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1
Akingbe, Niyi. "Speaking denunciation: satire as confrontation language in contemporary Nigerian poetry." Afrika Focus 27, no. 1 (February 25, 2014): 47–67. http://dx.doi.org/10.1163/2031356x-02701004.
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Contemporary Nigerian poets have had to contend with the social and political problems besetting Nigeria’s landscape by using satire as a suitable medium, to distil the presentation and portrayal of these social malaises in their linguistic disposition. Arguably, contemporary Nigerian poets, in an attempt to criticize social ills, have unobtrusively evinced a mastery of language patterns that have made their poetry not only inviting but easy to read. This epochal approach in the crafting of poetry has significantly evoked an inimitable sense of humour which endears these poems to the readers. In this regard, the selected poems in this paper are crowded with anecdotes, the effusive use of humour, suspense and curiosity. The over-arching argument of the paper is that satire is grounded in the poetics of contemporary Nigerian poetry in order to criticize certain aspects of the social ills plaguing Nigerian society. The paper will further examine how satire articulates social issues in the works of contemporary Nigerian poets, including Niyi Osundare, Tanure Ojaide, Chinweizu, Femi Fatoba, Odia Ofeimun, Ezenwa Ohaeto, Obiora Udechukwu and Ogaga Ifowodo. Viewed in the light of artistic commitment, the paper will demonstrate how satire accentuates the role of these poets as the synthesizers/conduits of social and cultural concerns of Nigerian society for which they claim to speak. As representatively exemplified in the selected poems, the paper will essentially focus on the mediation of satire for the impassioned criticism of social and moral vices, militating against Nigeria’s socio-political development.
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Akpah, Bartholomew Chizoba. "Satire, humour and parody in 21st Century Nigerian women’s poetry." European Journal of Humour Research 6, no. 4 (December 30, 2018): 133. http://dx.doi.org/10.7592/ejhr2018.6.4.akpah.
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21st century Nigerian women poets have continued to utilise the aesthetics of literary devices as linguistic and literary strategies to project feminist privations and values in their creative oeuvres. There has been marginal interest towards 21st century Nigerian women’s poetry and their deployment of artistic devices such as satire, humour and parody. Unequivocally, such linguistic and literary devices in imaginative works are deployed as centripetal force to criticise amidst laughter, the ills of female devaluation in the society. The major thrust of the study, therefore, is to examine how satire, humour and parody are deployed in selected Nigerian women’s poetry to reproach and etch the collective ethos of women’s experience in contemporary Nigerian society. The study utilises qualitative analytical approach in the close reading and textual analysis of the selected texts focusing mainly on the aesthetics of humour, satire and parody in challenging male chauvinism in contemporary Nigerian women’s poetry. Three long poems: “Nuptial Counsel”, “Sadiku’s Song” and “The Sweet, Sweet Mistress’ Tale” by Mabel Evweirhoma and Maria Ajima respectively were purposively selected. The choice of the selected poems hinges on the artistic vigour, especially the evoking of laughter, mockery and condemnation of hegemonic strictures through the use of satire, humour and parody. The paper employs Molara Ogundipe’s Stiwanism, an aspect of Feminist theory in the analysis of the selected poems. The poets have shown the interventions of humour, satire and parody as linguistic devices in condemning and highlighting peculiarities of women peonage in Nigeria.
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Wahyudi, Fitra, and Hasanuddin WS Hasanuddin WS. "UNSUR MAJAS LOKALITAS DALAM KUMPULAN PUISI LELAKI DAN TANGKAI SAPU KARYA IYUT FITRA." Jurnal Bahasa dan Sastra 6, no. 3 (February 15, 2019): 286. http://dx.doi.org/10.24036/81037220.
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The research was conducted aimed at analyzing the utilization of the locality of figure of speeches in a collection of poems entitled Lelaki and Tangkai Sapu written by Iyut Fitra. In addition, with the existence of this research, it can be seen the purpose of the poet using the locality assembly in his collection of poems, namely as a form of satire and introducing locality in his culture. In this study, used a type of qualitative research with descriptive methods. The majors of locality used by the poet in this collection of poems are as many as ten majas, namely (1) the comparison of metaphors of locality, (2) comparison of simile locality, (3) comparison of personification of locality, (4) comparison of metonymy locality, (5 ) the comparison of the antonomasia of locality, (6) the insinuation of the irony of locality, (7) the insinuation of locality allegory, (8) the insinuation of locality parables, (9) the insinuation of locality cynicism, and (10) majas satire locality. The locality institution that is most used by poets is Majas satire of irony.Keywords: locality, Iyut Fitra, figure of speech, poems
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Rai, Man Kumar. "Satire in Shrestha’s Ghintang Ghishi Twank." JODEM: Journal of Language and Literature 11, no. 1 (December 31, 2020): 73–81. http://dx.doi.org/10.3126/jodem.v11i1.34808.
