doi.org/10.1017/s0022463420000193.
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This article considers the literary curiosity from the Mạc–Lê dynastic wars in the sixteenth century of a poem written by a Mạc-dynasty partisan being interpreted by later generations as having been written to praise the Lê dynasty. It uses textual and contextual analysis to argue that the poem was written to praise the Mạc dynasty but was later revised by scholars of the Lê dynasty.
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White, Ariane. "Praise Song for Teachers: A Call to Action." Harvard Educational Review 79, no. 2 (June 30, 2009): 321–24. http://dx.doi.org/10.17763/haer.79.2.k35124m041p202q3.
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When she received our call for submissions, high school educator Ariane White saw it as a pedagogical as well as an artistic opportunity. Moved by the shift in the country's leadership, she chose to express her reaction in the following poem. She then used her poem as a teaching and organizing tool, sharing it with colleagues and students in an effort to inspire them to engage creatively with this moment in history. In her poem, a variation on the inaugural "praise song," White calls on teachers to renew their commitment to nurturing all young people in their pursuit to experience the richness of life.
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Siedina, Giovanna. "Panegyric praise of for Yoasaf Krokovskyi." Слово і Час, no. 3 (May 26, 2020): 65–90. http://dx.doi.org/10.33608/0236-1477.2020.03.65-90.
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The author analyzes a long and complex panegyric poem dedicated to Yoasaf Krokovskyi, a key figure in Ukrainian cultural life and Orthodox Church of the late 17th — early 18th centuries (he was elevated to the three prominent Orthodox ecclesiastical posts in the Hetmanate: rector of the Kyiv Mohyla Collegium, archimandrite of the Kyivan Cave Monastery, and metropolitan). The poem was written in 1699 when Krokovskyi held the post of the Kyivan Cave Monastery archimandrite. Since the main goal of poetry at the time was contributing to the education of pious men and loyal subjects, panegyric poetry was one of the principal genres of Mohylanian poetics. Indeed, the best way to achieve this goal was to represent exemplary human actions that would constitute models worthy of emulation. The didactic function of praise was all the more effective when the characters being praised were familiar to the students. The analyzed poem is found in the 1699 manual of poetics “Hymettus extra Atticam”, whose author was Yosyf Turoboiskyi, a Mohylanian professor who steadily entered the history of Russian culture due to his celebratory works in honor of Peter I, while in Ukrainian literature he is almost unknown. The central theme of the analyzed poem, written on the occasion of Krokovskyi’s birthday, is a virtue of the addressee and wisdom that inspires him. These themes reveal, on one side, the author’s intention to insert the personality of archimandrite and future metropolitan into what N. Pylypiuk saw as a project, initiated in the 1690s, of portraying Mazepa and Yasynskyi with visual and textual means as protectors and benefactors of Wisdom’s abode, that is the Collegium and St. Sophia. On the other, they reflect the idea of wisdom as it was characterized by the Renaissance; it is mirrored in the Erasmian definition of wisdom as “virtus cum eruditione liberali conjuncta”. This fact, expanding the topic of epic poetry to all activities related to the intellect, reflects the Renaissance approach to the ‘heroicum carmen’ and testifies to the influence of Humanism and Renaissance on the Ukrainian literature.
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Brown, Christopher G. "Pindar on Archilochus and the gluttony of blame (Pyth. 2.52-6)." Journal of Hellenic Studies 126 (November 2006): 36–46. http://dx.doi.org/10.1017/s0075426900007643.
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AbstractInPyth. 2.52–5 Pindar describes Archilochus as ‘growing fat on dire words of hatred’. This article argues that Pindar portrays Archilochus as a glutton in the manner of iambic invective. A glutton is seen as a person who grows fat at the expense of others, and so fails in the matter of χάρις. In this light, Archilochus, the poet of blame, stands with Ixion in the poem as a negative paradigm, serving as a foil to Pindar's praise of Hieron. Praise is thus placed in a setting that recognizes its opposite: praise is only meaningful when seen in relation to blame. Pindar's poetry is not the product of gluttony; it is a return that offers a necessary recognition of excellence.
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Smith, Scott Thompson. "The Edgar poems and the poetics of failure in the Anglo-Saxon Chronicle." Anglo-Saxon England 39 (December 2010): 105–37. http://dx.doi.org/10.1017/s0263675110000074.
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AbstractThe two poems dedicated to King Edgar in Anglo-Saxon Chronicle manuscripts ABC can be dated with some precision. This essay consequently reads the Edgar poems as contemporary products of two very different historical moments during the Benedictine reform. Written from a distinctly monastic perspective, the poem for 973 was one of many ideological texts and events from late in Edgar's reign committed to affirming the king's divinely-sanctioned sovereignty. The 973 poem realigns the function of verse in the Chronicle, adopting dynastic praise poetry to more ecclesiastical concerns. The poem for 975, however, breaks with the Chronicle precedent of panegyric verse and instead offers a critical complaint against the attacks on monastic landholdings in the wake of Edgar's death. The two Edgar poems can be best appreciated as historically-situated verse productions.
