Journal articles on the topic 'Epicedia'

This article discusses the relatively unknown poetry of Bessarion, the future Cardinal. The author argues with a negative opinion of F. M. Pontani concerning the three epicedia on the death of Theodora Comnena. The author analyses the composition, artistic means of expression and intertextual links in order to revise the common opinion in the subject and to prove the presence of literary values in the mentioned poems.

Due to its peculiarity and significance, occasional poetry occupies a special role in the literary output of Sibylla Schwarz. In her epithalamia, epicedia and other casual poems, in which she shows her thorough humanities education, one finds not only conventional, partly trite rhetorical figures, but also some interesting autobiographical references. The following article attempts to analyse the poet’s output with respect to the epigonic (imitative) character of her works both in the spirit of Opitz’s poetics and her own originality.

Critics generally agree that Statius’Silvae2.4, a poem about a dead parrot dedicated to Statius’ patron Atedius Melior, is modelled closely on Ovid'sAmores2.6, a poem about Corinna's dead parrot. In particular, many read Statius’ poem as picking up on the metapoetic strand in the Ovidian model, in which the parrot may be interpreted as a poet-figure, though they also note that Statius’ poem shows more of a concern for the tensions involved in a poet's relationship to his patron (and the emperor). I agree with this general interpretation of the poem and its metapoetic aspect; however, there are some oddities about the dead parrot and its relationship to itsdominusthat have not been fully explained by theories that equate the parrot with either Statius or a non-specific Flavian poet-figure and thedominuswith Atedius Melior or a similar patron-figure. For instance, why is the parrot dead, and why does Statius write an epicedium for it that is similar in tone to the epicedia for dead people inSilvae2? Why is the parrot's relationship to its master an ambiguous one such that his cage can be described as a prison (carcer, 2.4.15), and the master's grief over the parrot's death is never specifically mentioned? Finally, why does the parrot speak the name of Caesar instead of Atedius Melior, the friend of Statius to whom the poem is dedicated?

AbstractSyneches Walker from Fiji is revised, including the description of two new species: S. bezziisp. nov. and S. insolitussp. nov. A lectotype is designated for S. pullus Bezzi and a key to the five recognized species is provided. Epiceia Walker, Harpamerus Bigot syn. nov., and Parahybos Kertész syn. nov. are considered congeneric with Syneches; all species affected by these changes are listed, including the following new replacement names: S. meijereinom. nov. and S. yanginom. nov.

Als Specimen des von mehreren Mitarbeitem vorbereiteten Opitius Latinus, einer kommentierten Ausgabe der von Martin Opitz verfaßten lateinischen Texte, wird das lateinische Epicedium auf Erzherzog Karl von Österreich (1590-1624) ediert, übersetzt und unter Beachtung seiner Bezüge zur zeigenössischen Trauerdichtung und zur antiken Literatur interpretiert und dabei gezeigt, wie Opitz die konventioneilen Themen Trauer und Trost hier zu einem Panegyricus auf das mit Gott verbundene, weltbeherrschende und ideologisch an die antiken Kaiser anknüpfende Haus Österreich instrumentalisierte.

The occasional poems of Statius are an enticing field for critics interested in topics like the interaction of Greek and Roman culture or the relationship between public activities like government and private activities like writing poetry. Most recently John Henderson has explored these issues in Statius' poem for the consular Rutilius Gallicus (Siluae1.4). In this paper I will discussSiluae5.3, an epicedion for Statius' own father. Statius uses the occasion of writing the epicedion to celebrate his father's life as a teacher, writer and performer and, by extension, his own life too. In his poem Statius develops a portrait of himself and his father as Greeks in close sympathy with Roman values. Against a backdrop of teaching and performing Greek literature they value above all filial duty and the skills of Roman government. Yet literature does not remain consistently in the background. Because Statius' father was also his teacher and model in literature, Statius as the dutiful son celebrates his father's literary skill and defers to it. By extension, Statius defers also to the subjects of his father's teaching, the famous masters of Greek and Latin literature.

