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Academic literature on the topic 'Classical Occasional verse'
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Journal articles on the topic "Classical Occasional verse"
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Gillespie, Stuart. "Warren Hastings as a Translator of Latin Poetry." Translation and Literature 26, no. 2 (July 2017): 199–213. http://dx.doi.org/10.3366/tal.2017.0289.
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Warren Hastings composed occasional short verse translations and imitations of classical Latin texts over many years, perhaps particularly in later life. Almost all extant examples are recorded in autograph in the multiple volumes of his diaries now in the British Library (in some cases, elsewhere too). They have never been printed nor given scholarly attention, but are of very high quality. This note contextualizes and provides transcriptions of six of these works, viz. translations and imitations of Lucan (two passages), Horace (three odes), and Catullus.
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Bowers, Rick. "Thomas Phaer and the Assertion of Tudor English." Renaissance and Reformation 33, no. 4 (October 1, 1997): 25–40. http://dx.doi.org/10.33137/rr.v33i4.11373.
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Thomas Phaer's many printed works, including legal and medical texts, occasional verses, and classical translations, all insist upon - even assert - English as a language suitable for learned consciousness. As a physician, legal theorist, man of letters, and member of Parliament, Phaer represents a new English praxis of cultural and intellectual communication. His life and work are centered in the vicissitudes of Tudor polity, wherein he works to mobilize the vernacular and, in so doing, assert early modern English culture.
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Naaman, Erez. "Authorship and Unity of the Classical Arabic Poem through the Lens of Collaborative Composition." Arabica 67, no. 1 (May 21, 2020): 1–59. http://dx.doi.org/10.1163/15700585-12341558.
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Abstract When a classical Arabic poem lacked a noticeable degree of thematic coherence and formal structure, it was at risk of foreign intervention aiming to improve it. Who was recognized in such a case as the author of the poem and on which grounds? This article looks at the interrelated questions of the poem’s unity and its authorship through the lens of collaborative poetry that was practiced by completing verse composed in the past. It presents an analysis of poetic collaboration cases from the second/eighth century to the Ayyubid era, and discusses different practical approaches of poets to authorship questions related to the earlier source poem and their own later completion. In the third/ninth century, as an expansive reservoir of ancient and modern poems became increasingly available, we occasionally notice the marks of plagiary, rather than forgery, on collaborative poems of this type. At the same time, and based on this very expansion, kinds of legitimate poetic influence can be detected in the completions of the later poets. Remarkably, poetic intervention did not cease and the poem conceptually did not achieve an inviolable status, when the scholars replaced the transmitters as the authorities on poetry around the third/ninth century and throughout the period under study. Nevertheless, the cultural domain for reshaping earlier verse changed, and the repertoire of poetry considered as “fair game” for this practice was narrowed down based on quality considerations.
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West, Stephanie. "Venus observed? A note on Callimachus, Fr. 110." Classical Quarterly 35, no. 1 (May 1985): 61–66. http://dx.doi.org/10.1017/s0009838800014579.
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Since we cannot hope to witness a catasterism for ourselves, we are fortunate to have a detailed first-hand account of the inauguration of Coma Berenices, the last constellation to be added to the ancient list until the seventeenth century. However, the description of the critical stages in the process presents various difficulties resulting not so much from obfuscation on Callimachus' part (natural though this might be in an account of a miracle) as from the circumstances of the poem's transmission and the problems to be expected in interpreting occasional verses more than two millennia after the event to which they refer. In this note I shall attempt to clarify some of the obscurities surrounding the Lock's translation.
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Murgatroyd, P. "The sea of love." Classical Quarterly 45, no. 1 (May 1995): 9–25. http://dx.doi.org/10.1017/s0009838800041641.
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The sea of love (a convenient heading under which to group the various marine and nautical metaphors, similes, parallels, allusions, and analogies applied to love and sex) was one of the more important amatory figures. It featured in both Greek and Latin from earliest until latest times, was employed in several genres of verse (dominating whole poems on occasion), appearing in prose as well, and reached an advanced stage of development in the hands of the Alexandrians and particularly the Augustans. The purpose of this article is to provide the first comprehensive and detailed study of the sea of love from the archaic period until late antiquity.
