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Journal articles on the topic 'Hendecasyllables'
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Lappo-Danilevskii, Konstantin Yu. "V. K. Trediakovskii and A. P. Sumarokov in Polemics about the Sapphic Stanza." Philologia Classica 17, no. 2 (2022): 300–320. http://dx.doi.org/10.21638/spbu20.2022.210.
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The transition from syllabic to syllabo-tonic verse in Russian poetry in the 1730s — early 1740s years is connected to the activity of three outstanding writers: Vasilii Trediakovskii (1703–1769), Mikhail Lomonosov (1711–1765) and Aleksandr Sumarokov (1717–1777). This reform concerned first of foremost binary and ternary meters and paved the way for creation of more complicated meters, among them syllabo-tonic equivalents of ancient Aeolic verse. The Sapphic hendecasyllable was the most known and widespread of them. The sapphic stanza was likewise very popular in European literatures; it consists of three sapphic hendecasyllabic lines and an adonean fourth line. Russian syllabic poets eagerly created rhymed sapphicstanzas with a caesura after the fifth syllable in the hendecasyllables, with the stresses in all four lines unregulated. Trediakovskii composed such sapphic stanzas for his translation of Paul Tallemant’s gallant novel “Le voyage de l’isle d’amour, à Licidas” (Paris, 1663), printed 1730 in Saint Petersburg. In 1735, Trediakovskii published “A New and Brief Method of Composing Russian Verse”, which is considered the beginning of the reform of Russian versification. In this treatise, Trediakovskii proposed a more regulated sapphic stanza. The sapphic hendecasyllables were to consist of six trochees; the third of them, before a regular caesura, was catalectic. All lines concluded with feminine rhymes. In the second edition of this work (1752) Trediakovskii revisited his conception. At this point he understood the sapphic hendecasyllable as a combination of four trochees with one dactyl in the middle of them. Under the influence of Lomonosov’s “Letter on the Rules of the Russian Poetry” (1739) Trediakovskii became convinced of the necessity of alternating rhymes and for this reason decided that the first two lines in the sapphic stanza should have masculine rhymes. As a result he truncated these lines so that they contained only ten syllables. In his lost “Letter about Sapphic and Horatian Stanzas” (1755) Aleksandr Sumarokov expressed strong disagreement with Trediakovskii’s revised conception. He found decasyllables in sapphic stanzas unacceptable; he also came out against regular caesurae. However, Sumarokov treated the metrical structure of the sapphic hendecasyllable the same way as Trediakovskii had. In 1755 and 1758, Sumarokov published three poems in sapphic syllabo-tonic stanzas, rhymed and unrhymed, but always without a regular caesurae. In 1762, Trediakovskii translated two stanzas from Horace’s Carmen saeculare. Their form allows one to conclude that he took Sumarokov’s criticism intoaccount: he rejected decasyllables in these stanzas. Only in the question of caesura did he remain unyielding.
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Pardo, Arcadio. "Endecasílabos dislocados." Rhythmica. Revista Española de Métrica Comparada, no. 18 (December 16, 2020): 67. http://dx.doi.org/10.5944/rhythmica.29137.
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Existen versos endecasílabos integrados en textos en prosa, y en versos libres. Los que se denominan aquí endecasílabos dislocados son aquellos que aparecen formados por fragmentos de otros versos, o por la reunión de varios versos menores. Su diversidad es amplia. Incluso pueden encontrarse endecasílabos que comparten en común fragmentos de versos mayores o menores. Estos endecasílabos dislocados no encajan en las definiciones tradicionales de lo que son los versos. Pero son una realidad métrica que, aunque no se ajusta a las definiciones tradicionales del verso como unidad rítmica entre dos pausas e integrado en una serie, puede aportar también otra realidad de significantes y significados.We find hendecasyllables integrated into both prose texts and free verse. What we here call “dislocated hendecasyllables” are those that are fragmented so as to form part of more than one verse or that are the sum of several short verses. The typology is diverse. We have even identified dislocated hendecasyllables that have a verse in common. Although this metrical structure does not adapt to the traditional definitions of verse as a rhythmic unit located between two pauses and integrated in a series (of verses), it offers another vision of signifiers and the signified.
