Artykuły w czasopismach na temat „Tragic lamentation”

The King’s Two Bodies is, as has long been recognized, a genealogy of modern state power. But it is also something else less clearly recognized. The King’s Two Bodies is a lamentation. In Kantorowicz’s poignant eulogy, the sovereign that medieval lawyers had made in the imago dei, was revealed at last to be an idol. Profound reverence for the rule of law crumbled into absent-minded legality. The lawful sovereign became diabolical power, forever deciding exceptions but incapable of justice or grace. In The King’s Two Bodies, Kantorowicz mournfully shows how the death and tragic afterlife of a particular medieval concept of sovereignty helped to make possible the horrors of modern political absolutism and state idolatry.

AbstractThe idea of the ‘unity of opposites’ allows one to see important connections between phenomena normally treated separately: verbal style, ritual, tragic action and cosmology. The stylistic figure of Satzparallelismus in lamentation and mystic ritual expresses the unity of opposites (particularly of life and death) as oxymora. Both rituals were factors in the genesis of tragedy, and continued to influence the style and action of mature tragedy. The author advances new readings of various passages of the Oresteia, which is seen to advocate the replacement of a Herakleitean model of the unity of opposites with a Pythagorean model of their reconciliation.

This article provides a literary analysis of how references to spectacle and stage-craft function in Philo’s In Flaccum, which is a valuable text for understanding Philo’s complex and seemingly contradictory attitudes toward the theater, stage-craft, and drama. After marching Jews into the theater of Alexandria for punishment during the pogrom, Flaccus becomes a spectacle himself when Philo portrays Flaccus’s deportation to exile as a procession. By staging an elaborate textual spectacle starring the deposed Flaccus, Philo exploits the well-attested punitive dimension of spectacles. Through exhibition he is able to maximize justice, comfort the Jewish victims, and issue a deterrent to future powerholders over Jews. Philo, moreover, imbues the narrative of Flaccus’s demise with an overriding sense of tragedy by eliciting several of tragedy’s motifs and moods, including reversal, revenge, recognition, lamentation, and emotionalism. This elicits sympathy for Flaccus, which reinforces the warning that his plight could be the plight of any Roman ruler, each of whom must decide how like or unlike Flaccus he will govern. Philo thus shows himself to be deeply acculturated in the communicative dynamics of the spectacles and, through these references, is able to craft his own complex textual display. He thus participates in spectacle-creation himself, and this allows him to comfort and defend his people and speak powerfully back to leading power holders.

The article deals with some issues related to psychologism The Long March in section of The Epic of Manas. In this section of The Epic of Manas there are often monologues, speeches of characters, dialogues, psychological descriptions, which are considered as actively used artistic means of expressing psychologism. In addition, such types of monologues as dying instruction and lamentation are noted. Examples of the description of the psychological states of the characters were also given. In particular, a separate fragment was considered and analyzed in connection with the issues of psychologism, where Manas mourned his best knights who fell in battle. Also, to illustrate the tragedy, drama, psychologism, excerpts from the episodes describing the death of Manas are given, and other excerpts from the monologues that are found in this section of the epic are analyzed. Among them, special importance was attached to the monologue of Almanbet, which is considered a tragic image in The Epic of Manas.

