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Journal articles on the topic 'Latin Love poetry'

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Published: 4 June 2021

Last updated: 30 July 2024

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1

Arkins, Brian. "A Reading of Latin Love Poetry." Classics Ireland 13 (2006): 1. http://dx.doi.org/10.2307/25528441.

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2

Fantazzi, Charles. "The style of Quattrocento Latin love poetry." International Journal of the Classical Tradition 3, no. 2 (1996): 127–46. http://dx.doi.org/10.1007/bf02677911.

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Myers, K. Sara. "The Poet and the Procuress: TheLenain Latin Love Elegy." Journal of Roman Studies 86 (November 1996): 1–21. http://dx.doi.org/10.2307/300420.

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This paper investigates the figure of thelenain the elegies of Tibullus (I.5; II.6), Propertius (IV.5), and Ovid (AmoresI.8). While each poet treats the character of thelenain importantly different ways, each has in common a deep interest in contrasting his own position as both lover and poet with the activities of thelena, a bawd or procuress. All three poets curse thelena, denouncing primarily her malevolent magical powers, hercarmina, which are directed against them and theircarmina. Thelenanot only preaches an erotic code which in its emphasis on remuneration and the denigration of poetry

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4

Heath, Malcolm. "Greek Literature." Greece and Rome 69, no. 1 (2022): 135–39. http://dx.doi.org/10.1017/s0017383521000280.

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The influence of Greek poetry on Latin poetry is well known. Why, then, is the reciprocal influence of Latin poetry on Greek not so readily discernible? What does that reveal about Greek–Latin bilingualism and biculturalism? Perhaps not very much. The evidence that Daniel Jolowicz surveys in the densely written 34-page introduction to his 400-page Latin Poetry in the Ancient Greek Novel amply testifies to Greek engagement with Latin language and culture on a larger scale than is usually recognized. That this engagement is more readily discernible in Greek novels than in Greek poetry is no reas

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McMaster, Aven. "Gendered Dynamics in Latin Love Poetry (review)." Journal of the History of Sexuality 20, no. 3 (2011): 615–19. http://dx.doi.org/10.1353/sex.2011.0041.

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Galicia Lechuga, David. "Amor y la inspiración poética." Acta Poética 42, no. 1 (2021): 87–112. http://dx.doi.org/10.19130/iifl.ap.2021.1.0886.

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Love’s personification has modeled the conception of love poetry since Antiquity. This article focuses on a little-known aspect of this personified figure. It will show that the process of poetic creation focused on the lyrical self is based on a profound relationship of the self with Love in its role as the inspiration of passion and writing. It will be observed how this idea begins with Greek poetics and how it was developed in three literary moments: the Latin elegy, Medieval lyric and Petrarchan poetry.

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Iskhakova, Saida Z. "Eastern and Western Influences in the Cantus Publicus Tradition of the 12th and 13th Centuries." Observatory of Culture, no. 5 (October 28, 2014): 66–72. http://dx.doi.org/10.25281/2072-3156-2014-0-5-66-72.

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Considers the impact of MuslimArab culture (via Andalusia) on the one hand and of the Church poetry and music on the other on the troubadours’ art. The author argues that though troubadours’ love poetry was quite alike Arabic lyrics, the formal structure of the songs created in the South of France was directly related to the Church Latin poetry and music of the second half of the 11th century. However, the ambiguity about the issue is rooted in the poetic Arab influence on these Church “songs” that spread during the 9th and the 10th centuries.

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Gowers, Emily. "Vegetable Love: Virgil, Columella, and Garden Poetry." Ramus 29, no. 2 (2000): 127–48. http://dx.doi.org/10.1017/s0048671x00001624.

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In 65 CE, a Spanish writer appointed himself Virgil's heir and stepped into a breach that did not really exist. L. Iunius Moderatus Columella chose to attach to his self-styled prose ‘monument’ of agricultural instruction an ornamental didactic poem on gardening, to fill the gap apparently left by Virgil at the start of Georgic 4. The result has been regarded for the most part as a misguided experiment, an uninspired pastiche of clippings and half-lines from a greater poet. Yet in recent years, as part of the wholescale rehabilitation of ‘second-rate’ Latin literature, it has begun to be consi

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Greene, Ellen. "Catullus, Caesar and Roman Masculine Identity." Antichthon 40 (2006): 49–64. http://dx.doi.org/10.1017/s0066477400001659.