: Vascular diseases are the main reason for morbidity and mortality worldwide. As we know, the earlier phase of vascular diseases is endothelial dysfunction in humans, the endothelial tissues play an important role in inflammation, coagulation, and angiogenesis, via organizing ligand-receptor associations and the various mediators’ secretion. We can use many inflammatory non-invasive tests (flowmediated dilatation, epicedial fat thickness, carotid-intima media thickness, arterial stiffness and anklebrachial index) for assessing the endothelial function. In addition, many biomarkers (ischemia modified albumin, pentraxin-3, E-selectin, angiopoietin, endothelial cell specific molecule 1, asymmetrical dimethylarginine, von Willebrand factor, endothelial microparticles and endothelial progenitor cells) can be used to evaluate endothelial dysfunction. We have focused on the relationship between endothelial dysfunction and inflammatory markers of vascular disease in this review.

Avaliou-se o efeito de ácidos graxos voláteis (AGV) sobre a integridade do epitélio no rúmen, no plano nasolabial, na epicera e no perioplum traseiro e dianteiro de bezerros e validou-se a feitura de biópsias tegumentares como indicadores de alterações morfológicas da mucosa ruminal. Dezessete bezerros, com sonda no rúmen, receberam infusões intra-ruminais de AGV ou salina, durante 37 dias. Aos 89 dias de vida, após o abate, foram colhidas amostras dos tecidos. Os AGV aumentaram a área de epitélio total e a área de células metabolicamente ativas no epitélio ruminal, embora o butirato não tenha induzido ao desenvolvimento papilar. A área de epitélio não queratinizado no plano nasolabial foi reduzida pela infusão de AGV. Butirato e lactato foram mais indutores de alterações patológicas no epitélio ruminal. Não foram observadas lesões histológicas nos epitélios do plano nasolabial, da epicera e do perioplum, mostrando que essas são conseqüências do efeito direto dos AGV sobre o epitélio ruminal. Os efeitos indireto e direto dos AGV sobre a morfologia dos tecidos epiteliais queratinizados não foram iguais. Biópsias tegumentares podem ter utilidade como indicadores de alterações morfológicas da mucosa ruminal.

Dezessete bezerros foram utilizados para avaliar o efeito de ácidos graxos voláteis (AGV) sobre a morfologia ruminal, a epiderme do plano nasolabial, a epicera e o perioplum, e para validar a execução de biópsias tegumentares como indicadores de alterações da mucosa ruminal. Os animais receberam infusões intra-ruminal de butirato, propionato, lactato ou salina (controle) durante 37 dias. A insulina sorológica foi dosada no 22º dia experimental nos tempos de 0, 90, 180 e 360 minutos em relação à infusão diária da manhã. No 89º dia de vida, após o abate, foram coletados fragmentos ruminais e epidérmicos. Todos os AGV induziram aumento proporcionalmente maior no peso do ruminorretículo que no peso do omaso, sendo o butirato aparentemente mais estimulador da massa do estômago aglandular. Embora o butirato tenha sido mais estimulador da secreção de insulina, os AGV foram incapazes de induzir ganho nas dimensões papilares. Os AGV aumentaram a proliferação celular nos epitélios do rúmen e do perioplum traseiro, contrariamente ao efeito sobre o plano nasolabial e a epicera. Os efeitos dos AGV sobre a morfologia da mucosa ruminal e de outros tecidos queratinizados sugerem que danos morfológicos no rúmen e cascos podem ter causa comum. Biópsias tegumentares podem ter utilidade como indicadores de alterações morfológicas da mucosa ruminal.

Abstract The following study examines 20 chronograms addressing the Thirty Years’ War (Dreißigjaehriger Krieg, 1618–1648). Most of them were written in Latin by one of three authors, Samuel Gloner, Elias Kolb and Timotheus Polus, who aspired higher employment at Strasbourg University. References to the Thirty Years’ War ranged from general references (e.g. the biblical “vale of tears”) to the mentioning of specific places or historic figures such as King Gustaf Adolf ii of Sweden. Chronograms as part of an epithalamium expressed best wishes for bride and groom. Chronograms as part of an epicedium referred to Christian religion or neostoic philosophy.