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The objective of this article is to analyze the use of satire in three poems, from Rupesh Shrestha’s volume of poems Ghintang Ghishi Twank in order to examine use of the suffering of voiceless people. The poems depict absurdities of the society and hypocrisy of the leaders which are the causes of poor people‟s pains. This poems exhibit how follies, vices and absurdities are hurdle in transforming society into prosperous one. The poet has berated them with the aim of bringing positive change in the society and in the lives of the common people. The poet mocks at the political changes which have brought change only in the lives of political leaders, not in the lives of the people who have been ignored by the state for long. Despite many anxieties, they enjoy dancing and playing sticks in their hands on the special occasion of Gaijatra. The poems are collection of sharp words which are used to butt the corrupt politicians. For this, the elements of Juvenalian satire have been used as tools for analysis of the selected poems. This study highlights upon the anxieties of marginalized people; demonstrates the shameful act of politicians; and exposes the absurdities prevailed in the society. It indicates that the political and social absurdities are subject to be poked in order to reform a society.
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Bakumenko, Vitalii M. "Successor of Glorious Traditions." Bibliotekovedenie [Russian Journal of Library Science], no. 2 (April 27, 2012): 77–80. http://dx.doi.org/10.25281/0869-608x-2012-0-2-77-80.
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The article is devoted to the 65th birth anniversary of Moscow talented artist Nikolai Yegorov. The highest achievements of the artist were excellent illustrations to the poem of the 12th century “Tale of Igor's Campaign”, to the poetic collections of I. Goethe and to the poem of N. Gogol “Dead Souls”. The dream of every bibliophile collections are “Roman satire” and “Poems” by Michelangelo Buonarroti with original illustrations by N. Yegorov.
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Shumate, Nancy. "Full Circle: Juvenal’s Egyptians and the Return of the “Angry White Man” in Satire 15." New England Classical Journal 48, no. 1 (May 14, 2021): 81–96. http://dx.doi.org/10.52284/necj/48.1/article/shumate.
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Some critics have seen a softening of Juvenal’s signature anger in the later satires, while others argue, on the contrary, that the indignatio animating the earlier poems resurfaces toward the end of the corpus. This paper supports the second position by comparing the characterization of speakers in the first six satires and in the fifteenth. In spite of its different setting and quasi-philosophical trappings, the (virtually) last poem’s speaker emerges as a variation of the same reactionary character type so fully drawn in the first two books. The Satires are thus framed by prototypes of the grievance-driven “angry white man” of later eras.
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Turpin, William. "The Epicurean Parasite: Horace, Satires 1.1-3." Ramus 27, no. 2 (1998): 127–40. http://dx.doi.org/10.1017/s0048671x00001867.
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We have learned a great deal in recent years about reading Horace's satires; there is now widespread agreement that the speaker of the satires is himself a character within them, a persona. Such a persona may be most effective when it has obvious connections with its creator, but that fact does not preclude the exaggeration of reality, or even its complete inversion. For Horace the implications of this approach are exciting: instead of a poet discoursing with cheerful earnestness on morality, on poetry and on his daily life, we have a fictional character, whom we do not have to take seriously at all.The three diatribe satires present us with a character so absurd that they have been taken, I think rightly, as parodies. Although the poems were once appreciated as effective moralising sermons, even their admirers found it hard to justify the lack of intellectual coherence, to say nothing of the astonishing vulgarity of the second satire. As parodies, however, the poems are wonderfully successful. The speaker trots out a series of banalities: ‘people should be content with who they are’; ‘people should not go to extremes’; ‘people should be consistent’. But he invariably gets distracted, goes off on tangential rants, and makes a fool of himself. The moralist of the first three satires is, to put it bluntly, a jerk.
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Purnamawati, Zulfa. "Criticism As A Resistance Strategy in Fārūq Juwaidah’s Poems." Jurnal CMES 14, no. 1 (June 20, 2021): 1. http://dx.doi.org/10.20961/cmes.15.1.50171.
