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Journal articles on the topic '17th century poetry'
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Strode, Anna. "Reliģiskie tēli 17. gadsimta latīņu kāzu dzejā Rīgā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 14–28. http://dx.doi.org/10.37384/aplkp.2021.26-1.014.
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The humanists of Riga began to compose various Latin poetry texts due to the currents of European humanism, which came to Livonia soon after the Protestant Reformation took place in Livonia in the first half of the 16th century. As a result of this historical and religious impact, the level of education increased, enabling an environment for the development of the literature. The aim of the article „Religious characters in the 17th-Century Nuptial Poetry in Riga” is to bring to light the content of nuptial (epithalamium, ὑμέναιος/hymenaeus, carmen nuptialis etc.) poetry written in Riga in the 17th century, providing insight into the most frequently mentioned characters and their meaning, as well as by exploring the specific features of occasional poetry to capture reader’s and researcher’s interest in the previously undiscovered cultural heritage. The subject of the study is more than 380 Latin nuptial poems, which are stored in the Department of Manuscripts and Rare Books of the Academic Library of the University of Latvia. The poems are printed at the beginning of the 17th century by the second typographer of Riga city Gerhard Schröder (?–1657). The article includes data from a classification table (created by the author) in which the main characteristic of each poem is highlighted, including the mentions of all (more than 280) characters from ancient Greek and Roman mythology, as well as biblical and historical characters. Fragments of Latin nuptial poetry written in Riga are included to portray the content of poetry more clearly. All translations of poetry in the article are done by the author.
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Basri, Muhammad Ridha. "Puitisasi Terjemahan Al-Qur’an Mohammad Diponegoro (Kajian Kabar Wigati dan Kerajaan: Puitisasi Terjemahan Al-Qur’an Juz ke-29 dan ke-30)." Nun: Jurnal Studi Alquran dan Tafsir di Nusantara 6, no. 1 (August 17, 2020): 27–63. http://dx.doi.org/10.32495/nun.v6i1.125.
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Al-Qur’an was revealed by Arabic which was commonly used in the 7th century. As the spread of Islam to many countries, language transfer of the Qur’an becomes a necessity. In Indonesia, translation began with Tarjuman al-Mustafid in the 17th century. Translation became lively in the 20th century. In addition to translation, poetry translations have also emerged. This study reviews the work of Mohammad Diponegoro, Kabar Wigati dan Kerajaan: Puitisasi Terjemahan Al-Qur’an Juz ke-29 dan ke-30, which was originally published in 1977. This work is in the form of lyric poetry and is classified as a new type of poetry. Diponegoro called his work: the poetic translation of the Qur’an, not the poetic translation as HB Jassin’s work. Mukti Ali called this work as art that was born from the Qur’an. In poetry, words are the key, which connects the reader to the poet’s ideas and intuition. Diponegoro arranges linguistic elements and diction choices like poetry in general. Understanding a poem requires an intensification process. This library research will review the poetry of Diponegoro’s translation of the Qur’an with a historical, literary, hermeneutical-interpretative approach.
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Kwon, Youngtak. "Milton’s Originality Compared to the 17th Century English Poetry." Journal of East-West Comparative Literature 53 (September 30, 2020): 27–43. http://dx.doi.org/10.29324/jewcl.2020.9.53.27.
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Almudena Vidorreta. "Women and Carriages in 17th-Century Aragonese Burlesque Poetry." Calíope 22, no. 2 (2017): 43. http://dx.doi.org/10.5325/caliope.22.2.0043.
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Volkova, Anna G. "THE RECEPTION OF FRANCISCAN MYSTICS IN EUROPEAN POETRY OF THE 17TH CENTURY." Vestnik of Kostroma State University, no. 3 (2020): 117–21. http://dx.doi.org/10.34216/1998-0817-2020-26-3-117-121.
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European poetry of the 17th century has its own complicated metaphoric language the interpretation of which depends on understanding of different contexts. It is especially true about religious poetry that does not only use metaphors, motifs and stories from the Bible but also perceive the biblical text through some confessions and often through some directions within a confession. Such cultural and historical code is important and necessary for reception and interpretation of poetical text. Franciscans as a special direction in Roman Catholic spirituality influenced very much on European literature and especially on religious poetry of Middle ages, Renaissance and Baroque i.e. the late 16th – 17th centuries. The main point of the article is studying of key images and motifs of Franciscan spirituality that were expressed in German mystical poetry (on texts by Johannes Scheffler familiarly known as Angelus Silesius). Except traditional motifs of poverty, God’s love, one can find out thoughts about relationships between the Creator and its creature popular in theology and religious experience of Franciscans in his poetry. In poetry such ideas as an experience of communication with God are transmitted through poetical language, metaphors and also through special mean of concordia discors or connecting unconnectable.
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Strode, Anna. "Rīgā 17. gadsimtā sacerētās latīņu kāzu dzejas komponentes." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 212–26. http://dx.doi.org/10.37384/aplkp.2020.25.212.
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Soon after the Protestant Reformation took place in Livonia in the 16th century, the currents of European humanism came to Livonia. As a result of the historical and religious impact, the level of education increased, enabling an environment for the development of the literature. Soon various Latin poetry texts int. al. 17th-century occasional poetry written by the humanists of Riga started to appear. The aim of the article is to bring to light the components of nuptial (epithalamium, ὑμέναιος/hymenaeus, carmen nuptialis, etc.) poetry written in Riga in the 17th century, as well as by exploring the specific features of occasional poetry to capture readers’ and researchers’ interest in the previously undiscovered cultural heritage. At the beginning of the article, the tradition of nuptial poetry is explained. Then, by examining the basic principles one must take into account in composing occasional poetry based on works of the ancient rhetors – Menander (Μένανδρος Ῥήτωρ, c. 3rd century), pseudo-Dionysius (pseudo-Dionysius/Διονύσιος), Himerius (Ἱμέριος, c. 315–c. 386) and the book “Seven Books on Poetry” (Poetices libri septem, 1561) written by Italian humanist Julius Caesar Scaliger (1484–1558) – a table of the most used topics in nuptial poetry is formed. Afterwards, the poetry written in Riga and its most typical components (didactics, laudation, inducement, foresight, wishes/congratulations and prayers) is compared to the topics offered by previously mentioned theoreticians. Fragments of Latin nuptial poetry written in Riga are included to portray the components of poetry more clearly. All translations of poetry included in the article are made by the author of the article.
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Hallyn, Fernand, and Roxanne Lapidus. ""A Light-Weight Artifice": Experimental Poetry in the 17th Century." SubStance 22, no. 2/3 (1993): 289. http://dx.doi.org/10.2307/3685288.
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Mašić, Madžida. "From Stylistic Devices to Imagery of 17th Century Poets." Prilozi za orijentalnu filologiju, no. 69 (January 18, 2021): 183–208. http://dx.doi.org/10.48116/issn.2303-8586.2019.69.183.
