Journal articles on the topic 'Laudatory poetry'

Medieval Icelandic law contains no provisions about copyright. Authors used without hesitation narrative texts by others, but poets were paid for composing laudatory poems about kings and narrators for telling stories at their courts. The art of storytelling became a speciality of Icelanders, who were also hired to write biographies of Norwegian kings. It was considered reprehensible to use the poetry of others as one's own work. Two Norwegian poets may have got the cognomens skáldaspillir (Destroyer of poets?) and illskælda (Bad or Evil poet?) for plagiarism. An Icelandic poet composed a laudatory poem about a woman but changed it to fit another one, receiving a bitter revenge. In Icelandic sagas stanzas occur frequently and, unlike borrowings in prose, their authors are usually named. In the medieval law of Iceland it is forbidden to compose about people not only derogatory but also laudatory poetry. Conceivably it has been considered to give the author some kind of power over the person who was the subject of the poetry. Proper copyright, though, does not occur in Icelandic law until the beginning of the twentieth century.

Everyone who occupies himself with the Dīwān of the Andalusian poet Ibn Ḫafāǧa will be confronted with his animal descriptions. The reason, however, that I have occupied myself with a poem of Ibn Ḫafāǧa in which animal descriptions are prominent, is that I wanted to make a brief analysis of the structure of qaṣīdas by Ibn Ḫafāǧa and others, especially with regard to the succession of the different themes. The poem of Ibn Ḫafāǧa which will be analysed is a laudatory poem on Abū Yaḥyā (Poem No 2, p. 33, in his Dīwān, ed. by as-Sayyid Muṣṭafā Ġāzī, Alexandria 1960).

Abstract The use of Norse loanwords in Old English poetry seems to be restricted to historical poems in praise of prominent contemporaries. It is demonstrated that the few Norse loans in these poems neither contribute to the laudatory character of such texts nor serve as new, additional means of stylistic enrichment. Instead, the Norse loans in these late Old English historical poems can be shown to have been used to add factual plausibility to such poems as historical texts. This contrasts with the use of Norse loanwords in Middle English poems.

RESUMENLa "Gazeta de México" no fue una revista literaria y solo en ciertas ocasiones publicó alguna poesía; sin embargo recogió mucha información sobre esa temática y actuó como propagandista de ediciones de obras, certámenes, censuras, etc. A través de esa información podemos acercarnos al panorama literario novohispano, en un momento de auge del Neoclasicismo. La publicación mostró un especial interés por la poesía laudatoria y épica relacionada con los acontecimientos de la monarquía; también por algunos autores clásicos como Virgilio y Horacio y sus traductores, así como por Tomas de Iriarte. Todo ello sin olvidar el importante papel de los jesuitas en el exilio. Los asuntos poéticos, por tanto, fueron más de información que de reproducción.PALABRAS CLAVE"Gazeta de México", Poesía, Fábulas, Tradición clásica, Nueva España, Siglo XVIII. TITLEThe classical tradition in the mexican poetry in the "Gazeta of Mexico" at the end of the 18th century. Between the Baroque heritage and the EnlightenmentABSTRACTThe "Gazeta de México" was not a literary magazine, nevertheless, it collected a lot of information on that subject, especially it announced publications of books, contests, censorships, etc. and only in certain occasions he published some poems. Through this information we can approach to the literary situation of New Spain, at a moment of Summit of neoclassicism. the publication showed a special interest in laudatory and epic poetry related to the events of the monarchy; also by some classic authors like Virgilio and Horacio and their translators, as well as by Tomas de Iriarte. All this without forgetting in important role of the exiled Jesuits. The poetical matters, therefore, were more information than reproduction.KEY WORDS"Gazeta de México", Poetry, Fables, Classical Tradition, New Spain, 18th century.

The article analyses the types of cataloguing and various sub-genres of the catalog in the poetry of the German poet, playwright and prose writer H.M.Enzensberger (1929–2022). The poet’s collections of 1957–2013 were anilysed. The article traces such methods of cataloguing lyrical material as a name indicating cataloguing, a series of baroque metaphors in Enzensberger’s catalogue poems, an arbitrary enumeration as an example of the illogicality of phenomena/actions, anaphoric repetitions of personal pronouns as a way of organizing a lyrical catalogue, dialogue as a method of lyrical cataloguing, a cumulative effect in catalogue poems. It is shown how stylistic devices (repetition, gradation, cumulation, climax, anaphora, etc.) determine the structure of the text. Such sub-genres of the catalogue as inventory, emblem mystery, dialogue, poems about the seasons and days, laudatory song, testament, poetological catalogue are considered. Enzensberger relies on the German and European tradition in the use of genres, which goes back both to the culture of the ancient world and to folk art (incantations, songs, laments, dialogues), where the descriptive and enumerative nature of the text is manifested, which determines its structure. The lyrical catalogue is also akin to religious poems, in which nominalization prevailed, that goes back both to the culture of the ancient world and to folk art, where the descriptive and enumerative nature of the text is manifested, which determines its structure.