Claiming our share in discursive positions, ideas and assessments of Russian aggression in Ukraine, reflections on it, we investigate this tragic event through heuristic value and "social relevance", influences on internal determinants — "life of mind" and spirit of man and communities, the formation of which is determined by the course of the war. Hegel's work "Phenomenology of the Spirit" was used to operationalize his position on the gestalts of the spirit, the appeal to which was stimulated by Slavoj Žižek's analysis and evaluation of the Russian aggression against Ukraine, in which he appealed to the Hegelian understanding of freedom, "for which Ukrainians are fighting today" (Žižek). In the analysis of the eventtragedy as the external world of human existence, emphasis is placed on the scientific content of the concept of the Event in the philosophical explorations of A. Badiou, S. Žižek, the heuristic fruitfulness of which is that they act as meaninggenerating factors in the configuration of the external and internal world of human life in a war situation. Regarding the latter, reflection is carried out through the prism of the psychoanalytic method, represented by the psychoanalytic model of thinking of Wilfred Bion and through the existential analysis of being by Karl Jaspers and Paul Tillich. The substantiation of the cognitive function of the life of the mind, which generates gestalts of the spirit and needs emotional coloring, required additional work by Hannah Arendt. The Deleuzian version of the event was used as a source for the formation of the concept of immediate existence for decision-making in the situation of a tragic event. It is noted that such searches are a significant part of the life of the mind and spirit, anxiety and resistance. Fichte's Ukrainian lamentation, his "Speech to the German Nation" during the time of Napoleon's invasions, is accompanied by references to M. Espany's theory of cultural transfer. Using the work of V. Frankl. P. Tillich, K. Jaspers in relation to Real Death allows us to apply Real Death as a marker of war to the conditions of modern philosophy.

The article is to commemorate the 200th anniversary of Fedor Mikhailovich Dostoyevsky; it concerns a musical version of his novel, «The Idiot». The Russian writer’s work has attracted attention of many composers. In 1986 Mieczysław Weinberg completed the eponymous opera. The librettist Aleksandr Medvedev follows the logic of the original story and constructs the musical drama preserving the specific features and versatility of each character, which is also reflected in the music. The image of Parfen Rogozhin reveals the development of his contradictory nature. The character is represented with ensemble and solo scenes. Parfen’s Song from Scene Nine stands out among the solos. The song «Akh, talan li moi, talan» (Oh My Bad Luck) is quoted as its source. The lyrics of the song were first published together with its tune in 1790, in a book edited by N. A. Lvov and I. G. Prach, «Collection of Russian Folk Songs with Their Tunes» (Lvov-Prach Collection). The study has found that there are different versions of the text in the oral tradition. Their variety can be reduced to two types: the bridal song and the jailhouse ballad with its steady archetype of «beauty and the rogue». Each type has a semantic correlation in the context of the opera. The quotation obviously changes in the opera. The librettist has introduced his own lines enhancing the tragic focus of the song. The composer renders them in the tune emphasizing the intonation intrinsic to the genre of lamentation

The creation of national histories is considered to be a characteristic feature of modernity, associated with the processes of creating national states. These narratives intend to trace the origins of the nation to mythologized antiquity and legitimize the existence of the nation-state. Meanwhile, “History of Armenia” by Movses Khorenatsi shows that similar narrative practices could have arisen even in the early Middle Ages. It is assumed that in addition to the historical context, the principles of historical narration and semantization apply, which give meaning to the events described. Historical memory represents the past by some semiotic tools: narratives, symbols, myths, etc. Thus, the first systematic history of Armenia is intended to reveal the genesis of the Armenian people and to create a narrative that makes it possible to trace the history of Armenian kings and princes and compare them with the data of the Old Testament, up to the Tower of Babel. Due to the lack of written sources, the historiographer relies on myths and legends. Metatexts (arguments about the reliability of sources, the goals of writing history, the historiographer's priorities in the selection of events) allow us to identify the principles of discourse construction. The historical context of the work (the times of the decline of the Armenian kingdom) predetermines the metanarrative pattern (“paradise lost”) and the tragic pathos of the narrative. The “History” ends with “Lamentation,” and the end of the narrative marks the end of the History.