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This paper aims to present three poems written as alifnāmas (an abecedarian poem), very popular poems in diwan, tekke and folk poetry in Turkish. An abecederian poem as stylistic devices formally belongs to figures of construction and this paper shed a light on three alifnāmas written by Ahmad Talib Bosnawi (one alifnāma) and Hasan Kaimi (two alifnāmas). As we know, this poems have not been presented to our scientific public until now.
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Talib, Adam. "Pseudo-Ṯaʿālibī’s Book of Youths." Arabica 59, no. 6 (2012): 599–649. http://dx.doi.org/10.1163/157005812x622885.
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Abstract This article presents a critical edition and study of a 17th/18th-century poetry collection that had previously been mistaken for al-Ṯaʿālibī’s lost Kitāb al-Ġilmān. It provides a codicological analysis of Berlin MS Wetzstein II 1786 in which the poetry collection is contained and also explains and corrects long-held misconceptions regarding al-Ṯaʿālibī’s connection with the text. Finally, the article situates this poetry collection in the context of Mamluk- and Ottoman-era epigram anthologies and the critical apparatus to the edition demonstrates the key features of intertextuality and popularity that characterised these poetry collections.
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Pritula, Anton. "East Syriac Poetry Embedded in the Manuscript Decoration: 17th—18th Centuries." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, no. 2 (December 2020): 3–11. http://dx.doi.org/10.31250/1238-5018-2020-26-2-3-11.
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East Syriac poetry embedded in the manuscript decoration has not been studied despite its large popularity in this tradition. Such verse pieces, mostly quatrains, are known at least since the 16th century. The poems being discussed in the present paper represent a further development of this particular text group. It seems to have first appeared in the Gospel lectionaries. Later on, the other types of liturgical manuscripts also obtained different kinds of “decorative” scribal poetry. This process went on alongside the growth of the poetry's popularity in the East Syriac tradition during several centuries of the Ottoman period.
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Klimek, Sonja. "Functions of figurativity for the narrative in lyric poetry – with a study of English and German poetic epitaphs from the 17th century." Language and Literature: International Journal of Stylistics 22, no. 3 (August 2013): 219–31. http://dx.doi.org/10.1177/0963947013489239.
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Lyric poetry is a genre where discourse types such as description, argumentation, contemplation and narrative can occur together, though in varying combinations. During the last two decades, research has been devoted to the question of how to describe and to study such use of narrativity in lyric poetry. As Hühn (2007) puts it, ‘poetry can profitably be analysed on the basis of narratological categories’. However, this article argues that such a narratological analysis can never replace the traditional lyric analysis. The aim of this article is to combine the means of classical lyric analysis and narratological toolboxes with those of the new rhetorical narratology, in order to explore the impact of figurativity (i.e. micro-narrative stylistic characteristics on the ‘ discours level’ of the poem) on the ‘ histoire level’ (or the level of the enounced, Müller-Zettelmann, 2002) and on the reader of the poetic text in question. As an example, I will study English and German poetic epitaphs from the 17th century, because this early sub-genre of lyric poetry provides enough distance from a restrictive mainstream-romantic understanding of poetry and, at the same time, shows a high degree of figurativity with complex functions. In these texts, figurative elements such as synecdoche and metonymy create ‘discourse events’ at the level of enunciation (with the ‘lyrical I’ as the agent of a decisive change in consciousness or attitudes), but in some cases figurative elements even create (decisive changes that ‘the reader is meant to perform’, Hühn, 2007) that steer the reader’s mental construction of the poem’s ‘story world’, as a key aspect of the text’s narrativity.
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Park, Myoung Hui. "The Life of Nampo Geum Man-Young, A Literary Person of Honam In The 17th Century and Development of Yeomrakpung Poetry." Korean Language and Literature 121 (July 30, 2022): 53–80. http://dx.doi.org/10.21793/koreall.2022.121.53.
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This study aimed to examine the development aspect of Yeomrakpung poetry by Nampo Kim Man-Young, a literary person of Honam in the 17th century and the meaning and perspective of the poetry. Yeomrakpung is related to the poetical style of Confucian scholars in Song Dynasty. Kim Man-Young’s poetry was connected to Yeomrakpung because it was mentioned in the preface and epilogue of his collection of literary works and his records.
Kim Man-Young is a local Confucian scholar who was born in Naju, Jeonnam in the 17th century and finished his life there. At that time, he was recommended for an official post by many people due to his learning and virtue, and good behaviors, but he was a local scholar from noble family who stayed out of the government service. He was also much respected by many local people as he lived a life as a Confucian scholar. Meanwhile, he was naturally engaged in writing poems while living a common life and approximately 530 poems with 460 themes were handed down. Of all the poems handed down, 85 poems with 73 themes were classified into Yeomrakpung poetry.
It was suggested that the main themes of Yeomrakpung poetry by Kim Man-Young were moral mind, government property, nature and reading. Specifically, he expressed the will of moral mind training, acquired the exquisite principles through government property, admired nature, declared he would obey to nature, dealt with pleasure of reading and criticized Scriptures. Therefore, this study recognized that they were main themes of Yeomrakpung poetry and specifically examined the development aspect.
In Chinese poetry history in Korea, Yeomrakpung poetry continued since Confucianism of Song Dynasty had been introduced. It is meaningful that Kim Man-Young’s Yeomrakpung poetry naturally reflected his academic world through poetry and revealed his peculiar characteristics. Kim Man Young witnessed difficulties of local people while living in local areas and expressed what he saw in his poetry. This study suggested that future studies should pay attention to it.
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Bremer, Kai. "Fromme Gemeinschaft, geistliche Geselligkeit." Daphnis 49, no. 1-2 (March 30, 2021): 54–66. http://dx.doi.org/10.1163/18796583-12340004.
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Abstract Taking into account the introduction to this issue, the article examines the Lutheran psalm poetry of the Leipzig theologian Cornelius Becker. He first published his Der Psalter Dauids Gesangweis in 1602, after which it was reprinted repeatedly and received extensively throughout the 17th century. In the prefaces of Der Psalter Dauids Gesangweis and in the lyrics of the songs themselves there are numerous indications that Becker’s psalm poetry not only aimed at strengthening piety, but also attempted to create sociability.
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Jakubowska, Joanna, and Marlena Krupa-Adamczyk. "Dialog o miłości mistycznej." Między Oryginałem a Przekładem 28, no. 2(56) (June 30, 2022): 45–60. http://dx.doi.org/10.12797/moap.28.2022.56.03.