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Navarro Colorado, Borja. "Hacia un análisis distante del endecasílabo áureo: patrones métricos, frecuencias y evolución histórica." Rhythmica. Revista Española de Métrica Comparada, no. 14 (January 1, 2016): 89. http://dx.doi.org/10.5944/rhythmica.18459.
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En este trabajo se desarrolla un análisis de los principales tipos de endecasílabos utilizados en los sonetos del Siglo de Oro. Como novedad, aplicamos un método de análisis macro o distante, mediante el análisis computacional de un corpus de más de setenta mil (70.000) versos. A partir de un modelo formal de patrón métrico, analizamos los tipos de patrones métricos más frecuentes y su evolución histórica. Los resultados, sin ser aún concluyentes, sí muestran las principales preferencias métricas de los diferentes autores y cómo varían a lo largo de los siglos XVI y XVII.In this paper an analysis of the hendecasyllable meter in the Golden Age Spanish sonnets is presented. A macroanalysis or (computer-based) “distant reading” approach is applied to a corpus of more than 70 000 hendecasyllables. Based on a formal definition of metrical pattern, I analyze the most frequent metrical patterns and their historical development. Results are not entirely conclusive, but they show the main authors’ metrical preferences and their evolution during 16th and 17th Centuries.
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Caduff, Renzo. "The versification of the Romansh poet Andri Peer: the heptasyllable and hendecasyllable in his early free forms." Studia Metrica et Poetica 4, no. 1 (2017): 85–102. http://dx.doi.org/10.12697/smp.2017.4.1.04.
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This paper examines the versification style of the Romansh poet Andri Peer, who can be considered as the first “modern” poet of the Romansh literature. It focuses on Andri Peer’s most frequently used verse lines in his early free forms: the heptasyllabic and hendecasyllabic verse. A rhythmical analysis of the single verse instances revealed that the internal organisation of the line is not very elaborate. In the case of the heptasyllables found in his early free forms, only four patterns make up over 80% of all heptasyllabic verses. Regarding Peer’s hendecasyllables, it is shown that his arrangement of the prominent syllables is rather regular, especially in comparison to the hendecasyllables of his precursor Peider Lansel. This trend in Peer’s versification to use fixed dispositions of syllables is interpreted as a compensation for the loss of other structural features such as the stanza or the rhyme.
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Arukask, Anni. "The Metrical Structure of the Sapphic Hendecasyllable and Sappho’s Aiolikon in Lesbian Poetry." Studia Metrica et Poetica 7, no. 1 (2020): 97–113. http://dx.doi.org/10.12697/smp.2020.7.1.04.
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The works of Sappho and Alcaeus, 7th–6th century BC lyric poets from the island of Lesbos, represent the Aeolic tradition of ancient Greek poetry. In this paper, two metrical structures of this tradition, that both have two quantity-free positions (anceps, brevis in longo), are analysed and compared with regard to the quantitative tendencies of these positions. The first metrical structure, the Sapphic hendecasyllable, was used by both poets; the other, aiolikon, is not attested in Alcaeus’s work. The analysed corpus consists of all the survived lines in these meters. Due to the fragmentary nature of the material, the statistical analysis is presented in two sets to add and include the data of the Sapphic and Alcaic lines about which there is a suspicion that they may be in these meters, and also to differentiate dubious data from the undubious. In addition, the statistical data of the quantitative tendencies of the undubious lines is also expressed with generative models. In general, all the free positions, except the ancipites of Sappho’s aiolikon, display a preference for heavy syllables and the preference is more pronounced in the brevis in longo position, especially when it comes to aiolikon. Comparing the hendecasyllables, Alcaeus tends to have more heavy syllables than Sappho. Aiolikon’s free positions exhibit the biggest quantitative contrast.
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Becker, Andrew S. "Gutter Music: A Case Study of Accentual Poetics in the Hendecasyllables of Catullus." Classical World 114, no. 1 (2020): 39–57. http://dx.doi.org/10.1353/clw.2020.0056.
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Gowers, Emily. "Lucan’s (G)natal Poem." Classical Antiquity 40, no. 1 (2021): 45–75. http://dx.doi.org/10.1525/ca.2021.40.1.45.