Считается, что в традиции раввинов перевод еврейской Библии на греческий язык расценивался как трагическое событие с роковыми для Израиля последствиями. В память об этом ошибочном начинании даже был установлен специальный день для поста и сетований, а сам перевод сравнивался с созданием золотого тельца. На основании некоторых раввинистических свидетельств в европейской науке возникло представление о свершившемся на рубеже I и II веков н. э. отказе иудеев от использования Септуагинты. Новейшие исследования свидетельствуют о полной неадекватности этой концепции по отношению к исторической реальности. Иудеи, жившие в пределах Римской, а затем Византийской империи активно использовали греческий перевод. Септуагинта была Библией иудаизма диаспоры в течение многих веков. Фактически, в самой литературе раввинов можно найти множество позитивных оценок LXX. В статье будет показано, как трансформировалась легенда о «Торе для царя Талмая (Птолемея)» в контексте литературы раввинов (II–IX веков н. э.). It is believed that in rabbinic tradition, the translation of the Hebrew Bible into Greek was regarded as a tragic event with fatal consequences for Israel. To commemorate this misguided undertaking, a special day of fasting and lamentation was even established, and the translation itself was compared to the creation of the golden calf. Based on some rabbinic testimonies, European scholarship has developed the notion that the Jews abandoned the Septuagint at the turn of the first and second centuries AD. The latest research shows the complete inadequacy of this concept in relation to historical reality. The Jews who lived within the Roman and later Byzantine empires made extensive use of the Greek translation. The Septuagint was the Bible of Diaspora Judaism for many centuries. In fact, there are many positive evaluations of the LXX in the rabbinic literature itself. This article will show how the legend of «Torah for King Tolmai (Ptolemy)» was transformed in the context of rabbinic literature (2nd–9th centuries CE).

Introduction. The article deals with the theme of potatoes in the Siberian exile of Kalmyks (1943­–1957) and focuses on representative poems by Kalmyk poets of different generations written in the native and Russian languages. The texts were created by authors who survived the Siberian exile (i.e. were born during or after the latter) to convey personal and collective memories of the twentieth-century tragedy of the ethnos. Goals. The paper seeks to reveal the genre originality of such poems from the late twentieth through the early twenty first centuries, consider syntheses of genres, articulate some transformations of the folklore tradition in the genres of anthem, word, lamentation, etc. Methods. The comparative, comparative-typological, and historical-functional methods prove instrumental in examining the mentioned theme in the aspect of somewhat ‘delayed’ poetry of the last century and in the context of present-day literary processes. In general, the theme remains understudied in terms of the history of Kalmyk Deportation and has never been viewed through the prism of poems by selected authors. Results. Potatoes and Siberian exile in representative poems by Kalmyk poets of different generations shape a special discourse of personal and collective memories about the dramatic pages of twentieth-century history. The struggle for survival and absence of usual food did transform the traditional eating patterns of special settlers. The motif of frozen potatoes starts prevailing in the works to become a marker of starvation, cold, poverty, rightlessness. In Kalmyk poems about the exile, the genre originality of texts created as anthems, words, laments, and messages was manifested in transformed patterns of the folklore tradition. The inclusions of elements inherent to well-wishes (Kalm. yӧräl), anthems (chastr), words (üg), laments (enslɣn), teachings (surgaal), and dreams (züüdn) also attest to syntheses of genres characteristic of Mongolic folklores and literatures. Monologic and storyline forms determine the content-related aspect of the poems addressed to contemporaries and descendants — directly or else insisting that the tragic past of the people never be forgotten.