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DIALOGUE ABOUT THE MYSTICAL LOVE: SAINT JOHN OF THE CROSS, CYPRIEN DE LA NATIVITÉ DE LA VIERGE AND PAUL VALÉRY This article concerns the timeless dialogue between Saint John of the Cross OCD, Spanish mystic of 16th century, Cyprien de la Nativité de la Vierge OCD, the 17th-century translator of his poems, and Paul Valéry, who delves into their texts as a reader, poet, and translator. Valéry shares his insights about Saint John’s text and its translation by the mentioned French Carmelite monk in the Introduction, which he writes to the jubilee edition of the Spiritual Canticle (1941). In this article we examine the contribution of mentioned three participants to “author-translator-receiver” configuration, focusing on their approach to the poetry, poetic translation, and work on the poetic text.
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Steiger, Johann Anselm. "Hiob zwischen probatio, patientia und blasphemia." Scientia Poetica 19, no. 1 (January 27, 2015): 1–28. http://dx.doi.org/10.1515/scipo-2015-0102.
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AbstractThis article provides an overview of the history of exegesis of the book of Job in 16th and 17th century Lutheranism. Early reformers such as Johannes Bugenhagen, Johannes Brenz, and Hieronymus Weller, a pupil of Luther, published commentaries about this philologically as well as theologically difficult narration of the Old Testament. In the 17th century, interpreters of Job made use of a variety of literary forms, including lyrical poetry (e. g. Sigmund von Birken). A highlight of the Job exegesis in baroque Lutheranism lies in the comprehensive commentary published by Sebastian Schmidt of Strasburg in 1670. The article closes by paying particular attention to the iconography of the multi-part copper engraving, created by Albert Christian Kalle for the Job exegesis by the pastor Christoph Scultetus of Stettin in 1647.
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ChoiJaeNam. "A Preliminary investigation to understandingthe trend of Siga in first half of 17th century -The Political-Social spectrum in first half of 17th centuryand the trend of Siga(1)-." Korean Classical Poetry Studies 39, no. ll (November 2015): 5–35. http://dx.doi.org/10.32428/poetry.39..201511.5.
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Percec, Dana. "Gender and Irony in The Early Modern English Romance." Romanian Journal of English Studies 9, no. 1 (December 1, 2012): 303–20. http://dx.doi.org/10.2478/v10319-012-0028-5.
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Abstract The paper discusses the ironic manner in which gender relations are often tackled in the early modern English romance, from Shakespeare’s comedies to Sidney’s pastorals or Lady Mary Wroth’s poetry. Strong female characters, effeminate males and the subversive, often ambiguous, manner in which the theme of love is approached in 16th- and 17th - century English literature are some of the aspects to be discussed.
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González Alva, Rafael. "Tres rasgos estilísticos de la Hernandia (1755): hacia una identidad americana." Literatura Mexicana 33, no. 1 (March 6, 2022): 9–47. http://dx.doi.org/10.19130/iifl.litmex.2022.33.1.7122x11.
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The objective of this article is to analyze the Gongorism, the polyglotism and the imitatio auctoris of New Spain poets in Hernandia, an 18th century epic poem for which authorship is attributable to the Novohispanic Francisco Ruiz de León as well as to the Spaniard Juan de Buedo y Girón. The study of these three stylistic elements, barely reviewed or unnoticed in previous works, suggests a direct connection to an American context, especially regarding the knowledge of Nahuatl and 17th century Novohispanic poetry, which supports Novohispanic authorship rather than a Spanish one.
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김진희. "Literary Characteristics of Male Confucianists' Sijos of Abandoned Women in the 17th century : A Comparison with Chinese Love Poetry." Korean Classical Poetry Studies 26, no. ll (May 2009): 279–305. http://dx.doi.org/10.32428/poetry.26..200905.279.
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Lee, Sangyeop. "17th Century British Metaphysical Poetry and Joseph Brodsky: Focusing on John Donne’s Influence on Modern British and American Poetry in the 20th Century." NEW STUDIES OF ENGLISH LANGUAGE & LITERATURE 80 (November 30, 2021): 131–53. http://dx.doi.org/10.21087/nsell.2021.11.80.131.
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Feldman, Walter. "The Celestial Sphere, the Wheel of Fortune, and Fate in the Gazels of Nâʾilî and Bâkî." International Journal of Middle East Studies 28, no. 2 (May 1996): 193–215. http://dx.doi.org/10.1017/s0020743800063133.
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The poet known as Bâkî (d. 1600), the “King of Poets” of Sultan Suleiman I (1520–66), is generally acknowledged as the leading figure of the so-called “classical age” of Ottoman poetry (roughly from the mid-15th to the beginning of the 17th century), while the poet known as Nâʾilî (d. 1666) was a pivotal figure in the break between this classical age and the “post-classical age,” roughly the early modern era extending from 1600 to 1800. On the broadest level this break was signaled by a change in the use of metaphorical language. This paper will contrast the treatment of one series of metaphors common in the lyric gazels within the divâns of both poets, although further examples could be found within other poetic genres, especially the panegyric kasîde. It will also attempt to interpret the significance of these metaphors in Nâʾilî's poetry and to demonstrate their distance from the usage of the classical Ottoman period, exemplified by Bâkî.
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노경희. "Publication of Chosun poetry in Ming during the early 17th century and its implication." Journal of Korean Literature in Classical Chinese ll, no. 47 (June 2011): 33–63. http://dx.doi.org/10.30527/klcc..47.201106.002.
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Hansson, Stina. "”Astrilds wäsend/ Fröije slögder”." Tidskrift för litteraturvetenskap 42, no. 2-3 (January 1, 2012): 77–85. http://dx.doi.org/10.54797/tfl.v42i2-3.11677.
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Swedish Epithalamia of the 17th and 18th Centuries
The background is my new book, Svensk bröllopsdiktning under 1600- och 1700-talen. Renässansrepertoarernas framväxt, blomstring och tillbakagång (Swedish Epithalamia of the 17th and 18th Centuries: The Rise, Flowering and Decline of the Renaissance Poetic Repertoires), Göteborg 2011 (LIR. Skrifter 1), 526 pp., the result of a research project which examines the adaptations of the repertoires of Neo-Latin Renaissance poetry in Swedish-language marriage poems. The principal interest of the investigation as a whole as well as of the present article resides in the use made of these repertoires, defined as the common heritage and shared property of all educated people in the period in question, repertoires to which everyone – at least in the seventeenth century – with a formal education had easy access. The transformations of the marriage poem as a genre during the transition from the Renaissance to Romanticism are sketched, and seen as the effect of the gradual lapse of the previous oral orientation as well as of the increasing attention paid to print and literacy. A crucial position is occupied by the 1720s when the prestigious old repertoires and various new inventions were employed side by side. By the middle of the 18th century the old repertoires were only rarely made use of; and by the end of the century the authors of Swedish-language marriage poems seem to have abandoned the old repertoires entirely.