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Ramsay, William Everett. "Against Stanley Fish on Ben Jonson and the Community of the Same." Ben Jonson Journal 24, no. 1 (May 2017): 117–40. http://dx.doi.org/10.3366/bjj.2017.0182.
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In his classic essay “Authors-Readers: Ben Jonson and the Community of the Same,” Stanley Fish argues, primarily on the basis of a series of close readings, that (1) Jonson's poetry of praise hints at a community in which everyone is the same; (2) Jonson's poetry of praise is nonrepresentational, while his poetry of blame is representational; (3) Jonson's poems of praise and the members of the community mentioned in them are largely interchangeable; and (4) Jonson writes nonrepresentational poetry of praise in which everyone is the same in order to maintain his independence in a patronage society. I argue that these four theses are false. Part I argues that Fish's equivocation on the crucial word identity and his misreading of “In Authorem” undermine his claim that there is a Jonson community in which everyone is the same. Part II argues that Fish's reading of Epigrams 63, “To Robert, Earl of Salisbury,” on which reading rests his claim that Jonson's poetry of praise is nonrepresentational, introduces several textual errors, and that, once these errors are corrected, the poem no longer supports that claim. Part III argues that an awareness of Jonson's poetic art, especially his use of puns, shows that his poems of praise are not interchangeable, while an attentiveness to the “signs of specificity” (38) in the poems of praise shows that the people discussed in them are not the same. Since the truth of the fourth thesis depends on the truth of the others, it is largely ignored.
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Coplan, David B., Leroy Vail, and Landeg White. "Power and the Praise Poem: Southern African Voices in History." African Studies Review 36, no. 1 (April 1993): 129. http://dx.doi.org/10.2307/525512.
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Masuku, Norma. "The depiction of Mkabayi: A review of her praise poem." South African Journal of African Languages 29, no. 2 (January 2009): 121–30. http://dx.doi.org/10.1080/02572117.2009.10587323.
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Alebdha, Fahd. "Abbasid Politics and Performative Panegyric: The Poetry of ʿAli ibn Jabala." International Journal of Middle East Studies 53, no. 1 (February 2021): 19–37. http://dx.doi.org/10.1017/s0020743820000999.
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AbstractThe poet ʿAli ibn Jabala, also called al-ʿAkawwak, was a little known but significant poet who lived during the late 8th and early 9th centuries. This article examines his poetry in its political and cultural context to delineate the literary devices exploited by the poet in his poems of praise. Moreover, this paper interprets existing prose anecdotes claiming that al-ʿAkawwak's panegyric poem to the caliph al-Maʾmun's commander, Abu Dulaf al-ʿIjli, made the caliph so furious that he ordered the poet's execution, despite the poet having never composed any verses overtly criticizing the caliph. The argument is made that, within the tense political atmosphere of the time, the style that the poet embraced in praising the two commanders, Abu Dulaf al-ʿIjli and Humayd al-Tusi, intensified al-Maʾmun's anger toward the poet.
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Havryliuk, Nadiia. "“Rejoice, Mary!”: modification of the prayer of praise in the works by Vira Vovk and Pavlo Tychyna." Слово і Час, no. 1 (February 2, 2021): 72–86. http://dx.doi.org/10.33608/0236-1477.2021.01.72-86.
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The paper comparatively analyzes the modification of the laudatory prayer “Rejoice, Mary!” in the poems by V. Vovk and P. Tychyna. The comparison helps to reveal the peculiarities of the authors’ styles in the modifications of the prayer and makes it possible to see the deep unity of emigrational and continental literature. The prayer of Vira Vovk has its sources in the akathist to the Mother of God. In the poem “Rejoice!”, the poetess retains the general structure of the akathist, modifying some details: she uses twelve lines instead of thirteen and keeps the address “Rejoice!” not in every line but only in odd numbers. In the poem “Celestial Tit”, the akathist acquires the features of a verse form, and the address “Rejoice” is present only in the first and ninth lines. However, the second strophes of the poems “Rejoice!” and “Heavenly Tit” give grounds to consider these texts as variants of the same work. The works by Vira Vovk show a combination of images being characteristic of the church akathist to the Mother of God (lilies, roses, universe of joy, virgin and mother) with individual authorial ones (heavenly forget-me-not, four-leaf clover, sparkling star, chorale of winged, celestial tit).