Особое место стихотворной молитвы в системе жанров духовной поэзии XVII века объясняется ее эмоциональным пафосом и возможностью личного переосмысления библейского текста. Молитвенное слово не теряет для авторов сакральной силы и произрастает из особого языка, называемого М. Гардзанити церковной книжной коллективной памятью, сформированного в большей степени в литургии. Данный способ исследования библейских цитат лежит в основе интерпретации замысла «Молитвы Господу Богу», написанной русской женщиной-автором XVII века Евфимией Смоленской, чье произведение из-за малоизученности условно отнесено исследователями В. К. Былининым и А. А. Илюшиным к приказной поэтической школе. В исследовании использовался историко-генетический метод литературоведения как инструмент выявления конкретных источников произведения, а также мифопоэтический метод для описания преломления библейских образов в «Молитве». В ходе анализа элементов библейского текста раскрываются их функции в произведении. Помимо традиционных для древнерусской литературы молитвенных вступлений и славословий, яркие образы Псалтири являются способом демонстрации эволюции эмоционального состояния автора. Душевные искания Евфимии организованы в логические цепочки, основанные на новозаветных сюжетах. Все это помогает автору предугадать собственную судьбу в сложных жизненных обстоятельствах и согласуется с ее религиозной картиной мира. Разнообразные способы использования библейских цитат в «Молитве Господу Богу» становятся предметом данной статьи, а выявление их функций и влияния на замысел произведения — целью. Результатом исследования можно считать выделение ряда мотивов, в которых фигурируют цитаты из Священного Писания: близкой гибели, чудесного исцеления и покровительства Бога младенцам. Трагическому настроению народного плача в начале противостоит полная душевной ясности молитва в конце, из чего можно сделать вывод, что один из замыслов произведения — обретение душевного равновесия и твердой веры в покровительство Бога. Исследование может быть использовано в курсе истории русской литературы XVII века. The special place of poetic prayer in the system of genres of spiritual poetry of the 17th century is due to its emotional pathos and the possibility of personal rethinking of the biblical text. The prayer word does not lose sacred power for the authors and grows from a special language that M. Gardzaniti calls churchbook collective memory, formed to a greater extent in the liturgy. This method of studying biblical quotations underlies the interpretation of the concept of the Prayer to the Lord God, written by the Russian woman author of the 17th century, Euphemia of Smolensk, whose work, due to insufficient study, is conventionally described as belonging to the official (prikaznaya) poetic school (researchers V. K. Bylinin and A. A. Ilyushin). The present study uses the historical-genetic method of literary criticism as a tool for identifying specific sources of the work, as well as the mythopoetic method to describe the refraction of biblical images in the Prayer. In the course of analyzing the elements of the biblical text, their functions in the work are revealed. In addition to prayerful introductions and doxologies traditional for ancient Russian literature, the vivid images of the Psalter demonstrate the evolution of the author’s emotional state. Euphemia's spiritual quest is organized into logical sequences based on New Testament stories. All this helps the author predict her own fate in hard life circumstances and is consistent with her religious worldview. Various ways of using biblical quotations in the Prayer to the Lord God form the subject of this article, identifying their functions and influence on the design of the work. The result of the study can be considered the identification of a number of motives in which quotations from the Holy Scriptures appear: imminent death, miraculous healing and God’s protection of children. The tragic mood of the collective lamentation at the beginning is contrasted with the prayer at the end, full of spiritual clarity, from which we can conclude that one of the intentions of the work is to gain mental balance and firm faith in the protection of God. The study can be used in a course on Russian literary history in the 17th century.