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One of the hallmarks of Latin love poetry is its seemingly oppositional stance toward traditional Roman values. As I and others have recently argued, however, critical approaches that merely focus on a search for oppositional ideology in Roman poetry are not only reductionist but also fail to do justice to the complex literary strategies at work in those texts. As Matthew Santirocco suggests, Augustan literature does not simply reflect a pre-existing ideology but rather participates interactively in its production. It seems to me that mis applies equally well to Catullus. By problematizing the

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Mascetti, Yaakov A. "Tokens of Love." Common Knowledge 27, no. 1 (2021): 1–39. http://dx.doi.org/10.1215/0961754x-8723023.

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Contextualist scholars working on the rhetoric of corporeal presence in seventeenth-century English religious lyrics have naturally focused their attention on sacramental discourse of the Reformation era. As part of the Common Knowledge symposium on the future of contextualism, this full-length monograph, serialized in installments, argues that the contextualist focus on a single and time-limited “epistemic field” has resulted in a less than adequately ramified understanding of the poetry of John Donne, George Herbert, Aemilia Lanyer, and John Milton. What the contextualist approach misses is

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Lyne, R. O. A. M. "Love and death: Laodamia and Protesilaus in Catullus, Propertius, and others." Classical Quarterly 48, no. 1 (1998): 200–212. http://dx.doi.org/10.1093/cq/48.1.200.

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In one form or another an elevated, pleasure-transcending view of love is common, we might say natural. For readers of Latin poetry Catullus is perhaps the most impressive spokesman. In many respects, of course, Catullus is special. His particular values and choice of terminology, in his time and situation, mark him out from his crowd; in the Roman world indeed, ‘whole love’, perhaps rather its utterance, is hard to document before him. But a belief that love is powerful and profound, an important if not the most important thing in life, this is not a rarity. Roman tombstones attest to love an

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Wellendorf, Jonas. "No need for mead." Grammarians, Skalds and Rune Carvers II 69, no. 2 (2016): 130–54. http://dx.doi.org/10.1075/nowele.69.2.02wel.

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This paper will see Bjarni Kolbeinsson as a representative of the new kind of skaldic poetry that had developed around the turn of the thirteenth century. By then, formal skaldic poetry had become an art form cultivated by men who had received schooling and clerical ordination. Skalds such as Bjarni had turned their attention from the praise of kings of the present or the near past towards subjects of the more distant past and religious themes. In Jómsvíkingadrápa, Bjarni brushed aside the Odinic mead hailed by former skalds and preferred to apply techniques of poetic composition that he had l

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Castro García, Óscar. "La poesía de Jaime Alberto Vélez." Estudios de Literatura Colombiana, no. 12 (November 8, 2011): 11–32. http://dx.doi.org/10.17533/udea.elc.10533.

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Resumen: Este artículo busca establecer un diálogo con la poesía de Jaime Alberto Vélez. Su obra poética, aquí analizada, fue publicada en Reflejos (1981), Biografías (1982) y Breviario (1991). En primer lugar, se identifican los componentes básicos de sus poemas: sentidos reiterados, estilo, tono, recursos literarios destacados e intertextualidades, entre otros; y, en segundo lugar, se intenta la interpretación de esta poesía en relación con sus búsquedas: de sí mismo, de una poética personal y de una actitud crítica ante la realidad cotidiana, tanto individual como social. Descriptores: Poes

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Cormier, Raymond J. "The Cambridge Songs (Carmina Cantabrigiensia), ed. and translated by Jan M. Ziolkowski. Cambridge, MA: Department of the Classics, Harvard University, 1994, 1998; The President and Fellows of Harvard College, 2020, 472 pp., 10 ill." Mediaevistik 35, no. 1 (2022): 453–54. http://dx.doi.org/10.3726/med.2022.01.96.