Abstract In De magistratibus John Lydus refers to an epigram of eight lines insulting emperor Anastasius (491-518) as a money-collecting Charybdis. A similar version of this poem can be found in the Greek Anthology where it is divided into two epigrams of four lines each (AP XI 270 -71). In a first step, a critical edition of the epigram is established. On this basis it becomes clear that the earlier version referred to by Lydus comes close to the original poem. A detailed commentary reveals it as work of an able and witty poet who was familiar with both classical epic poetry and the formulas used in late antique laudatory epigrams. Looking at the historical background of the epigram, the paper highlights the history and varieties of Kaiserkritik in Late Antiquity and Byzantium, while another chapter takes a closer look at the far-reaching reforms undertaken by Anastasius which were heavily criticized by contemporaries. Taking into account the function of the epigram in Lydus’ work, it seems certain that John Lydus himself composed the poem to support his general criticism of the administrative reforms of both Anastasius and Justinian.

The article is devoted to one of the spheres of the spiritual culture of the inhabitants of Badakhshan – funeral and mourning rites, which reflected many of the traditional ideas of the local population. The purpose of the article is to reveal the distinctive cultural features in the funeral and mourning rites of the inhabitants of Badakhshan. The content of the article is based on the material accumulated by the author from folk stories, beliefs and customs of funerals and mourning ceremonies, the results of surveys of local residents, experts on local rituals and active participants in the relevant rites, as well as the views of previous researchers. On the basis of the method of participant observation, interviews, comparative methods, various aspects of the features of funeral and memorial rites were analyzed, such as reading a prayer for the dead (janoz), funeral lighting of the lamp “Charogravshan” (Lighting the lamp), which form the basis of the religious rites of the mourning Shiite families. Ismailis of Badakhshan. At the end of the article, conclusions are given about the main elements of the rite “Charogravshan”: reading the verses of the Koran associated with light; reading “Kandilname (Charogname)”; prayers for lighting a lamp; reading laudatory verses from the poetry of Nasir Khosrov; praise in the name of the Prophet Muhammad (peace and blessings be upon him); prayers and special verses related to grief; checking the lamp by the caliph and those present; prayers and blessings for the repose of the soul of the deceased.

The main aim of this paper is to present and analyse an ode by the Flemish Jesuit Sidronius Hosschius (Sidronius [or Syderoen] de Hossche, 1596–1653) to “the Sarmatian Horace”Mathias Casimirus Sarbievius (Maciej Kazimierz Sarbiewski, 1595–1640). This eulogy has often been viewed as a masterpiece. In addition, it has two distinct versions: one published in a collection of poems in honour of Sarbievius (the socalled Epicitharisma), first printed in an edition of his oeuvre in 1632, and one in the collective volume of Hosschius’s own works issued posthumously in 1656. Both versions were first published by the famous Plantin-Moretus printing house in Antwerp. The paper consists of three sections. The first one focuses on the relationship between Hosschius and Sarbievius and on the Nachleben of Hosschius’s ode. The second section offers a general analysis of the poem. Tracing the contents of Hosschius’s ode and its sources of inspiration, it argues that Hor. Carm. IV 2 is central to the poem’s understanding. The third section discusses the differences between the two versions, in an attempt to disclose why the poem was altered and how the changes influence the ode’s meaning. A number of larger changes affect the poem’s central message: while in the earlier version Sarbievius is said to outdo Pindar and even Horace, the later version is more cautious. All it does is admit that Sarbievius could perhaps equal Pindar and Orpheus. Hosschius’s eulogy and the reception of Sarbievius through his composition have two different traditions: 1) the one found in most editions of Sarbievius’s works, where the poem basically proclaims him to be the best Latin lyricist of all time, thereby tying in with other laudatory contributions and promoting both Sarbievius’s oeuvre and the editions themselves, and 2) the one added to Hosschius’s own poetry, where the adjusted version—which contains more references to ancient literature and which could be called more personal, as well as, perhaps, more realistic—became a fan favourite. In both instances, however, the reinterpretation of the psychological effect of poetry—the translation of furor poeticus from the author to the reader—and the re-evaluation of the concept of aemulatio could be the main reason why Hosschius’s ode was so highly valued.

