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1
Rodríguez-Noriega Guillén, Lucía, and Javier Uría. "Ibycus and Diomedes." Mnemosyne 70, no. 3 (2017): 450–75. http://dx.doi.org/10.1163/1568525x-12342113.
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The fourth-century Latin grammarian Diomedes reports the otherwise unparalleled doctrine that the Latin onomastic system is derived from that of the Greeks. To sustain this view, he mentions the various names of some Greek heroes, some of which seem to be drawn from the lyric poet Ibycus of Rhegium. This poet is also mentioned when the grammarian needs to provide examples of some rare patronymics. These two references to Ibycus in Diomedes are extensively dealt with in this paper, in which we try to disentangle the arguments and intentions behind this strange doctrine, as well as the role Ibycus plays in it. The alleged possibility that Ibycus is not the archaic poet, but rather a later grammarian, is discussed and rejected. Possible sources for the doctrine are proposed.
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Mills, Kevin. "“THE TRUTH OF MIDNIGHT”: APOCALYPTIC INSOMNIA IN JAMES THOMSON'S THE CITY OF DREADFUL NIGHT." Victorian Literature and Culture 35, no. 1 (2007): 121–34. http://dx.doi.org/10.1017/s1060150307051443.
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“… of Night, but not of Sleep” James Thomson, The City of Dreadful NightJAMES (BV) THOMSON'S insomnia is well documented. Bertram Dobell's memoir of the poet makes several mentions of it, as do critics of his work such as Robert Crawford, Edwin Morgan, and William Sharpe. Although widely acknowledged and noted as a significant biographical detail by critics, Thomson's insomnia has not been examined in terms of its relation to the specifically apocalyptic tone in some of his work. It is this curious relationship and its implications for the reading of his long poem The City of Dreadful Night which form the focus of this paper.
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Mermin, Dorothy. "Barrett Browning's Stories." Browning Institute Studies 13 (1985): 99–112. http://dx.doi.org/10.1017/s0092472500005381.
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Reviewing her career as a professional poet, Aurora Leigh describes her dubiously successful beginnings:My ballads prospered; but the ballad's raceIs rapid for a poet who bears weightsOf thought and golden image ….Barrett Browning's ballads had prospered too, and like Aurora she did not find their success particularly creditable, a judgment that has been emphatically shared by twentieth-century critics. But when Robert Browning told her in his first letter that he loved her poems, these were the ones he meant. The ballads are almost the only works of hers that he mentions in their correspondence, and he mentions them often. Gracious Lady Geraldine, bold and selfimmolating Duchess May, the lady disguised as a page who dies defending her husband from the Saracens - such heroines charmed a large and diverse company of Victorian admirers, including Mary Russell Mitford, Edgar Allan Poe, Harriet Martineau, Thomas Carlyle, and most of Elizabeth Barrett's friends and reviewers, in the years before her marriage when her reputation was made.
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Stouck, Mary-Ann. "Of Talking Heads and Other Marvels: Hagiography and Lay Piety in Sir Gawain and the Green Knight." Florilegium 17, no. 1 (2000): 59–72. http://dx.doi.org/10.3138/flor.17.004.
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Among the unresolved issues in our understanding of Sir Gawain and the Green Knight is the function of the hagiographical references, comprised both of saints whom the poet mentions explicitly (Julian, Peter, Giles, John the Evangelist and/or Baptist), and of those whom he seems to have in mind but does not explicitly name. Since Ronald Tamplin's 1969 essay in Speculum substantially introduced the subject, scholars have traced numerous parallels between the stories of the saints and Gawain's adventures with a view to discovering whether the analogies function positively or ironically—that is, whether Gawain is more or less saint-like in his behaviour. Briefly, then, there is broad agreement as to the special importance of saints' references in the poem, but there remains disagreement as to their significance.
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Ojcewicz, Grzegorz. "Borysa Popławskiego Uwagi o poezji: autorskie credo a wyobraźnia tłumacza." Acta Polono-Ruthenica 2, no. XXIII (2018): 97–105. http://dx.doi.org/10.31648/apr.2534.
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This article scrutinizes the structure and content of Boris Poplavsky’s Notes on Poetry. The text reveals the thoughts of this Russian poet who writes about the Russian poetic tradition (Pushkin, Blok) and mentions selected aspects of emigrant reality. B. Poplavsky stresses the importance of an innovative element in the creative process. He indicates the basic mechanisms governing the inner literary process which determine the evolution of fiction.
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Łukaszewicz, Adam. "Remarks on Ovid and the Golden Age of Augustus." Symbolae Philologorum Posnaniensium Graecae et Latinae 29, no. 2 (2019): 37–56. http://dx.doi.org/10.14746/sppgl.2020.xxix.2.3.
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Publius Ovidius Naso was an outstanding poet of the Augustan age who after a period of successful activity was suddenly sent to exile without a formal judicial procedure. Ovid wrote frivolous poems but inserted into his works also the obligatory praises of Augustus. The standard explanation of his relegation to Tomis is the licentious content of his Ars Amatoria, which were believed to offend the moral principles of Augustus. However, the Ars had been published several years before the exile. The poet himself in his Pontic writings mentions an unspecified error and a carmen, pointing also to the Ars, without, however, a clear explanation of the reason for his fall. The writer of the present contribution assumes that the actual reason for the relegation of the poet without a trial were the verses of his Metamorphoses and especially the passage about the wicked stepmothers preparing poison. That could offend Livia who, according to gossip, used poison to get rid of unwanted family members. Ovid was exiled, but the matter was too delicate for a public justification of the banishment. When writing ex Ponto the poet could not explicitly refer to the actual cause of his exile.
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Toscano, Fabio. "The Tuscan Artist." Journal of Science Communication 03, no. 03 (2004): A02. http://dx.doi.org/10.22323/2.03030202.
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In The Areopagitica, his most important work of prose, John Milton mentions Galileo as the illustrious martyr who fought for the freedom of thought. The name of the great scientist is repeated several times in the English poet's epic masterpiece: Paradise Lost. In three different passages of the poem, Milton in fact celebrates the "Tuscan Artist" and his crucial achievements in astronomy. Nevertheless, in a subsequent passage, the poet addresses the Copernican issue without openly defending the heliocentric theory confirmed by Galileo's discoveries. In fact, he neither embraces the Copernican system nor the Ptolemaic one, but instead compares them, following a dialectic method where one cannot fail to notice an echo of Galileo's Dialogue Concerning the two Chief World Systems. Milton's literary work presents images of astronomy at that time, thus offering a valuable historical example of scientific communication through art.
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López Cruces, Juan L. "A HEAVENLY SON OF ZEUS (DIOG. LAERT. 6.76 = CERCIDAS, FR. 54 LIVREA)." Classical Quarterly 68, no. 1 (2018): 91–96. http://dx.doi.org/10.1017/s0009838818000046.
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In hisLives of Eminent Philosophers(6.75–6) Diogenes Laertius mentions, among the various traditions of how Diogenes the Cynic met his end, the belief that he committed suicide by retention of the breath. He cites as his authority for this the poet Cercidas of Megalopolis (c.290–post 215b.c.e.), who, between some fifty and a hundred years after the death of the Cynic, celebrated his ascent to heaven in the following verses.
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Król, Karolina, and Jerzy Kandziora. "“I think that poets and, more broadly, all artists have some certain cognitive impatience in them”." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 9 (December 30, 2020): 357–66. http://dx.doi.org/10.18778/2299-7458.09.19.
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The interview covers the subject of Stanisław Barańczak and his works. Pondering on the way the poet pictures the existence of God in his poems is an important part of the text. Another crucial subject is the way Barańczak deals with his illness and portrays it in his poetic works. In the interview Jerzy Kandziora – an exquisite reasercher of the poetry written by Barańczak and Jerzy Ficowski − mentions his private relationship with both Barańczak and his wife.
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Boullata, Issa J. "Textual Intentions: A Reading Of Adonis' Poem “Unintended Workship Ritual”." International Journal of Middle East Studies 21, no. 4 (1989): 541–62. http://dx.doi.org/10.1017/s0020743800032918.
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In his long poem entitled “Quddās bi-lā qasd” (Unintended Worship Ritual), the well-known Syrian–Lebanese poet Adonis (Dr. 'Ali Ahmad Sa'īd) celebrates a love relationship with a young woman he came to know while he was a professor at the Syrian University in Damascus. He mentions two dates and two cities at the end of the poem, suggesting perhaps that he began writing the poem in Damascus in January of 1976 and that he finished it in Beirut in August of 1978. He had moved to Damascus from Beirut during the early years of the Lebanese Civil War and accepted a teaching position at the Syrian University, but he later returned to Beirut, where his home had been since he had left his native Syria to become a Lebanese citizen in 1956. The same young woman also inspired him to write a much shorter undated poem entitled “Awwal al-ijtiya” (The Beginning of Sweeping Annihilation) in which his passionate love is expressed in terms of a deep desire to be natural, to give vent to the powers within the self, and to remove what he considers to be the constraints of hypocritical, repressive sociocultural conventions in Arab society.