Background. In recent years, there has been an increasing interest in the phenomenon of lyricism in Ukrainian musicology. This growth is more so conspicuous given that in the Soviet Musical Encyclopedia this term was omitted, and now it is the pivot of various researches, up to Ph. D. dissertations [7]. There is also a tendency to use this term regarding not only to vocal, but to instrumental music as well, including works lacking noticeable traits of lyrical mood. Works devoted to literature contain valuable information on lyricism, including remarks on the apprehension of this phenomenon in France. On the other side, there are no special researches devoted to incarnation of lyricism in different cultures of pop singing based on their comparison. The objective of research is to reveal specifics of lyricism in Ukrainian and French songs and to apply the results received to the of work with the students of Popular Music and Jazz Department. Methods. To reach that objective, eight songs have been considered. Although these songs belong to different cultures (Ukrainian and French), they are bound the similar plot basics; they pertain to love poetry, and each of them in some way embodies themes of detachment, remembrance, confession of love etc. The main aspect taken into consideration was whether the song leans towards open expression of feeling or no, when the feelings of lyrical hero (even very strong) are kept inside him; and in what way that correlates with the song being French or Ukrainian. Results. Having considering these songs, we were able to state similarities and differences between them. The song “Kohana” (“Beloved”) combines lyrical extraversion with optimistic mood. Plentiful hints about future allow understanding of this song as an open declaration of joy, caused by mutual love. Hence, firm belief in happy future should be represented with active and strong voice. Contrary to that, the song “Ochi voloshkovi” (“Cornflower-blue Eyes”) directs into the past as a reminiscence of pleasant days of happiness. Clearly defined initial nostalgic mood gradually shifts into a tragic one as it becomes clear, that hero’s hopes for future cannot be fulfilled. In this case, emphatic affirmative intonation would be perceived as an illusion. The song “Kvity romena” (“Flowers of chamomile”) represents another pole of Ukrainian songs as it lacks tragic mood or confessions. The text of the song hasn’t any conflicts, and that causes “unproblematic” performing tone. The poetic text differs from the previous two songs as it relies less on a parallelism between nature and state of the soul and uses more complicated methods, such as assonances and more elaborated system of metaphors (the chamomile, initially standing for the soul of the hero, later becomes a symbol of love). Overall, this song characterizes not by “experiencing”, but by representation. The main motive of the song “Dead Leaves” (“Les feuilles mortes”) is remembrance, but not only of the past times, but also of the song, which the lyrical hero used to sing with his beloved. The structure of “Les feuilles mortes” is quite original as it consists of two parts: introduction with clearly defined speech basis, and the main part, where vocal plays bigger role. This reminds of traditional opera form “Recitativo e Aria”, where both parts might be not joined by the same thematic material. “Les feuilles mortes” doesn`t bear conflict as the idea that love cannot be returned is accepted rather calmly, without outburst of lamentation. The “flow” of music is rather smooth as it lacks sudden modulations and unusual intonations; that creates an atmosphere of tranquil reminiscence. The opposite attitude about love is enshrined in the song “The snow is falling” (“Tombe la neige”), where the snow stands for cold and dispassionate reality as well as of the state of soul of lyrical hero. The unity of these meanings is emphasized in the words “Blanche solitude” (“White solitude”), and their opposition – in the contrast of desperate cry and indifferent descent of snow. The melody of song is quite special as it has a pause after each line that creates the effect of woeful sighs. The simplicity of the harmony emphases relentless despair of the hero; thus, the song demonstrates an example of “limitation of expressive possibilities”. In the song “Nathalie” lyricism is combined with narrative features as the song is, basically, the recital of the story of the visit of the French tourist to the Moscow during the Soviet era. Here, the sound-painting is used: to portray the party of Russian students, the orchestra resembling Russian folk instruments is used and gradual acceleration of the tempo creates an allusion to traditional Russian dances. In the last part of the song potentially dramatic phrase “My life appears empty” doesn’t cause culmination as it would do on Ukrainian song – solitude taken just as fact of reality. The conclusion is drawn that the lyricism of Ukrainian songs is mostly inclined to the “pure” type with its open emotionality, and that of French songs – by the synthesis with another moduses of expression (such as narrative, pondering, reminiscence etc.). This difference is visible even more due to the similarities of the poetic texts. The Ukrainian songs usually have more opened form of emotional expression, with illusion of “experiencing”, while the French songs are marked by quite reserved feelings or usage of the change of their intensity as a mean of expression. In the latter case, expressiveness is reached often by another means, which often require more intellectual perception (complicated and refined poetic symbols, music closely following the text, poetic techniques etc.). Although of considered song groups includes those seemingly negating these conclusions (“Kvity romena”, “Tombe la neige”), they can be regarded as exceptions from the general rule that is inevitable and natural in the functioning of “living” artistic culture. Nevertheless, both national cultures share understanding of lyricism as expression of feelings. Comprehension of specifics of lyricism in Ukrainian and French songs will allow the students in their practical work to choose the degree of revealing of emotions suitable to the essence of the performed songs; that, subsequently, will result in the performance being stylistically loyal. At the same time, similarities in interpretation of lyricism allow to overcome any cultural or language barriers.