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Abstract: This important eleventh-century collection of Latin poetry antecedes a more famous anthology, the thirteenth-century Carmina Burana (“Songs from Benediktbeuern”). This Cambridge group includes a wide variety of contents – panegyrics, dirges, political, religious, and didactic lyrics, comic tales, as well as poems of spring and of love. Like a medieval “top hits,” this varied assemblage could easily have been a student’s or poet’s class book or a professional entertainer’s songbook.

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Verstraete, Beert, and Ellen Greene. "The Erotics of Domination: Male Desire and the Mistress in Latin Love Poetry." Phoenix 54, no. 1/2 (2000): 177. http://dx.doi.org/10.2307/1089110.

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Cormier, Raymond. "Marek Thue Kretschmer, Latin Love Elegy and the Dawn of the Ovidian Age. A Study of the Versus Eporedienses and the Latin Classics. Publications of The Journal of Medieval Latin, 15. Turnhout: Brepols, 2020, pp. 175." Mediaevistik 34, no. 1 (2021): 430–32. http://dx.doi.org/10.3726/med.2021.01.100.

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Abstract: “Verses from Ivrea” (northern suburban town of Turin, Italy, near the Po waterway), an elegiac love poem, dates from the late eleventh century and is attributed to a certain Wido. It celebrates not the usual contemptus mundi of the era but rather worldly pleasures. The poem draws on a wealth of Latin classical sources, Ovid in particular, which leads the editor to view it as a precursor to the twelfth-century Renaissance. Kretschmer (hereafter K.), a Norwegian Classics professor, now based in Paris, publishes herewith his third major work, a book-length edition and study of this unus

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Myronova, Valentyna, and Mariia Lastovets. "MYTHOLOGICAL CHARACTERS IN THE LATIN POETRY OF THE UKRAINIAN BAROQUE." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 31 (2022): 40–42. http://dx.doi.org/10.17721/1728-2659.2022.31.08.

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The article examines the peculiarities of mythological characters in the Latin poetry of the baroque period in Ukraine. This period contributed a lot to intercultural relations between Ukraine and Western Europe and gave a birth to the phenomenon of the baroque Ukrainian poetry, written in Latin language. In the present paper much research has been devoted to the poetic works of Theophan Prokopovych, Grygoriy Vyshnevsky and Ilarion Yaroshevytsky; their poetic texts are found in printed editions ("Elegia paraenetica", "Epinikion", "Elegia Alexii", "Comparatio vitae monasticae", "Descriptiuncula

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Kearey, Talitha. "TWO ACROSTICS IN HORACE'S SATIRES (1.9.24–8, 2.1.7–10)." Classical Quarterly 69, no. 2 (2019): 734–44. http://dx.doi.org/10.1017/s0009838819001009.

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Hunters of acrostics have had little luck with Horace. Despite his manifest love of complex wordplay, virtuoso metrical tricks and even alphabet games, acrostics seem largely absent from Horace's poetry. The few that have been sniffed out in recent years are, with one notable exception, either fractured and incomplete—the postulated PINN- in Carm. 4.2.1–4 (pinnis? Pindarus?)—or disappointingly low-stakes; suggestions of acrostics are largely confined to the Odes alone. Besides diverging from the long-standing Roman obsession with literary acrostics, Horace's apparent lack of interest is especi

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Mahlmann-Bauer, Barbara. "Sigmund von Birken, der Literaturbetrieb, Netzwerke und Werkpolitik." Scientia Poetica 24, no. 1 (2020): 1–56. http://dx.doi.org/10.1515/scipo-2020-001.

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AbstractSigmund von Birken belongs to the »Trio of poets from Nürnberg«, together with Georg Philipp Harsdörffer and Johann Klaj whose posthumous fame is mainly due to their pastoral poetry with fullsounding verses in praise of peace and love. Birken started his career with an enormous upshot as organizer of multi-media spectacles during the peace ceremony in Nürnberg in 1650. Apart from his hymns and pastoral love poems, Birken’s poetry does not belong to the canon of early modern literature in Germany. If he had lived longer, he would probably have edited later all those poems which he had w

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Vaculínová, Marta, and Petr Daněk. "Vita ceu harmonia. Jiří Carolides: A Poet and Composer between the Imperial Court and the New Town of Prague." Musicalia 14, no. 1-2 (2022): 6–55. http://dx.doi.org/10.37520/muscz.2022.001.