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Söylemez, İdris. "Nâbî’nin Hayriyye’sinde İslam’ın Şartları." Journal of The Near East University Islamic Research Center 6, no. 2 (2020): 397–440. http://dx.doi.org/10.32955/neu.istem.2020.6.2.03.
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Yusuf Nabi from Urfa is one of the important poets of 17th century Classical Turkish Literature. He is the pioneer of the hikemi style which is a leading literary school of 17th century and examples of which is seen from an earlier period in the field of Iranian literature. Within tent to leave a legacy to his son Abu'l-Hayr, the Poet wrote one of his important work "Hayri-name" or "Hayriyye" with his common name. The work of his was written in the style of pend-name, a style belonging to Ottoman field Classical Turkish Literature. However, his work was far from being understood in terms of content, style and language by Abu'l-Hayr who was only eight years old at the time. Due to being of a certain age, the Poet feared that he would be unable to guide his son in related matters, so he wanted to leave written advice for him as inheritance. Written to provide guidance and teach manners, the work contains some topics related to political, social, economic and cultural areas. The work, which Nabi formed according to mesnevi verse style, contained right at the beginning of it a detailed explanation in the issue of the Conditions of Islam. The Conditions of Islam are essential for each member in a Muslim society to learn and counted as the basis of Islamic religion. In this article, we aim to reveal the views of Nabi, who mentions in his work about the training of young Muslim men about the conditions of Islam.
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Tadajczyk, Konrad. "Ichthyological Hapax Legomena in Marcellus’ "De piscibus"." Studia Ceranea 9 (December 30, 2019): 705–22. http://dx.doi.org/10.18778/2084-140x.09.34.
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Marcellus of Side, a physician and didactic poet of the second century AD, mentions fourteen exclusive ichthyonyms in the preserved fragment De piscibus, extracted from the 42-volume epic poem entitled Cheironides. The author discusses Greek names of fish and sea animals that appear only in Marcellus’ work. They belong to the so-called hapax legomena. The following appellatives are carefully analyzed: ἁλιπλεύμων, ἅρπη, βούφθαλμος, βράχατος, γαρίσκος, γερῖνος, ἐρυθρός, θρανίας, θῦρος, κόλλουρος, περόνη, τραγίσκος, τυφλῖνος, χρύσοφος. It is assumed that Marcellus of Side introduced a number of ichthyonyms of Pamphylian origin, e.g. Pamph. θῦρος (< *θύρσος), βράχατος (instead of βάτραχος), ἐρυθρός (= ἐρυθρῖνος), θρανίας (instead of θράνις), χρύσοφος (instead of χρύσοφρυς). Also new identifications of fish are suggested, e.g. Gk. βούφθαλ- μος ‘large-eye dentex, Dentex macrophthalmus Bloch’, Gk. κόλλουρος ‘slender sunfish, Ranzania laevis Pennant’. All the discusssed ichthyonyms, as well as names of other sea animals, are explained from the point of view of phonology, morphology or semantics, e.g. ἁλιπλεύμων ‘jellyfish’ (literally ‘sea lung’), ἅρπη ‘a kind of ray fish’ (literally ‘a kite’).
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Goncharov, Vitaly Viktorovich, Marina R. Zheltukhina, Gennady G. Slyshkin, Zaineta R. Khachmafova, and Susanna R. Makerova. "Semantic of color in the poetics of Vladimir Mayakovsky." LAPLAGE EM REVISTA 7, Extra-B (2021): 88–96. http://dx.doi.org/10.24115/s2446-622020217extra-b887p.88-96.
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This article analyzes the use of color in the poetic works of Vladimir Mayakovsky as a symbolic actualization of the most important aspects of both the reality surrounding the poet and the world of his inner experienceshe authors note that the poet's choice of a particular color palette in his literary works is often determined by a number of objective and subjective factors: personal sensual love experiences, including complicated and fairly long relationships within the love triangle "Lilya Brik - Osip Brik - Vladimir Mayakovsky"; events of the early twentieth century, rapidly replacing each other, in which not only Russia, but the whole world were immersed (World War I, revolution, civil war in Russia, new economic policy, etc.). And, although the poet constantly mentions in his works about the rich color palette of the surrounding world, including thousands of colors, the authors of the article substantiate the position that in reality Vladimir Mayakovsky uses a rather limited number of colors and shades (the most popular with him are gold, red, black and white).
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Samarkina, Mariia. "Ekphrasis in Photography Lyrics: Methods of Representation." Slavic World in the Third Millennium 14, no. 1-2 (2019): 206–18. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.13.
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The article deals with ekphrasis (verbal description of visual artworks) in lyrics about photography. The purpose of this article is to clarify the possibility of using the term “ekphrasis” in relation to photographic lyrics and to divide the phenomena of photopoetics and photoekphrasis. The difference becomes obvious as we analyze the following texts: “Photograph from September 11” and “Hitler’s First Photograph” by Polish poet Wislawa Szymborska, “A Snapshot” by Russian poet Bella Akhmadulina and “From the Album” by Russian poet Genrikh Sapgir. The four texts are characterized by a special timing structure: past, present and future, with some regularity, exist within the description of the same photographs. In addition, the space of all four texts is open. This is a feature not only of photoekphrasis, but also of photopoetics as a type of visual poetry, which does not depend on the type of description. In all four texts, the author's position is inevitably present and recognized. In the first three cases, we know the picture or the person to which the subject refers. In the fourth one, the poet refers to his personal archives or memories. But “Hitler’s First Photograph” refers to the well-known historical personality only in the title and some mentions in the text. Thus, in our opinion, only “Photograph from September 11” by Wislawa Szymborska and “A Snapshot” by Bella Akhmadulina can be considered as ekphrasis. However, “From the Album” by Genrikh Sapgir and “Hitler’s First Photograph” by Szymborska features photographic discourse and fragmentary descriptions to create a photopoetic text, but not an ekphrasis. Apparently, the ekphrasis of a photograph is not only a description of one specific and existing in common culture photograph, but also a restoration of its poetics in a lyrical text.
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Haft, Adele J. "The Mocking Mermaid: Maps And Mapping In Kenneth Slessor’s Poetic Sequence The Atlas, Part Four." Cartographic Perspectives, no. 79 (May 27, 2015): 22–53. http://dx.doi.org/10.14714/cp79.1240.
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Midway through composing his five-poem sequence The Atlas (ca. 1930), the acclaimed Australian poet Kenneth Slessor suddenly wrote “Southerne Sea” in his poetry journal. He’d just chosen John Speed’s famous double-hemisphere map, A New and Accurat Map of the World (1651/1676), as the epithet of his fourth poem “Mermaids.” Unlike the cartographic epigraphs introducing the other poems, however, this map has little to do with “Mermaids,” which is a riotous romp through seas of fantastic creatures, and a paean to the maps that gave such creatures immortality. The map features a vast “Southerne Unknowne Land,” but no mythical beasts. And while it names “Southerne Sea” and “Mar del Zur,” neither “Mermaids” nor The Atlas mentions Australia or the Southern Sea. Moreover, Slessor’s sailors are “staring from maps in sweet and poisoned places,” yet what the poem describes are “portulano maps,” replete with compass roses and rhumb lines—features notably absent on A New and Accurat Map of the World. My paper, the fifth part of the first full-scale examination of Slessor’s ambitious but poorly understood sequence, retraces his creative process to reveal why he chose the so-called Speed map. In the process, it extricates the poem from what Slessor originally called “Lost Lands Mermaids” in his journal, details his debt to the ephemeral map catalogue in which he discovered his epigraph, and, finally, offers alternative cartographic representations for “Mermaids.” Among them, Norman Lindsay’s delightful frontispiece for Cuckooz Contrey (1932), the collection in which The Atlas debuted as the opening sequence.
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Glukhova, E., and D. Torshilov. "ON THE NUANCES OF ANDREY BELY’S DECLAMATORY STYLE AND S. BERNSTEIN’S STUDIES OF HIS POETIC RECITALS." Voprosy literatury, no. 4 (October 2, 2018): 122–72. http://dx.doi.org/10.31425/0042-8795-2018-4-122-172.