The address “Oh, rejoice, Mary!” from the poem “The Dolorous Mother” by P. Tychyna refers to the scene of the Annunciation and the prayer “Ave, Maria” (“Rejoice Mary, full of grace”), which is part of the rosary prayer. Despite the address “Rejoice”, P. Tychyna’s poem is imbued with sorrow. The events of the poem take place after the Crucifixion, before the Resurrection. The address “Oh, rejoice” is contrasted with the drama of a mother looking for a crucified son and also with Ukrainian history and the landscape. In V. Vovk’s piece “Dormition”, the events take place after the Resurrection, and therefore the Mother of God is not sad but smiling, full of joy; she merges with the landscape and not contrasts with it.
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Surtz, Ronald E. "Grilled to Perfection: Miguel Cid's Poem in Praise of St. Lawrence." MLN 132, no. 2 (2017): 516–22. http://dx.doi.org/10.1353/mln.2017.0033.
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Hawgood, Barbara J. "Francesco Redi (1626–1697): Tuscan Philosopher, Physician and Poet." Journal of Medical Biography 11, no. 1 (February 2003): 28–34. http://dx.doi.org/10.1177/096777200301100108.
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From 1660 to 1697 Francesco Redi was physician to two Grand Dukes of Tuscany as well as a natural philosopher and poet at the Medici court. Redi produced the first experimental evidence that insects do not spontaneously generate from decaying matter and that the poison of the viper resides in the yellow fluid in fang sheaths. He was also a pioneer parasitologist. His bacchanalian poem in praise of Tuscan wines is still read in Italy today.
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Sharlet, Jocelyn. "A Garden of Possibilities in Manuchehri’s Spring Panegyrics." Journal of Persianate Studies 3, no. 1 (2010): 1–25. http://dx.doi.org/10.1163/187471610x505924.
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AbstractThe eleventh-century Persian poet Manuchehri Dāmghāni began his career in northern Iran and became established as a leading panegyric poet of the Ghaznavids. The panegyric qasida was a major literary articulation of Persianate cultural hegemony. Most of Manuchehri’s pane-gyric qasidas begin with a nasib about the natural world. The nature description as an introduction to panegyric is an integral part of the panegyric poem and its expression of cultural values, but it is also at odds with the praise section that follows it. This project explores how Manuchehri deploys elaborate rhetoric and imagery in the description of nature to offer a commentary on the possibilities of patronage relationships.
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Obremski, Krzysztof. "“Incompatible Conformity”, Praise and Reprimand: To the King as an Old Polish Royal Panegyric." Masuro-Warmian Bulletin 297, no. 3 (October 4, 2017): 505–16. http://dx.doi.org/10.51974/kmw-134946.
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The qualification – poem ‘To the king’ is a panegyric - it is conditioned not so much by the text of Kra�sicki’s pen, but by views of the last king of the Commonwealth and on the positions of researchers of the past. For the so-called panegyric lever can be used as one of the tools of poetic analysis. ‘To the king’, at least indirectly, they are indicative through their initial words: “the higher, the more visible”. What then is the relationship between Krasicki’s poem and the tradition depicted by the Old Polish royal panegyric with its nine mechanisms of the so�called “ panegyric leverage? Only one of them is fully and simultaneously innovatively taken – this is the “factual” force of the interpretation of facts. The poem ‘The king’ can be read as such a selected set of prerequisites, of which arguments can be selected for the compliant or reprehensible attitudes of supporters and opponents of Stanislas Augustus. It may even be difficult to say what the determinant
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Pavlou, Maria. "Metapoetics, Poetic Tradition, and Praise in Pindar Olympian 9." Mnemosyne 61, no. 4 (2008): 533–67. http://dx.doi.org/10.1163/156852508x252821.
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AbstractScholarly discussions of Pindar's Olympian 9 normally examine the opening reference to Archilochus' kallinikos hymn, the mythical exemplum of Heracles' theomachy, and the narrative of the foundation of Opus separately. The present study will attempt to examine these references together, as forming a dynamic whole. As will become clear, such an approach can provide a more successful reading of the poem because it accounts better for its constituent parts, better integrates metapoetry and poetry throughout, and offers valuable insights into Pindar's attitude towards previous poetry and tradition in general.
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Nugent, S. Georgia. "Ausonius' ‘Late-Antique’ Poetics and ‘Post-Modern’ Literary Theory." Ramus 19, no. 1 (1989): 26–50. http://dx.doi.org/10.1017/s0048671x00002940.