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This paper explores the aesthetics of miniaturization in Statius’ Silvae 2.7, in relation to Statius’ unexpected decision to write a tribute to the dead epic poet Lucan in hendecasyllables. The choice of a meter associated with irreverence, ephemerality, speed, and fun has been variously justified as expressing the poet’s ambivalent mood—mourning and celebration combined—or encapsulating his subject’s brief life. This paper builds on these explanations from a different angle. The epitome of miniature, playful poetry in the Silvae is the pseudo-Virgilian Culex (Gnat), mentioned first in Statius’ opening preface as a model for his collection and then in the tribute to Lucan as a yardstick for the young poet’s precocity. This is no casual coincidence. Statius’ résumé of baby Lucan’s future career uses techniques of retrospective prophecy similar to those with which the Culex-poet anticipates and absorbs Virgil’s entire oeuvre. Other clues suggest that Statius is engaging with the faked juvenile work more than sporadically, writing the equivalent for Lucan in the smallest meter imaginable while aiming to surpass both Virgil and Lucan as a poet of speed and synoptic vision.
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Pardo, Arcadio. "Esticomitia y esticomitia ampliada." Rhythmica. Revista Española de Métrica Comparada, no. 15 (February 2, 2018): 65. http://dx.doi.org/10.5944/rhythmica.21191.
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La coincidencia del verso con una entidad sintáctica (esticomitia, gr: στιχομυθία) es procedimiento de empleo constante desde muy antiguo, en particular en las réplicas de los diálogos del teatro griego. Se admite que los hemistiquios de los versos compuestos pueden también coincidir con una entidad sintáctica. Este trabajo investiga otras manifestaciones de esa coincidencia (esticomitia en serie, en todo el poema, etc.) y propone pueda aplicarse el mismo concepto a versos aislados, a los que se componen solamente de una forma verbal y muy especialmente a los hemistiquios o componentes de los versos endecasílabos en todas sus variedades.End-stopping (Greek στιχομυθία), which occurs when a line of verse coincides with the syntactic unit, is a feature used constantly in poetry from ancient times, especially in rejoinders in Greek theatre dialogues, but it can also be found in verses characterized by caesura. This article studies other uses of end-stopping (in a series of verses, throughout a poem, etc.) and suggests that it may be applied to isolated verses, these may be composed of only a verbal unit but are mainly related to caesura or to the pauses in diff erent types of Spanish hendecasyllables.
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Johnson, William A. "Musical evenings in the early Empire: new evidence from a Greek papyrus with musical notation." Journal of Hellenic Studies 120 (November 2000): 57–85. http://dx.doi.org/10.2307/632481.
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With disarmingly open conceit, the Younger Pliny tells Pontius Allifanus that ‘my hendecasyllables are read, are copied, are even sung, and Greeks (who have learned Latin out of love for my poetry book) make my verses resound to cithara and lyre’ (Epist. 7.4.9). By Pliny's time, Greek musicians (and actors) were widely distributed and organized in a worldwide guild centred at Rome, so it will not surprise us that Greeks are the ones setting the verses to music. But what sort of music? When Pliny went out to hear his beloved poems sung to cithara and lyre, what did it sound like? Or, more generally, what did Pliny, or Martial, or, in an earlier generation, Horace see and hear when out for an evening's musical entertainment at the hands of a Greek troupe? Until fairly recently, we have known precious little. Literary sources give the odd anecdote, such as the reports of Nero's performances, but in general tell us little specific about the content or style of musical entertainment in the Roman era. And sources speaking more technically about music itself lend the impression that nothing significant happened after the ‘New Music’ was introduced in the fourth century BC.
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Pagliai, Valentina. "Lands i came to sing." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 10, no. 1 (2000): 125–46. http://dx.doi.org/10.1075/prag.10.1.07pag.
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This article on a genre of Tuscan Italian verbal art, the Contrasta, uses performance as a key to look at the connections between ethnic identity and place. The Contrasta takes its name, “contrast”, from its humorous representation of a verbal duel among entities, people or ideas. Structurally, it is formed by a series of chained Octets, in hendecasyllables. After an initial discussion of the current definitions of ethnic identity, the article is articulated in two parts. First, through the analysis of the “openings” of several Contrasti, 1 will show how a “repertoire” of ethnic identities becomes evident in the way the artists choose to represent themselves across contexts. These identities are connected to place. They are instead connected to towns, villages, valleys and mountains, monuments and historical events and legends. Tuscan ethnic identities emerge in the dialogue between the poets and their public. In the second part of the article, the in depth analysis of a Contrasta furnishes a key to understand how performance names and defines, but also contests, definitions of places and the associated identities. Performance brings to view the layers of complexity of ethnic identity, warning us against fixing and simplifying descriptions of it.