In J. S. Bach’s artistic legacy an absolutely special position is held by what is connected with the conception of sapiens, defining therewith the sphere of meditativeness in its extremely broad range: from the unpretentious pages of light reflection to profound philosophical revelations. The article examines the most capacious spectrum of the boundaries of interpretations of this figurative system along the line of acceleration of intensification of the corresponding states of being and their saturation of the presence of problems. This includes the moods of pastoral contemplation, reflectivity carried out in the vein of tenebrous elegy, as well as mournful lamentations permeated with a feeling of the hopelessness of the path of life, which very often brought Bach’s meditative music close to the borderline of tragic utterances. Of the highest value are the composer’s philosophical verses, which convey the heights of the thinking spirit, the pinnacle of self-centricity, a maximal tension of the intellectual process, immersion into thought about what is most important in the life of the human being, i.e., everything which sums up in itself the concept of homo sapiens in its intimate meaning. It follows that in the historical perspective Johann Sebastian appeared in the musical art of his time as a genuine artist and thinker, while the level of what he achieved in this regards shall remain a touchstone forever.

It is often suggested that the Greek tragedians present clinically credible pictures of mental disturbance. For instance, some modern interpreters have compared the process by which Cadmus brings Agave back to sanity in Euripides’ Bacchae with modern psychotherapy. But a reading of medical writers’ views on the psychological dimension of medicine offers little evidence for believing that these scenes reflect the practices of late fifth-century Athenian doctors, for whom verbal cures are associated with older traditions of non-rational thought, and thus are scorned in favor of more “scientific cures” based on diet or medication. This paper will argue that Athenian tragedians, working from older traditions that advocated verbal cures for some mental ailments, do understand the potential psychological effects that their work can have on audiences, since tragedy requires psychological interaction with its audience in order to be effective. From a close reading of select scenes in Euripidean tragedy, this paper suggests that the experiences of the characters who experience suffering in Euripides’ Heracles and Bacchae are analogues of the experiences undergone by the spectators of tragedy at large. Parallels are made between the way that Agave and Heracles are both talked back to sanity by looking upon what has happened, and the way that tragedians make their audiences observe lamentations and meditations that follow the central tragic act, to help them return from the intense emotion provoked, perhaps, by the violence they have seen.