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The fourth-century Latin poet, Ausonius, enjoyed in his own time considerable prestige and success. Our witnesses for this reputation are by no means inconsiderable figures. In a letter, the emperor Theodosius proclaims that his admiration for the poet could not be greater. He equates Ausonius with the poets of the Augustan golden age and concludes that, although Augustusmighthave esteemed these authors as highly as Theodosius does Ausonius, he could not possibly have loved them more. In another fascinating document, Symmachus, one of the most influential and learned men of the age, playfully castigates Ausonius for the fact that, despite their friendship, he hasn't received a copy of the poet's latest best seller. The work in question is Ausonius' poem in praise of the Moselle river; copies of it, Symmachus punningly protests, are circulating everywhere, but they have glided right past him. Still, he has managed to obtain a copy to read, and the praise he lavishes on the work is boundless; he proclaims that the Moselle has become more famous than the Tiber and does not blush to conclude by holding up Ausonius to the master himself, Vergil:ego hoc tuum carmen libris Maronis adiungo(‘I class your poetry with Vergil's’).
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Gueye, Marame. "Praise Song for the Good Woman : Islam and Gender in a Famous Senegalese Poem." Journal des Africanistes, no. 80-1/2 (June 1, 2010): 51–61. http://dx.doi.org/10.4000/africanistes.2294.
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Akhter, Shaheen. "Stylistic Analysis of the poem"Leisure" By William Davies." JOURNAL OF ADVANCES IN LINGUISTICS 8, no. 1 (October 25, 2017): 1251–54. http://dx.doi.org/10.24297/jal.v8i1.6380.
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The researcher has tried to highlight the dilemma of modern man described in the poem leisure by William Davies. Modern man is so much engrossed in getting and spending that he has no time to see and enjoy the beauty of nature. Nature is present everywhere in its full bloom and splendour but modern man is so much pre-occupied with worldly pursuits and materialistic designs that he has no time to see and enjoy the beauty manifested in various forms. The natural elements present an invitation to man but a modern man,being busy in rat race, refuses their invitation. He has declared blunt refusal to his aesthetic sense and replaced it with lust for money and other worldly designs. Even animals are much better than man because they live in the heart of nature and enjoy its company. God has, no doubt,created man to explore the nature and praise its beauty but modern man has made himself slave of time and gives preference to his evil designs instead of thinking and brooding upon nature and its blessed beauty.
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Kovacs, David. "Horace, Pindar and the Censorini in Odes 4.8." Journal of Roman Studies 99 (November 2009): 23–35. http://dx.doi.org/10.3815/007543509789744800.
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Odes 4.8 is anomalous: its thirty-four lines are not a multiple of four. Most editors delete two or six lines, but this involves deleting at least one blameless line and disturbing the stanzaic structure of the poem. Instead mark a lacuna of two or six lines before the final couplet. The missing lines will have contained a prayer for Censorinus' immortality and some words of praise, thereby fulfilling the expectations raised earlier in the poem. Vota in 34 refers to Horace's prayer, which Bacchus fulfils as god of poetry. Finally, the conceit that uates potentes can in real terms immortalize or deify their subjects chimes in with a feature of Roman religion noted by A. D. Nock.
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Kiedroń, Stefan. "“Getrouwste hofstijl der Sarmaeten…”. Joost van den Vondel en Jan Andrzej Morsztyn over poëzie en politiek." Neerlandica Wratislaviensia 30 (March 30, 2021): 61–76. http://dx.doi.org/10.19195/0860-0716.30.5.
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This article presents two 17th-century poets, Joost van den Vondel and Jan Andrzej Morsztyn, against the backgrounds of the Dutch and the Polish Golden Age. They were ‘connected’ in their times: both through poetry and politics. Vondel’s Parnaes aen de Belt (1657) included a poem for Tobiasz, the brother of the Polish poet, in which he was praised as the “Getrouwste hofstijl der Sarmaeten” (Most fidel court pillar of the Sarmatians); and also Jan Andrzej received praise here. In his other poems, Vondel had written about the greatness of the Polish-Lithuanian Commonwealth, among other things about the city of Danzig (Polish: Gdańsk), which he, in his ode “Bestand tusschen Polen en Zweden. Aen Dantzik”; (Truce between Poland and Sweden. For Danzig”; 1635), called the “Parrel aen de Kroon van Polen” (Pearl at the Crown of Poland).On the other hand, the Morsztyn brothers were interested in the developments of the Republic of the United Provinces. Like many other foreigners, they undertook a Peregrinatio Academica to Leiden where they could see the prosperity of the Republic at first hand, together with other Poles (including the poet-preacher Samuel Przypkowski, the poet-preacher Andrzej Węgierski or the later secretary of the Polish King Andrzej Rej). This Polish circle in the Republic is also shown here.However, there is a double meaning to be discovered in the connection ‘Morsztyn-Vondel’: there was more politics in it than poetry. Morsztyn’s perspective was mainly directed to France (even against the Polish king) — and Vondel’s perspective not to Poland as a political power, but to the Dutch ‘Moedernegotie’ (Mother of all trades) in the Baltic Sea, between the Danish Sound and Danzig. This double meaning is also shown here.