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Zoppi, Matteo. ""Raccontare è monotono": il ritmo della prosa in Feria d’agosto di Cesare Pavese." ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, no. 03 (December 2012): 201–20. http://dx.doi.org/10.7358/acme-2012-003-zopp.
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Starting with the twenty-five short stories which constitute August Holiday, the paper attempts to analyse the rhythmic and prosodic structures in Pavese’s prose works: the study initially tries to show the main metric structures subtended by each text (principally various length anapaestic verses, seven-syllable lines, octosyllables, decasyllables and hendecasyllables). The prosodic examination also shows a clear formal division between the first parts of the work and the third one: the number of anapaestic structures increases remarkably from the first to the last section. This stylistic evolution can be explained through a passage from The Business of Living written in 1944, where Pavese states that his previous prose works lack a «rhythmic support». To discover the functional reason of this prosodic style, it is necessary to consider that in this period of his life the writer is searching for a type of writing able to "raise reality to the mythic sphere". Pavese’s myth is fundamentally the "repetition" of an element in reality. In fact, from a lexical point of view, the words "monotony", "obsessive recurrence", "emphatic cadence" are those he uses the most to describe the dynamics of myth. Analyzing the passages where Pavese talks about his metric style, a surprising lexical correspondence can be observed: the writer describes the anapaest exactly as "monotony", "rhythm", "cadence" and "recurrence". Therefore, it is possible to suppose that Pavese, in the final part of August Holiday, uses the anapaestic structures as a way to operate the raising of reality to the mythic sphere.
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Döpp, Siegmar. "“Very Nice and Highly Pleasing” (Goethe) (“Sehr schön und erfreulich” (Goethe))." Daphnis 45, no. 1-2 (2017): 304–26. http://dx.doi.org/10.1163/18796583-04502014.
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Goethe discusses his recent reading in a letter dated the 30th of July 1816: “Lateinisches Gedicht von Camerarius auf die Wasser von Plombieres, sehr schön und erfreulich” [“A Latin poem by Camerarius about the spa at Plombières; very nice and highly pleasing”]. Previous research has assumed that Goethe was referring to the elegy Plumbaria in which Joachim Camerarius (1500–1574) bemoans a bout of ill health and asks God to rid him of it. However, Camerarius composed a second poem – De thermis Plumbarijs (145 hendecasyllables) – about Plombières, in which he sketches a detailed and colourful account of life at this spa resort. This essay argues that Goethe’s remark refers to this latter poem. Following a reproduction of the original Latin text and a German translation, the essay presents an analysis of its content and form, which appear to have elicited such animated acclaim from Goethe. In einem Brief vom 30. Juli 1816 schreibt Goethe über seine Lektüre: “Lateinisches Gedicht von Camerarius auf die Wasser von Plombieres, sehr schön und erfreulich”. In der bisherigen Forschung wird angenommen, dass die Elegie Plumbaria gemeint ist, in der Joachim Camerarius (1500–1574) über eine Krankheit klagt und Gott um Heilung bittet. Camerarius hat jedoch noch ein zweites Gedicht über Plombières verfasst, eine überaus detallierte und farbige Schilderung des dortigen Badetreibens: De thermis Plumbarijs (145 Elfsilbler). In dem Aufsatz plädiere ich dafür, dass Goethes Bemerkung sich auf diese Verse bezieht. Auf eine Wiedergabe des lateinischen Texts und eine Übersetzung folgt eine Analyse von Gehalt und Form des Gedichts, die allem Anschein nach Goethes lebhaften Beifall gefunden haben.
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Manresa González, Carlos. "Iconos, de Rafael Almanza Alonso: un nuevo caso de uso intencional del endecasílabo dactílico." Rhythmica. Revista Española de Métrica Comparada, no. 13 (January 1, 2015): 97. http://dx.doi.org/10.5944/rhythmica.16159.