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Zubkov, Nikolai N. "The Style of the 18th Century German Poetry Book." Observatory of Culture 18, no. 6 (December 21, 2021): 638–47. http://dx.doi.org/10.25281/2072-3156-2021-18-6-638-647.
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The article considers a question mainly unexplored — the history of German book art of the 18th century. There are outlined the main trends in the evolution of German books and highlighted their stylistic varieties. The “archaic” style, inherited from the 17th century, has its characteristic disharmony, rough types, and eclectic ornamenting. It remains relevant until the 1770s. From the 1730s, a style called here the “Leipzig classic” strives to overcome the limitations of the archaic. Its development is related to the partnership of the poet J.C. Gottsched and the publisher B.K. Breitkopf, and to the short period in German literature when classical standards prevailed. Probably, the Leipzig publishers’ practice directly affected the Russian book style of the third quarter of 18th century. In the 1750s, the literary program of the writer J.J. Bodmer and the circle of Zurich writers, opponents of J.C. Gottsched, fused with the publishing program associated with an attempt of some fundamental reforms. Bodmer himself, and later the poet Salomon Gessner, were co-owners of the largest Zurich publishing company. Through that, the original “Zurich” style appeared, heralding the future book “empire” style. Its most characteristic features are the Roman-faced type instead of the Gothic type and the lack of ornamentation. The end of the century typography is marked by some further evolution of the “Leipzig classic” style, the Gothic type standardization, and later the Roman-faced type standardization as well (“Walbaum” type). Consequently, German books of the 18th century represent a complex and uneven evolution, with huge regional differences and directly or indirectly related to the development of national literature, which is a phenomenon that cannot be observed in other European countries.
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Wang, Yi. "Carpe Diem Revisited in Poetry, Fiction and Film." Theory and Practice in Language Studies 10, no. 3 (March 1, 2020): 294. http://dx.doi.org/10.17507/tpls.1003.04.
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Carpe Diem is considered to be an eternal theme in English literature. Being pervasively spread through all ages, it is indeed of universal significance, reflecting one of the important philosophical issues of human world. Albeit this phrase was first created by Horace in ancient Rome, it has greatly influenced the renaissance poetry and the metaphysical poetry of the 17th century. This paper sets out to analyze different representations of Carpe Diem or its variations in various literary forms, namely, poetry, fiction and even film. After these contemplations it is safe to say that the connotation of this theme is the concrete reflection of positive philosophy of life, rather than the seemingly negative ways of living life in common sense. Carpe Diem plays its due significance in the conflicts between human studies and theology, secularism and afterlife, feudalism and humanism in the history of human thoughts.
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Ali, As’adi. "Ulama Perintis Syair Melayu." JURNAL ISLAM NUSANTARA 1, no. 1 (January 7, 2018): 53. http://dx.doi.org/10.33852/jurnalin.v1i1.12.
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Poetry is an old Malay literary work that rhymes after pantun, seloka, and gurindam. Appeared at the end of the 17th century AD. Pioneered by an Indonesian Sufi cleric. He is from Barus City (present: Singkil, Aceh), living in the late 17th and early 18th centuries. In his lifetime he is a mufti Kesuthanan Islam Aceh Darussalam. The most important element that distinguishes poetry with other old Malay literature is the final sound of his poetry. If the pantun uses the A-B-A-B, and the A-A-B-B cultivation, the verse is A-A-A-A. Another thing that distinguishes it from its predecessor on the content format. Where, pantun or gurindam on the first and second lines in a stanza contains a sentence (introductory) sentence, and the third and fourth lines are the content or message content. While the verse, the four lines in one stanza are all contents, or the content of the message the poet wishes to convey. In addition, in poetry, in a single line can be composed of three words, while in pantun never got a model like this. The inspired verse of the Arabic literary form, syi'ir, the structure and style can not be separated from the influence of the Arab syi'ir. Some of the direct influences of Arabic syi'ir include the ending sounds of poetry, containing the da'wah and teachings of Islam, writing at the beginning of its emergence using Arabic letters in Malay, many using Arabic terms and quotations, and decorated by natural symbolic words which is often used by Arabic Sufi poets.
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Ahmad Mahir, Normazla, Zarina Ashikin Zakaria, Mohd Muzhafar Idrus, and Norhana Abdullah. "Exploring The Element of Allegory and Metaphysical Conceit in The Works of John Donne’s A Valediction Forbidding Mourning & John Dryden’s Annus Mirrabilis: A Comparative Analysis." Al-Azkiyaa - Jurnal Antarabangsa Bahasa dan Pendidikan 1, no. 1 (September 16, 2022): 35–47. http://dx.doi.org/10.33102/alazkiyaa.v1i1.7.
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In the Renaissance period, the rise of the 17th century metaphysical poets like John Donne, John Dryden, Andrew Marvell and others had contributed to the publication of copious colourful poetry. The use of allegory and metaphysical conceit in their poetry have further revealed their inventive metaphors and agile intelligence (Bloom, 2010). Using Aldo Nemesio’s (1999) comparative method as an attempt to understand the poet and persona’s human literary behaviour, researchers have categorized and analyzed the poems in multiple contexts and stanzas so as to create interpretations from the allegory and conceit depicted. Hence, this paper shall discuss the findings on the comparative analysis of the element of allegory and metaphysical conceit depicted in the poems of the two metaphysical poets; John Donne’s A Valediction Forbidding Mourning and John Dryden’s Annus Mirrabilis.
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Young, Francis. "The Shorts of Bury St Edmunds: Medicine, Catholicism and politics in the 17th century." Journal of Medical Biography 16, no. 4 (November 2008): 188–94. http://dx.doi.org/10.1258/jmb.2007.007058.
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The Short family of Bury St Edmunds produced at least eight doctors between the first half of the 17th century and the first half of the 18th. Some of these practised locally and others went on to achieve fame in London or abroad. They included Richard Short (d. 1668), a medical polemicist, and Thomas Short (1635–85) who treated Charles II in his last illness and became the subject of poetry and other literature. The Shorts generated controversy through their adherence to the Roman Catholic faith at a time of persecution and suspicion. Richard Short used medical polemic as a vehicle for advancing his religious views, and his son and nephew became involved in James II's political programme to introduce religious toleration in 1688. After the Revolution the Shorts withdrew from political life but continued in their medical practice and their recusancy. This paper is the first to unravel the family relationships of the Shorts, which previously have eluded most historians.
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Kluge, Sofie. "Amazonas del mar y sátiros acuáticos." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 44, no. 1 (March 6, 2009): 94–111. http://dx.doi.org/10.1075/rro.44.1.06klu.