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Viljoen, L. "’n Retoriese analise van die vyf lykdigte in T.T. Cloete se Allotroop." Literator 16, no. 3 (May 2, 1995): 81–102. http://dx.doi.org/10.4102/lit.v16i3.640.
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A rhetorical analysis of the five funerary poems in T.T. Cloete’s AlloiroopThis article works from the premise that these poems form part o f a tradition that can he traced back to the funerary poetry of the Dutch Renaissance and from there to the funeral orations of Classical times. After referring to the current revival of interest in rhetoric, attention is given to the role which rhetoric played in Renaissance poetics and the influence it had on the practice of writing funerary poetry. The funerary poems in Cloete's Allotroop are then analysed, making use of the Renaissance descriptions of and prescriptions for funerary poetry researched by S.F. Witstein in Funeraire poëzie in de Nederlandse Renaissance. These analyses prove that Cloete’s poems make use of the elements basic to the Renaissance funerary poem and the classical funeral oration namely praise (laus), mourning (luctus) and consolation (consolatio) and that the rhetorical terminology devised centuries ago can still be useful in the reading of these poems.
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Mojalefa, M. J. "The verse-form of Northern Sotho oral poetry." Literator 23, no. 1 (August 6, 2002): 85–96. http://dx.doi.org/10.4102/lit.v23i1.322.
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Although examples of certain Northern Sotho traditional oral genres have been collected over years, a study of verse-form in traditional initiation poetry has not yet been undertaken. This article will consider the way in which Northern Sotho traditional initiation poems are structured or arranged in verse-form. It will be attempted to indicate that traditional oral initiation poetry in Northern Sotho is not metrically defined (as in Western poetry) but that Northern Sotho oral poetry is also structured by its performance and by symmetrical boundaries and other techniques. The structure of the oral praise poem in verse-form as discussed in this article will show the way in which poetry material is organised according to Northern Sotho metrical (verse-form) principles.
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Elinson, Alexander Eben. "Contrapuntal Composition in a Muwashshah Family, or Variations On a Panegyric Theme'." Medieval Encounters 7, no. 2 (2001): 174–96. http://dx.doi.org/10.1163/157006701x00049.
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AbstractThe unique structural qualities of the Andalusi strophic poem (muwashshah or zajal) lent itself to a type of poetic interaction called muārada, commonly translated as "literary imitation." By composing within the parameters of an already established metrical, rhythmic, and melodic scheme, as well as sometimes sharing the final lines of the poem (the kharja), poets opened up a dialogue with their audience, and/or their fellow poets. However, these "imitations" were more than simplistic copies of of one another composed for virtuosic show. When executed well, a muārada provided a variation, praise, parody, response, or combination of these, of the original work, which would not be lost on the audience familiar with the form. In this paper, I will examine three strophic pocms that share a common kharja, in addition to elements of thematic development, rhyme scheme, and metrical patterns. In our set, we have what appears to be three panegyrics -a muwashshah composed in classical Arabic, a muwashshah-like zajal in Andalusī colloquial Arabic, and a muwashshah in Hebrew. Through a close reading of the poems, I will show that despite their shared features and surface similarities, they are, in fact, quite distinct in language, tone, and purpose, thus calling into question their generic designation as panegyric poems.
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Konneh, Augustine. "Leroy Vail and Landeg White, Power and the Praise Poem: Southern African Voices in History." Journal of Negro History 78, no. 2 (April 1993): 131–32. http://dx.doi.org/10.2307/2717452.
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BARBER, KARIN. "Power and the Praise Poem: Southern African Voices in History . LEROY VAIL and LANDEG WHITE." American Ethnologist 21, no. 4 (November 1994): 957–58. http://dx.doi.org/10.1525/ae.1994.21.4.02a00710.
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Harrison, S. J. "The Praise Singer: Horace Censorinus and Odes 4. 8." Journal of Roman Studies 80 (November 1990): 31–43. http://dx.doi.org/10.2307/300279.
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The criticism of the eighth ode of Horace's fourth book has been bedevilled by three major uncertainties: probable interpolation in its text, confusion about the identity of its addressee, and doubt as to its literary quality.1 These issues will form the central concerns of this discussion. Earlier critics have been consistently scathing in their view of Odes. 4. 8: some editors have even gone so far as to deny Horatian authorship,2 many have made dismissive judgements, following the verdict of Wilamowitz (‘really very bad’), and a recent commentator has classed 4. 8 as ‘the least lyrical of the Odes … much of it, indeed, reads like prose—limpid, logical, but pedestrian’.3 I shall not claim that the poem is a previously unacknowledged masterpiece of inspiration, but that it has been underestimated as a poetic artefact: as a careful analysis will show, it is a well-conceived, well-finished and allusive piece, relevant to its addressee and cohering well both with the following ode to Lollius and with the purposes of Book 4 as a whole.