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El endecasílabo anapéstico, dactílico o de gaita gallega ha sido utilizado en pocas ocasiones en la poesía española. El siguiente trabajo describe la existencia de un nuevo caso de endecasílabo anapéstico, dactílico o de gaita galleta en la obra del poeta cubano contemporáneo Rafael Almanza Alonso. Primero, se hace un recorrido por su poesía de juventud para demostrar su marcado interés por el empleo de este metro. Se estudia en particular el uso intencional o uniforme de la variedad dactílica del endecasílabo en el himno Iconos de este autor. Al comparar este himno con los textos poéticos hasta ahora documentados por la crítica que han usado esta variante del endecasílabo, se pretende demostrar que Iconos constituye el ejemplo de uso uniforme más extenso de este endecasílabo en la poesía lírica española. Por último, para su estudio, se sugiere utilizar el concepto teórico de verso variable de Oldřich Bělič.The dactylic hendecasyllable has been rarely used in Spanish poetry. The following paper describes the existence of a new case of the dactylic hendecasyllable in the work of contemporary Cuban poet Rafael Almanza Alonso. We will first study his youth poetry in order to demonstrate their strong interest in the use of the hendecasyllable. We will also document the intentional use of the dactylic hendecasyllable by this author in the hymn Iconos. By comparing this poem with the poetic texts that have used this variant of hendecasyllable, so far documented by critics, we aim to demonstrate that Iconos is the example of the largest and uniform use of this variety of hendecasyllable in the lyric Spanish poetry. Finally, we suggest to study this hendecasyllable by using the metric theoretic concept variable verse from Oldřich Bělič.
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Piasentini, Andrea. "L’endecasillabo nelle poesie di Vittorio Sereni. Gli strumenti umani e Stella Variabile." L'ospite ingrato 14, no. II (2023): 89–108. http://dx.doi.org/10.36253/oi-15573.
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The contribution declines the theme of rubble at a formal level, analysing the persistence of the hendecasyllable in Vittorio Sereni’s last two books, Gli strumenti umani (1965) and Stella variabile (1981). The hendecasyllable can be seen, in fact, as the key element of a system that undergoes a crisis at the beginning of the 20th century and is radically renewed in the middle of the century. The first part of the article summarises three different interpretations of the endecasyllable, to provide a historical context for Sereni’s writing. Mario Luzi and the Neo-avant-garde (represented by the essay Il verso secondo l’orecchio by Alfredo Giuliani) are in specular oppositions: the former argues in favour of the consubstantiality of the hendecasyllable to the Italian language, resorting to it as a guarantee of formal order; the others, on the contrary, declare the end of traditional verse, and see the hendecasyllable as a poison, an element against which to rebel. Giorgio Caproni’s interpretation at the height of the mid-1950s is equally historicist and formulated in a positive sense as in Luzi: the poet finds safety in the metrical «roof» that can contain the risk of private and collective dissolution. Vittorio Sereni, on the other hand, already with his first two collections Frontiera (1941) and Diario d’Algeria (1947), but above all with the turning point marked in the mid Sixties by Gli strumenti umani (1965), opens up the rhythmic structure of the hendecasyllable, focusing on unconventional rhythmic profiles and above all bending it to the movements of his own voice (rhetorical-argumentative stylistic features) and to those of inner speech – in short, he works towards a greater subjectivation of the metre. The second and third parts of the article focus first on two texts emblematic of the style of Strumenti umani and Stella variabile, and then extend the analysis to some specific traits of Sereni’s stylistic evolution from one book to the next, describing and interpreting concrete phenomena in the reuse of the hendecasyllable.
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Duffell, Martin J. "Tennyson’s ‘metre of Catullus’: The ambivalent hendecasyllable." Language and Literature: International Journal of Stylistics 22, no. 1 (2013): 19–31. http://dx.doi.org/10.1177/0963947012469752.
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This article argues that quantitative verse can be no more than an intellectual exercise in English because of the language’s strong dynamic accent and tendency towards stress-timing. The case focuses on Tennyson’s experiment entitled ‘Hendecasyllabics’, which he described as being ‘in a metre of Catullus’. The article offers a detailed comparison of the supra-segmental features of Tennyson’s poem and its model and concludes that the English poem lacks an essential component of the Latin metre: a variable relationship between ictus and accent. As a result, Tennyson unwittingly composed lines with a regular accentual configuration, one that English poets had been studiously avoiding for 500 years. In contrast, poets of the Southern Romance languages have cultivated this type of line assiduously, and the article pursues the historical reasons for the divergence. It concludes that the difference is almost entirely due to individual aesthetic choices, and that this line structure, known as the endecasílabo melódico, is a viable option as a verse design for English poets.