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<p>This study aims to reveal the resistance strategy used by Faruq Juwaidah, an Egyptian poet who has high concern for the fate of the Palestinians who are under Israeli Zionist rule. The object of this research material is Risalatun Ila Sarun I and II in which there are resistance values. The method used is a semiotic reading which consists of heuristic and hermeneutic reading. The results of this study indicate that the resistance strategy in Faruq Juwaidah's poetry is criticism. This form of criticism is expressed in characterization which in psychological terms is called labeling. In this term used <em>tasybīh</em> and <em>isti'ārah</em>, which are the likeness of a pig, dog and cobra. In addition, criticism is also carried out by directly pinning negative traits, such as <em>qabī</em><em>h</em> "bad", <em>al-ma</em><em>l</em><em>'un</em> "the cursed", j<em>abbanun</em> "coward" <em>al-</em><em>f</em><em>āsiqu</em> "people who do bad things", and al- ' irbidu "a bad person in character". In addition, criticism is also expressed by the satire. The use of satire is a considered effective way to make political and social criticism, especially at the actions taken by Israeli Zionists who have tormented the Palestinian people.</p><strong>Keywords: criticism, </strong><strong>characterization</strong><strong>, </strong><strong>satire</strong><strong>, zionist israel, palestine</strong>
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Gillespie, Stuart. "Imitating the Obscene: Henry Higden's Versions of Horace's Satire 1.2 and Juvenal's Satire 6." Translation and Literature 29, no. 2 (July 2020): 199–219. http://dx.doi.org/10.3366/tal.2020.0418.
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Henry Higden has hitherto been known, if at all, for two works of English classical imitation: of Juvenal's Satire 13 (printed 1686) and Satire 10 (printed 1687), the second an influence on Dryden. Other than a failed stage play, these are Higden's sole recorded works. This article argues that he was also the author of two closely related imitations, probably also composed in the late 1680s but circulated anonymously, and both extant in manuscript copies. Higden's versions tend to make more rather than less emphatic the sexual content of these Latin poems, providing a reason why one who was called to the bar in 1686 and well known in polite circles would not have wished to claim them publicly as his work. A text of the 313-line Horatian imitation is printed for the first time within this contribution.
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Alqarni, Hussain Mohammed. "Naqāʾiḍ Poetry in the Post-Umayyad Era." Journal of Abbasid Studies 4, no. 1 (June 15, 2017): 97–121. http://dx.doi.org/10.1163/22142371-12340028.
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Naqāʾiḍ(biting refutations) are a type of lampoon in which two poets exchange satirical poems that make use of the same prosodic meter and rhyme. Although satire had already been a staple of Arabic poetry in the pre-Islamic era,naqāʾiḍwere further developed and enhanced as an art form in the Umayyad period thanks to three poets: Jarīr, al-Farazdaq and al-Akhṭal.A distinctive feature of earlynaqāʾiḍwas the centrality of tribalism as a key motivator of composition. This paper seeks to show thatnaqāʾiḍpoetry did not disappear, as some have suggested, nor did it become limited to the personal or sectarian; rather, it continued to flourish throughout the Abbasid period as an expression of tribal pride. Two cases ofnaqāʾiḍfrom the Abbasid period are investigated; the poets in question were regarded as belonging to the group ofsāqat al-shuʿarāʾ(rearguard poets).
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Basori, NFN. "IRONI PEMILIHAN UMUM DI INDONESIA DALAM PUISI “KETIKA INDONESIA DIHORMATI DUNIA” KARYA TAUFIK ISMAIL." SUAR BETANG 15, no. 1 (June 25, 2020): 79–94. http://dx.doi.org/10.26499/surbet.v15i1.163.
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The events that occur in the environment are inseparable from the observations and works of writers. Likewise about general elections. Elections are routine events in a country that adopts a democratic system. Taufik Ismail, who is one of the most prolific poets in Indonesia, also noted this election event. This research takes one of Taufik Ismail's poems with the theme of the general election, namely When Indonesia is Honored by the World (KIDD). KIDD's poetry is examined by its ironic elements in shaping meaning. Characteristics and types of irony that is in it and how the irony builds the meaning desired by the poet. Characteristics of irony utterances found in KIDD are semantic disparities and the use of hyperbolic force. Semantic disparities are characterized by lexical contradictions, the juxtaposition of words containing conflicting components of meaning, and the use or insertion of words with contrasting tunings. The use of hyperbole is the most powerful element seen in KIDD. This seems to be a style that is typical of Taufik Ismail. Hyperbolic speech is characterized by a violation of the quantity and quality maxim. The study of the type of irony shows that the KIDD poem contains a type of verbal irony as part of the structure of the pronunciation of irony. The type also found in this study is the type of situational irony. These characteristics and types of irony are used to build criticism, satire, and ridicule towards the Indonesian people. Such criticism, satire, and derision are arranged in a comparison or contrast between the past and the present.
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Anderson, William S. "Juvenal Satire 15: Cannibals and Culture." Ramus 16, no. 1-2 (1987): 203–14. http://dx.doi.org/10.1017/s0048671x00003325.