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Furley, William D. "Praise and persuasion in Greek hymns." Journal of Hellenic Studies 115 (November 1995): 29–46. http://dx.doi.org/10.2307/631642.
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Largely because the processes of transmission have been unkind, the religious hymns sung by the Greeks during worship of a god on a public or private occasion have received less than their due attention from modern scholars. Our sources frequently mention in passing that hymns were sung on the way to Eleusis, for example, or at the well Kallichoron on arrival at Eleusis, or by the deputations to Delos for the Delia, but they usually fail to record the texts or contents of these hymns. Until the fourth century BC temple authorities did not normally have the texts of cult songs inscribed; and the works themselves were by a diversity of authors, some well-known, some obscure, making the collection of their ‘hymns’ a difficult task for the Alexandrian compilers. Some such hymns were traditional—Olen's at Delos, for example — handed down orally from generation to generation; others were taught to a chorus for a specific occasion and then forgotten. Nor do the surviving corpora of ‘hymns’ — I refer to the Homeric Hymns, Callimachus' six hymns, and the Orphic Hymns—go very far to satisfy our curiosity as to the nature of this ubiquitous hieratic poetry. The Homeric Hymns would seem to have been preludes (προοίμια) to the recitation of epic poetry; they are in the same metre and style as epic, and the singer usually announces that he is about to commence another poem on finishing the hymn. Their content may give us authentic material about a god and his attendant myths, but the context of their performance seems distinct from worship proper. The Homeric Hymns provided the basic model for Callimachus' hymns although it is clear that he adapted the model to permit innovations such as the mimetic mode of hymns 2, 5 and 6, which present an eye-witness account of religious ritual. Some find Callimachus' hymns lacking in true religious feeling; few seriously maintain that they were intended, or could have been used, for performance in cult.
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Braček, Tadej. "Fact, Myth and Legend in Matthew Arnold’s Westminster Abbey." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 99–106. http://dx.doi.org/10.4312/elope.4.1-2.99-106.
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The paper deals with the multilayered elegy “Westminster Abbey;” which was not given a lot of attention by Matthew Arnold’s critics. The poem is dedicated to Arnold’s life-long friend Dean Stanley; who was; like Arnold himself; “a child of light.” The term refers to their common fight against Philistinism in the English society of the time. As the poem is about a real person; it contains real data; such as excerpts from Stanley’s life; described in the form of praise. However; the poem also introduces the old Saxon legend of consecration of the Abbey; namely the consecration by the light; performed by the First Apostle (St Peter) himself. In addition to the legend; Arnold also used some classical Greek allusions to depict the late Dean’s character. In one of the allusions; Stanley is associated with Demophon; whose immortality was never achieved due to the fault of another human; and in the second he is transformed into an everlasting oracle of the Abbey using the Trophonius; a builder of Delphi; metaphor. All elements of the poem form a homogenous eulogy; making it worthwhile reading for English scholars and students; and possibly a candidate for the English poetic canon.
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Cakra Borti, Dwi Bima, and Izzat M. Daud. "(الأوزان في عروض شعر النبوية للإمام البرعي (دراسة تحليلية في علم العروض." Al-Uslub: Journal of Arabic Linguistic and Literature 4, no. 02 (July 3, 2020): 61–71. http://dx.doi.org/10.30631/al-uslub.v4i02.59.
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Imam Al-Bur'i's An-Nabawiyyah poem consists of 43 verses, which contain anxiety, hope and strangeness in his heart as well as praise for the Prophet Muhammad. In this thesis discussion, the author discusses the wazan and bahar and the benefits found in the An-nabawiyyah poem by Imam Al-Bur'i The purpose of this discussion is to know the wazan 'arudh and bahar 'arudh and the benefits found in this Shia An-Nabawiyyah by Imam Al-Bur'i. This research uses a qualitative approach or library method that is a method of data collection with documentation methods through books, journals, and other literature related to this research with the aim of establishing a theory foundation. The data analysis used is a descriptive analysis that is an analysis technique used to analyze the data by describing the data that has been collected without any intention of making generalisasai from the results of the study.The results of this study show that the wazan and bahar arudh found in this An-Nabawiyyah poem are bahar Towil with wazan fa'ulun-mafa'iylun-fa'ulun-mafa'iylun 2x. and there are also some changes in wazan namely zihaf and illal in imam Bur'i's an-nabawiyyah poem.
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Gorliński-Kucik, Piotr. "„Kochany Tadziku…” – listy Teodora i Eleonory Parnickich do rodziny Banasiów (prefaced and edited by Piotr Gorliński-Kucik)." Śląskie Studia Polonistyczne 14, no. 2 (December 28, 2019): 189–223. http://dx.doi.org/10.31261/ssp.2019.14.13.