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The paper offers a detailed analysis of Andrey Bely’s (melo)declamatory style in the context of his poetic and theoretical experimentations. Bely’s contemporaries described his recitals as adhering to the typically ‘decadent’ manner of declamation: with the poem’s meter emphasized by monotonous melodization. On examining the written mentions of his recitals, one is moved to agree with Bernstein’s statement that the poet had undergone a change in his declamatory manner, confirmed by Bely himself. And indeed, a first-ever digital analysis of the audio recordings made by Bernstein in chronological order sheds light on the inner causes of Bely’s poetic experimentation (‘melodism’) in his later years, and, together with the printed version of the poetry, points to the connection between the poet’s declamatory style and the general direction in which he went with his work as a poet and a theorist. Bely’s later poetry called for two distinctive manners of recital: one, relatively stable in terms of pauses and melodization, for traditional meters, and the other, more elaborate, for his ‘melodic’ verses. The latter is more in affinity with the poet’s manner of reciting his rhythmical prose. The two declamatory styles originate in the voiceless recital during composition, as described by Bely to Bernstein.
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Słomak, Iwona. "Katon Macieja Kazimierza Sarbiewskiego (Lyr. II 6) i exercitia Seneciana." Terminus 23, no. 1 (58) (2021): 1–24. http://dx.doi.org/10.4467/20843844te.21.001.13260.
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Maciej Kazimierz Sarbiewski’s Cato (Lyr. II 6) and exercitia Seneciana The starting point for the research presented in this article was an attempt to trace the literary tradition which inspired the creation of the lyrical subject and the titular figure of Maciej Kazimierz Sarbiewski’s ode II 6 (Cato Politicus). The presence of this name implies that the intertextual dimension of the poem should be taken into account in its interpretation, hence, the author of this article assumed that the question of the literary tradition should be addressed before a hypothesis about the meaning of the poem is put forth. A review of Sarbiewski’s potential sources of inspiration – primarily works that were included in the basic and supplementary reading lists in Jesuit colleges – brings satisfactory results. It turns out that the ancient author who often mentions Cato the Younger is Seneca Philosophus, moreover, there are numerous similarities between some passages in his works and ode II 6. Sarbiewski seems to have been especially inspired by his Epistulae morales ad Lucilium, and also by the Senecan Consolationes. However, rather than refer to the views attributed by Seneca explicitly to Cato, the Polish poet explores the thoughts of the Philosopher himself, possibly assuming that the views of the politician and the philosopher were similar; this assumption could be justified by the fact that Seneca not only repeatedly expresses highest praise of the republican hero, but he also openly recommends to treat Cato Uticensis as a role model. These issues are discussed in the first part of this paper. In the second part, the author compares selected passages from Seneca’s works and two poems (II 5 and II 7) adjacent to the ode Cato Politicus. The comparison shows that the convergences discussed above are not incidental. On the contrary, there is a series of Sarbiewski’s odes inspired by Seneca, and therefore the Roman philosopher and tragedian can be considered the next, after Horace, master of the Jesuit poet. It is postulated that these inspirations deserve more recognition in further studies on Sarbiewski’s poetry, as they may be helpful in the interpretation of some problematic passages of his odes.
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Sharif, Khalida, Parveen Akhtar Farhat, Saeed Ahmad, and Qazi Muhammad Saeed Ullah. "A Comparative Translation Study of the Poem “Ik Nuqtay Wich Gal Mukdi Aey” by Bulleh Shah, Translated by Kartar Singh Duggal and Suman Kashyap." Review of Education, Administration & LAW 4, no. 2 (2021): 553–61. http://dx.doi.org/10.47067/real.v4i2.171.
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The present research study is based on comparative analysis of two different translations done by two different writers of the same poem of Bulleh Shah, a renowned Sufi poet. Researcher selected the model of Eugene Nida’s principle of equivalent effect as the framework of this research article. Equivalent effect and feel is the vital element of the theory of translation presented by Eugene A Nida(1964). Nida (1964) claims that the analysis of the surface structure of the source text (ST) makes it easy to transfer the source language content and form into target language. Ju Miao (2000) mentions in his research article that before the publication of “toward a science of translating (1964) translation usually focused on literal translation or free translation. Researcher selected the translation of a poem which is written by Bulleh Shah and translated by two different writers one by Kartar Singh Duggal and other translation by Suman Kashyap. Researcher made a comparative analysis by using the Eugene Nida’s approach of translation theory which is based on principle of equivalent effect. The purpose of the study is to analyze that either these translations convey the content, form and feel of the original text or not in the perspective of Nida’s approach of translation. Findings are taken after making the comparison by keeping the principle of equivalent effect in mind. This research article will be helpful to understand the original effect and sense which is used by Bulleh Shah and will help to find out how much close these translations are with source text.
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Steiniger, Judith. "Die Suche nach einem Pasquill von Sixt Birck bei der Bearbeitung von Heinrich Bullingers Briefwechsel." Daphnis 44, no. 4 (2016): 485–500. http://dx.doi.org/10.1163/18796583-10000007.
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Heinrich Bullinger’s 1546 correspondence mentions a pasquil by the Augsburg scholar and poet Six Birck, which the editors identified as Ain neüwer Römischer Pasquillus […]. However, this work is commonly attributed to Martin Schrot, as an analysis of its content and form confirms. To Sixt Birck’s oeuvre, a pasquil can be added now, which has yet to be identified. Bei der Arbeit an der Edition von Heinrich Bullingers Briefwechsel des Jahres 1546 wurde nach einem Pasquill des Augsburger Gelehrten und Dichters Sixt Birck gesucht und die Hypothese aufgestellt, dass es sich dabei um Ain neüwer Römischer Pasquillus […] gehandelt haben könnte. Doch wird dieses Werk gemeinhin Martin Schrot zugeschrieben. Aus inhaltlichen und formalen Gründen ist die Zuweisung dieses Werks an Schrot berechtigt. Dem Schaffen Sixt Bircks ist neu ein Pasquill hinzuzurechnen, über das jedoch bislang nichts Näheres ermittelt werden konnte.
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Kayanidi, Leonid. "Vyacheslav Ivanov’s Tragedy «Prometheus» and Heraclitus." Izvestia of Smolensk State University, no. 4 (52) (December 16, 2020): 5–24. http://dx.doi.org/10.35785/2072-9464-2020-52-4-5-24.
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The tragedy «Prometheus» (1919) is one of the most complex literary works by Vyacheslav Ivanov (1866–1949), a Russian symbolic poet. It contains numerous references to mythology, ritual practices, ancient and modern European literature
 and philosophy. In the article the author analyzes a Heraclitian layer of Ivanov’s tragedy and relies primarily on the sources contained in the poet’s personal library. Heraclitus is one of the most beloved and highly sought philosophers by
 Ivanov. The poet repeatedly quotes or mentions individual fragments or ideas of the pre-Socratic philosopher in his lyrics, philosophical and aesthetic articles, and scientific
 works. Heraclitus’ philosophy is essential for revealing the Prometheus-Dionysian mythologeme that is the basis of Ivanov’s tragedy. The symbolism of the material elements (fire, water and earth) is reflected in the composition scheme of
 the work preceded by the text of the tragedy. Like Heraclitus’ fire, Ivanov’s one takes on a cosmogonic and anthropogenic significance. Heraclitus’ fire is identified by Ivanov with Dionysus-Zagreus and primordial Zeus (the transcendent-divine
 principle) which is opposed to Zeus-Kronid (the immanent-divine principle). Ivanov follows Heraclitus in understanding the human spirit as fire seeds, combining Christian, Eleusinian, stoic, and Heraclitian semantics in a complex way. One of the leitmotivs of the tragedy, based on Heraclitus, is understanding of
 war as the essence of the cosmogonic, metaphysical and historical-cultural process. This leitmotiv permeates the key scenes of the tragedy: creation of Pandora, the first crime, the first sacrifice. Special attention is paid to the demonstration of deep
 mythological connections between Prometheus, fire and war and the Christianization of Heraclitian philosophical mythologemes.
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Cairns, Francis. "Artake and Hylaea in Propertius 1.8.25–6." Cambridge Classical Journal 57 (December 2011): 1–8. http://dx.doi.org/10.1017/s175027050000124x.
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Elegy 1.8 is Propertius' propemptikon for Cynthia, which starts with the poet begging Cynthia not to go off to Illyria with his rival. Once Propertius has abandoned hope of her staying, he modulates into the good wishes for Cynthia's voyage (17–18) which are standard in this genre of content. He himself will continue his elegiac outpourings at her door (21–2), and will accost and interrogate sailors about which sea-port Cynthia has reached on her journey (23–4). Then in lines 25–6 Propertius fantasises about Cynthia settling abroad; he mentions two potential foreign locations – in the MSS they are denoted by Atraciis (25) and Hylaeis (26) – but he remains confident that she will nevertheless be his in the future. In the Teubner edition of Propertius, Paolo Fedeli retained the MSS reading Atraciis (NFL) and the reading Hylaeis implied by the MSS (Hi(y)le(y)is NFL), and he printed the couplet as:et dicam ‘Licet Atraciis considat in oris,et licet Hylaeis, illa futura mea est.’