The main aim of this paper is to present and analyse an ode by the Flemish Jesuit Sidronius Hosschius (Sidronius [or Syderoen] de Hossche, 1596–1653) to “the Sarmatian Horace”Mathias Casimirus Sarbievius (Maciej Kazimierz Sarbiewski, 1595–1640). This eulogy has often been viewed as a masterpiece. In addition, it has two distinct versions: one published in a collection of poems in honour of Sarbievius (the socalled Epicitharisma), first printed in an edition of his oeuvre in 1632, and one in the collective volume of Hosschius’s own works issued posthumously in 1656. Both versions were first published by the famous Plantin-Moretus printing house in Antwerp. The paper consists of three sections. The first one focuses on the relationship between Hosschius and Sarbievius and on the Nachleben of Hosschius’s ode. The second section offers a general analysis of the poem. Tracing the contents of Hosschius’s ode and its sources of inspiration, it argues that Hor. Carm. IV 2 is central to the poem’s understanding. The third section discusses the differences between the two versions, in an attempt to disclose why the poem was altered and how the changes influence the ode’s meaning. A number of larger changes affect the poem’s central message: while in the earlier version Sarbievius is said to outdo Pindar and even Horace, the later version is more cautious. All it does is admit that Sarbievius could perhaps equal Pindar and Orpheus. Hosschius’s eulogy and the reception of Sarbievius through his composition have two different traditions: 1) the one found in most editions of Sarbievius’s works, where the poem basically proclaims him to be the best Latin lyricist of all time, thereby tying in with other laudatory contributions and promoting both Sarbievius’s oeuvre and the editions themselves, and 2) the one added to Hosschius’s own poetry, where the adjusted version—which contains more references to ancient literature and which could be called more personal, as well as, perhaps, more realistic—became a fan favourite. In both instances, however, the reinterpretation of the psychological effect of poetry—the translation of furor poeticus from the author to the reader—and the re-evaluation of the concept of aemulatio could be the main reason why Hosschius’s ode was so highly valued.

Libro quarto Corporis Tibulliani continentur ignoti poetae longa elegia, quae Panegyricus Messallae vulgo appeIlatur (IV, I), quinque elegiae auctoris, quem "Sulpiciae laudatorem" voco (IV, 2--6), sex brevia elegidia sub Sulpiciae nomine servata (IV, 7-12) et postremo duae elegiae TibuIlo adiudicatae (IV, 13-14). Multi viri docti iam diu disputant, qui fuerit "Sulpiciae laudator". Qui poeta talem distichi elegiaci structuram adhibere solebat, qualis ante Ovidium exculta est. Constat autem auctorem elegiarum IV, 2--6, quae de amore Sulpiciae erga Cerinthum narrant atque a muItis viris doctis Tibulli opera ducuntur, "Sulpiciae laudatorem" fuisse. Quisnam is esset et quare Matronalium die elegiam III, 8 Sulpiciae donasset, quaerebatur. Nova opinio ad ignoti poetae personam, eius vitae aetatem otiumque litterarium spectans nostro in opusculo proposita est. Ex meis investigationibus apparet Servium Sulpicium Quinti Horatii Flacci amicum aequalemque aetate (Hor., Sat., I, 10, 86), elegiarum scriptorem (Ovid., Trist., II, 441; Plin., Ep., V, 3, 5) se poetriae fratrem firmissimumque "Sulpiciae laudatorem" praestare.

Resum: A l’antiga Grècia i Roma els epitalamis actuaven com a preludi eròtic de la nit nupcial. Claudià, a l’antiguitat tardana, va tractar el motiu del desflorament com a pugna amoris amb lasciu refinament. A partir del Quattrocento italià, l’Europa moderna va reprendre amb profusió aquesta tradició laudatòria d’erotisme estilitzat amb cants consagrats a la unió de les famílies il·lustres. El poeta barroc Francesc Fontanella (1622-1682/83) va compondre quatre magnífics epitalamis dedicats a les noces d’un enigmàtic personatge: el ‘galant Alba’. Diversos estudis han intentat, sense èxit, desvelar-ne la identitat. En aquestes composicions, Fontanella va emprar un llenguatge refinat i metafòric per descriure gradualment els estadis que porten a la unió carnal entesa com a lluita amorosa: els versos, rics en imatges florals i minerals, s’han de reconvertir al seu sentit concret a través d’una doble lectura. L’estudi inclou l’edició crítica dels textos i la contextualització del cicle dins del corpus epitalàmic europeu, així com una argumentació sobre la possible identitat dels protagonistes. Paraules clau: literatura catalana moderna; poesia barroca; epitalami; Francesc Fontanella Abstract: In ancient Greece and Rome, epithalamia acted as an erotic prelude to the wedding night. In Late Antiquity, Claudian explored the theme of deflowering as pugna amoris with lascivious refinement. As of 15th century Italian poets, modern Europe recommenced this laudatory tradition of stylised eroticism with songs devoted to the union of illustrious families. The Baroque poet Francesc Fontanella (1622-1682/3) composed four magnificent epithalamia dedicated to the wedding of an enigmatic character: ‘gallant Alba’, of whom several studies have tried, unsuccessfully, to reveal his identity. In these compositions, Fontanella employed refined, metaphorical language to gradually describe the stages of carnal union understood as a love battle: the verses, rich in floral and mineral imagery, must be transformed into their particular meaning through double reading. The study includes the critical edition of the texts and a contextualisation of the series within the European corpus of epithalamia, as well as an argument on the possible identity of the protagonists. Keywords: Early modern Catalan literature; Baroque poetry; epithalamium; Francesc Fontanella