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The work of Luis de Góngora (1561–1627) arguably represents the peak of early Baroque poetic mythography, but even if myth is a recurring element in Gongorine poetry its appearance varies greatly. From the youthful poetry to the major works of the first decades of the 17th century and beyond we find important nuances and a recurring revaluation and redefinition of myth. Thus, starting off by the both moral and sensual interpretation characteristic of Renaissance literature in the early sonnets, passing through Ovidian aetiology in the Fábula de Polifemo y Galatea and the philosophical meditation on myth in the Soledades, the poet reaches the satirical-burlesque with a moral flavour in the Fábula de Píramo y Tisbe. However, underlying all these different phases we find a persistent ambiguity rooted in the ambiguous post-classical reception of Greco-Roman mythology. On the background of a brief survey of the ambiguous concept of classical mythology permeating Góngora’s work from beginning to end, the present article particularly explores the meditative phase of the Soledades, arguing its importance for our understanding of the Baroque period as well as for the origin of what may be termed the tradition of ’mythological literature’.
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Sakhno, Irina M. "“Ut Pictura Poesis”: the Poetic and Pictorial Emblem of the Baroque." Observatory of Culture, no. 5 (October 28, 2015): 94–101. http://dx.doi.org/10.25281/2072-3156-2015-0-5-94-101.
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The article describes parallelism of the two arts, poetry and painting, in the emblematic books of the Baroque epoch. In the Baroque art, an emblem, as a visual metaphor, formed stylistic singularity of the culture of the 16th-17th centuries. The emblem represented the principle of simultaneity, a picture with a brief motto coexisting with a didactic or spiritual text. Not only was the emblem an ornamental “insertion”, a piece of encrusted graphics, but it also reflected the Baroque principle of a witty game. A book of emblems could act as a visual dictionary of signified objects. The significance of finished emblems was not limited to their pictographical meanings, they could also include some symbolic senses. Such verbal pictures illustrating abstract notions can be found in the “Emblemata” (1531) by Andreas Alciatus. The synthesis of the verbal and the visual, as an allegorical way of defining the world and the exegesis of Biblical texts, provided wide opportunities for the emblematic signification. The Picta Poesis Baroque book “Graphical Poetry. Alchemy” (1552) by Barthélemy Aneau contained an alchemy symbolism reflecting the character of the Renaissance worldview. Dutch artists of the 17th century developed the theme of evanescence and vanity in their emblematic still-life painting.
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Andreiushkina, Tatiana N. "THE HISTORY OF THE DEVELOPMENT OF THE HEXAMETER IN GERMAN POETRY." Philological Class 26, no. 1 (2021): 22–37. http://dx.doi.org/10.51762/1fk-2021-26-01-02.
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The article traces the history of the development of the hexameter on German soil: from the use of the Leonin hexameter in the Middle Ages and the Reformation, the mixed Latin-German hexameter in the period of humanism (in the form of carmina eroica) and the German hexameter in the 18th–19th centuries (mainly in the form of elegy, epigram and idyll) to derivatives and ironic forms of the XX century (memorandum, instructive poem, etc.). Klopstock played a significant role in the spread of the hexameter in German poetry, bringing a fresh stream to German poetry by rejecting the prevailing in the 17th century predominantly alternating Alexandrian verse. Voss also inspired his contemporaries to create distiches with his translations of Homer’s poems. The flowering of the hexameter falls on the period of classicism: Goethe and Schiller created the best and purest examples of this poetic meter. Goethe and Schiller during the Enlightenment, Hölderlin, Novalis and Kleist in romanticism, Rückert, Platen and Mörike in post-romanticism introduced variety and movement into the hexameter by means of different types of caesura in verse. Austrian poets (Saar, Weinheber, Bachmann) appeal to hexameter as a classic form of German verse, Hauptmann uses it to create a large poetic form. The poets of the pre-war and war period (Colmar, Schröder, Holthusen) seek in him an aesthetic support in an era of timelessness. Poets of the former GDR (Brecht, Bobrowski, Müller), poets of the Federal Republic of Germany (Grünbein, Herbst) use it sporadically and in a transformed form, but at the same time take into account the thematic and genre traditions associated with this antique meter. Most foreign researchers, when determining the hexameter, speak of its dactylic component and only from the middle of the 20th century some of them (Kayser, Mönnighof) note, in addition to the spondees, the possibility of using chorees in the initial syllables of a verse.
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Andreiushkina, Tatiana N. "THE HISTORY OF THE DEVELOPMENT OF THE HEXAMETER IN GERMAN POETRY." Philological Class 26, no. 1 (2021): 22–37. http://dx.doi.org/10.51762/1fk-2021-26-01-02.
Full textAbstract:
The article traces the history of the development of the hexameter on German soil: from the use of the Leonin hexameter in the Middle Ages and the Reformation, the mixed Latin-German hexameter in the period of humanism (in the form of carmina eroica) and the German hexameter in the 18th–19th centuries (mainly in the form of elegy, epigram and idyll) to derivatives and ironic forms of the XX century (memorandum, instructive poem, etc.). Klopstock played a significant role in the spread of the hexameter in German poetry, bringing a fresh stream to German poetry by rejecting the prevailing in the 17th century predominantly alternating Alexandrian verse. Voss also inspired his contemporaries to create distiches with his translations of Homer’s poems. The flowering of the hexameter falls on the period of classicism: Goethe and Schiller created the best and purest examples of this poetic meter. Goethe and Schiller during the Enlightenment, Hölderlin, Novalis and Kleist in romanticism, Rückert, Platen and Mörike in post-romanticism introduced variety and movement into the hexameter by means of different types of caesura in verse. Austrian poets (Saar, Weinheber, Bachmann) appeal to hexameter as a classic form of German verse, Hauptmann uses it to create a large poetic form. The poets of the pre-war and war period (Colmar, Schröder, Holthusen) seek in him an aesthetic support in an era of timelessness. Poets of the former GDR (Brecht, Bobrowski, Müller), poets of the Federal Republic of Germany (Grünbein, Herbst) use it sporadically and in a transformed form, but at the same time take into account the thematic and genre traditions associated with this antique meter. Most foreign researchers, when determining the hexameter, speak of its dactylic component and only from the middle of the 20th century some of them (Kayser, Mönnighof) note, in addition to the spondees, the possibility of using chorees in the initial syllables of a verse.
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Eggertsdóttir, Margrét. "“The fair draught of Óðinn”." European Journal of Scandinavian Studies 51, no. 1 (April 1, 2021): 102–16. http://dx.doi.org/10.1515/ejss-2020-2018.
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Abstract Icelandic poets in the 16th and 17th century had great interest in formal features such as rhyme, kennings, and periphrasis. Rímur poets made use of Eddic diction and imagery but the use of kennings was not limited to rímur; it can also be found in other kinds of poetry. Baroque delight in periphrasis and metrical complexity ensured a favorable reception for the renewed interest in dróttkvætt measure, with its aurally intriguing rhymes and complex kennings. The paper discusses the use of kennings and the connection between kennings, riddles and metaphors and also between kennings and Eddic and classical myths.