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Klenin, Emily. "Lexicon and rhetoric in Fet's translation of Goethe's Hermann und Dorothea." Sign Systems Studies 40, no. 1/2 (2012): 121–54. http://dx.doi.org/10.12697/sss.2012.1-2.07.
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A. A. Fet's translation of J. W. Goethe's Hermann und Dorothea is an important early example of Fet's lifelong practice as a translator and attests to his well-known fidelity to his source texts. His strongest preference is to maintain the versification characteristics of his source, but the degree of his lexical-semantic fidelity is also very strong and far outranks fidelity on other levels (phonetic, grammatical). The poet evidently translated holistically within very small textual domains, within which he sometimes isolated pivots of core semantic information (which he located in translation as they were in the original), around which less important material was fitted, insofar as space permitted. In Fet's text, versification limitations sometimes led to lexical-semantic mismatches of semantic denotation, and these mismatches are characterized in the paper: they typically involve repetitions, repeated mentions, or known information, and the mismatch may entail full or partial loss or enrichment of the semantics of the original. In addition, conflicts sometimes arise between denotative requirements within the local domain and the cumulative (usually connotative) associations generated across the larger domain of the whole text. When such conflicts arise, Fet resolves them in favour of small-domain accuracy, resulting in semantic changes ('shifts') in the domain of the poetic text, which thereby loses some rhetorical or poetic force, relative to the original. Dissonance between large- and smalldomain semantics is often inevitable, because of the language-specific nature of connotation. To the extent that the semantics of Fet's translation are a consequence of his personal preferences, they may be viewed in the context of, first, his early school training (not far behind him when he translated Hermann und Dorothea) and, second, his status as both professional poet, writing in Russian, and educated native German-Russian bilingual.
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Смирнов, Николай, and Nikolay Smirnov. "On the birth of theatrical tradition in the estate of D. I. Mendeleev «Boblovo»." Service & Tourism: Current Challenges 9, no. 2 (2015): 134–37. http://dx.doi.org/10.12737/11407.
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The present paper is the result of years of hard work of the author on the study traditions of family life of the great Russian scientist D. I. Mendeleev, his close and distant relatives. It is dedicated to the 150&#34;1 anniversary of the purchase by D. I. Mendeleev in June 1865 of Boblovo, which is a resurgent Northern Moscow Region estate.
 
 In the circle of the descendants of the great scientist often talk about the «Clan ofD. I. Mendeleev». It included members of the first and second families of D. Mendeleev: Theosebia Nikitichna first wife, his second wife, Anna Ivanovna, and their children, six in two marriages of Mendeleev. Readers iare offered to learn about Mendeleev who led a unique family, which included brothers and sisters, nephews, great-nephews of the scientist, his friends.
 
 One of the traditions of Mendeleev&#62;s clan was known as barn-theater productions with active participation of the poet Alexander Blok. Of course, the poet can be safely attributed to the «Clan of Mendeleev». This rather large community of citizens of modern Russia includes the author of the article, who belongs to the generation of great-great nephews ofD. I. Mendeleev.
 
 Author&#180;s research methodology is original, it is dominated by information received from the mouth of the descendants of the great scientist. The article mentions a totally unique document that sheds light on the many pages of the history of Boblovo. This document adds new content road tour «Bol&#180;shoe Shakhmatovo» linking Shakhmatovo (A. A. Blok estate) with the estate ofD. I. Mendeleev and villages Pokrovskoe, Rogachevo, Ivanovo, St. Nicholas-Peshnoshsky monastery, estate «Tarakanovo».
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Egan, Rory B. "Cecropids in Eubulus (fr. 10) and Satyrus (A.P. 10.6)." Classical Quarterly 35, no. 2 (1985): 523–25. http://dx.doi.org/10.1017/s0009838800040374.
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Cecropids, grammatically masculine in one case and feminine in the other, occur in each of these pieces of poetry. I believe that the second passage can shed some light on the meaning of the term as it is used in the fragment from the Antiope of Eubulus. The question of the significance of the Cecropids in Eubulus has previously been discussed by E. K. Borthwick. A. B. Cook, noting the similarity of κερκώπη (a term designating a type of cicada) to the name of Cecrops and seeing their associations with dew as a link between the insects and the names (Herse, Pandrosus) of Cecrops' daughters, had posited a connection between the autochthonous Athenian family of Cecrops and the earth-born cicadas, those symbols of Athenian autochthony. Borthwick applied Cook's theory to the passage from Eubulus and concluded that when the poet mentions the Cecropids that feed on the breezes he is alluding to the musical cicadas, who were believed to subsist on dew and/or air. It was this latter feature of their diet, Borthwick proposed, that inspired the last line of the fragment.
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González Álvaro, María Luisa. "Homero en la teoría literaria española del Siglo de Oro." Estudios Humanísticos. Filología, no. 19 (December 15, 1997): 33. http://dx.doi.org/10.18002/ehf.v0i19.4055.
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<p><span class="titulo">En las páginas siguientes se tratará de desenterrar la figura de Homero, sepultada bajo el aluvión de citas y referencias de todo tipo (artísticas, históricas, filosóficas...) que frecuentan las páginas de nuestra teoría literaria del Siglo de Oro. Se han escogido varias obras fechadas a fines del XVI y principios del XVII por su importancia y representatividad. Con ellas como base se han intentado organizar, clasificar y analizar las menciones que al poeta griego y a diferentes aspectos de su obra allí se han localizado. Partiendo del inmenso prestigio del que gozaba la figura de Homero, se ha considerado de interés establecer, de alguna manera, distintos puntos clave en torno a los cuales se centra esa gran consideración, es decir, las cuestiones más relevantes en las que, para estos preceptistas, Homero aparece como la máxima autoridad.</span></p><p><span class="titulo">The aim of this paper is to unearth Homer from the immense amount of quotations and referentes of all kinds (artistic, historical, philosophical) so common in the papes of our literary theory of the Golden Century. Several works, dating from the end of the XVI century and the beginning of the XVII century have been chosen because of their importante and typical nature. Using them as a base, we have tried to organise and analyse the mentions to the Greek poet and his works. Taking Homer's immense prestige as a starting point, we have considered of interest to establish the different key points around which this prestige thrives, that is to say, the most relevant issues in which, according to the theorists, Homer was considered the highest authority.</span></p>
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Krynicka, Tatiana. "Maturam frugem flore manente ferens: pochwała starości w poezjach Auzoniusza." Vox Patrum 56 (December 15, 2011): 169–83. http://dx.doi.org/10.31743/vp.4214.
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Decimus Ausonius Magnus (ca 310-394) was a rhetorician, a teacher, a tutor of young Gratian and a highly-ranked, influential official, as well as one of the most famous poets of the late Roman Empire. In his poems, he frequently described the small world he belonged to, the daily routine of his own, of his relatives, professional colleagues and friends. As the poet reached his old age, he made it a subject of his poetry. Ausonius considers old age to be a blessing, a time which permits a wise, generous person to gather fruit of his good deeds and fulfilled duties, to watch children and grandchildren grow and achieve successes, to share one’s wisdom with younger persons. Ausonius shows his grandfather and his grandmother, his aunts, but first of all his father, Ausonius senior, as the examples of happy old persons, loving and loved, respected and needed by the people who surrounded them. He notices that old persons can be joyful, healthy and beautiful. Writing about old age, he mentions illness only once, while expressing his joy of having recovered and being able to send greetings to the grandson who celebrates his birthday. In spite of his age, Ausonius still loves his wife Sabina, who died many years before, the same way as he loved her when he was a young husband. He is deeply attached to Bissula, the charming German girl captured and given to him by the Emperor Valentinian I probably circa 368. Besides, he really enjoys spending time with his friends and with the Muses. In his epigrams, most of which don’t have personal, but rather literary character, the poet translates, quotes, paraphrases and imitates Greek and Latin epigrams which deal with the theme of old age. Although in Ausonius’ poems exists an obvious resemblance to their models, he grants himself much freedom in his remouldings. Not only he alters circumstantial details, expands or abbreviates the original, bur also uses them as mere starting points of his reflexion. It becomes more important for him to ponder over quickly passing youth or over a lover’s feelings towards a woman who rejected him when she was young, but whom he still admires, than to play a literary game. Ausonius never parodies nor even portrays women trying to attire men in their old age, even though he may mock old men pretending to look younger than they are. Neither he complains about pains and sorrows of old age. In all that, he remains a true Roman and a true gentleman.