Johann Seusse (1566-1631) ist als Autor deutschsprachiger Gedichte sowie einiger lateinischer Epicedien zu Werken Heinrich Schützʼ überliefert. Eine persönliche Bekanntschaft mit Schütz, den er als Komponisten in bildreichen Worten würdigte, sowie gute Kenntnisse auf dem Gebiet der Musik können vorausgesetzt werden. Seusse war außerdem mit Johannes Kepler und Martin Opitz bekannt und wirkte ab 1600 als kurfürstlicher Sekretär in Dresden; ansonsten ist über seine Biographie nur wenig bekannt. Es bedarf noch weiterer Untersuchungen von Seusses Schaffen, um feststellen zu können, inwieweit die negative Beurteilung eines seiner Gedichte durch Jörg-Ulrich Fechner auch für das sonstige deutschsprachige Schaffen des Dichters zutrifft. Quelle: Bibliographie des Musikschrifttums online

See how Fortune has raised you high, and commanded you to occupy a place of great honour; so, Livia, bear up that load. You draw our eyes and ears to you, we notice all your actions, and the word of a princeps, once spoken, cannot be concealed. Stay upright, rise above your woes, keep your spirit unbroken – in so far as you can. Our search for models of virtue, certainly, will be better when you take on the rôle of first lady (Romana princeps).These words were written by a Roman eques just after he had taken part in the funeral of Livia's son Drusus in 9 B.C.; they derive from a poem known conventionally as the Epicedion Drusi or Consolatio ad Liviam. Drusus, consul in that year, had died of an illness on campaign east of the Rhine; for his successes against the Germans he had been about to receive various honours at Rome, including a triumph. Among these one of the more outstanding was the banquet for the principal women of the city which his mother and step-sister (Julia, Augustus' daughter by Livia) were to give in his honour; a celebration which they had previously organized for Drusus' brother Tiberius, to commemorate the pacification of Pannonia.

The article examines the poetics of an epitaph “On the Death...ˮ on the example of the work of the same name proposed for analysis by the poem “On the Death of Alexander Druzhinin, January 19, 1864ˮ by Afanasy Fet. The purpose of the analysis is to determine the genre of the poem, which still remains unclear. The novelty of the author's approach is due to the fact that the discovery through analysis of such genre-forming attributes as genesis dating back to the epicedium (a kind of mourning elegy), genre “concept of personality”, burial portrait, the characteristic principle of figurative visualisation, dating of writing, that allows us to reveal the independent genre status of the poem. It is the genetic heredity of the epicidium, around which other considered genre attributes are concentrated, that helps to define the poem “On the Death...ˮ as a special genre form associated with mortal and memorial genres – the epitaph and the poem “In Memoriam...ˮ. Since the set of genre attributes, the composition of which may vary depending on the object of research, is ideally modelling in nature, the method of its application can be used in the future when studying both the genre poem “In Memoriam...ˮ and other lyric genres.

ContextVariability in 2D ultrasound (US) is related to the acquisition of planes of reference and the positioning of callipers and could be reduced in combining US volume acquisitions and anatomical structures recognition.ObjectivesThe primary objective is to assess the consistency between 3D measurements (automated and manual) extracted from a fetal US volume with standard 2D US measurements (I). Secondary objectives are to evaluate the feasibility of the use of software to obtain automated measurements of the fetal head, abdomen and femur from US acquisitions (II) and to assess the impact of automation on intraobserver and interobserver reproducibility (III).Methods and analysis225 fetuses will be measured at 16–30 weeks of gestation. For each fetus, six volumes (two for head, abdomen and thigh, respectively) will be prospectively acquired after performing standard 2D biometry measurements (head and abdominal circumference, femoral length). Each volume will be processed later by both a software and an operator to extract the reference planes and to perform the corresponding measurements. The different sets of measurements will be compared using Bland-Altman plots to assess the agreement between the different processes (I). The feasibility of using the software in clinical practice will be assessed through the failure rate of processing and the score of quality of measurements (II). Interclass correlation coefficients will be used to evaluate the intraobserver and interobserver reproducibility (III).Ethics and disseminationThe study and related consent forms were approved by an institutional review board (CPP SUD-EST 3) on 2 October 2018, under reference number 2018–033 B. The study has been registered inhttps://clinicaltrials.govregistry on 23 January 2019, under the numberNCT03812471. This study will enable an improved understanding and dissemination of the potential benefits of 3D automated measurements and is a prerequisite for the design of intention to treat randomised studies assessing their impact.Trial registration numberNCT03812471; Pre-results.