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Jiří Carolides was one of the most distinguished Czech Latin humanist poets, and in his works he combines interest in poetry with love for music. Already during his university studies, he wrote a congratulatory polyphonic composition, and he was also active as a composer when he was older. He came from a non-Catholic background, but he still managed to earn the title of poet laureate at the emperor’s court. His contacts with court intellectuals did not last long, but he had permanent ties the society of Prague’s Utraquist burghers. While he spent most of his time in Prague, and much of his poe

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INGLEHEART, JENNIFER. "PROPERTIUS 4.10 AND THE END OF THE AENEID: AUGUSTUS, THE SPOLIA OPIMA AND THE RIGHT TO REMAIN SILENT." Greece and Rome 54, no. 1 (2007): 61–81. http://dx.doi.org/10.1017/s0017383507000046.

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The tenth poem of Propertius Book 4 is the most remarkable in a collection full of surprises for its readers, and appears to mark a significant departure from his previous work. If Propertius had never written his final book of poetry, we might characterize him on the basis of his earlier books as the quintessential Latin love elegist: he rejects not only a military career, but even the less demanding task of celebrating Augustus' victories, in favour of the love elegist's self-indulgent life of leisure: cf. e.g. Prop. 2.1.39–46. In the first poem of Book 4, however, Propertius announces what

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KÜÇÜKYILDIZ GÖZELCE, DAMLANUR. "ALI ILHAMI, A BEKTASHI FOLK POET AND HIS DIVAN." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 105 (March 29, 2023): 175–213. http://dx.doi.org/10.34189/hbv.105.008.

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Bektashi order has a deep-rooted tradition, and a long history. This situation was reflected in the Bektashi literature and led to the emergence of rich Bektashi literature. Bektashi poets reflected their cultural background, beliefs, traditions and lives in their poems. Ali İlhami, who was a member of the Bektashi order and who had been a Shaikh for the Seyyid Battal Gazi Lodge for many years, was one of the folk poets who successfully used the methods and principles, subtleties, beliefs and traditions of this order in his poems. It is seen that his poems focus on the love of Allah, Hz. Ali,

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Shahar, Galili. "Goethe’s Song of Songs : Reorientation, World Literature." Prooftexts 40, no. 1 (2023): 110–39. http://dx.doi.org/10.2979/ptx.2023.a899251.

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Abstract: The engagement of the German poet Johann Wolfgang von Goethe (1749–1832) with biblical Hebrew poetry already during the early stages of his career in the 1770s and later during the Divan period (1814–27) was associated with his study of Oriental literatures. Under the influence of his mentor and friend, Johann Gottfried Herder, Goethe devoted himself to studying and translating Hebrew and Arabic sources (mostly from the Latin), among them the Song of Songs, alongside chapters from the Qurʿan. In his late work his reflections on the Hebrew biblical poem were associated with his interp

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van der Keur, Michiel. "Opbouw en vernietiging." Lampas 53, no. 1 (2020): 28–48. http://dx.doi.org/10.5117/lam2020.1.004.keur.

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Summary In the Aeneid, the recurrent themes of ‘construction’ and ‘destruction’ (the topic of the Latin final exam of 2020) can be connected to generic roles. Dido, founder of Carthage, is presented progressively in elegiac terms, as is suggested by a number of echoes of Sapphic love poetry; as a character, she is guided primarily by personal motives. Dido’s ‘elegiac role’ forebodes her own destruction and that of her city. Aeneas, on the other hand, needs to adhere to his epic role as founder of the new Trojan/Roman nation, in order to avert destruction and the repetition of Troy’s fate. When

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Haskell, Yasmin. "The Tristia of a Greek refugee: Michael Marullus and the politics of Latin subjectivity after the fall of Constantinople (1453)." Proceedings of the Cambridge Philological Society 44 (1999): 110–36. http://dx.doi.org/10.1017/s0068673500002236.