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Nervegna, Sebastiana. "SOPHOCLES THE KŌMŌIDOUMENOS: TWO FORGOTTEN COMIC FRAGMENTS." Classical Quarterly 66, no. 1 (2016): 32–45. http://dx.doi.org/10.1017/s000983881600015x.
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In his biography of Polemon, head of the Academy from 313 to 269, Diogenes Laertius comments on Polemon's fondness for Sophocles after detailing Polemon's relationship with his predecessor, Xenocrates (4.19–20): ἐῴκει δὴ ὁ Πολέμων κατὰ πάντα ἐζηλωκέναι τὸν Ξενοκράτην· καὶ ἐρασθῆναι αὐτοῦ φησιν Ἀρίστιππος ἐν τῷ τετάρτῳ Περὶ παλαιᾶς τρυφῆς. ἀεὶ γοῦν ἐμέμνητο ὁ Πολέμων αὐτοῦ, τήν τ' ἀκακίαν καὶ τὸν αὐχμὸν ἐνεδέδυτο τἀνδρὸς καὶ τὸ βάρος οἱονεὶ Δώριός τις οἰκονομία. ἦν δὲ καὶ φιλοσοφοκλῆς, καὶ μάλιστα ἐν ἐκείνοις ὅπου κατὰ τὸν κωμικὸν τὰ ποιήματα αὐτῷκύων τις ἐδόκει συμποιεῖν Μολοττικός,καὶ ἔνθα ἦν κατὰ τὸν Φρύνιχονοὐ γλύξις οὐδ' ὑπόχυτος, ἀλλὰ Πράμνιος.ἔλεγεν οὖν τὸν μὲν Ὅμηρον ἐπικὸν εἶναι Σοφοκλέα, τὸν δὲ Σοφοκλέα Ὅμηρον τραγικόν.It would seem that Polemon imitated Xenocrates in all respects. In the fourth book of On the Luxury of the Ancients, Aristippos says that he loved him. Certainly Polemon kept him in mind and, like him, wore that simple, dry dignity that is proper of the Dorian mode. He also loved Sophocles, particularly in those passages where it seemed as if, in the words of the comic poet, ‘a Molossian dog co-authored’ plays with him and where the poet was, in the words of Phrynichus, ‘neither bland nor doctored but Pramnian’. Thus he would call Homer the epic Sophocles and Sophocles the tragic Homer. The main source of Diogenes Laertius' Life of Polemon is Antigonus of Carystus, who was active in Athens and (apparently) Pergamon around the mid third century. In addition to being generally considered a reliable author, Antigonus is also chronologically close to Polemon's lifetime. He is also the source of Philodemus' History of Philosophers, a work preserved by two important papyri from Herculaneum. Philodemus, too, mentions Polemon's admiration for Sophocles, although he gives a shorter version than Diogenes Laertius: λέγεται δὲ καὶ φιλοσοφοκλῆς γενέσθαι καὶ μά || λιστα τὸ ΠΑ[.]Α[……….] | τῆς φωνῆς καὶ παρα[….] ἀποδέχεσθαι. In Dorandi's translation, Philodemus records that ‘si dice che [Polemone] fu ammiratore di Sofocle e soprattutto ne apprezzò l'audacia (del suono della lingua) e ciò che suonava duro’.
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Gottlieb, Evan M. "CHARLES KINGSLEY, THE ROMANTIC LEGACY, AND THE UNMAKING OF THE WORKING-CLASS INTELLECTUAL." Victorian Literature and Culture 29, no. 1 (2001): 51–65. http://dx.doi.org/10.1017/s1060150301291049.
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Poets are the unacknowledged legislators of the world.—Percy Shelley, “A Defence of Poetry”THESE WORDS, written in 1821, celebrate the figure of the poet as leader and prophet.1 By noting that this position is “unacknowledged,” however, Shelley intimates that the Industrial Revolution sweeping Britain threatens to shrink the political and social relevance of poets. While Shelley makes no mention of class distinctions in “A Defence of Poetry,” had he paused to consider the relative status of the poet in class terms, he would probably have admitted that his era’s working-class versifiers were, with a few exceptions, the most unacknowledged poets of all.
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Prigarina, N. I. "Linking the poetical text and the doctrines of Sufi brotherhoods: Sufi poetry of A. Lahuti." Orientalistica 2, no. 4 (2020): 1021–37. http://dx.doi.org/10.31696/2618-7043-2019-2-4-1021-1037.
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The article deals with the poetical heritage of Abulqasim Lahuti, more precisely his poetical works of an early period, which constitute a special section in his collection of poems, the Divan. It was published in Teheran as early as in 1979 by 'Ali Bashiri under the title As'ar-e mazhabi va 'erfani («Religious and Sufi verses»). The revolutionary, patriotic and lyrical poetical works by A. Lahuti published since 1909 are well-known. However, his early poetry, which reflects the time when he was in contact with various Sufi brotherhoods remains almost a terra incognita for most scholars who have been studying his poetry ever since. Moreover, the existence of such poetry of his was hardly even accounted for, at least by the Soviet scholars who made attempts to reconstruct Lahuti’s biography as a poet. Usually, it is difficult to link an author of a poetical piece (ghazal) with a certain Sufi brotherhood or school unless there is a direct indication left by his biographers that he was taught by certain sheiks. One of the least researched questions in the text studies remains, whether an ideology of a given brotherhood can be traced in the poetic features of a given ghazai. The section from the Divan by A. Lahuti contains traditional “genres”, such as the tawhid (the Unicity of the Almighty); na't (praise to the Prophet Muhammad, praise to 'Ali and Hussain); lamentation on the events in Karbala; praise to Sheikh Hayran Kurdistani and some other works. The second part of the section comprises 107 ghazals. As A. Lahuti mentions in his autobiography, he became a member of a Sufi brotherhood. The article explores the connection between the early poetry by A. Lahuti and the doctrine of Sufi brotherhoods as reflected in the poetics of his ghazais. His work of this period reveals his awareness of the doctrines of ne'matallahi and ahl-i haqq (or 'Aii- ilahi) Sufi orders. The poet had three mentors, each of whom represented the following types of the Sufi Path: ecstatic and visionary one; a militant one; and a humble one praising holy behaviour and being content with little. The early ghazais by A. Lahuti respectively reflects these types of the Sufi Path.
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Subbulakshmi, S. "Thirugnana Sambandhar - A Mathematician." Shanlax International Journal of Arts, Science and Humanities 9, no. 1 (2021): 136–40. http://dx.doi.org/10.34293/sijash.v9i1.3991.
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India has been the Land of notable poets whose exemplary works are world renowned. One such great poet is Thirugnana Sambandhar. He is a saint, poet, philosopher, composer who belongs to 7th Century. He was born in Seerkaazhi of Tamilnadu. He had coined many Special Geometrical poetic structures like Thiru ezhukkootrirukkai (poem with mathematical Triangular Pattern), Maalai Maatru (a poem with palindromic Structure), Mozhi Maatru (a poem in which the meaning of the poem can be observed by a systematic Chane of words), Gomuthri (Flow of the poem in such a way it forms a wave line), Chakramaatru (a poem which is constructed in a circular form ). By the above mentioned amazing structure He has no parallels in the worlds poetry Thirugnana Sambandhar is the epitome of Tamil Literature has penned down many such extraordinary poems. A Mathematician is one who uses an extensive knowledge of Mathematics in their work. Mathematicians are concerned with numbers, data, quantity, structure, space,models and change. Here in this poetic form Thiruezhukkootrirukkai Thirugnana Sambandhar had used numbers in a brilliant way to form a Triangle. This is called “Chitrakavi” in Tamil. By analyzing the whole poem we will get a geometrical structure. In this Thiruezhukkootrirukkai Thirugnana Sambandhar has constructed the words in such a way to form a symmetrical triangle. These triangle is arranged in a perfect mathematical calculation. This can be analysed through the law of binomial co- efficient. This is analysed and proved in this paper. Thirugnana Sambandhar belongs to 7th Century whereas the Scientist and Mathematician Pascal who discovered the law of Bi-nomial co-efficient belongs to 17th century. Other than this Mathematical diagram of triangle this poem has Palindromic numbers which add more beauty to this structure which is also a mathematical calculation. By constructing this amazing poetic structure Thirugnana Sambandhar proves beyond doubt that he is a “Mathematician” of India of the 7th Century itself who had applied the law of triangle earlier.
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Shahida Parveen, Ahmar Jahanzeb, and Dr. Muhammad Rashid Hafeez. "A Study of Tabish Khair’s Poetic Work through Stylistics." sjesr 4, no. 1 (2021): 461–68. http://dx.doi.org/10.36902/sjesr-vol4-iss1-2021(461-468).