At Heaven’s Gate: Maciej Kazimierz Sarbiewski’s Ode (IV 30) to Janusz Skumin Tyszkiewicz The main purpose of this paper is twofold. Firstly, it presents the edition of a Latin ode written by Maciej Kazimierz Sarbiewski SJ (1595–1640) dedicated to Janusz Skumin Tyszkiewicz (1572–1642), Voivode of Trakai, after the death of his beloved wife, Barbara née Naruszewicz (1580–1627). A new Polish translation of this text and a commentary are also provided. Secondly, the first part of the paper, or the invitation to close reading, aims at giving more detailed information about the rhetorical architecture of the ode, particularly its composition, arguments, and figures. Sarbiewski, regarded as the most brilliant imitator of Horatian lyrical discourse in early-modern Europe (“Christian Horace”), used the established schemes and formulas to create a Christian consolation based on reinventing the lyrical arguments. The persuasive power of his ode is strongly related to vivid, evocative, and meaningful images. The correlation between divine inspiration and poetic perfection allowed him to refashion the rhetorical patterns of epicedium. Sarbiewski wanted to demonstrate his ability to use various modes of linguistic expression. Thus, in the heart of his consolation there is a story about “the cracks”(rimae) in heaven’s gate and a poet who can take a short glimpse into “the heavenly city”(urbs caelestis). The consolation is to confirm the belief that, following departure, a deceased can live in the realm of eternal joy and happiness. Paradoxically, he or she can be happier there than during his or her earthly life. Despite its rhetorical refinement and poetical elaboration, it always serves the same purpose. Moreover, its realisation only becomes possible due to literary mediation. The poet appears to be the mediator between the world of the living and the world of the dead. The final verses of the poem bring a moral lesson best epitomized in a brief appeal “do not want more”(nec tu plura velis), addressed not only to Tyszkiewicz, but also to the poet himself and the readers.

At Heaven’s Gate: Maciej Kazimierz Sarbiewski’s Ode (IV 30) to Janusz Skumin Tyszkiewicz The main purpose of this paper is twofold. Firstly, it presents the edition of a Latin ode written by Maciej Kazimierz Sarbiewski SJ (1595–1640) dedicated to Janusz Skumin Tyszkiewicz (1572–1642), Voivode of Trakai, after the death of his beloved wife, Barbara née Naruszewicz (1580–1627). A new Polish translation of this text and a commentary are also provided. Secondly, the first part of the paper, or the invitation to close reading, aims at giving more detailed information about the rhetorical architecture of the ode, particularly its composition, arguments, and figures. Sarbiewski, regarded as the most brilliant imitator of Horatian lyrical discourse in early-modern Europe (“Christian Horace”), used the established schemes and formulas to create a Christian consolation based on reinventing the lyrical arguments. The persuasive power of his ode is strongly related to vivid, evocative, and meaningful images. The correlation between divine inspiration and poetic perfection allowed him to refashion the rhetorical patterns of epicedium. Sarbiewski wanted to demonstrate his ability to use various modes of linguistic expression. Thus, in the heart of his consolation there is a story about “the cracks”(rimae) in heaven’s gate and a poet who can take a short glimpse into “the heavenly city”(urbs caelestis). The consolation is to confirm the belief that, following departure, a deceased can live in the realm of eternal joy and happiness. Paradoxically, he or she can be happier there than during his or her earthly life. Despite its rhetorical refinement and poetical elaboration, it always serves the same purpose. Moreover, its realisation only becomes possible due to literary mediation. The poet appears to be the mediator between the world of the living and the world of the dead. The final verses of the poem bring a moral lesson best epitomized in a brief appeal “do not want more”(nec tu plura velis), addressed not only to Tyszkiewicz, but also to the poet himself and the readers.