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Talbot, John. "Robert Frost’s Hendecasyllabics and roman rebuttals." International Journal of the Classical Tradition 10, no. 1 (2004): 73–84. http://dx.doi.org/10.1007/bf02689172.
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Sălișteanu, Oana. "Translate Italian baroque poetry into Romanian." Translationes 15, no. 1 (2023): 27–37. http://dx.doi.org/10.2478/tran-2023-0002.
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Abstract The paper illustrates the Romanian solutions in translating Italian baroque poetry represented by Giambattista Marino and his XVII century followers: redundancy, enumeration, mythological allusions, extravagant concettos, syntactic puzzles and the restrictions imposed by the hendecasyllable.
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Białoskórska, Mirosława. "MORZE W MARZENIACH SENNYCH BOHATERA LIRYCZNEGO W WIERSZU LEOPOLDA STAFFA "WYSPA" - ROZWAŻANIA JEZYKOZNAWCY." Slavia Occidentalis, no. 75/1 (December 15, 2019): 7–20. http://dx.doi.org/10.14746/so.2018.75.1.
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The article presents linguistic phenomena from the initial stage of the poet’s work when the modernist writing model prevailed. Leopold Staff wrote a reflexive and descriptive triptych in which, by resorting to a juxtaposition to the Young Poland movement poetry, he created paradise landscapes of a deserted island surrounded by sea water, drowned in light and colour. In order to recreate the protagonist’s dreams he resorted to poetic imagery at various levels of text organization. The linguistic phenomena in the realm of syntactic forms refer to the functions of exclamations, hypotaxis and parataxis, the role of arrangements of conjugation rows, the rhythm of verses combined in a hendecasyllable with ABBA rhymes. The following figures of speech were used: antithesis, rhetoric questions, inversions, apostrophes etc. As for semantic transformations, an important role was played by sensual and mental metaphors, semantic poetism, personification and comparisons. The lexical phenomena were related to applying the style-related function of vocabulary that is chronologically diverse (artistic neologisms, neo-semantisms, old-fashioned words); geographically diverse (dialects) and word-formation diverse (derivatives of adpositional phrases in order to condense the text to hendecasyllable verses).
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Bratcher, J. T. "Tennyson's 'Hendecasyllabics', Catullus' 'basiationes', and a Parody of Ezra Pound." Notes and Queries 52, no. 1 (2005): 100–101. http://dx.doi.org/10.1093/notesj/gji142.
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Dalmonte, Rossana. "Rethinking the Influence of Italian Poetry and Music on Liszt The Petrarca Sonnet Benedetto sia ‘l giorno." Studia Musicologica 54, no. 2 (2013): 177–98. http://dx.doi.org/10.1556/smus.54.2013.2.5.
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The article aims to clarify some intricate points about the interpretation of Liszt’s Petrarch Sonnet Benedetto sia ‘l giorno throughout its many settings (manuscripts and prints). The author discusses first the problem of Liszt’s knowledge of the Italian language and metric norms, usually taken for granted; then that of the dates — of composition, of revision(s), of publication(s) — which has been covered much more widely in the literature than that of the language, but that still presents uncertainties. Taking the correspondence between the rhythm of the poem and that of the music as a means of analysis, the author suggests the cooperation of external hands in the setting of the words. Discussing the form of the piece, the paper tries to confute the various commonplaces of the literature; the difficulties inherent in the meter (the hendecasyllable) and the various ways in which its rhythm is interrupted — through repetitions, pauses and vocalizations etc. — are examined. The conclusion is that in Benedetto sia ‘l giorno the relationship between music and poetry does not reflect any particular model of lied nor of opera aria; the piece instead hints slightly to the old Italian madrigal. Benedetto is not the occurrence of a known musical form, but an example of the crisis of the form.
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Moya del Baño, Francisca. "De nuevo sobre el soneto de Quevedo «Oh, fallezcan los blancos, los postreros»." JANUS. Estudios sobre el Siglo de Oro, no. 11 (December 13, 2022): 630–68. http://dx.doi.org/10.51472/jeso20221130.