The subject of this paper is the multiplicity of meaning of the word pietas as it is used in the famous inscription CIL VI, 1527 called Laudatio Turiae. In revealing traditional and innovative aspects of this notion, the author tries to see the ideology of relations in the Roman family of the laudator and the laudata behind it, and to set it into the context of the changing world in the times of the Late Republic and the Principate within the Roman history.The inscription reveals that, in the eyes of laudator, pietas is the most important virtue of his defunct wife, laudata. In the course of the research, three features of pietas are marked out: 1) the virtue of pietas is operative exclusively in the sphere of family relations; 2) pietas relations always presuppose the hierarchical ones (e.g. children to the father / mother, wife to husband, younger brother / sister to the elder one); 3) the virtue of pietas always implies a strong action. Some new aspects of the functioning of the virtue of pietas can be observed when exploring the usage of the word in the inscription. For the first time in the Latin literature, the word pietas signifies the transfer of the virtue of pietas into the female domain, using it to describe the relation of the younger sister to the elder. But the most striking innovation is an inversion of the hierarchical order of children to the parents. For the first time, pietas means the duty of the parents to bring up their children in the best manner possible – an obligation which will find its place in the Roman law codes.The large usage of the notion of pietas and experimentation with its meaning, which finds parallels in the poetry of the Augustan age (Virgil, Ovid) signifies the susceptibility of the laudator to the ideas of the Augustan policies and his ideological stances.The article is preceded by a Lithuanian translation of the inscription with a short introduction.

This article argues that in Pindar's epinicians first-person statements may occasionally be made in the persona of the chorus and the athletic victor. The speaking persona behind Pindar's first-person statements varies quite widely: from generic, rhetorical poses—a laudator, an aoidos in the rhapsodic tradition (the “bardic first person”), an Everyman (the “first person indefinite”)—to strongly individualized figures: the Theban poet Pindar, the chorus, the victor. The arguable changes in the speaker's persona are not explicitly signalled in the text. This can lead to significant ambiguities concerning the identity of the speaker (“blurred quotation,” “indeterminate speech boundaries”). The lack of a concern always to distinguish clearly the primary from the secondary narrators relates to a desire to confuse diegetic and mimetic forms; the practice of the fifth-century choral lyric poets in this regard is compared to that of other ancient Greek writers. The main challenge is to indicate how it is possible, in theory and in practice, for the athletic victor to be identified as the speaker when this is not explicitly signalled in the text; and, if this is possible, to suggest how it is possible for an audience to recognize when the speaking persona subsequently reverts to laudator or poet. An attempt is made to consider whether any formal, structural, or thematic tendencies can be observed in those passages in choral lyric where the chorus or the victor are tacitly introduced as speaking personae: such effects, it is argued, occur especially when links of ritual or genealogy enable the ode to “zoom” from the mythical past to the present occasion of the performance. The main passages discussed in the article are Pind. P.8.56–60, P.9.89–92, N.7.85, Pae. 2.73–79, and Bacch. 3.84–85. But the phenomena discussed are related broadly to other phenomena in Greek literature, in Latin poetry, and, especially, in Cicero's forensic oratory.

Atop a raised pedestal leans the man himself (Fig. 1). He wears pink breeches, white hose, an orange cloak draped open to the ground, and a blue jerkin beneath it, from which a muslin-colored shirt protrudes, these last two liberally gilded. His posture is in obvious if distant emulation of the Kent and Scheemakers memorial in the Poets' Corner of Westminster Abbey: the left elbow rests on a closed book with gilt-edged pages, the legs are crossed at the knee, and the ball of the left foot is perched in front of the right, jauntily askew, a position that makes the paint loss of its black slipper especially pronounced. Both hands rest at waist level, one clutching a page of manuscript at which the other points. The pose is puzzling, since the “writing” that appears there is just a scrawl of lines and dashes that shows where text ought to be, but conspicuously isn't. Left to index nothing that anyone has bothered to transcribe, the gesture is a lazy indication of literary noteworthiness, not unlike the women who sit at the poet's feet, gazing upward in an attitude of vague, noncommittal reverence. They might be heroines from the plays or they might not be; their contrasting costumes and identical expressions convey nothing beyond the usual laudatory relation of figural base to subject. Between them, garlanded with oak leaves and acorns, is the dial of a clock, its numbers and hands painted into place with the same gold that decorates the author's ensemble. The time is, and forever shall be, nine minutes past five.