Abstract Background Increasing attention has been paid to the effect of Epimedium on the nervous system, particularly anti-depression function. In the present study, we applied network pharmacology to introduce a testable hypothesis on the multi-target mechanisms of Epicedium against depression. Methods By reconstructing the network of protein–protein interaction and drug–component–target, we predicted the key protein targets of Epicedium for the treatment of depression. Then, through molecular docking, the interaction of the main active components of Epicedium and predicted candidate targets were verified. Results Nineteen active compounds were selected from Epicedium. There were 200 targets associated with Epicedium and 537 targets related to depression. The key targets of Epicedium for treating depression were IL6, VEGFA, AKT1, and EGF. According to gene ontology functional enrichment analysis, 22 items of biological process (BP), 13 items of cell composition (CC) and 9 items of molecular function (MF) were obtained. A total of 56 signaling pathways (P < 0.05) were identified by Kyoto Encyclopedia of Genes and Genomes analysis, mainly involving depression-related pathways such as dopaminergic synapse, TNF signaling pathway, and prolactin signaling pathway. The results of molecular docking showed that the most important activity components, including luteoklin, quercetin and kaempferol, were well combined with the key targets. Conclusions Luteoklin, quercetin, kaempferol and other active compounds in Epicedium can regulate multiple signaling pathways and targets such as IL6, AKT1, and EGF, therefore playing therapeutic roles in depression.