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Almost everything we know of Michael Marullus – Greek exile, Neoplatonist, mercenary soldier – is mediated by his poetry, much of which seems positively to invite biographical decoding. The poet tells us he was conceived in the year Constantinople fell to the Turks (1453), after which his family fled, via Ragusa (modern Dubrovnik), to Italy. Here he grew up under the Iliadae … tecta Remi (Siena?), received an excellent education, and from an early age was frequenting the humanist academy of Giovanni Pontano at Naples. Marullus reports that when just seventeen, fate tore him away from his studi

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Górka, Elżbieta. "Cykl poetycki do Hyelli ze zbioru Lusus Andrea Navagera – wstęp, przekład, komentarz." Terminus 25, no. 2 (67) (2023): 243–65. http://dx.doi.org/10.4467/20843844te.23.012.18200.

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A poetic cycle on Hyella from Andrea Navagero’s Lusus: introduction, translation, commentary : The paper presents the first Polish translation of a mini-series of six short poems about Hyella by Andrea Navagero (1483–1529). The selected works are part of Navagero’s famous Latin poetry collection entitled Lusus. The translation is supplemented by an introduction and commentary notes. The Latin text reproduced in the paper is based on the edition of Lusus by Claudio Griggio (2001). The introduction presents the author’s biography and includes a brief description of the whole collection. Navagero

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Torres, Isabel. "Shades of Significance in Quevedo's Internal Hades: Orphic Resonance and Latin Intertexts in the Love Poetry." Calíope 2, no. 1 (1996): 5–35. http://dx.doi.org/10.2307/44799262.

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Weinlich, Barbara P. "Re-Constructing Relationships: The Significance of Name and Place in Propertius 3.22." Ramus 32, no. 2 (2003): 102–21. http://dx.doi.org/10.1017/s0048671x00001223.

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Why does the Propertian speaker include a celebration of Rome,Elegy3.22, in his third book of love elegies? Why does he address himself to Tullus, a name that appeared the last time inElegy1.22, the closing poem of theMono-biblos?By paying attention to the nature of the elegy's topic rather than to the nature of the elegiac discourse, past and current Propertian scholarship fails to recognise the subtle and, at first sight, hidden links between the praise of Rome, the choice of the addressee, and the Propertian speaker's effort to re-locate himself in the realm of elegiac love and poetry inEle

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29

Seidel, Robert. "Satirisch-elegisch-heroisches Erzählen von ‘Deß gwesten Pfaltzgrafen Glück vnd Unglück’." Daphnis 47, no. 1-2 (2019): 193–220. http://dx.doi.org/10.1163/18796583-04701001.

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The year 1621 saw the anonymous publication of a text under the anagrammatically encoded title Querela Sufredi missa Vinoni, reflecting the defeat of the ‘Winterkönig’ and its far-reaching consequences in the medium of elegiac lament. The fictitious speaker is the militarily and politically isolated Elector Palatine Frederick v. who bitterly addresses the dissolving Protestant Union, allegorically represented as an unfaithful wife. The Latin text substantially and structurally combines elements of (love) elegy, heroic epistle, and verse satire. The article confronts this so far unknown piece o

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Gagliardi, Paola. "Adonis and Augustan Poets." Acta Antiqua Academiae Scientiarum Hungaricae 58, no. 1-4 (2018): 741–52. http://dx.doi.org/10.1556/068.2018.58.1-4.42.

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Summary Adonis presents a special case of Romans' wide interest in Eastern religions during the Augustan age: he was brought to Rome by poets, and for this reason his ‘existence’ in Latin culture was exclusively literary. His worship never had the same importance as in Hellenistic Egypt, but the pathos of this figure, and his story of love and death aroused the interest of the elegiac poets, in particular, who used his exemplum to illustrate certain τόποι of their genre and to emphasize the originality of their poetry. Through the analysis of his treatment in Propertius and in Ovid a series of

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Braden, Gordon. "Latin Erotic Elegy and the Shaping of Sixteenth-Century English Love Poetry: Lascivious Poets, by Linda Grant." Translation and Literature 29, no. 2 (2020): 245–50. http://dx.doi.org/10.3366/tal.2020.0421.

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Paden, William D., and Frances Freeman Paden. "Swollen Woman, Shifting Canon: A Midwife's Charm and the Birth of Secular Romance Lyric." PMLA/Publications of the Modern Language Association of America 125, no. 2 (2010): 306–21. http://dx.doi.org/10.1632/pmla.2010.125.2.306.