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Stylistics as a scientific discipline helps to interpret literary text logically based on linguistic evidence. This study aims at exploring the stylistic features of Tabish Khair’s poem, Immigrant. The poem has been analyzed on different levels of stylistics: graphological, phonological, morphological, syntactical, pragmatics, and discourse. The connotative and denotative meanings of the poem have been explored to get a complete understanding of the poem. The stylistic analysis of the poem reflects the main idea of the poem that is the quest of the poet for his homeland and his lost identity. The choice of the words by the poet has played a very important role in underlying major or minor themes of the poem. It is interesting to mention that he has not used the word Immigrant even once, yet the use of words is quite apt to convey the central idea. The poem is not monotonous or tedious. The poem is relatable to anyone experiencing the same phase of life or state of mind. The theme has been conveyed artistically by using different stylistic devices. This study is also the manifestation of the unique style and structure of Khair’s poetry.
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Rosmer, Stefan. "A new manuscript containing 'Fundamentum artium' Ein neuer Textzeuge zu 'Fundamentum artium'." Zeitschrift fuer deutsches Altertum und Literatur 150, no. 2 (2021): 226–34. http://dx.doi.org/10.3813/zfda-2021-0008.
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This article introduces a formerly unknown copy of the Latin stanza 'Fundamentum artium', which is elsewhere ascribed to The Marner, a poet from the 13 th century. Its text is transmitted in the manuscript D II from the Archive of the Prague Castle, Library of the Metropolitan Chapter on fol. 95vb, dating from the second half of the 14 th century. The article provides information about the manuscript – mostly based on the catalogue by Patera and Podlaha – and briefly discusses two colophons on fol. 95v. In one, a scribe named Conradus mentions himself. The new document is then situated within the other three manuscripts containing 'Fundamentum artium'. The article is concluded with a transcription with the variants from the other manuscripts. Although the textual quality of 'Fundamentum artium' is rather poor in this manuscript, the copy affords valuable insights into the transmission and reception of the stanza in the 14 th century outside of a song book resp. a song collection. Vorgestellt wird ein bisher unbekannt gebliebener Textzeuge von 'Fundamentum artium'. Der Text des lateinischen Sangspruchs ist auch in der Handschrift Prag, Archiv der Burg, Bibliothek des Metropolitankapitels, D II, Bl. 95vb überliefert. Der Beitrag informiert auf Grundlage des Katalogs knapp über die Handschrift und erörtert kurz zwei Kolophone auf Bl. 95v; in einem von ihnen nennt sich ein Schreiber Conradus. Der Neufund wird im Kontext der bisher bekannten Überlieferung situiert, eine Transkription mit den Lesarten der übrigen Handschriften steht am Ende. Der Neufund zeigt, dass die Strophe mit dem Artes-Katalog im 14. Jahrhundert auch außerhalb von Liedsammlungen rezipiert und tradiert wurde.
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Koronkiewicz, Marta. "Politics of the Poetic Form: Adam Ważyk and the Americans." Acta Universitatis Lodziensis. Folia Litteraria Polonica 40, no. 2 (2018): 77–89. http://dx.doi.org/10.18778/1505-9057.40.03.
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The article discusses Adam Ważyk – one of the foremost representatives of the Polish poetic avant-garde – and his meta-poetic reflection on the form of the poem in comparison with the paralel considerations offered, later in the 20th c., by the American poets of the LANGUAGE movement. Most importantly, I mention Adrienne Rich, Muriel Rukeyser, Ron Silliman, and James Scully. These poets saw the poetic practice as part of the active and reconstructive approach to everyday reality, which is an approach that sets them apart from more theoretically predisposed strands of the Marxist literary theory which saw poetic forms mostly as an epiphenomenon of social forces and processes. The idea that is the strongest link between Ważyk and the American poets mentioned above is treating formal poetic innovation as precisely the element that serves the causes of enhancing the potential of language and communication.
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Sylvester Kahyana, Danson. "Singing Against Anti-Asian Sentiment in The East African Postcolony: Jagjit Sing’s “Portrait of an Asian As an East African”." Revista Canaria de Estudios Ingleses, no. 82 (2021): 95–107. http://dx.doi.org/10.25145/j.recaesin.2021.82.07.
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"The 1972 expulsion of Asians from Uganda by the President of the time, General Idi Amin Dada, is one of the most traumatic events that Uganda has suffered. This article examines how this event is imagined in Jagjit Singh’s ‘Portrait of an Asian as an East African’ (1971). I am interested in three inter-related issues that the poet depicts in this work: the pain of being uprooted from a place one has known as home, only to be cast into a state of statelessness and refugeehood; the nature and character of the emergent postcolony that the poem speaks to; and the ability of poetry to give prescient insights, given the fact the poem was published a year before the expulsion was announced. In the close reading of the poem that I perform in this paper, I pay special attention to the poetic devices that the poet deploys to speak to the three issues that I have mentioned above, and the success with which he does this."
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Duval, Sophie. "Usage et mention du bas corporel." Poétique 162, no. 2 (2010): 205. http://dx.doi.org/10.3917/poeti.162.0205.
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Hussein, Musa Ismail Saleh, та Nashaat Abdelaziz Baioumy. "[THE ISLAMIC ACCORDS IN ZUHAIR IBN ABI SALAMA POEM BETWEEN REALITY AND PLAGIARISM: ANALYTICAL STUDY] الموافقات الإسلامية في قصيدة زهير بن أبي سلمى بين الحقيقة والنحل : دراسة تحليلية". Malaysian Journal Of Islamic Studies (MJIS) 4, № 1 (2020): 44–54. http://dx.doi.org/10.37231/mjis.2020.4.1.117.
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The Pre-Islamic Era Plagiarism issue has been discussed by and reviewers in past and present. It is a bifurcated issue which Men of Literature deepen their analysis Specially. the presence of Orthodox in the Pre-Islamic Era leading to a literature traces. Some poems were attributed to poets who lived in the Pre -Islamic Era. These poems carried Islamic signs. Literature men studied carefully in two approaches. The first approach denied all poems carrying the Islamic signs while the other approach accepted them explaining that the poet was on the Pre-Islamic Orthodox poet. One of Zuhair's poem was a target of this study. This study aims to answer questions of what was the religion of Zuhair and what is the fact of being a Pre Islamic Orthodox poet. Moreover: the issue of plagiarism. In this analytical Study I followed the Descriptive Analytical Approach in studying the content, the form and the Islamic signs of the poem mentioned in his poems. In addition; this study targets poet's cultural background, his knowledge shown in his poems and the availability of these information and knowledge at that time. The final results of this analytical Study uncovered the reality that this poem was plagiarized leading to another result that we must deepen the study on other similar poems to clarify it's trustful facts and information and the Islamic Signs mentioned .
 قضية النحل في العصر الجاهلي، ناقشها الأدباء والنقاد قديماً وحديثاً، وتبقى هذه القضية محل نقاش؛ فهيقضية كبيرة ومتشعبة، ومن القضايا المهمة التي تستوجب البحث قضية وجود أحناف في العصر الجاهلي، ومانتج عنهم من آثار أدبية، فهناك قصائد تنسب لشعراء عاشوا في العصر الجاهلي، هذه القصائد تحمل إشاراتومعانٍ إسلامية، وقد وقف الأدباء والنقاد أمامها مختلفين فيها، فمنهم من أنكر جميع القصائد التي تحملإشارات إسلامية، ومنهم من قبلها معتبراً الشاعر التي نسبت إليه القصيدة من الأحناف. ومن أبرز القصائدالتي أثارت الجدل؛ قصيدة نسبت لزهير بن أبي سلمى، ولذا هدف البحث إلى الإجابة عن أسئلة تفرضنفسها بقوة، عن ديانة زهير، وحقيقة اعتباره من الأحناف، وعن القصيدة المنسوبة له؛ والبحث في صحةنسبة هذه القصيدة لزهير. وقد اتبع البحث المنهج الوصفي التحليلي لدراسة القصيدة دراسة تحليلية تقومعلى دراسة شكل القصيدة ومضمونها، وجمع الإشارات الإسلامية الواردة فيها، ودراستها، ومعرفة مدى ثقافةالشاعر، ومعرفته بالمعلومات الواردة في القصيدة، ومعرفة طبيعة تلك المعلومات ومدى توفرها للناس في العصرالجاهلي. وقد أسفرت نتائج البحث على أن تلك القصي دة لست لزهير، وإنما هي منحولة عليه. وقد أوصىالبحث بإجراء دراسات على قصائد أخرى للوقوف على مدى صحتها وحقيقة المعلومات والإشاراتالإسلامية بها.
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Alashbayev, Yerlan. "Nazira Tradition and “Leyla and Majnun” Love Poem in the Kazakh Literature." Global Journal of Arts Education 6, no. 2 (2016): 39. http://dx.doi.org/10.18844/gjae.v6i2.556.