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Costa, Ioana. "Avsonivs: vt doceam docendvs ipse." Acta Antiqua Academiae Scientiarum Hungaricae 59, no. 1-4 (September 25, 2020): 601–10. http://dx.doi.org/10.1556/068.2019.59.1-4.52.
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Summary:Centones are works that might be interpreted as bis in idem, in a positive manner, being si- multaneously a revitalisation of prior works and an independent piece, which grants a perception per se. In addition to their poetic value, a major relevance draws from the text itself, as descendant of a previous source, perfectly known not only to the author of the cento, but to the public as well, capable to appreci- ate the virtuosity. Cento nuptialis composed by Ausonius is to be considered both as Vergilian inheritance manoeuvred with poetic skill and as binomial of theory and practice, preserved in the letter addressed to Paulus.We examine two formal aspects: the iunctura points and the entire verses taken from Vergil. The iunctura of the hemistichs seems to be occasionally generated by the presence of a certain word. Regard- ing the entire Vergilian verses, the letter addressed to Paulus states that two consecutive entire verses ineptum est: the assertion might be understood either as aiming at two consecutive verses in the source text, or as two entire verses, belonging to different parts of the source text. If the second interpretation is correct, Cento nuptialis begins inelegantly (ineptum).
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Michałowski, Piotr. "Between the treatise and epiphany, that is, about Leszek Szaruga for the eighth time." Tekstualia 4, no. 63 (December 13, 2020): 135–56. http://dx.doi.org/10.5604/01.3001.0014.5822.
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The article, written on the occasion of the jubilee of an outstanding polish poet, prose writer, essayist, literary critic and literary scholar, possessing enormous achievements in each of these fields, is an attempt to determine his creative personality. The author wrote about him 8 times reserving individual books and now tries to merge his recognition into the overall portrait of the writer. He states that Szaruga is a linguistic poet and at the same time well-versed in literary tradition, as evidenced by numerous intertextual references, among others to the works of Borges in short stories and Lec in aphoristics. He perfectly accomplishes both classical forms: poetic treatise, lyrical miniature, sonnet as well as experimental: linguistic poems and concrete poetry. Finally, an experimental interpretation of one short poem is presented.
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Kershaw, Allan. "A sign of a new speaker in Plautus and Terence?" Classical Quarterly 45, no. 1 (May 1995): 249–50. http://dx.doi.org/10.1017/s0009838800041896.
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The phrase ei mihi is used fifteen times by Plautus. On all but one occasion these words introduce a new speaker. The single ‘exception’ is, I suggest, rather an error of transmission. I quote the line in context, Bac. 1171–4NIC. Ni abeas, quamquam tu bella es,malum tibi magnum dabo iam. BACCH. Patiar,non metuo, ne quid mihi doleatquod ferias. NIC. Ut blandiloquast!ei mihi, metuo. SOR. Hie magis tranquillust.1173 non – blandiloquast uno versu B 1174 SOROR B: B D
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Irsyadunnas, Irsyadunnas, and Nurmahni Nurmahni. "Rekonstruksi Tafsir Al-Quran Kontemporer (Studi Analisis Sumber dan Metode Tafsir)." Substantia: Jurnal Ilmu-Ilmu Ushuluddin 22, no. 1 (May 1, 2020): 21. http://dx.doi.org/10.22373/substantia.v22i1.6119.