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In “Tomida femina” (“A swollen woman”), a tenth-century charm written in Occitan, the vernacular of the south of France, a birthing woman and her helpers intone magical language during the most intense moments of childbirth. The poem permits us, with brief but uncommon intimacy, to imagine the lives of women long ago. It takes its place in a European tradition of birthing charms, including others written in Latin, German, and English. These charms, and in particular “Tomida femina,” provide an image of vigorous medieval women in childbirth that precedes the images of women in other secular Rom

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Avellar, Júlia Batista Castilho. "A persona lírico-elegíaca de Encólpio no Satyricon de Petrônio." Nuntius Antiquus 10, no. 2 (2014): 161–83. http://dx.doi.org/10.17851/1983-3636.10.2.161-183.

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This paper investigates the presence of tópoi and models of Latin lyric-elegiac poetry in two episodes of Petronius’s Satyricon: the breaking of Encolpius and Giton and the love relationship between Encolpius/ Polyaenus and Circe. In the first episode, the focus will be on the narrator’s poetic inserts, and, in the second one, on prose narrative. We seek to identify and analyse some allusions to lyric-elegiac literary tradition in these episodes, to verify how their presence causes the parody of the models and, in this way, to see how this resource produces a metaliterary discussion. Furthermo

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Abreu, Mariana. "Black Epistemologies and Music: A Dialogue with Emicida's Sobre crianças, quadris, pesadelos e lições de casa." Hispania 107, no. 2-3 (2024): 353–65. http://dx.doi.org/10.1353/hpn.2024.a929133.

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Abstract: The arts have consistently been interlocutors for Black scholarship in the humanities. Poetry, literature, and music are sources of knowledge for theorizing social realities. This relates to two elements: (a) an epistemology that values the production and spread of oral, subjective, and aesthetic forms of knowledge; (b) the systematic exclusion of Black people from academic spaces, especially in Latin American contexts, which encourages alternative practices of reflection and registry. Many artists actively consider what is produced in the cultural margins to be a strong locus of pol

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Powell, J. G. F. "Two Notes on Catullus." Classical Quarterly 40, no. 1 (1990): 199–206. http://dx.doi.org/10.1017/s0009838800026896.

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The beginning of the seventy-sixth poem of Catullus appears to cause some modern readers considerable dismay. One may instance the reactions of R. O. A. M. Lyne: ‘Our first reaction to the beginning of this poem may be one of incredulity’ (The Latin Love Poets [Oxford, 1980], p. 31); ‘The effect of such language is to imply an outrageous and implausible self-righteousness’ (ibid. 32); of K. Quinn: ‘a self-righteousness that makes us feel a little uncomfortable’ (The Catullan Revolution [Melbourne, 1959], p. 77); or of G. Williams: ‘this is sheer melodrama, a deft and surprising reversal of “co

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Yasin, Ghulam, Shaukat Ali, and Kashif Shahzad. "Resonances of greek-latin classics in the works of Fyodor Dostoevsky: a critical analysis." Acta Scientiarum. Language and Culture 43, no. 1 (2021): e55354. http://dx.doi.org/10.4025/actascilangcult.v43i1.55354.

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This research aims to probe the classical elements in the works of Fyodor Dostoevsky and to show the author’s bent towards the classical authors and traditions. Dostoevsky is the giant literary figure of 19th-century Russian literature and he belongs not only to a particular time but to all times like many other great classic writers. The research is significant for exposing the author’s affiliation towards the epic poetry of Homer and Hesiod and the dramas of the preeminent Athenian tragedians, Aeschylus, Sophocles, and Euripides. Dostoevsky also becomes classic based on his dealings with the

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Castañeda, Manuel. "Mirrors, Contradictions and Paradoxes in Los espejos comunicantes, by Óscar Hahn." Theory in Action 13, no. 4 (2020): 88–106. http://dx.doi.org/10.3798/tia.1937-0237.2052.