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RESUMEN: En este trabajo volvemos al soneto de Quevedo “Oh fallezcan…”, que parte de unos versos de la sátira segunda del poeta latino Persio. Insistimos en la defensa de nuestra conjetura “tíos” frente al término “años”, que se lee en el endecasílabo segundo del soneto. Se responde a las objeciones de las que ha sido objeto esta propuesta. Se comenta y explica todo el soneto con una detenida comparación entre los textos de los poetas Persio y Quevedo, y se deja claro que Quevedo en este obscuro soneto recrea, con la libertad que les es propia a los poetas, unos versos de la sátira segunda de Persio. ABSTRACT: In this work we return to Quevedo's sonnet "Oh fallezcan...", which starts from some verses of the second satire of the Latin poet Persio. We insist on the defense of my conjecture "tíos" against the term "años", which is read in the second hendecasyllable of the sonnet. The objections to which this proposal has been subject are answered. The entire sonnet is commented on and explained with a detailed comparison between the texts of the poets Persio and Quevedo, and it is made clear that Quevedo in this obscure sonnet recreates, with the freedom that is proper to poets, some verses of the second satire of Persio.
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Lotman, Rebekka. "The patterns of the Estonian sonnet: periodization, incidence, meter and rhyme." Studia Metrica et Poetica 4, no. 2 (2018): 67–124. http://dx.doi.org/10.12697/smp.2017.4.2.04.
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The first sonnets in Estonian language were published almost 650 years after this verse form was invented by Federico da Lentini in Sicily, in the late of 19th century. Sonnet form became instantly very popular in Estonia and has since remained the most important fixed form in Estonian poetry. Despite its widespread presence over time the last comprehensive research on Estonian sonnet was written in 1938.This article has a twofold aim. First, it will give an overview of the incidence of Estonian sonnets from its emergence in 1881 until 2015. The data will be studied from the diachronic perspective; in calculating the popularity of the sonnet form in Estonian poetry through the years, the number of the sonnets published each year has been considered in relation to the amount of published poetry books. The second aim is to outline through the statistical analyses Estonian sonnets formal patterns: rhyme schemes and meter. The sonnet’s original meter, hendecasyllable, is tradionally translated into Estonian as iambic pentameter. However, over the time various meters from various verse systems (accentual, syllabic, syllabic-accentual, free verse) have been used. The data of various meters used in Estonian sonnets will also be examined on the diachronic axis. I have divided the history of Estonian sonnets into eight parts: the division is not based only on time, but also space: post Second World War Estonian sonnet (as the whole culture) was divided into two, Estonian sonnet abroad, i. e in the free world, and sonnet in Soviet Estonia.The material for this study includes all the published sonnets in Estonian language, i.e almost 4400 texts.
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Ripari, Edoardo. "D’Annunzio, Fedra e un volgarizzamento ovidiano." Archivio d’Annunzio, no. 1 (October 26, 2023). http://dx.doi.org/10.30687/ada/2421-292x/2023/01/008.
Full textAbstract:
Through the study of the preparatory papers of d’Annunzio’s Phaedra preserved in the Archivio Privato del Vittoriale, the article aims to demonstrate the leading role of the medieval vulgarisation of Ovidian’s Metamorphoses by Arrigo Simintendi for the composition of the tragedy. Through a careful work of compulsion and auscultation of the fourteenth-century text, d’Annunzio recovers formal and lexical tesserae to build Phaedra’s hendecasyllables, to recreate congenial images, to provide the most appropriate sounds and musicality, and to suggest psychological insights through the comparison between his characters and the mythological archetypes dear to his theatre, of which Ovid’s masterpiece is an admirable compendium. Ultimately, the essay suggests that the influence of Simintendi’s vulgarization and the method of compulsion extends beyond the tragedy of 1909.
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Nassichuk, John. "Jacques Delaunay et les moines poètes Dampierre et Marconville dans les Epigrammata." Humanistica Lovaniensia 70, no. 2 (2022). http://dx.doi.org/10.30986/2021.155.