THE HOURS OF THE UNIVERSE: Reflections on God, Science, and the Human Journey by Ilia Delio. Maryknoll, NY: Orbis Books, 2021. 242 pages, index. Paperback; $25.00. ISBN: 9781626984035. *In this exquisitely constructed book, Delio reveals the current state of her reflections on the central concern of her life and work: the relationship of God, humanity, and the universe in the context of the evolutionary process. Her unscripted career leading to this publication, narrated in her memoir Birth of a Dancing Star: My Journey from Cradle Catholic to Cyborg Christian, has exhibited the same sort of development and diversity that she finds woven into the fabric of the universe. A Franciscan sister who began her religious life as a cloistered member of the Carmelite order, Delio earned doctorates in pharmacology and historical theology and has taught at Trinity College, Washington Theological Union, Georgetown University, and Villanova University. Today, she is an award-winning author, best known for her Center for Christogenesis, which seeks to promote dialogue between faith and reason and stimulate a Christian spirituality fully infused with evolutionary consciousness. *Communicating the urgent need and prospects for that kind of spirituality is the burden of this, Delio's twentieth, book. A theology whose starting point is not evolution and the story of the universe, she insists, is a "useless fabrication" (p. xvi). Her work is rich in scriptural references, but the call to restore the book of nature to its primacy as the true first testament in Christianity's sacred canon is one of her signature themes. Though she displays no interest in apologetics or polemics, her basic assumption is the distinctively Catholic principle of the revelatory character of creation, a conviction at odds with the Protestant Reformers' suspicion of natural theology. A robust sacramental imagination permeates the entire book and provides its organizational design. Portraying the universe as the "new monastery" (p. xvii), Delio orders her reflections according to the liturgy of the hours that has structured daily prayer in Christian monastic communities for centuries: Matins, Lauds, Prime, Terce, Sext, None, Vespers, and Compline. Delio clusters her chapters--along with prologues of original poetry--around these times of contemplation and guides the reader through the prayers of one rotation of the earth and toward what she calls a new synthesis of faith and science. *Delio's thirty-two brief chapters, each a free-standing essay, cover a broad spectrum of topics from the cosmic to the autobiographical--from quantum physics, gravitational waves, and artificial intelligence to the Eucharist during the coronavirus pandemic and the death of her beloved cat Mango. Delio addresses a number of social issues such as racism, consumerism, and homophobia and sets the full scope of her reflections against the backdrop of the threat of climate change. Her main objective is the nurturing of a Christianity mature enough to match the achievements and insights of contemporary science. In this effort, her primary dialogue partners include interfaith scholar Beatrice Bruteau, Passionist priest and self-styled geologian Thomas Berry, Hindu-Catholic mystic Raimon Panikkar, and luminaries from her elected Franciscan tradition such as Saint Francis, Bonaventure, and the contemporary spiritual writer and retreat leader Richard Rohr. Pope Francis's unprecedented encyclical on creation care, Laudato Si', is a constant touchstone for Delio, but pride of place in her personal communion of saints is granted to the Jesuit paleontologist Pierre Teilhard de Chardin, whose transposition of Catholic Christianity into an evolutionary key animates virtually every page of the book. *Delio's essays orbit this Teilhardian view of things like planets in an intellectual galaxy characterized by both order and chaos. The overall effect is a prophetic warning regarding the irrelevance and near-obsolescence of any Christian system fixated on the categories of Aristotelian or Newtonian worldviews. Like her monastic and mendicant forebears, Delio calls for church reform and creative thinking. The dominant mood of the book, though, is a blend of hope and awe, even audacity. Delio's conclusion equates the rise of a "new species with a new God consciousness" (p. 240) with the second coming of Christ. *Delio's engaging book is limited by its scant attention to the menacing side of science and technology, its failure to reckon seriously with the dramatic rise of nonreligion that calls her privileging of Christian myth into question, its overestimation of the general reader's science literacy, and its tendency to align scholarly and homiletic modes of communication too closely and too uncritically. Readers seeking linear arguments for theistic evolution or Christian pantheism will have to look elsewhere. Clergy, advanced students, and believing specialists in theology and the natural sciences will find a provocative and prayerful statement of a unique Christian cosmology that informs and inspires. *Reviewed by Peter A. Huff, Professor of Religious Studies and Director of the Center for Benedictine Values, Benedictine University, Lisle, IL 60532.