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One of the weaknesses of the classical tafseer (interpretation) method is the lack of concern of the mufassir (quran interpreter) to the context of the verse, therefore, their interpretations tend to be asocial or ahistorical. This paper offers a reconstruction of methods and sources of interpretation which resulted in a form of interpretation that is pertinent to the development of science and society. In interpretation study, it is necessary to have a balance in three aspects: text, context, and perspective. It should also involve three elements in coincide, namely, asbãb al-nuzûl (the occasion of revelation), language analysis, and Weltanschaung analysis or world view.Abstrak: Salah satu kelemahan metode tafsir klasik adalah kurangnya perhatian mufasir terhadap konteks sebuah ayat, sehingga melahirkan tafsir yang cenderung asosial atau ahistoris. Tulisan ini menawarkan sebuah konstruksi metode dan sumber tafsir yang bisa menghasilkan sebuah tafsir yang relevan dengan perkembangan ilmu pengetahuan dan masyarakat. Dalam kajian tafsir perlu adanya keseimbangan dalam tiga hal yakni teks, konteks dan perspektif. Di samping itu juga harus melibatkan tiga unsur secara bersamaan, yakni asbãb al-nuzûl, analisis bahasa, dan analisis weltanschaung atau world view
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Bain, David. "Salpe's ΠAIΓNIA: Athenaeus 322A And Plin. H. N. 28.38." Classical Quarterly 48, no. 1 (May 1998): 262–68. http://dx.doi.org/10.1093/cq/48.1.262.
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Pauly's Real-Encyclopädie knows of two women named after the attractive looking,but allegedly unappetising fish, c⋯λπη. The first is mentioned several times in theelder Pliny, who on one occasion refers to her as an obstetrix, while the second features in the Deipnosophistae of Athenaeus as a writer of πα⋯γνια. In a recent issue of this journal J. N. Davidson has made the suggestion that they were one and the same person. Salpe's πα⋯γνια, Davidson argues, would not have consisted of light or frivolous verse, but of a compilation of prose recipes of a kind that is to be found in a section of a London magical papyrus which is headed πα⋯γνια Δημοκρ⋯του. Such recipes might well have cohabited with the kind of practicalmedical advice reportedly given by the Salpe referred to in Pliny. His case is superficially attractive since, as will be seen, such a collocation of practical help and frivolity is easy to parallel in magical and other subliterary texts. It needs to be scrutinized, however, in the light of a fuller presentation and consideration of the evidence than is to be found in his note. First, it is worth describing at greater length the phenomena in question, which are much more common than one would gather from a reading of Davidson and which are, I suspect, not as yet as familiar to the scholarly world as they should be.
Books on the topic "Classical Occasional verse"
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1932-, Courtney E., ed. P. PapiniStati Silvae. Oxonii (Oxford): e typographeo Clarendoniano, 1990.
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Haan, Estelle. Thomas Gray's Latin poetry: Some classical, neo-Latin and vernacular contexts. Bruxelles: Latomus revue d'études latines, 2000.
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Statius, P. Papinius. P. Papini Stati Silvae. Oxonii: E Typographeo Clarendoniano, 1990.
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Bill, Shepherd, and Howell Anthony 1945-, eds. Silvae: A selection. London: Anvil Press Poetry, 2007.
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Statius, P. Papinius. Estacio, Silvas III.: Introducción, edición crítica, traducción y commentario. Madrid: Fundación Pastor de Estudios Clásicos, 1992.
Find full textBook chapters on the topic "Classical Occasional verse"
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Jahner, Jennifer. "Classroom Historicisms." In Literature and Law in the Era of Magna Carta, 60–98. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847724.003.0002.
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This chapter situates the most popular compositional treatise of the later Middle Ages—Geoffrey of Vinsauf’s Poetria nova—against the backdrop of the English Interdict of 1208–14. The Poetria nova belongs to the cohort of new artes poetriae of the late twelfth and thirteenth centuries. Manuals designed to help grammar instructors teach verse and prose composition, they formulated lessons through examples drawn from the classical canon and the “real world” of contemporary affairs. Though rarely discussed as an occasional poem in its own right, Poetria nova shows itself very much concerned with the geopolitical tensions animating England and Rome during the time of its composition. Beginning with its lavish dedication to Pope Innocent III and ending with its plea on behalf of King John, the Poetria nova uses the occasion of the Interdict to explore the questions of mercy, judgment, and persuasion central to both rhetorical pedagogy and political diplomacy.