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Van der Elst, J. "Regional and current problems in South Africa and their impact on literature with remarks on the evaluation of the Afrikaans Novel." Literator 6, no. 1 (May 9, 1985): 1–9. http://dx.doi.org/10.4102/lit.v6i1.893.
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My paper centres round a specific situation and its impact on literature in South Africa with special reference to the modern novel in the Afrikaans language and the literary evaluation of the novel. This does not mean that I exclude references to the other genres, poetry and dram a and to literatures in other languages within the South African context. Many of you might know but to clarify I would like to point out that I refer to Afrikaans as the Germanic language originating from the 17th century Dutch mother tongue of approximately 3 ½ million South Africans.
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Mašić, Madžida. "Kaside-I Kalemiyye by Yusuf Asim, the Poet of Sarajevo." Prilozi za orijentalnu filologiju, no. 71 (December 21, 2022): 71–102. http://dx.doi.org/10.48116/issn.2303-8586.2021.71.77.
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A large number of “pen qasidas” (kaside-i kalemiyye) have been written in the rich tradition of divan literature. These are kasidas whose theme is “kalem” (the pen), or kasidas with the radif “kalem”. In this paper, we will present “Kalemiyye” written by Yusuf Asim, the poet from Sarajevo from the 17th century, that he dedicated to his contemporary, friend and poet Sabit Alauddin Užičanin. The poetry of Yusuf Asim is relatively unknown in previous studies of the literature of Bosnia and Herzegovina in oriental languages, so this work will be one of the first to present this poet and his work.
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Kumar, Dr Rajiv. "John Donne : A Great Poet." SMART MOVES JOURNAL IJELLH 7, no. 12 (December 28, 2019): 8. http://dx.doi.org/10.24113/ijellh.v7i12.10230.
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John Donne is one of the greatest of English religious poets, and the poets of the 17th century on whom his influence was most deep and lasting than all religious poets. As Joan Bennett tells us this is so because his temperament was essentially religious. A man of religious temperament is constantly aware, constantly perceiving the underlying unity, the fundamental oneness of all phenomena, and the perception of such a relationship, such an inherent principle of unity, is revealed even by the imagery of the earliest poetry of Donne. No doubt Donne's religious poetry belongs to the later part of his career, to the period after his ordination, and the gloom, despair and frustration which resulted from the death of his wife, poverty, and ill-health. The earliest of his religious poems are the sonnet-sequence called La Corona and The Litanie; the best of his religious poetry is contained in the Holy Sonnets, the Divine Poems and The Three Hymns. The best of Donne's religious poetry was written only during the last phase of his career, but the nature of his imagery, even the early one, clearly indicated that his genius was religious and he was bound to take to religious poetry and to the pulpit.
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Krzywy, Roman. "Polska epika bohaterska przed i po „Gofredzie”." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 97–122. http://dx.doi.org/10.24917/20811853.20.6.
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The article is a review of the most important trends in the development of the Polish epic in the 16th and 17th centuries. In the absence of significant traditions of knightly works, the creation of Polish heroic poetry should be associated primarily with the humanistic movement, whose representatives set a heroic epic at the top of the hierarchy of genres and recognized 'Eneid' as its primary model. The postulate proposed first by the Renaissance and later by the Baroque authors did not lead to the creation of a ‘real’ epic in Poland. The translations of: the Virgil’s epic poem (1590) by Andrzej Kochanowski and Book 3 of 'The Iliad' by Jan Kochanowski can be regarded as the genre substitutes. These translations seem to test whether the young Polish poetic language is able to bear the burden of an epic matter. Then again, the works of Maciej Kazimierz Sarbiewski on the Latin 'Lechias' (the 1st half of the 17th century), which was to present the beginnings of the Polish state, were not completed. Polish Renaissance authors preferred themes from modern or even recent history, choosing 'Bellum civile' by Lucan as their general model but they did not refrain from typically heroic means in the presentation of the subject. This is evidenced by such poems as 'The Prussian War' (1516) by Joannis Vislicensis or 'Radivilias' (1592) by Jan Radwan. The Latin epic works were followed by the vernacular epic in the 17th century, when the historical epic poems by Samuel Twardowski and Wacław Potocki were created, as well as in the 18th century (the example of 'The Khotyn War' by Ignacy Krasicki). The publication of Torquato Tasso’s 'Jerusalem delivered' translation by Piotr Kochanowski in 1618 introduced to the Polish literature a third variant of an epic poem, which is a combination of a heroic poem and romance motives. The translation gained enormous recognition among literary audiences and was quickly included in the canon of imitated works, but not as a model of an epic, but mainly as a source of ideas and poetic phrases (it was used not only by epic poets). The exception here is the anonymous epos entitled 'The siege of Jasna Góra of Częstochowa', whose author spiced the historical action of the recent event with romance themes, an evident reference to the Tasso’s poem. The Polish translation of Tasso’s masterpiece also contributed to the popularity of the ottava rima, as an epic verse from the second half of the 17th century (previously the Polish alexandrine dominated as the equivalent of the ancient hexameter). This verse was used both in the historical and biblical epic poems, striving to face the rhythmic challenge.
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Kuchar, Gary. "Introduction: Distraction and the Ethics of Poetic Form in The Temple." Christianity & Literature 66, no. 1 (November 30, 2016): 4–23. http://dx.doi.org/10.1177/0148333116677454.
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The formal dimensions of George Herbert’s poetry, including prosody and assonance, bear important ethical and spiritual significance. This is especially true in lyrics dealing with the problem of distraction, a crucial concept in 17th-century religious culture and one with a range of historically and theologically discrete meanings. The formal strategies Herbert deploys in lyrics about distraction proved particularly consequential for subsequent poets in the period, especially those writing in the wake of the English Civil War such as Henry Vaughan. For Vaughan, as for Herbert, distraction is a somatic, social, and spiritual problem that touches on the very essence of what it is to be a fully mature Christian.
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Karavashkin, Andrey V. "RENDITIONS OF THE PARABLE OF THE PRODIGAL SON IN THE POETRY AND PROSE OF THE 17TH CENTURY." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 6 (2018): 163–82. http://dx.doi.org/10.28995/2073-6355-2018-6-163-182.
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Molnár, Dávid. "Ferenc Hunyadi, an almost completely forgotten Transylvanian humanist." Hungarian Studies 36, S (November 22, 2022): 22–50. http://dx.doi.org/10.1556/044.2022.00199.
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AbstractAlthough the name of Ferenc Hunyadi is known in Hungarian literary history mainly for his Hungarian-language historical song about the peril of Troy, there also exist more than five thousand lines of Latin poetry by him which have not been collected or published since the 16th century. Another eleven of his poems are known from a manuscript written by a Unitarian pastor in the early 17th century. A further, one-distich poem was recorded by István Szamosközy. The date of composition of his poems in manuscript can be placed roughly between the end of 1586 and 1599. In addition to these, there is also a manuscript kept in Oxford in which Hunyadi gives prescriptions for febrile diseases. As a starting point for further research, this paper summarises what is currently known about Hunyadi and his works.