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As in all cultures, the mirror is a recurring symbol in both Latin-American poetry and narratives. It has various meanings when seen in different literary contexts. The most notable poets of the 20th century, such as Jorge Luis Borges, Octavio Paz, and Carlos Pellicer associate it with mystery, horror, silence, emptiness, catastrophe, and everything which is contradictory, paradoxical, and strange. According to some, the mirror itself reveals the source of poetry and literature, a kind of abyss from which something arises out of nothing. It also allows one to see himself through the eyes of th

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Möller, Melanie. "Stavros Frangoulidis, Stephen Harrison (Edd.): Life, Love and Death in Latin Poetry. Studies in Honor of Theodore D. Papanghelis." Gnomon 92, no. 4 (2020): 311–15. http://dx.doi.org/10.17104/0017-1417-2020-4-311.

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Vardi, Amiel D. "An anthology of early Latin epigrams? A ghost reconsidered." Classical Quarterly 50, no. 1 (2000): 147–58. http://dx.doi.org/10.1093/cq/50.1.147.

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In Book 19, chapter 9 of the Nodes Atticae Gellius describes the birthday party of a young Greek of equestrian rank at which a group of professional singers entertained the guests by performing poems by Anacreon, Sappho, ‘et poetarum quoque recentium ⋯λεγεῖα quaedam erotica’ (4). After the singing, Gellius goes on, some of the Greek συμπόται present challenged Roman achievements in erotic poetry, excepting only Catullus and Calvus, and criticized in particular Laevius, Hortensius, Cinna, and Memmius. Rising to meet this charge, Gellius’ teacher of rhetoric, Antonius Julianus, admits the superi

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Houghton, L. B. T. "OVID, REMEDIA AMORIS 95: VERBA DAT OMNIS AMOR." Classical Quarterly 63, no. 1 (2013): 447–49. http://dx.doi.org/10.1017/s0009838812000675.

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Anagrams and syllabic wordplay of the kind championed by Frederick Ahl in his Metaformations have not always been favourably received by scholars of Latin poetry; I would hesitate to propose the following instance, were it not for the fact that its occurrence seems peculiarly apposite to the context in which it appears. That Roman poets were prepared to use such techniques to enhance the presentation of an argument by exemplifying its operation at a verbal level is demonstrated by the famous passage of Lucretius (DRN 1.907–14; also 1.891–2) in which the poet seeks to illustrate the tendency of

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Steenkamp, Johan. "ROMAN LOVE POETRY - D.E. Mccoskey, Z.M. Torlone Latin Love Poetry. Pp. xxvi + 233, ills. London and New York: I.B. Tauris, 2014. Paper, £14.99 (Cased, £58). ISBN: 978-1-78076-191-6 (978-1-78076-190-9 hbk)." Classical Review 65, no. 2 (2015): 446–48. http://dx.doi.org/10.1017/s0009840x15000761.

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Geue, Tom. "Festina Lente: Progress and Delay in Ovid's Fasti." Ramus 39, no. 2 (2010): 104–29. http://dx.doi.org/10.1017/s0048671x0000045x.

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‘Wait a minute.’Martin Amis, Time's ArrowWe start with a stop. In recent years, long pause has been taken for inquest into the narrative dynamics of ancient literature. How stories are told, by whom, in what order—these have become key questions of narratology, a discipline whose tools most critics would now keep somewhere in their kit. Narratological criticism of poetry has ‘naturally’ drifted towards poems of long narrative span (i.e. hexameter epics). Recently, however, the ‘smaller’ genres have been extended the benefits of narratological civilisation, particularly in the realm of temporal

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Smolak, Curtius. "“Ardebo igneo amore Tui”: De Coelestino Leuthnero O.S.B., Matris Dei amatore." Nordlit, no. 33 (November 16, 2014): 345. http://dx.doi.org/10.7557/13.3164.

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<em>"In my fiery love for you I will burn": Coelestinus Leuthner OSB, the lover of the Mother of God</em>. This article examines the Latin poems of the Benedictine monk Coelestinus (Cölestin) Leuthner (1695–1759), who taught Rhetoric at the gymnasiums of Freising and Salzburg. Those who read Leuthner will find that his poetry, for all its variety with regard to both genres (epigrams, odes and elegies) and subject matters (which are indeed many and diverse), creates a kind of red string leading – like an Ariadne’s thread – to Mary, the mother of Jesus. Poems in her honour are placed

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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 gener

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Rovira, Helena. "La diferencia entre amor y deseo: un certamen poético barcelonés de 1584." Moderna Språk 110, no. 1 (2016): 122–40. http://dx.doi.org/10.58221/mosp.v110i1.7906.