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Nichols, Roger. "Surrealism and Faith 1934–1939." In Poulenc, 112–41. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300226508.003.0005.
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This chapter recounts the first Bernac/Poulenc recital that took place at the École normale de musique after Francis Poulenc's North African tour with Maria Modrakowska in February 1935. It talks about Plume d'eau claire and Rodeuse au front de verre, which Poulenc thought belonged to his more familiar style of almost classical arrangement of harmonies spiced up with a few unimpeachable chromaticisms. It also describes Poulenc's compositions during the remainder of 1935 that turned their back temporarily on surrealism in favour of less demanding fare, including two pieces of incidental music. The chapter looks into Poulenc's devotion to film music and occasional collaborations with Georges Auric and Arthur Honegger, writing five scores between 1935 and 1951. It also assesses Poulenc's most interesting literary contributions that appeared during October 1935, Mes maîtres et mes amis, that was published in Conferencia.
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Kellner, Menachem. "Two Types of Faith." In Must a Jew Believe Anything?, 11–25. Liverpool University Press, 1999. http://dx.doi.org/10.3828/liverpool/9781874774495.003.0002.
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This chapter shows that the Torah and the Talmud see religious faith in terms of steadfast loyalty and trust which find expression in behaviour, and not in terms solely of intellectual acquiescence in certain propositions. It is this characteristic of classical Judaism which explains why systematic theology and dogma are so foreign to its spirit. To that end, this chapter considers the occurrence of the term emunah in the Torah. In perusing a concordance and examining the verses in context, the chapter asserts that the basic, root meaning of emunah is trust and reliance — not intellectual acquiescence in the truth of certain propositions. From there, the chapter argues that the Torah teaches belief in God, as opposed to beliefs about God. Furthermore, the Torah teaches, occasionally explicitly — more often implicitly — certain beliefs about God, the universe, and human beings; notwithstanding this, the Torah has no systematic theology.
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Sperber, Daniel. "Market Control." In The City in Roman Palestine. Oxford University Press, 1999. http://dx.doi.org/10.1093/oso/9780195098822.003.0007.
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He is indeed a familiar personality in classical literature and frequently appears in literary epigraphic and papyrological sources. His duties are fairly well defined and have been competently described on a number of occasions. Likewise, we know him from Rabbinic sources, in which he appears under the guise of different spellings and even different names. Here I shall try to sum up Rabbinic evidence on the subject and thus define the office and duties of the agoranomos in Roman Palestine. The notion of authoritative supervision of the weights and measures in use in a market is ancient and is found in Biblical law. Deuteronomy 25:14-15 prescribes that “Thou shalt not have in thine house diverse measures, a great and a small. But thou shalt have a perfect and a just weight, a perfect and just measure shalt thou have. . . .” Although this is formulated as a direct injunction upon the individual, clearly the practical implementation of such a commandment posits some kind of controlling authoritative framework. Tannaitic law (i.e., up to ca. 220 C.E.) exegetically expounds this latter verse as follows (Sifrei Deuteronomy, sec. 294): “[But] thou shalt have [a perfect and just weight]. . . .”—appoint an agoranomos for this (or according to some readings: for measures). Although this ruling is based upon the Biblical verse, the actual institution of the agoranomos is clearly Hellenistic in origin; the use of a Greek loanword, as apposed to some local (Hebrew or Aramaic) term, is ample testimony. From the Sifrei we learn of the agoranomos’ duty to control the standards of weights and measures in the market. Indeed, T. H. Dyer reminds us in his Pompeii (London, 1871) that in Pompeii “in a recess at the northeast end of the temple under the colonnade of the Forum stood the public measures for wine, oil, and grain. These consisted of nine cylindrical holes cut in an oblong block of tufa: There are five large holes for grain and four smaller ones for wine. The former had a sliding bottom that the grain when measured might easily be removed. The latter are provided with tubes to draw off the liquid. These measures were placed near the horrea or public granaries”.