“Adébímpé Ọ̀jẹ́dòkun” is a heroic poetry with the resemblance of a tragic history. It is a hunter’s dirge, where the griot happens to be a friend to a friend of the fallen hunter. In essence, it is a chant that laments a deep loss of an idol and celebrates the sacred cult of friendship. Here, a friend whose name is unknown, narrates the demise of his friend, Adébímpé Ọ̀jẹ́dòkun. The latter gave his life in pursuit of the killer of his own friend, Inaolaji. The story is that of the mythical character, Adébímpé Ọ̀jẹ́dòkun, eulogized as a great hunter with cult following. His death takes on the appearance of a slap in the face of medicinal charm, charisma, and talismanic efficacy, almost tantamount to “the death of the mythical Yorùbá medicine man’s child in broad day light.” The tragic event calls for lamentations across the land. Even the most callous, capable of “eating the head of the tortoise, and drinking cold-heartedly with the empty shell of the diminutive snail” would hear the tragic narrative and snivel. It’s that bad! Here is the unfolding of the event: Adébímpé Ọ̀jẹ́dòkun, the man of the people would do anything to alleviate the pain and suffering of his people. Any animal attack, a stampede in the farm, an elephant on the rampage or the buffalo with untoward assaults on the people in the distant wood would invoke the wrath of Adébímpé, and his instant intervention was natural. And so came the day when the wild beast would not let peace reign in the neighboring forest, and the person to call to the rescue was no other person than Adébímpé Ọ̀jẹ́dòkun, 86 Michael Oladejo Afoláyan fondly known as “the deadly spirit that roams the wild, son of the Queen Mother.” With deep inquiry, he found it was actually the farmland of his friend that was attacked. He swore by the sacred incantation that there would be no peace for an animal that made waste the farm of his friend, just as “the male pigeon is never at ease to live inside the house; Èmì – the migrant rat, never sleeps in the same nest two nights in a row; and as the case is for the pataguenon monkey to jump from tree to tree restlessly without finding a place to rest . . .” so would it be for the animal that violated the farm of his friend. Friends and neighbors consoled Adébímpé who was hell bent on going after the wild beast that had the audacity to destroy his friend’s farm. Adébímpé must vindicate his friend’s loss. His zeal for the vindication of this friend’s loss brought tears to the eyes of Adébímpé ’s neighbors who had the prior knowledge of the worse that had actually occurred: it was not the farm of Adébímpé ’s friend that was destroyed; it was actually Adébímpé ’s friend, Inaolaji himself, that was killed by the wild beast! As could be expected, Adébímpé was devastated on hearing the bad news. Then and there, he swore not to weep or mourn the loss of his friend, neither would the hunter’s funeral rites be performed for Inaolaji until two things happened: the body of his friend was retrieved and the culprit, the wild beast, was brought to justice by being totally and vindictively annihilated. Anything less, would fail miserably for the hero to mourn the parting of his friend with honor. And so Adébímpé embarked on the journey of honorable vindication. He bade two other hunters to tag along and they headed straight to the deep woods; after all, a hunter-prince never went on a hunting expedition solo. Soon, they found the remains of Inaolaji and secured the body, but Adébímpé swore he would not retreat until the animal that had the audacity to take his friend’s life had its own life taken as well. The journey continued. The search was strenuous. The distance was far afield. Jungles were crossed. Hilly terrains were toiled. Then, the hero apprehended the perpetrator. The battle ensued; and it was fierce. This would be a one-on-one encounter between Adébímpé and the erring beast, a leopard. Adébímpé gave his partners a break, ordered them to stand aloof and watch him and the leopard in an epic fight for life. He anchored the weapon by the trunk of a tree, tucked the sword in the sheath. He was confident he would wrestle the beast with his bare fist to a total submission and round it up with an eventual kill. He resorted to the spell of incantation, binding all spirits of the adder, the pythons, and the minor serpents. The chanting triggered Iconic Celebration of Charms and Friendship in Poetry 87 the wrath of the wild beast, which charged at the hero hunter. It was an all-out war, a mortal skirmish with no end in sight! It was a battle of two hunters – a human hunter facing the animal hunter, each pommeling the other with the killer instinct. Exasperated, Adébímpé resorted back to the power of the word as he emitted precarious incantations that forced the fingernails of the leopard to sink back into their sockets; the tongue glue jammed into the roof of the mouth; the teeth withdrawing and hiding inside the gums of the clenched jaws. It was at this point that the great hunter, Adébímpé, choke-holding the leopard, called on the younger hunters and ordered them to come near and shoot the beast at close range. The nervous hunter was the first to attempt the shoot, emptying the loaded barrel into the leopard, himself falling headlong at the sound of his own gun. Adébímpé hissed and mocked the nervous hunter, informing him of a big miss on so-close a target! He then beckoned on an alternative hunter, swearing he would not let go of the grip of the leopard. The second hunter finished off the animal with the shot right on target with a sniper’s propensity. The leopard lost the battle; fell down and died. Adébímpé then summoned all the hunters to come near and see a bewilderment. It was there he disclosed to them that the earlier nervous hunter did a fatal damage to him because when the hunter shot the leopard nervously, he missed the target but hit Adébímpé. He let them see the flow of blood coming from his torso. They all shouted and cried in despair. The echo of their cries swept through the length and breadth of the jungle. Adébímpé consoled them, tying the fatal shot to fate, against which no one could possibly prevail. He bade his comrades farewell, then slumped and gave up the ghost. Three bodies were brought back from the wood – that of Inaolaji, the one of the leopard, and finally, that of Adébímpé Ọ-̀ jẹ́dòkun, the altruistic hero.

AbstractThe influence exerted by tragedy on the comedies of Aristophanes has attracted much attention and this article examines one of its manifestations—his preoccupation with tragic lamentation. Focusing, in particular, on Acharnians 1069-142 and 1174-234, I attempt to examine how he exploits some of the basic features of tragic laments in the context of the comic plot and to discuss how this parodic juxtaposition of the polar worlds of tragedy and comedy functions within the play. A detailed consideration of parallels from tragedy suggests that Aristophanes had in mind specific tragic patterns, in the exaggeration and/or distortion of which the audience would no doubt have recognized some of the most striking characteristics of tragic lamentation.