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Pujol i Coll, Josep. "Ressonàncies musicals en l’obra de Fontanella." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 11, no. 11 (June 11, 2018): 170. http://dx.doi.org/10.7203/scripta.11.12591.
Full textAbstract:
Resum: En referència a la poesia de Francesc Fontanella, l’article assenyala primerament la presència del compositor Joan Cererols com a poeta en català al seu Vexamen, una dada que ha passat inadvertida en els cercles musicològics. Seguidament fa un recompte de les poesies de Fontanella amb vincles musicals, sobretot amb els vilancets. Per últim, recupera algunes melodies que, com a contrafacta, encaixen amb les seves lletres per a cantar.
Paraules clau: Francesc Fontanella, segle XVII, música, cançoners, contrafacta.
Abstract: Referring to the Francesc Fontanella’s poetry, the article first notes the presence of the composer Joan Cererols as a poet in Catalan at his Vexamen, a fact that has gone unnoticed in musicological circles. Then it links the poetry of Fontanella with musical genres, especially with the villancicos. Finally, it retrieves some melodies that, as contrafacta, fit with his lyrics to sing them.
Keywords: Francesc Fontanella, 17th century, music, songbooks, contrafacta.
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Klein, Joachim. "Praising the Ruler: Panegyrical Poetry and Russian Absolutism." Slovene 4, no. 2 (2015): 36–71. http://dx.doi.org/10.31168/2305-6754.2015.4.2.2.
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It is difficult to overrate the importance of the panegyric tradition for early modern Russian literature. Between the middle of the 17th to the end of the 18th century, it was practiced in many different genres—almost all Russian poets praised the ruler. This poetry deserves our interest as a specific form of political literature. As such it is not only relevant for the cult of the Russian monarchs, but it also sheds some light on the political mentality of their loyal—and literate—subjects in the age of Russian absolutism. Panegyrical poetry is per definitionem a thoroughly affirmative, noncritical form of political literature. But this did not prevent it from offering a certain scope for the expression of diverse and even contradictory political ideals. This can be exemplified by the panegyrical poems written in the early 1760s in the context of the coup d’état staged by Catherine II and against the backdrop of the Russo-Prussian peace treaty initiated by her predecessor, Peter III. In this situation, a fundamental difference of opinion about the tasks of the monarch and the mission of the Russian state emerged.
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Ershova, Irina V. "Dante’s Plot on Francesco and Paolo in Spanish Literature of the 15th–17th Centuries." Studia Litterarum 7, no. 2 (2022): 76–93. http://dx.doi.org/10.22455/2500-4247-2022-7-2-76-93.
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The article discusses the reception of the Divine Comedy (La Divina Commedia) by Dante Alighieri and, in particular, of Canto 5 of the Inferno and its central episode — Dante’s encounter with Francesca and Paolo, in Spanish literature of the 15th–17th centuries. It began at the end of the initial third of the 15th century that was caused by late reception of the European courtesy tradition in Spain. Old translations of Infierno by Dante (Enrique de Villena, Pedro Fernández de Villegas) saw in the story of Francesca and Paolo first and foremost a cautionary example of the tragic effect of the courteous poetry and its ideals on real fates of people, thus partly determining further ways of perception of the narrative of killed lovers and its effect on the Spanish poetry and drama. The brightest expression of this idea is the episode, where Marquess de Santillana, hero of El Triumphete de Amor vision, meets the Dante’s characters and the “dona de Ravenna” gives place to Galician troubadour Macias. The national legend and didactic representation of Dante’s episode forced the narrative of Francesca and Paolo out of the Spanish literature. Lope de Vega’s play titled El castigo sin venganza written on the basis of the plot of Bandello’s novella and transformed under the influence of Dante’s episode became in a way the return to the initial and tragic essence of the story of two lovers.
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Wilson, Francis. "Such words in His things: the poetry in Bacon’s new science." Language and Literature: International Journal of Stylistics 11, no. 3 (August 2002): 195–215. http://dx.doi.org/10.1177/096394700201100301.
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Francis Bacon’s utopian fragment New Atlantis was originally prized by its 17th-century readers for its connection with the ‘Great Instauration’ (the author’s plan for reforming the sciences), and for its close link with Sylva Sylvarum, the natural history with which it was first published. Modern scholarship has ignored the importance of Sylva to New Atlantis, which was intended to demonstrate how advances gained through the Instauration might actually be implemented for the greater benefit of humankind. I hope to show that, although Bacon’s more theoretical philosophical treatises argue for a scientific method purged of fanciful language and back-door theology, the ‘simpler’, more referential language used in Sylva Sylvarum and New Atlantis nevertheless demonstrates the author’s clear recognition that the success of the new science depended to some extent upon the strength of its figurative language, and that very often it was through the ‘poetry’ of metaphor, analogy and symbol that religion was re-inserted back into Bacon’s natural philosophy.
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Gabriel, Lisa-Marie. "Zukunftspessimismus in der Frühen Neuzeit? Überlegungen zu frühneuzeitlichen Zukunftsvorstellungen am Beispiel des Vanitas-Motives zur Zeit des Barock." historia.scribere, no. 9 (June 9, 2017): 71. http://dx.doi.org/10.15203/historia.scribere.9.566.
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Future pessimism in the Early Modern era? Reflections on Early Modern future imaginations exemplified by the baroque Vanitas motif. The following bachelor thesis is about the future imaginations of the Early Modern time. The paper follows the question, if there was a factual ‚future pessimism‘ in the baroque era, trying to exemplify this by the booming Vanitas motif. Therefore, the thesis will examine the history and meaning of the motif compared to the trends of the tumultous 17th century. As will be shown, the Vanitas motif was also an art form as well as a manifestation of a transience-consciousness that manifested itself not least in the form of Vanitas still life and baroque poetry.
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Lotman, Maria-Kristiina, and Mihhail Lotman. "The derivatives of hexameter in Estonian poetry and their link with the traditional hexameter." Sign Systems Studies 40, no. 1/2 (September 1, 2012): 94–120. http://dx.doi.org/10.12697/sss.2012.1-2.06.
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The sources of the theory of the Estonian hexameter can be traced back to 17th century Germany, where the long syllables of ancient hexameter were replaced with stressed ones, and short syllables with unstressed ones. Although such understanding is clearly inadequate, to a great extent it still holds ground in contemporary approaches. Hexameter, like any other verse metre, can be treated from two angles. First, as an abstract scheme which is realized in different texts, while the degree of realization can vary. Second, hexameter can be viewed as a prototype and actual texts create a certain space further from or closer to the prototype. In both cases questions arise, first, about the limits of hexameter, and second, whether a given text has features of a random hexameter or reflects the author's conscious intent.