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gte mso 10]> <style> /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:""; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:Times; mso-ansi-language:EN-US;} </style> <![endif]--> <!--StartFragment--> <p style="text-align: justify" class="MsoNormal"><span style="font-size: 12pt">In modern works it is often stated that Constantinople was called ‘New Rome’ (or ‘Second Rome’), with the implication that this was an official title. This incorrect statement is particularly common in works written by scholars whose first, and perhaps only, language is English (which is why a thorough English-language study of the question, with the relevant evidence translated into English and analysed rather than simply accepted, is needed). </span></p> <p style="text-align: justify" class="MsoNormal"><span style="font-size: 12pt"> Some ancient authors (writing long after the foundation of the city) do in fact say or imply that Constantinople was formally named ‘New Rome’ or ‘Second Rome’, but this claim is, as Franz Dölger wrote a long time ago, ‘auf einer Fiktion beruht’. These expressions belong to laudatory rhetoric and elevated historical prose and poetry, and are never found in official documents or on the coinage. Also, who could believe that Constantine I would ever have allowed any name other than his to be the official name of his new city?</span></p> <p style="text-align: justify" class="MsoNormal"><span style="font-size: 12pt"> The present study examines the relevant evidence in order to demonstrate that it is wrong to say that Constantine’s city was ever officially called anything other than ‘Constantinople’. On the other hand, it also shows that in an ecclesiastical context it has been correct to refer to ‘New Rome’, ever since the decision of the Oecumenical Council of A.D. 381, arranged by Theodosius I. </span></p> <p style="text-align: justify" class="MsoNormal"><span style="font-size: 12pt"> The question has often been discussed in the past, but this study of the evidence reaches a firmer conclusion than most previous discussions, explains why an incorrect opinion has flourished, analyses the evidence more closely and presents it in English.</span></p> <!--EndFragment-->

Abstract Although many scholars have discussed Phillis Wheatley’s subversive appropriation of the classics, they have been reluctant to locate a similar strain of subtle repudiation in her Revolutionary War poems. The present article reexamines these verses — ‘To His Excellency General Washington’ (1775), ‘On the Capture of General Lee’ (1776), and ‘On the Death of General Wooster’ (1778) — in light of the tradition of (neo)classical heroic poetry. I read them as a formally innovative epic, dispersed across three apparently ‘patriotic lyrics’ (Levernier (1993: 175)) and dubbed the ‘Little Columbiad’ for their personification of America. Wheatley signals that the triptych should be read as far more than a trio of occasional poems. She not only evokes elements of the epic tradition but also obfuscates the Lucanic heart of her piece within a Virgilian body. This deft juxtaposition of disparate epic registers and forms allows the poet to reprove revolutionary generals, comment upon the war, and decry a movement committed both to liberty and to slavery’s perpetuation. In playing the part of epic admonisher, Wheatley likewise spotlights the genre’s tendency to expose and dissect the flaws of leaders in even its most laudatory iterations. The ‘Little Columbiad’ therefore gives us an important opportunity to reevaluate its author’s pivotal position in the history of North American heroic poetry and epic reception, as well as to nuance regnant paradigms of the genre itself.

The objectives of this study are to examine and interpret the meanings of the selected clan names and clan praises. Their sequences, laudatory and eulogic views highlight their significances and generic perspectives. In Swati culture, clan name is shared by a nuclear family and passed from father to sons. In patrilineal societies, clan names are vital for maintenance and sustenance of lineage hierarchy. Clan names are commonly called surnames. The prefix sur-in surname is derived from Latin, meaning super, above or beyond. The word, tibongo (clan names) is derived from the verb, bonga (thank; praise). The word, tinanatelo (clan praises) is derived from the verb, nanatela (be genial towards; show courtesy to and praise). Their anthroponymic domains are evident when they are used as address form. Each Swati clan name has a primary or main clan praise which is widely known by the society and almost equivalent to the clan name, for example, Matfonsi (Droplets) –Mjabulase! (Ever-elated one), Maphosa (Thrower)-Tsekwane (An owl) and Malindzisa (One who keeps others waiting)-Tfwala (Carry). In addition to the main clan praise, a number of secondary clan praise names follow and make a series of praise phrases. It is evident that all types of praises have their poetic features that are highlighted by bards, onomasticians, folklorists and oral poetry specialists.

AbstractHalfway through his conversation with Sokrates in the Gorgias, Polos claims that it would be easy to refute the philosopher's argument that it is better to act with justice than without it. Asking his interlocutor to proceed with the refutation, Sokrates urges him (470c): 'do not tire of doing favours (ευεργετων) for a friend'. In its metre and sense, this phrase is reminiscent of Pindaric lyric, and its vocabulary recalls that of Olympian 2.93-4 in particular; it will be argued here that a 'Pindaric' reading of Sokrates' injunction to Polos is appropriate. Sokrates' adoption of the language of a laudator of tyrants at this point in the conversation is relevant to the presentation in the Gorgias of related themes (flattery, tyranny, and euergesia) and to Sokrates' eironic posture in the dialogue; it also suits Platonic treatments of Pindar and poetry in general.