Micah 7:1–6 represents the prophet’s lamentation of the deficiency of moral value in a beloved nation. The oracle is a watershed in the Book of Micah that is aptly characterised by certain degrees of socio-economic and religious unfaithfulness, especially in privileged circumstances. The oracle unit (Mi 7:1–6) forms the darkest descriptions of degrees about the apparent moral wasteland of ancient Judah. The prophet’s metaphors are used to describe the miserable moral morass of society form a kind of compendium with a progression of thoughts and coherence of moral depravity. This article underscores that when people and society live in dishonesty and corruption, the essentially integrated spiritual-ethical-community of health and prosperity that is expected to unfold in time of covenant fidelity will eventually be reduced to poverty and despair, where people hunt each other for survival. This article explores aspects of dishonesty and corruption in the Book of Micah that are pointers to the tragic situation, analyses the various descriptions of corruption in the oracle unit and consequently examines its ethical imperatives for community living.Contribution: As a biblical, literary and theological interpretation of Micah’s oracle concerning ancient Judah’s moral morass, this article brings together moral insights that are potentially viable for making major contributions to the life of people and just social order in an economics of affluence, politics of oppression and corruption in societies.

The article describes the features of the creative style, philosophical concept, psychology in the works of the writer, publicist, state and public figure Tolena Abdika. National cognition in the novels and short stories by Tolen Abdikov is projected from the peculiarities of national mentality, national consciousness, sense of nation, and the language of the Kazakh nation. The uniqueness of imagery is scrutinized as the symbol of national traits. In his works Tolen Abdikov singles out the transformations and violations of the national consciousness which the Kazakh society has undergone, emphasizing them as topical problems. We can take any of his works and notice writer’s bravery inherent to the real hero, sensivity inherent to the real writer. In general, what meaning the time wouldn’t give in composition, the space has the same degree. The writer wanted to show philosophy of in the work and at the beginning of the composition tried to guide to the reader's thoughts. Tolen Abdikov skillfully describes the internal psychological world of the characters through the presentation of their emotions, such as laughter and lamentation. T.Abdikov works are characterized by the depiction of a tragic nature of events connected with coldness, envy, and cruelty in human interactions, which makes the reader think about how these problems can be solved. The works of T. Abdikova are valuable not only from pure creative imagination, but also because of a deep study of the material of life, analysis and weighing

Resumen: Les faules mitològiques, amb les quals Roís de Corella inicia la seua carrera literària, són exercicis escolars destinats a l’ensinistrament en l’escriptura en prosa. Cadascun d’aquests textos reescriu, amb trets originals, un tema ja tractat anteriorment per autors prestigiosos. Una de les innovacions que hi aporta Roís de Corella és l’amplificació retòrica de les seqüències més morboses d’aquestes faules, dins d’una proposta estètica caracteritzada per l’exacerbació sentimental i l’efectisme. Així es dedueix de l’acarament d’algunes de les seqüències més tràgiques d’una selecció d’aquests relats (el Plant dolorós de la reina Hècuba, la lletra de Medea, la lamentació de Mirra i les històries de Pasífae i de Tereu, Procne i Filomela) amb els models literaris corresponents.Paraules clau: Roís de Corella, faules mitològiques, elements morbosos, intensificació retòrica, models literaris.«Rhetoric intensification of morbid elements in the mythological tales by Joan Roís de Corella: from the imitatio to the aesthetic innovation»Abstract: The mythological tales, with whom Roís de Corella began his literary career, are school exercises for training in prose writing. Each of these texts is dedicated to rewrites, with original features, a subject previously dealt by prestigious authors. One of the innovations that Roís de Corella offers is a rhetorical amplification of the more ghoulish sequences of these fables, in an aesthetic proposal characterized by sentimental exacerbation and sensationalism. This is deduced from the comparison between some of the most tragic sequences of a selection of these short stories (the Plant dolorós de la reina Hècuba, Medea letter, lamentation of Mirra and the stories of Pasífae and Tereu and of Procne and Filomela) with their corresponding literary models.Keywords: Roís de Corella, mythological tales, ghoulish elements, intensifying rhetoric, literary models.