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The letters from Teodor Parnicki, first sent during his years as an émigré in Mexico, and then from Poland, are a vocal testimony to the many years of friendship between the said novelist and Tadeusz Banaś and his family. Aside from recollections of Lviv (then Polish Lwów), where the two initiated their relationship while being in-volved in Sygnały magazine during interwar years, another valuable element of the correspondence in question is Parnicki’s translation of Valery Bryusov’s poem Cienie [Shadows], as well as (quoted by Parnicki entirely from his memory) a poem by Tadeusz Hollender Pochwała Parnickiego i filozofii jego (A Praise of Parnicki and His Philosophy). The collection is concluded by two letters written by Eleonora Parnicka, sent to the family Banaś after her husband’s death in 1988.
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Mehltretter, Florian. "Herrscherlob als schöne Kunst betrachtet." Volume 60 · 2019 60, no. 1 (November 14, 2019): 159–80. http://dx.doi.org/10.3790/ljb.60.1.159.
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The encomiastic efficiency of Ariosto’s tale of Ruggiero and Bradamante in the Orlando furioso could be questioned on the grounds of inconsistency with tradition, fictionality and irony. A glance at other instances of panegyrics, notably in music, as well as an analysis of the moon scene in Ariosto’s epic (canto 35) show, however, that these techniques engender a specific brand of ambiguity that neither cancels nor overemphasizes the intended praise of the dedicatee, but serves to adjust the volume of the encomiastic discourse in order to steer clear of mere flattery. At the same time, by inscribing a specific model reader, Ippolito d’Este (who has to understand this special type of praise), into a text that was to be printed – and thus intended for a general reader – the Orlando furioso transposes part of the pragmatic hors-texte into the aesthetic structure of the poem. Hence, panegyrics can be regarded as a fine art.
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Frank, Roberta. "A taste for knottiness: skaldic art at Cnut’s court." Anglo-Saxon England 47 (December 2018): 197–217. http://dx.doi.org/10.1017/s0263675119000048.
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AbstractDuring Cnut’s two decades on the throne, his English court was the most vibrant centre in the North for the production and performance of skaldic praise poetry. Icelandic poets composing for earlier Anglo-Saxon kings had focused on the predictive power of royal ‘speaking’ names: for example, Æthelstan (‘Noble-Rock’) and Æthelred (‘Noble-Counsel’). The name Cnut presented problems, vulnerable as it was to cross-linguistic gaffes and embarrassing associations. This article reviews the difficulties faced by Cnut’s skalds when referring in verse to their patron and the solutions they devised. Similar techniques were used when naming other figures in the king’s vicinity. The article concludes with a look at two cruces in an anonymous praise poem celebrating Cnut’s victory in battle in 1016/17 against the English. Both onomastic allusions — to a famed local hero and a female onlooker — seem to poke fun at the ‘colonial’ pronunciation of Danish names in Anglo-Scandinavian England. Norse court poetry was nothing if not a combative game.
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Hadjimichael, Theodora A. "Sports-writing." Mnemosyne 68, no. 3 (April 24, 2015): 363–92. http://dx.doi.org/10.1163/1568525x-12341389.
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The avowed purpose of the epinician genre is to praise the athletic victory and the victor. The athletic event, however, is not mentioned in the victory ode, and this absence would suggest that an athletic description had no role within the economy and rhetoric of the poem. Nevertheless, the absence is not total. It has long been observed that Bacchylides is more prone than Pindar to describe the athletic victory. In general, however, scholars have been satisfied to note the fact and simply enumerate the instances in Bacchylides in comparison to the Pindaric ‘descriptions’. The present study will look at the role of victory descriptions within the economy of Bacchylides’ victory odes. I would like to examine the narrative of the particular descriptions, their contribution to the commemoration and celebration of the event, and the rhetorical aim they serve within the poem.1
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Pretorius, W. J. "Function of formula-like poetic devices in Lesoro's modern praise poem Dithoko tsa profesa W.M. Kgware." South African Journal of African Languages 6, no. 3 (January 1986): 123–28. http://dx.doi.org/10.1080/02572117.1986.10586663.
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Malamud, Martha A. "Happy Birthday, Dead Lucan: (P)Raising the Dead in Silvae 2.7." Ramus 24, no. 1 (1995): 1–30. http://dx.doi.org/10.1017/s0048671x00002290.
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In the conclusion to his ground-breaking study of the relationship between Latin literature and politics in the age of Nero, J.P. Sullivan looked forward to the literature of the Flavian period, offering a broad survey of the leading writers and their political and literary affiliations. His portrait of Statius, written with his typical wit, is distinctly unappealing:But it is to Statius'Silvaeand to ten books of Martial's epigrams that the fastidiously curious turn to discover the sort of praise that the latest and last heir of the Flavian house, though not the modern reader, would find congenial. The longest piece of this kind is Statius' ecphrastic poem on the great equestrian statue of Domitian erected in the Forum Romanum. It was, like the statue, a commissioned piece and was dashed off in less than fortyeight hours …. This poem and theEucharisticon(Silv.4.2) on the great splendour of Domitian's lavish feast to which the poet was invited are adequate illustrations of how far poets were prepared to go in their presumably acceptable adulation. G.W.E. Russell once remarked to Matthew Arnold, ‘Everyone likes flattery; and when it comes to Royalty you should lay it on with a trowel.’ Statius seems to have anticipated the advice.