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Many works of the eastern poets were devoted to love theme. The most spread “Leyla and Majnun” is a love story originated in Arabic, later significantly expanded to Persian and got its fictional peak in Turkic literature. Poets frequently wrote on this theme. The actual reason is “nazira, nazirashylyk” tradition which is the source of love tradition. Poets wrote their poem lines in Arabic aruz style. That nazira tradition took its continuation in Kazakh steppes in the end of XIX century and in the beginning of the XX century but not exactly in its poem style . It is obvious from the Kazakh writers’ works that the object of written literature was love poems and were written in rhymes. Love poems did not leave the Kazakh poems indifferently. That’s why, poets tried to introduce the eastern poem to Kazakh nation. Kazakh poets were good as eastern poets in terms of the above mentioned theme. After that new works with different styles peculiar to poets were coming out in the literature. This article deals with nazira tradition in the Kazakh literature and “Leyla and Majnun” poem which is written in nazira tradition. Along with it, we try to evaluate the role of nazira tradition as the witness of historical events. Keywords: Kazakh literature, nazira tradition, Leyla, Majnun, love poem ;
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Zissos, Andrew. "The King's Daughter: Medea in Valerius Flaccus' Argonautica." Ramus 41, no. 1-2 (2012): 94–118. http://dx.doi.org/10.1017/s0048671x00000278.
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Medea's awakening love for Jason is the great theme of the third book of Apollonius Rhodius' Argonautica. At the opening of that book—that is to say, at the very centre of the four-book epic—the Hellenistic poet signals a programmatic redirection, invoking the Muse Erato to inspire his tale of Jason's winning of the golden fleece, aided by the love of the Colchian princess (Мηδείηϛ ὑπ' ἔϱωτι, Ap. Rhod. 3.3). This is the first mention of Medea in the poem. Writing a few centuries later, the Flavian poet Valerius Flaccus for the most part adheres closely to Apollonius' narrative outline. As we shall see, however, he manifests comparatively little interest in the love story between Jason and Medea, and takes a different approach to the problem of integrating Medea into the plot. Though, as with the earlier epic, she will not appear as a dramatis persona until the second half of the epic, she is mentioned at the very outset of the narrative (1.61-63), and a number of times thereafter in the early books. Thus by the time the Argonauts reach Colchis and Medea enters the narrative proper, she has already been presented to the reader in a number of ‘previews’.
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Disney, Dan. "every time a colleague mentions spontaneous." CounterText 6, no. 3 (2020): 468–71. http://dx.doi.org/10.3366/count.2020.0206.
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Extracted from a longer poem in progress provisionally called twentytwenties, ‘every time a colleague mentions spontaneous’ is a formally inventive work that is also allusive and sharply biting about various aspects of contemporaneity (among them, ‘Reality Apathy’, ‘Digital Evangelism’, ‘the Virus’, ‘the Ends of History’) and of present sensibilities.
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Kronenberg, Leah. "A PETRONIAN PARROT IN A NERONIAN CAGE: A NEW READING OF STATIUS’SILVAE2.4." Classical Quarterly 67, no. 2 (2017): 558–72. http://dx.doi.org/10.1017/s0009838817000660.
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Critics generally agree that Statius’Silvae2.4, a poem about a dead parrot dedicated to Statius’ patron Atedius Melior, is modelled closely on Ovid'sAmores2.6, a poem about Corinna's dead parrot. In particular, many read Statius’ poem as picking up on the metapoetic strand in the Ovidian model, in which the parrot may be interpreted as a poet-figure, though they also note that Statius’ poem shows more of a concern for the tensions involved in a poet's relationship to his patron (and the emperor). I agree with this general interpretation of the poem and its metapoetic aspect; however, there are some oddities about the dead parrot and its relationship to itsdominusthat have not been fully explained by theories that equate the parrot with either Statius or a non-specific Flavian poet-figure and thedominuswith Atedius Melior or a similar patron-figure. For instance, why is the parrot dead, and why does Statius write an epicedium for it that is similar in tone to the epicedia for dead people inSilvae2? Why is the parrot's relationship to its master an ambiguous one such that his cage can be described as a prison (carcer, 2.4.15), and the master's grief over the parrot's death is never specifically mentioned? Finally, why does the parrot speak the name of Caesar instead of Atedius Melior, the friend of Statius to whom the poem is dedicated?
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Bamari, Ramzan. "Rabia Khuzdari is the first female Poet of Balochistan." Pakistan Journal of Applied Social Sciences 7, no. 1 (2018): 41–49. http://dx.doi.org/10.46568/pjass.v7i1.478.
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Rabia Khuzdari was the first Baloch poetess of Persian language. She belonged to Makran, Balochistan. There were many persian poets who were contemporary to Rabia Khuzdari. These included: Rodki Samargandi, Shaheed Balkhi, Dageagi and Abu Shakoor. However, it is unfortunate that there is a derth of research material on Rabia Khuzdari. It is due to which many people are unaware of her name. One reason of this unavalability of material is the conservative nature of Baloch society in which it was uncommon to mention women names in history writing. Despite this, her name has been mentioned in few ancient Persian books. One of the most ancient books on Persian language and rules in which her name is mentioned is "Al-Mauajam", written by Shams Qais bin Razi. Similarly, there is another authentic book, "Lubab al Lubab", authored by Mohammad Aufi, in which Rabia Khuzdari's name has been mentioned
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Brouwers, J. H. "Einige Bemerkungen zu Grotius' Lucan-Nachahmung." Grotiana 9, no. 1 (1988): 105–17. http://dx.doi.org/10.1163/187607588x00064.
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AbstractGrotius' Latin poetry is typical for its manifold reminiscences of examples from Roman antiquity. His favourite Latin poets were Lucan, Manilius, Statius and Claudian. Especially the influence of the first-mentioned poet (whose work was also edited by Grotius with critical notes) is prominent. It is shown here by some examples from the Genealogia Nassaviorum (1601), the Silva in Annales Borrhii (1603) and other poems in what way Grotius made use of Lucan.
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Pedersen, Kim Arne. "Grundtvig og Geijer." Grundtvig-Studier 47, no. 1 (1996): 45–57. http://dx.doi.org/10.7146/grs.v47i1.16224.
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Grundtvig and Geijer - Two Meetings and a PartingBy Kim Arne PedersenThe point of departure of the article is partly a seminar, held in the spring of 1996 at Karlstad H.gskola, entitled Grundtvig, Geijer and Their Impact, partly the fact that this year it is 150 years since the first real meeting between Grundtvig and the Swedish historian, Erik Gustav Geijer, took place. This meeting came about in connection with the celebration of Geijer in Copenhagen in 1846. Prior to the personal meeting between the two, Geijer had attended Grundtvig’s church service in Our Saviour’s Church in Christianshavn in 1825.The article begins with a description of similarities and differences between Grundtvig and Geijer. Among other things, the similarities consist in the inspiration from Romanticism, shared by both of them, their emphasis on the Nordic tradition of freedom, and their meeting, in both cases, with the freedom224 loving England. Whereas Grundtvig became isolated in his early years, among other things because he dissociated himself from German Idealism, Geijer never broke with that Idealism, and only late did he experience an isolation from his former conservative-romantic environment. It was precisely in the years when Grundtvig’s isolation is broken that Geijer embraces the ideas of liberty (1838). The article goes on to present Geijer’s desciption of Grundtvig’s church service in 1825. Geijer likes Grundtvig’s sermon, but does not care much for his unmusical chanting of the Mass or the Danish church service customs. The article contains two further references to Grundtvig’s chanting.The article then reproduces two draughts for toast speeches to Geijer, given by Grundtvig in connection with the celebration in 1846, followed by an analysis of the speeches.In the first draught Grundtvig points out that he and Geijer were bom in the same year. In that connection Grundtvig mentions that the movements towards national liberty at the end of the 18th century found a peaceful reflection in Scandinavia. He proceeds to describe the historical interest common to himself and Geijer and sees their appraisal of the North as an indication of the flourishing Nordic life that Grundtvig expects.The other draught begins with Grundtvig’s version of the Greek poet Pindar. He uses Pindar’s poem as an image of the link between Ancient Greek and Nordic culture that he sees as his goal, and he makes it clear that the North today surpasses Greece.In conclusion, the article refers to the last hours of Grundtvig’s life when Geijer’s .Svenska Folkets Historia. was read aloud to him.
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Harrison, S. J. "Two Notes on Horace, Epodes (10, 16)." Classical Quarterly 39, no. 1 (1989): 271–74. http://dx.doi.org/10.1017/s0009838800040738.