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Ms. B2470 of the Hispanic Society of America transmits a poetry contest held in Barcelona at the end of 1584, whose 34 compositions are all focused on a single theme: the difference between love and desire. The choice of a profane subject is a singular element, because most of the contests of the late sixteenth century are religious. It is a practically unknown contest containing poems mainly written in Spanish, but also some in Catalan, one in Latin and one in Italian. Among the participants, there are outstanding figures as Francesc Calça, Esteve de Corbera, Dionís Jeroni Jorba and four memb

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Liveley, Genevieve. "Ronnie Ancona and Ellen Greene (eds.), Gendered Dynamics in Latin Love Poetry, ser. Arethusa Books (Baltimore: Johns Hopkins University Press, 2005), XII + 372 pp." International Journal of the Classical Tradition 15, no. 1 (2008): 155–58. http://dx.doi.org/10.1007/s12138-008-0023-0.

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Barsotti, Susanna. "Semantica della voce: la «voz rauca» nella lirica occitanica." Mot so razo 22 (December 31, 2023): 39–54. http://dx.doi.org/10.33115/udg_bib/msr.v22i0.23002.

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RIASSUNTO: Nei trovatori la connotazione «rauca» della voce genera un giudizio qualitativo che può definire non solo il sentimento che accompagna la composizione, ma anche e soprattutto il grado stilistico del prodotto poetico. Scopo dell’indagine è di inquadrare la voce in virtù della sua natura spiritale e di porre in relazione questo aspetto con il carattere pneumo-fantasmatico dell’amore e del linguaggio, nonché con la dimensione espressivo-affettiva dell’io lirico. Il valore stilistico della raucedine verrà convalidato e integrato, in questa prospettiva, tramite confronti con occorrenze t

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Rack, Melissa J. "Latin Erotic Elegy and the Shaping of Sixteenth-Century English Love Poetry: Lascivious Poets. Linda Grant. Cambridge: Cambridge University Press, 2019. viii + 264 pp. $99.99." Renaissance Quarterly 74, no. 2 (2021): 700–701. http://dx.doi.org/10.1017/rqx.2021.85.

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Martí, Sadurní. "La sentencia del certamen poético de Sant Just (1438): edición y estudio preliminar." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 10 (December 6, 2017): 1. http://dx.doi.org/10.7203/scripta.10.11072.

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Resumen: En este trabajo publica por primera vez la sentencia de un concurso poético medieval celebrado en la iglesia Barcelonesa de Sant Just en junio de 1438. El tema elegido para la ocasión fue el maldecir de Amor y la joya fue ofrecida por Bartomeu Castelló. Sabemos que a él concurrieron Guillem y Joan Berenguer de Masdovelles. Lo sorprendente de esta sentencia reportada por el Cancionero del Marqués de Barberà es que, no sólo presenta el discurso-sermón inicial (con un sorprendente diálogo casi teatralizado), sino también una glosa de las piezas presentadas, en un texto que alterna catalá

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Buszewicz, Elwira. "Ognista miłość. Oda Macieja Kazimierza Sarbiewskiego do Świętego Stanisława Kostki." Terminus 23, no. 1 (58) (2021): 55–80. http://dx.doi.org/10.4467/20843844te.21.003.13262.

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Fiery Love: Maciej Kazimierz Sarbiewski’s Ode to Saint Stanislaus Kostka The objective of the article is to provide background for the reading of a new annotated bilingual edition of Maciej Kazimierz Sarbiewski’s ode to Saint Stanislaus Kostka. Written in 1638, when Kostka had not yet been canonized, the ode was published posthumously, many years after the poet’s death. First, the origins of the poem are presented, including the suggestions advanced by Stanisław Łubieński, the bishop of Płock, that Sarbiewski should create odes worshipping Polish saints. Other texts devoted to the venerable yo

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