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Hayani, Khadija El Hayani. "Song of Myself : A Democratic Epic." International Journal of Innovative Science and Research Technology 5, no. 7 (July 25, 2020): 343–47. http://dx.doi.org/10.38124/ijisrt20jul394.
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Walt Whitman's 'Song of Myself' is one of the most important poems in the American literature, important for both its use of language and its vision of equality. Throughout the poem , Walt Whitman gives emphasis on equality of all men and women. To him all humans are equal and all professions are equally honorable.(Seery, 2011)). The poem, hence celebrates the theme of democracy and the oneness of mankind, specifically the American people. The purpose of this paper is not to provide a kind of background for Whitman’s poetic principles, but try to discuss his democratic leanings in “Song Of Myself “.Whitman envisioned democracy not just as a political system but as a way of experiencing the world. In the early nineteenth century, people still harbored many doubts about whether the United States could survive as a country and about whether democracy could thrive as a political system. To allay those fears and to praise democracy, Whitman tried to be democratic in both life and poetry. He imagined democracy as a way of interpersonal interaction and as a way for individuals to integrate their beliefs into their everyday lives. “Song of Myself” notes that democracy must include all individuals equally, or else it will fail.
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Syed, Amir. "Poetics of Praise: Love and Authority in al-ḤājjʿUmar Tāl’s Safīnat al-saʿāda li-ahl ḍuʿf wa-l-najāda." Islamic Africa 7, no. 2 (November 2, 2016): 210–38. http://dx.doi.org/10.1163/21540993-00702004.
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In this article, I provide one example of how a careful engagement with poetry can enrich our understanding of West African history. In 1852, al-ḤājjʿUmar Fūtī Tāl (d.1864) completed his panegyric of the Prophet Muḥammad—Safīnat al-saʿāda li-ahl ḍuʿf wa-l-najāda or The Vessel of Happiness and Assistance for the Weak. Through an analysis of Safīnat al-saʿāda, I explain Tāl’s creative use of two older poems that were widespread in West Africa—al-ʿIshrīniyyāt—The Twenties—of ʿAbd al-Raḥmān al-Fāzāzī (d. 1230), and its takhmīs (pentastich) by Abū Bakr ibn Muhīb (n.d.). Though Safīnat al-saʿāda was primarily meant for devotion, it also reflected Tāl’s scholarly prestige and claims he made about his religious authority. In the long prose introduction to the poem, Tāl claimed that he was a vicegerent of the Prophet, and therefore had authority to guide and lead the Muslims of West Africa. His composition of Safīnat al-saʿāda was partly meant to prove this point.
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Ashley, Renée. "A Nice Poem in Praise of Sex to Make up for the One That Wasn't so Nice." Antioch Review 56, no. 2 (1998): 191. http://dx.doi.org/10.2307/4613654.
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Merrilees, Brian. "Words in Favour of Women." Florilegium 18, no. 1 (January 2001): 21–30. http://dx.doi.org/10.3138/flor.18.003.
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Thirty years ago I published in Medium Aevum a short article entitled "Words against Women." It was a brief edition and commentary on some anti-feminist lines found in the manuscript Vatican Reg. lat. 1659. The lines were used to fill up an empty column and seem to have been linked to a longer passage in the Vatican copy of a moralising debate poem, the Petit Plet by the Anglo-Norman poet Chardri. The Petit Plet lines are marked in this manuscript by drawings of hands with the index finger pointing to particular couplets that deal with the unflattering characteristics of women. If there are many medieval texts that clearly see women in an unfavourable light, there are, however, a few that speak out in praise of women; in this paper I present some aspects of one of those, an unpublished poem in defence of women that Professor Francoise Vielliard of the Ecole nationale des Chartes and I are in the process of editing. Though this paper may be intended primarily to remind us of that rather small literary current, it also underlines the value of hunting through manuscripts ostensibly devoted to one subject but where marginalia and fill-in material can reveal a few unknown gems which often pass unrecorded—or at least passed over in the standard catalogues.
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Masote, SE. "An aspect of moral education in ‘Molefi Kgafela’: A traditional poem from a collection of praise poems of Tswana chiefs by I Schapera." South African Journal of African Languages 35, no. 2 (July 3, 2015): 225–30. http://dx.doi.org/10.1080/02572117.2015.1113011.
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