Abstract This article contributes to a discussion raised more than forty years ago in this journal by Richard Stoneman on how to interpret the unexpected image of an eagle at Pind. Nem. 3.80. Without excluding the possibility of a reference to the poet himself, this article argues, mainly based on a survey on the traditional elements used in that passage, that the eagle also refers—at least partially—to the victorious athlete Aristocleides. This is demonstrated by an internal investigation of the structure of the ode and the use of signal words (–θεν, δέδορκεν, φάος). Moreover, the image of the eagle stands in a series of other ancient and traditional motifs, such as the ‘song of milk and honey’ (77–9) and ‘(far-)shining fame’ (64, 81–4), which can be also found in the Rigveda and therefore can be regarded as an inheritance of the Indo-European (= IE) poetic tradition. Parallels from the Rigveda can be found for the avian imagery too, in which the eagle is compared to someone striving for fame in an athletic contest; this suggests that the image of the eagle is another traditional motif from IE times in Pindar, who uses it as a device to transition from a poetological to a laudatory part of the epinician, perhaps deliberately playing with the ambiguity of the image.

Volume 12 of the Journal of Jungian Scholarly Studies (JJSS) introduces a grounding initiative: the inclusion of poems and visual art as forms of knowing that exist in conversation with the article form of scholarship. The proposal for this innovation emerged from reflection by members of the editorial board upon the presentations at the Jungian Society of Scholarly Studies’ (JSSS) conference on the theme of Earth/Psyche held in Santa Fe, New Mexico, in 2016. The conference began with JSSS President Susan Rowland hosting an evening of poetry featuring the cosmology poems of Joel Weishaus and including poems written and read by a few attendees. During the body of the conference, a remarkable number of the speakers included either poems or visual art or both in their talks. To communicate their research concerning Earth’s relations to psyche, presenters repeatedly turned to art to share their knowledge. This volume harvests developed versions of eight of those presentations as articles and publishes them juxtaposed with poems and visual art selected by our journal’s new poetry and art editors. The juxtaposition is intended to spark connections—conceptual, emotional, kinesthetic, and aesthetic—between the complex analyses offered in the articles and the levels of consciousness stirred by the art. Perceiving such connections will affirm the overarching theme that the authors of the articles independently of one another claim as premise: the interconnectedness of being. In that spirit, I offer in this introduction a ample of points of connection between the articles. The topics of the articles address a range of subject matter: the impact of imagination, particularly the practice of active imagination, in transforming human consciousness and behavior, thus advancing planetary individuation; the synchronous relationships between body and earth in the healing modality of Biodynamic Craniosacral Therapy; the existence of a salt daemon working to increase harmonious relations between material, alchemical, and psychic levels of being; Christianity’s evolving relations to Earth and reclaimed approaches to scripture that enable Christians to participate in divinized creation; the psyche of a specific place, Cornwall, England, and the psychic image of a place, Santa Fe, New Mexico, including the shadow aspects caused by colonization; and the possibility of utilizing the common characteristics of large-group identities to integrate difference so as to develop conscience enabling constructive political action. Themes that resonate with one another in the various articles include imagination, the psychoid, the feminine, the body, and transformation. Not only is the present volume distinguished by the inclusion of poems and visual art; it also contains more narratives of personal experience than in the past. It has been the policy of JJSS only to publish personal experience if it supports a new idea, not merely illustrates an established one. That policy partially continues, but it turns out that examining the relations of Earth/Psyche has elicited the experiential in research in ways more numerous than illustration or support. Personal experience as numinous encounter initiates Susan Courtney’s discovery of the salt daemon and her subsequent research into parallels between physical salts, alchemical salts, and the psychoid nature of earth and psyche, research leading to her contributing to Jungian theory the idea of a salt daemon as an inherent movement of multi-faceted being toward bringing coherence to the ever unfolding series of incoherent states. Personal experience as numinous dreams leading to an understanding of his calling to speak for the psyche of a place motivates Guy Dargert’s exploration of the folklore and colonized history of the inhabitants of Cornwall and of the psychological dangers in the allurement of Cornwall’s beguiling beauty. Personal experience as numinous dreams, but also as embodied practices of active imagination, animates Ciuin Doherty’s call for collective understanding that all that exists, including each human being, is the current realization of over 13 billion years of the evolution of the universe. The ramifications of that understanding include reconceiving the import of individuation, recognizing that humans individuate not only for themselves, but also as expressions of planet Earth’s individuating through them. Understanding the permeability of personal experience, its unconscious connections with other beings and the environment through synchronicities capable of being made conscious enough for healing to occur, is given life in Jane Shaw’s article on the therapeutic power of Biodynamic Craniosacral Therapy. Other authors refer to personal experience in more traditional ways. David Barton, in his article on the psychic image of Santa Fe, reports on experiencing the profound alterity of the Laguna Pueblo culture as he listened to Leslie Marmon Silko speak of rescuing a rattlesnake. Like Dargert, Barton acknowledges the shadow of centuries of colonization. He reports being told by young natives of their despairing sense of entrapment in New Mexico. Johnathan Erickson, concerned about negative attitudes toward