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Epode 10: the Mystery of Mevius' CrimeHorace's tenth Epode, an inverse propempticon, calls down dire curses on the head of a man named Mevius as he leaves on a sea-voyage.1 Scholars have naturally been interested in what Mevius had done to merit such treatment, but answers have been difficult to find, for nothing explicit is said on this topic in the poem; as Leo noted, ‘[Horatius] ne verbo quidem tarn gravis odii causam indicat’. This is in direct contrast with the Strasbourg epode usually attributed to Hipponax (fr. 115 West), which served as Horace's model in this poem; there it is clear that the similar curses on a departing sailor are caused by his breaking of oaths to the poet and betrayal of their previous friendship (15–16 ⋯ς μ' ἢδίκησε, λ⋯ξ δ' ⋯π' ⋯ρκίοις ἔβη, τò πρίν ⋯ταῖρος ⋯ώμ ). One might expect Horace to give some kind of indirect suggestion of the nature of Mevius’ offence, but even this is despaired of by Fraenkel: ‘There is no hint at the sort of crime which Mevius is said to have committed, nor is anything said about the man himself; he remains an entirely shadowy figure’. The best that scholars have been able to do is to follow the ancient commentary of Porphyrio in suggesting that Horace's Mevius is to be identified with the poetaster attacked by Vergil in Ecl. 3.90 ‘qui Bavium non odit, amet tua carmina, Mevi’. Though it is pleasant to think of Vergil and Horace, perhaps by now friends in the circle of Maecenas, ganging up on a luckless hack, there is, as Fraenkel points out, no mention in the tenth Epode that Mevius is a poet, and his literary incompetence, assuming he is Vergil's poet, does not seem to underlie or indeed warrant the bitter imprecations of the poem: Catullus might wish a dire fate on the works of a bad poet (e.g. Volusius – 36.18–20, 95.7–8), but to long for their author's shipwreck and consumption by gulls might indeed seem excessive.
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Jeremić-Molnar, Dragana. "Wandering Motive and Its Appeal on Reluctantly Wandering Franz Schubert." Issues in Ethnology and Anthropology 8, no. 1 (2016): 277. http://dx.doi.org/10.21301/eap.v8i1.13.
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Franz Schubert was not generous in commenting his own creative procedures, or in revealing his artistic inspirations. Therefore, it is even today not clear why Wilhelm Müller’s collection of poems entitled Winter journey attracted Schubert so strongly that he was so determined to set it as a whole to the music. In this article the author mentions, and rejects as well, couple of commonly accepted interpretations. The path to the lieder cycle Winter journey was paved neither by Schubert’s identification with the main character – outcast overwhelmed by desperation and anticipation of the approaching death – and his strange ways of experiencing the world; neither by composer’s acceptance of impious beliefs hidden in Müller’s poems. The author argues that both poet and composer of Winter journey shared the affinity for the wandering (and wanderer) motive which was one of the central topics in the rising romantic Weltanschauung. Schubert was dealing with this motive from 1815 until his death mainly in his lieder, sometimes in very complex manner. In order to understand the real nature of Schubert’s artistic rapprochement to the motive of wandering, the author was obliged to consider and, at the first place, evaluate the works of scholars (such as Theodor Adorno, David Gramit, and Jeffrey Perry) who have been dealing with this problem. After that the author focuses her attention to the narrative entitled My dream, the most extensive and enigmatic writing left behind Schubert; she analyses the role of wandering in it, arguing that Schubert was participating in the spiritual currents of his time even unconsciously and trying to adapt them in order to serve as the solutions to his own existent ional dilemmas. Finally, she concludes that the composer was very sensitive for the complexity of the phenomena of wandering, when romantic Weltanschauung was at its peak, and eager to come to terms with this complexity artistically, paying the most attention to one of its layers – the regenerative one.
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Eckert, Kenneth. "Don't Mention the War!: Geography, Saracens and King Horn's ‘Diplomatic’ Poet." Journal of Language, Literature and Culture 65, no. 1 (2018): 23–36. http://dx.doi.org/10.1080/20512856.2018.1443631.
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IBRAHIM, Huiam AbuaL Kadhem, and AbdaLLah Habeeb KADHEM. "THE AESTHETIC OF THE LANGUAGE AND ITS DISPLACEMENT IN ABU AL-QASIMS AL-SHABBY'S POEM." International Journal of Humanities and Educational Research 03, no. 04 (2021): 242–49. http://dx.doi.org/10.47832/2757-5403.4-3.21.
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The study aims to reveal the thrills of poetic language in(abu Qasim Al-Shabbi's) poem(Nasheed al-Jabbar), in terms of creative privacy that characterizes the rhythm of poetic language in terms of the opening of the introductory and the effectiveness of poetic images, and the aesthetic effectiveness of the text lock, to reveal the active axes Aesthetically, the stylistic variables contained in the poem in its stylistic transformations highlight the movement of aesthetic visions, and its artistic elements that appear in the captivating linguistic formations that adopt dialectic or the game of contrast and what it generates in the poetic pattern aesthetically to show the poem with all its artistic elements through The so-called aesthetic integration at the level of aesthetic patterns that this poem evokes in its dramatic aesthetic transformations. In fact, the poem (Nasheed al-Jabbar) by Abu Al-Qasim al-Shabi celebrates the exciting linguistic formations, not to mention the activation of aesthetic meanings, to defend life, this poem can be called (anthem of gloating and fathers) or anthem (steadfastness and confrontation) of the vices of the age such as disease, sorrow and misery, and it expresses the life of the poet in his final stage, and has been raided by disease and sanity, to live the spirit of confrontation and resistance in this poem, to be wrapped....
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Ahmed, Dewlet M. "Saleh Yousify, One of The Pioneers of Romantic Poetry in Behdinan." Koya University Journal of Humanities and Social Sciences 2, no. 2 (2019): 50–60. http://dx.doi.org/10.14500/kujhss.v2n2y2019.pp50-60.
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This study examines the romantic poetry of one of the pioneers of this genre known in the area of Badinan (Saleh Yousif). Saleh Yousif is taken as a model of poets of his time specifically in the area of Badinan. It is the period that gathered the poets of South Kurdistan in general and the poets of the region of Badenin to especially study this new literary type of poetry called romance or doctrine of Romanticism. The living conditions and nature of life at that time were a major factor for the emergence of this poetic doctrine when the poet expressed his situation or a particular idea directly or indirectly so that the reader enjoys this type of poetry. This poetic doctrine had a special framework in terms of quality, principles and the core topics with the mentioned poet because it was related to his private life where he was composing poetry in many periods and of special events to be a model in the portrayal of these events and to gain the interest of readers to reach their goals. The importance of this study, on the one hand, is that it follows the analytical descriptive approach to include the characteristics and types of the texts of the Kurdish romantic literature. On the other hand, this research is to enrich the literature of this topic and assist researchers in the field of literature in general and the romantic doctrine in particular.
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DAHAMI, YAHYA SALEH HASAN. "Hassan ibn Thabit: An Original Arabic Tongue (2)." International Journal of Applied Research in Social Sciences 2, no. 2 (2020): 41–52. http://dx.doi.org/10.51594/ijarss.v2i2.85.
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As it is suggested and recommended in the first part of a previous paper that carries the same title, this paper is a continuous effort not to claim to be wide-ranging in mastering a poetic piece as one sort of expressive manuscript in Arabic but an impartial effort through analytical assessment of a poem. The study is limited to a few selected verses of Hassan ibn Thabit poem named ‘Al Alef rhymed (????? ?????).’ It is a representative of the Arabic tongue and its magnificence. It is a piece of poetry that cannot be examined and scrutinized in a short paper like this.The study focuses, with analysis, on six verse lines – 17/22 – of Hassan ibn Thabit's poem mentioned above. It employs an analytical and critical method, makes an effort to illustrate the inspiration of Arabic poetry as a means of the tongue and its grandeur and glory. The study initiates with an introduction raising the importance of Arabic classical poetic tongue. Then it goes go forward to give a picture of Hassan ibn Thabit as a man and a poet. The researcher, then, shifts to the foremost segment of the study, attempting to bring an interpretation to some selected verses of Hassan’s above-mentioned long poem. The paper reaches its conclusion by a concise discussion and recommendatory afterword.
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Haas, Renate. "A Note on Troilus and Criseyde V. 1786–92." Florilegium 10, no. 1 (1991): 93–98. http://dx.doi.org/10.3138/flor.10.006.
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The first envoy of Troilus and Criseyde is an important locus for Chaucer’s view of his great poem and of his own status as a poet. Various scholars have felt it is here that Chaucer makes the highest claim ever for his poetry. Thus this stanza has often been cited; yet it is astonishing how little it has been analyzed. Its elegance has repeatedly been mentioned en passant, but, pursuing broader questions, Chaucerians have largely forgotten to scrutinize how this elegance is effected or how Chaucer actually makes his claim and what may be implied by this.