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Polilova, Vera S. "The Poetics of the Carnation: The Word and the Image in Russian Poetry From Trediakovsky to Brodsky (In the Context of European Tradition). Part One." Imagologiya i komparativistika, no. 17 (2022): 7–36. http://dx.doi.org/10.17223/24099554/17/1.
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The research outlines the use of the word gvozdika (Eng. ‘carnation’, a species of Dianthus) in Russian poetry. The author takes the European tradition as a framework to describe and analyse diverse representations of the carnation in Russian, mainly poetic, texts of the 18th through 20th centuries, tracing the development and expansion of “carnation-driven” contexts and associations. Part One opens with a retrospective insight into the history of the carnation in European culture, debunking several popular misconceptions, related to the flower’s history and name, which had been uncritically repeated over many decades. The ubiquity of wild carnations has contributed to the belief that, like the rose and the lily, the carnation has a two-thousand-year cultural history. Thus, it might be assumed that the carnation’s beauty and spicy aroma should have set it apart from other flowers, so that it might gradually acquire various symbolic meanings. Indeed, researchers and writers have often noted the ancient symbolism of the carnation. Moreover, both popular and academic writings place the carnation in the limited and well-defined set of plants cultivated in Antiquity. The research into the historical significance of the carnation shows that its oft-postulated antiquity is nothing but wishful thinking: the cultural history of the carnation as well as its symbolic meanings cannot be traced back as a single process from Antiquity to the Present. Until the 14th century, the carnation was referred to by many different names; its literary and symbolic genealogy can only be traced back to the 15 th or 16th century, i.e. when it was introduced into horticulture and when stable designations for it appeared in the new European languages. Our analysis draws on comparative material from Spanish, Italian, French, German, and English poetry (poems by Luis de Gongora y Argote, Francisco de Quevedo, Joachim du Bellay, Remy Belleau, Pierre de Ronsard, and others) and employs numerous multilingual sources to shed light on the history of the carnation in European languages and literatures. In addition, we briefly trace the horticultural history of the carnation in Russia. The garden carnation, or the clove pink, has been known in Russia at least since the 17th century. It was among the plants bought in Holland by the Flower Office of Peter the Great. In the 18th century, the carnation was already widespread in Russian gardens: numerous detailed articles about the carnation, its varieties and cultivations are found in botanical directories and various indexes of the late 18th century. The Alphabetical Catalogue of Plants <...> in Moscow in the Garden of the Active State Councillor Prokofy Demidov, published in 1786, lists 52 varieties of the carnation. Yet, however popular the carnation was in everyday life, it rarely appeared in Russian literature of the 17th and 18th centuries.
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Petrov, Alexander. "SPIRITUAL VERSES ABOUT TSAREVICH JOASAPH: PLOTS AND METRICAL MODELS." Antropologicheskij forum 17, no. 49 (June 2021): 88–131. http://dx.doi.org/10.31250/1815-8870-2021-17-49-88-131.
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The article considers the problem of the development of metrical forms of the cycle of folklore spiritual verses about Tsarevich Joasaph. Spiritual verses related to the literary tradition are used as supplementary material. The aim of the research is to trace the evolution of the metrics of folklore spiritual verses about Tsarevich Joasaph in the context of the history of Russian versification. The tasks of the research are the formation of a database of texts, differentiation of the texts into thematic groups, selection of method of work, and the analysis of folk and literary variants. The research methodology is determined by its complex nature, being at the intersection of folklore, linguistics, and literary studies. Taking into account the heterogeneity of the material, special methods are used for texts created within the framework of different systems of versification: syllabic, accentual, and syllabic-accentual. The entire corpus of texts consists of seven types of plots and can be divided into metrical groups depending on the time and the environment of their creation. The earliest known text dates from the 16th century; it is a free, non-rhymed accentual verse. A significant corpus of texts was created in the 17th century, in line with the literary syllabic system of versification; these are spiritual verses with 8 or 13 syllables per line. Some of these were assimilated by folk culture and subsequently lost their syllabic equality of lines, becoming close to the accentual system. Literary texts of the 18th–19th centuries are closer to the syllabic-accentual system; sometimes they include polymetric poetic forms. Folklore texts collected in the 19th–20th centuries are based mainly on the accentual system of versification (dolnik, taktovik, accentual verse); however, as we move towards the 20th century, syllabic-accentual tendencies also intensify in this area. In the 20th century, the tradition of spiritual poetry was based on syllabic-accentual models borrowed from the works of Russian classics. The long history of the existence of this poetic cycle is, in general, in line with the evolution of Russian versification. At the same time, if the syllabic-accentual verse has been formed since the 18th century in the literary tradition of spiritual poetry, then in folklore it spread relatively late. Reliable examples of syllabic-accentual versification are found in folklore spiritual verses about Tsarevich Joasaph from the second half of the 19th century.
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Köseoglu, Berna. "The Portrayal of Women in Milton's Works. Milton's Misogyny." Futhark. Revista de Investigación y Cultura, no. 6 (2011): 93–112. http://dx.doi.org/10.12795/futhark.2011.i06.05.
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Analyzing John Milton’s works, one can observe the influence of his personal life, his biography upon his poetry and prose. Milton, in his works, not only demonstrates the social and political issues of his own society, but he also deals with the gender issue by creating female characters who have some weaknesses or faults, which cause destruction and disaster. Therefore, his own experiences not only related to social issues but also about women and marriage play a considerable role in his depiction of the relationship between female and male. In this article, the general condition of women in the 17th century English society and Milton’s portrayal of women will be analyzed by highlighting the influence of Milton’s own experiences upon his representation of gender roles.
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Wiegand, Hermann. "The Commemoration of the Dead and Epic Composition (Totengedenken und epische Gestaltung)." Daphnis 46, no. 1-2 (March 15, 2018): 241–63. http://dx.doi.org/10.1163/18796583-04601017.
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This paper discusses the image and reception of the Thirty Years Warʼs Catholic military leader Johann T’Serclaes von Tilly in Jesuit Neo-Latin epical poetry of the 17th century, starting with Magni Tillij Parentalia written by Jacobus Balde, a prosimetrical work that came into being immediatly after the ‘heroʼs’ death but was posthumously published in 1678, using epical patterns such as picture descriptions or similia not only in metrical parts of the work, but also in prose fiction. The text shows Tilly as a pillar of the Holy Roman Empire and Catholic faith as well. Affiliated are shorter reflections of further Jesuit Neo-Latin poems such as Bellicum Tillij (1634) by Jacobus Bidermann, Johannes Bisseliusʼ Icaria (1637), and Jacobus Damianus’ Bellum Germanicum (1648).