Christianity’s teachings about the Earth, shares that his efforts to underscore the vein in Christian teachings that counters the scripture about human dominance over nature are motivated by his being the son of a Christian minister and of a mother with pagan leanings. Peter Dunlap offers his experience as an illustration of the psychocultural work he is hoping Jungian clinicians will engage in to bring the healing power of psychological understanding to cultural dilemmas. And while Nanette Walsh does not share personal experience of her own, she calls on the scholarship concerning the personal experience of women in Jesus’s time to argue for interpreting scripture in a way that divinizes the experience of female persons, a step toward knowing the divine in all creation. Writing about the psychological relations of Earth/Psyche apparently elicits the grounding of thought in personal experience, a grounding typically invisible in abstract scholarly communications. Personal experience obviously is the ground for art. Our journal’s call for visual art related to Earth/Psyche invited artists to submit commentary along with their work. Judging from the responses that we received, the artists whose work is published here experience artistic creation as transformation of matter with abstract implications: turning clay into a holding vessel like that of analysis (Kristine Anthis), turning chance happenings into a creation (Marilyn DeMario), turning disparate materials into an integrated piece (Diane Miller), turning reversals into continuity (S. Sowbel), turning visual metaphor into ensouling symbol (Heather Taylor-Zimmerman), and turning the relation of abstract numbers/concrete matter into paintings echoing the composition of our world (Lucia Grossberger-Morales). The poems on the theme of Earth/Psyche selected for this volume reflect the distinguishing power of individuation in their range of subject and style. Margaret Blanchard’s poems address the changing nature of the poet’s relation to the Earth over time; Judith Capurso’s not only challenge human assertion of dominance over the Earth, but also liberate people from the inflation of that dominance; Ursula Shields-Huemer’s haiku grace imaginings of the natural word through presence; Brown Dove’s poem juxtaposes shifting evaluations of idols and continuity of Earth’s rhythms; and S. Sowbel’s focuses attention on what does not get reborn in her rendering of generativity. Certain concepts are explored in more than one of the articles which suggests their inherent significance in considering the relations of Earth/Psyche. In particular, Jung’s relatively neglected concept of the psychoid receives thoughtful elaboration, especially in the articles by Courtney and Shaw. Shaw applies the concept in her explanation of the healing power of the Biodynamic Craniosacral Therapy treatment (BCST). Courtney provides scientific data connecting rhythms of the body to the environment. Shaw’s account of the intelligence of the body during the giving and receiving of a BCST treatment resonates with Courtney’s account of electrolytic solution and of rhythmic entrainment. Doherty also contributes to reevaluating the body in terms of its knowingness through his exploration of the perspective of right-brain knowing. The theme of the body’s intelligence flows directly from the premise of interconnectedness attributing psyche to Earth. Another thread through the articles concerns the way the interconnectedness of being is conceived. Courtney references Jung’s concept or Eros as well as British anthropologist Timothy Ingold’s conception of humans as a “‘relational constitution of being’ enmeshed in a planetary ‘domain of entanglement’ of ‘interlaced lines of relationship.’” Doherty connects Eckhart’s description of the divine as emptiness with the quantum physics description of the emergence and disappearance of elementary particles from and into nothingness to assert that creative intelligence is inherent in all being. Dargert proposes that places are infused with their own form of psyche through the existence of an enveloping continuum. Dunlap points to Jung’s idea of a superconsciousness in the unconscious. The authors writing about religion, Erickson and Walsh, see God as the source of being’s interconnectedness. Erickson traces the evolution in Western Christianity of an understanding that the Earth as God’s creation deserves care, an understanding receiving recent expression in Pope Francis’s Laudato Si’: On Care for our Common Home. Walsh through the concept of practical divinization attempts to rectify the omission of ecology, women, and psychology in traditional Christian practice of divinization. She links aspects of the historical lineage of the idea of person and Jung’s articulation of individuation to argue for knowing divine wisdom in all that exists. Most of the authors assert that integration of the feminine is key to addressing ecological crises, often specifying that by the feminine they are referring to Eros. Walsh, however, argues for redefining what the feminine is in terms of women’s experience and for using women’s imaginative works to understand the feminine. For example, she cites Annis Pratt who, after surveying over 300 novels written by women, concludes that transformation for women occurs through the “green epiphany,” that is, through their relationship with nature. Walsh’s article provides a significant counterpoint to traditional Jungian understanding of the feminine and of what it would mean to integrate it for the purpose of addressing our ecological crises. Finally, Peter Dunlap’s article grapples with how to bring Jung’s understanding of the collective unconscious to a psychocultural practice of confronting the capacity of large groups to degenerate into mass-mindedness. He argues for confronting that tendency by consciously applying techniques to help large groups develop a sense of shared identity capable of integrating difference, thus making possible development of conscience about relations to the rest of the world. His article shares recent social science research about how to attempt that process, including an illustration of his own experience of applying some of those techniques. His essay gestures toward the goal of bringing psychological knowledge into civic life to enable constructive political action, a goal implicit in the conference on the relations of Earth/Psyche and in this volume of JJSS issuing from it. Inez MartinezEditor