Teesid: Käesolev artikkel käsitleb uusklassikalist luulet ehk luulet, mis tärkab humanistliku hariduse pinnalt ja on loodud nn klassikalistes keeltes ehk vanakreeka ja ladina keeles. Artikli esimene pool toob välja paar üldist probleemi varauusaja poeetika käsitlemises nii Eestis kui mujal. Teises osas esitatakse alternatiivina mõned näited (autoriteks G. Krüger, H. Vogelmann, L. Luden, O. Hermelin ja H. Bartholin) Tartu ja Tallinna uusklassikalisest luulest värsstõlkes koos poeetika analüüsidega, avalikkusele tundmata luuletuste puhul esitatakse ka originaaltekstid. SUMMARYThis article discusses poetry in classical languages (Humanist Greek and Neo-Latin) belonging to the classical literary tradition while focusing on poetry from Tallinn and Tartu from the sixteenth and seventeenth centuries. It does not aim to present an overview of this tradition in Estonia (already an object of numerous studies), but rather to discuss some general problems connected to such studies—both in Europe and Estonia—and to show some alternative (or complementary) analyses of neo-classical poetics, together with verse translations and texts that are not easily available or are unknown to the scholars.The discussion of neo-classical poetry in Estonia finds problems in a detachment from poetics and the consequent discrepancies. Firstly, although scholarly treatises stress the value of casual poetry (forming the most eminent part of Estonian Neo-Latin and Humanist Greek poetry), the same treatises present this poetry from the viewpoint of its social background, focusing more on the authors and events than the poetic form. For example, in the Anthology of Tartu casual poetry and the corpus of Neo-Latin poetry from Tartu, texts are presented according to genre, which is defined only according to the classification of social events (epithalamia, epicedia, congratulations for rectorate, disputations, etc). Secondly, in most cases (the anthology, re-editions), this poetry is presented to readers as prose translations. As in the case of ancient Greek and Roman poetry, the established norm in Estonia is verse translation. Translating poetry into prose, therefore, signals that these works are not to be considered poetry. Thirdly, commentaries on this poetry tend to list lexical parallels with authors from classical antiquity without distinguishing actual quotations from the usage of poetic formulae while simultaneously (mostly) ignoring the impact of pagan and Christian texts from late antiquity and renais­sance and humanist literature.One alternative is to present Neo-Latin and Humanist Greek poetry as verse translations and focus more on discussing poetic devices and the impact of its contemporary poetry. Therefore, the second part of this article presents five poems as translations of verse and a subsequent analysis of their poetics.The first example is from a manuscript in the Tallinn City Archives and represents the earliest collection of neo-classical poetry, containing one Latin and five Greek poems belonging to the epistolary poem genre. Its author, Gregor Krüger Mesylanus (a latinized Greek translation of the name of his birth-town Mittenwalde, near Berlin), worked as a priest in Reval after his studies in Wittenberg during the time of Ph. Melanchthon (which explains Krüger‘s chosen poetic form). The Greek cycle is regarded thematically as variations on the same subject of the author‘s longing for home and his unhappiness with the jealousy and hostility of his fellow citizens in Reval. His choice of meter is influenced by Latin poetry, the initial long elegy balanced by four shorter poems of different meters (iambic and choriambic patterns). The final poem of the Greek cycle (Enviless Moon) is presented together with a metrical translation and analysis to demonstrate how sonorous patterns orchest­rate the thematic development of the poem: the author‘s wish to be like the moon, who receives its light from the brighter sun, but remains still happy and grateful to God for his own gift and ability to bring a smaller light to others.The second example analyzes the structure and poetic motives of a metrical translation of a Greek Pindaric Ode by Heinrich Vogelmann from 1633. The paper’s author also examines the European tradition of The second example analyzes the structure and poetic motives of a metrical translation of a Greek Pindaric Ode by Heinrich Vogelmann from 1633. The paper’s author also examines the European tradition of such odes (including more than sixty examples from 1548 until 2004). The third example discusses two alternative translations and additional translation possibilities of a recently discovered anagrammatic poem by Lorenz Luden. The fourth and fifth examples are congratulatory poems addressed to Andreas Borg for the publication of his disputation on civil liberty (in 1697). A Latin congratulatory poem by Olaus Hermelin is an example of politically engaged poetry, which addresses not the student but the subject of his disputation and contemporary political situation (the revolt of Estonian nobility against the Swedish king, who had recaptured donated lands, and the exile of its leader, Johann Reinhold Patkul). The Greek poem by H. Bartholin refers to the arts of Muses to demonstrate the changes in poetical representations of university studies: by the end of the seventeenth century the motives of the dancing and singing, flowery Muses is replaced with the stress of the toil in the stadium and the labyrinth of Muses.This article discusses poetry in classical languages (Humanist Greek and Neo-Latin) belonging to the classical literary tradition while focusing on poetry from Tallinn and Tartu from the sixteenth and seventeenth centuries. It does not aim to present an overview of this tradition in Estonia (already an object of numerous studies), but rather to discuss some general problems connected to such studies—both in Europe and Estonia—and to show some alternative (or complementary) analyses of neo-classical poetics, together with verse translations and texts that are not easily available or are unknown to the scholars.The discussion of neo-classical poetry in Estonia finds problems in a detachment from poetics and the consequent discrepancies. Firstly, although scholarly treatises stress the value of casual poetry (forming the most eminent part of Estonian Neo-Latin and Humanist Greek poetry), the same treatises present this poetry from the viewpoint of its social background, focusing more on the authors and events than the poetic form. For example, in the Anthology of Tartu casual poetry and the corpus of Neo-Latin poetry from Tartu, texts are presented according to genre, which is defined only according to the classification of social events (epithalamia, epicedia, congratulations for rectorate, disputations, etc). Secondly, in most cases (the anthology, re-editions), this poetry is presented to readers as prose translations. As in the case of ancient Greek and Roman poetry, the established norm in Estonia is verse translation. Translating poetry into prose, therefore, signals that these works are not to be considered poetry. Thirdly, commentaries on this poetry tend to list lexical parallels with authors from classical antiquity without distinguishing actual quotations from the usage of poetic formulae while simultaneously (mostly) ignoring the impact of pagan and Christian texts from late antiquity and renais­sance and humanist literature. One alternative is to present Neo-Latin and Humanist Greek poetry as verse translations and focus more on discussing poetic devices and the impact of its contemporary poetry. Therefore, the second part of this article presents five poems as translations of verse and a subsequent analysis of their poetics. The first example is from a manuscript in the Tallinn City Archives and represents the earliest collection of neo-classical poetry, containing one Latin and five Greek poems belonging to the epistolary poem genre. Its author, Gregor Krüger Mesylanus (a latinized Greek translation of the name of his birth-town Mittenwalde, near Berlin), worked as a priest in Reval after his studies in Wittenberg during the time of Ph. Melanchthon (which explains Krüger‘s chosen poetic form). The Greek cycle is regarded thematically as variations on the same subject of the author‘s longing for home and his unhappiness with the jealousy and hostility of his fellow citizens in Reval. His choice of meter is influenced by Latin poetry, the initial long elegy balanced by four shorter poems of different meters (iambic and choriambic patterns). The final poem of the Greek cycle (Enviless Moon) is presented together with a metrical translation and analysis to demonstrate how sonorous patterns orchest­rate the thematic development of the poem: the author‘s wish to be like the moon, who receives its light from the brighter sun, but remains still happy and grateful to God for his own gift and ability to bring a smaller light to others. The second example analyzes the structure and poetic motives of a metrical translation of a Greek Pindaric Ode by Heinrich Vogelmann from 1633. The paper’s author also examines the European tradition of This article discusses poetry in classical languages (Humanist Greek and Neo-Latin) belonging to the classical literary tradition while focusing on poetry from Tallinn and Tartu from the sixteenth and seventeenth centuries. It does not aim to present an overview of this tradition in Estonia (already an object of numerous studies), but rather to discuss some general problems connected to such studies—both in Europe and Estonia—and to show some alternative (or complementary) analyses of neo-classical poetics, together with verse translations and texts that are not easily available or are unknown to the scholars.The discussion of neo-classical poetry in Estonia finds problems in a detachment from poetics and the consequent discrepancies. Firstly, although scholarly treatises stress the value of casual poetry (forming the most eminent part of Estonian Neo-Latin and Humanist Greek poetry), the same treatises present this poetry from the viewpoint of its social background, focusing more on the authors and events than the poetic form. For example, in the Anthology of Tartu casual poetry and the corpus of Neo-Latin poetry from Tartu, texts are presented according to genre, which is defined only according to the classification of social events (epithalamia, epicedia, congratulations for rectorate, disputations, etc). Secondly, in most cases (the anthology, re-editions), this poetry is presented to readers as prose translations. As in the case of ancient Greek and Roman poetry, the established norm in Estonia is verse translation. Translating poetry into prose, therefore, signals that these works are not to be considered poetry. Thirdly, commentaries on this poetry tend to list lexical parallels with authors from classical antiquity without distinguishing actual quotations from the usage of poetic formulae while simultaneously (mostly) ignoring the impact of pagan and Christian texts from late antiquity and renaissance and humanist literature.One alternative is to present Neo-Latin and Humanist Greek poetry as verse translations and focus more on discussing poetic devices and the impact of its contemporary poetry. Therefore, the second part of this article presents five poems as translations of verse and a subsequent analysis of their poetics.The first example is from a manuscript in the Tallinn City Archives and represents the earliest collection of neo-classical poetry, containing one Latin and five Greek poems belonging to the epistolary poem genre. Its author, Gregor Krüger Mesylanus (a latinized Greek translation of the name of his birth-town Mittenwalde, near Berlin), worked as a priest in Reval after his studies in Wittenberg during the time of Ph. Melanchthon (which explains Krüger‘s chosen poetic form). The Greek cycle is regarded thematically as variations on the same subject of the author‘s longing for home and his unhappiness with the jealousy and hostility of his fellow citizens in Reval. His choice of meter is influenced by Latin poetry, the initial long elegy balanced by four shorter poems of different meters (iambic and choriambic patterns). The final poem of the Greek cycle (Enviless Moon) is presented together with a metrical translation and analysis to demonstrate how sonorous patterns orchestrate the thematic development of the poem: the author‘s wish to be like the moon, who receives its light from the brighter sun, but remains still happy and grateful to God for his own gift and ability to bring a smaller light to others.The second example analyzes the structure and poetic motives of a metrical translation of a Greek Pindaric Ode by Heinrich Vogelmann from 1633. The paper’s author also examines the European tradition of