Full textAbstract:
In his little-known 1539 collection of epigrams, Jacques Delaunay (Jacobus Alnetus), a physician and canon of Saint-Étienne de Troyes, includes two important, and hitherto unnoticed, poetic exchanges between the monastic humanist poets Jean Dampierre and Nicolas de Marconville and himself. After a brief presentation of these two figures, the present article examines the principal themes and literary techniques characteristic of the poems that comprise the two poetic “correspondences” with Delaunay. Examination of these two separate sequences reveals several common, unifying themes. The relative (perceived) impoverishment of their poetic invention, and the deep anguish that it generates, constitutes a recurring motif, and a veritable preoccupation, for these poets, all of whom speak of the challenges posed by duties that distract them from cultivating the muse. Their collective meditation on these themes quietly elaborates a defense of the dignity of minor poetic genres such as the epigram in hendecasyllables or elegiac distichs, insofar as these genres often give voice to relations of friendship, love, and Christian solidarity.
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"CATULLUS 2 AND 3: A PROGRAMMATIC PAIR OF SAPPHIC EPIGRAMS?" Mnemosyne 56, no. 5 (2003): 551–65. http://dx.doi.org/10.1163/156852503770735952.
Full textAbstract:
AbstractStarting from a broad ancient definition of 'epigrams' which includes poems which are not in elegiacs, and Martial's use of Catullus 2 (written in hendecasyllables) as a model for his own epigrams (Mart. 4.14.13-4), my paper examines epigrammatic features in Catullus 2 and 3, as well as other literary affinities that can be traced in these poems. AP 7.195 and 196 (by Meleager) are important epigrammatic models for Catullus 2, and I identify major correspondences and differences between these poems, before considering another important model for Catullus 2: Sappho fr. 1. From examination of Sapphic features in Catullus 2 and 2b, my paper moves to Catullus 3, and explores its affinities with Greek epigram (in particular the epitaphs found in AP 7 and Hellenistic curse poetry). In the final section of the paper, working from Martial's references to Catullus' passer and Catullus' use of Sappho fr. 1 in Catullus 2, I consider Catullus 2 as the opening poem of a Catullan collection, and the implications that this has for our interpretation of his poetry.
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Andreetta, Sara, Oleksandra Soldatkina, Vezha Boboeva, and Alessandro Treves. "In poetry, if meter has to help memory, it takes its time." Open Research Europe, May 28, 2021. https://doi.org/10.12688/openreseurope.13663.1.
Full textAbstract:
To test the idea that poetic meter emerged as a cognitive schema to aid verbal memory, we focused on classical Italian poetry and on three components of meter: rhyme, accent, and verse length. Meaningless poems were generated by introducing prosody-invariant non-words into passages from Dante's Divina Commedia and Ariosto's Orlando Furioso. We then ablated rhymes, modified accent patterns, or altered the number of syllables. The resulting versions of each non-poem were presented to Italian native speakers, who were then asked to retrieve three target non-words. Surprisingly, we found that the integrity of Dante's meter has no significant effect on memory performance. With Ariosto, instead, removing each component downgrades memory proportionally to its contribution to perceived metric plausibility. Counterintuitively, the fully metric versions required longer reaction times, implying that activating metric schemata involves a cognitive cost. Within schema theories, this finding provides evidence for high-level interactions between procedural and episodic memory.
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Andreetta, Sara, Oleksandra Soldatkina, Vezha Boboeva, and Alessandro Treves. "In poetry, if meter has to help memory, it takes its time." Open Research Europe, February 23, 2023. https://doi.org/10.12688/openreseurope.13663.2.
Full textAbstract:
To test the idea that poetic meter emerged as a cognitive schema to aid verbal memory, we focused on classical Italian poetry and on three components of meter: rhyme, accent, and verse length. Meaningless poems were generated by introducing prosody-invariant non-words into passages from Dante's Divina Commedia and Ariosto's Orlando Furioso. We then ablated rhymes, modified accent patterns, or altered the number of syllables. The resulting versions of each non-poem were presented to Italian native speakers, who were then asked to retrieve three target non-words. Surprisingly, we found that the integrity of Dante's meter has no significant effect on memory performance. With Ariosto, instead, removing each component downgrades memory proportionally to its contribution to perceived metric plausibility. Counterintuitively, the fully metric versions required longer reaction times, implying that activating metric schemata involves a cognitive cost. Within schema theories, this finding provides evidence for high-level interactions between procedural and episodic memory.