A korabeli alkalmi költemények (például az üdvözlő versek, esküvői és halotti költemények) kiváló betekintést engednek Debrecen 17. századi protestáns szellemi műveltségébe és a korabeli értelmiség közötti kapcsolatokba: A 17. század utolsó évtizedeiben különösen utóbb említettek váltak népszerűvé Debrecenben, hiszen hét halotti költemény-gyűjtemény is megjelent 1679–1700 között 1. Sympathia Memoriae (1679,Köleséri Mihály halála alkalmából), 2. Lamentum Metricum (1681, Mártonfalvi Tóth György halálakor),3. Parentatio lugubris (1681, Nógrádi Mátyás elhunyta okán), 4. Brabaeum vitae (1683, Köleséri Sámuel temetésére), 5. Hedera Poëtica (1686, Felvinczi Sándor elhunyta után), 6. Epicedium perennitati (SzencziA. Pál halála alkalmából), 7. Honor Posthumus (1700, Szilágyi Tönkő Márton elhunyta alkalmából).Tanulmányunk két kiválasztott kötet (Parentatio lugubris, Honor Posthumus) vázlatos áttekintésével és a kollégiumi professzorok halotti költeményeinek részletes filológiai elemzésével igyekszik képet adni a 17. századi Debrecen értelmiségének nyelvi műveltségéről, költői teljesítményeiről és kapcsolatrendszeréről.