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Pliny, Tacitus, and Juvenal were all released by the death of Domitian in A.D. 96 and the succession of Nerva, then of Trajan in 98 to embark on their separate careers of public and literary life. While Pliny reflects a happy present time, Tacitus and Juvenal look back on earlier times with disgust and indignation. But that, too, could well imply that, secure with the Trajanic Era, they were seeking more dramatic material for their comfortable audiences. When Trajan died in 117, Juvenal had published two books of poems consisting of what we call Satires 1 to 6. Trajan's successor, Hadrian, was a considerably different man, not only a capable soldier and administrator but a person of culture, widely travelled, fond of architectural experimentation, with a life-style that included both a wife and a handsome Bithynian named Antinous. Life was not so predictable under Hadrian for anybody. Pliny had already died, and Tacitus may not have survived very long into the new reign, but Juvenal was still alive and writing after 127.
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Gardner, Kevin J. "John Gay, Court Patronage, and The Fables." Reinardus / Yearbook of the International Reynard Society 27 (December 31, 2015): 98–111. http://dx.doi.org/10.1075/rein.27.05gar.
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John Gay’s fables comprise an extended satire on the artifice of court life and of the hypocrisy and vanity of courtiers, an ironic perspective from a satirist whose own life was marked by the pursuit of court preferment and patronage. This essay explores the central themes of Gay’s fables and sets them within the context of his letters and earlier poems. His earliest efforts to achieve court preferment through panegyrical poetry lack consistency in high standards of poetic accomplishment; however, Gay’s two extraordinary sets of fables, rich in humour and satire in their varied explorations of the morality of courtiers and court life, succeed in spite of his antithetical impulses about court patronage.
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Henderson, John. "Be alert (your country needs lerts): Horace, Satires 1.9." Proceedings of the Cambridge Philological Society 39 (1994): 67–93. http://dx.doi.org/10.1017/s0068673500001735.
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Who is that man with the handshake? Don't you know …He is an onlooker, a heartless type,Whose hobby is giving everyone else the lie.Laudatur et alget. The Fifties had faith: ‘This satire is nowadays the most popular of all and still read in many classical sixth forms where one otherwise shuns the Sermones.’ The Sixties knew: ‘This poem … will always be a general favourite’; yes, I bear witness, who lent an ear to the L. A. Moritz track for J.A.C.T.'s showcase of Latinitas back in the golden age of vinyl (I still do: ego uero oppono ∣ auriculam, 76f.). (…) The Nineties wonder. ‘Perhaps the most straightforward and immediately appealing of the ten poems, and perhaps the most delicious example of Horace's brand of ironic humour.’
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Novyk, O. P. "THE POETICS OF ROMANTICISM OF MYKHAILO MINCHAKEVYCH’S WORKS IN THE SON OF RUS." Rusin, no. 60 (2020): 154–66. http://dx.doi.org/10.17223/18572685/60/9.
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The article analyses Mykhailo Minchakevych’s poems “Satire”, “Rozsvit”, “Roksolana”, “Separation”, dumka “Cross stone near Lyubchych”, love elegy “Dumka” from the manuscript collection The Son of Rus (1995), with the focus on the poetics of romanticism and imagery. The author compares the themes and motives in Mykhailo Minchakevych’s poetry with those of other Romanticists (Markiyan Shashkevich, Mykola Petrenko). The poetics of Minchakevych’s works was incluenced by the writing of Markiyan Shashkevych and other Galician authors; however, it demonstrates the similarities with East Ukrainian literature of the first half of the 19th century as well as European Romanticism. Mykhailo Minchakevych uses the so-called “word complexes” (D. Chyzhevsky), inherent to Ukrainian Romanticism. His desire to demonstrate the Rusinian great history is manifested in his reminiscences of the time of Kievan Rus and allusions to famous historical figures of the past. Similarly, the poet tries to show the influence of the Rusins on European history by mentioning the ties of blood between the Russian princes and European rulers. The poems “Satire”, “Rozsvit”, “Roksolana” convey the moods of “Russian Trinity” both through motives and imagery, thus revealing the influence of Markiyan Shashkevych. Mykhailo Minchakevych’s poems are also close to folklore, which becomes evident in their motives, composition, and the use of repetitions and onomatopoeia. Minchakevych’s poetry as a component of the “Russian Trinity” phenomenon reflects the processes that took place in the Ukrainian culture in the first half of the 19th century.
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Domagalska, Małgorzata. "„Wielką jest semicka moc”. Poetyckie strofy w „Roli” Jana Jeleńskiego." Studia Judaica, no. 2 (44) (2019): 213–33. http://dx.doi.org/10.4467/24500100stj.19.010.12393.
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“HOW ENORMOUS IS SEMITIC POWER”: POETRY IN JAN JELEŃSKI’S ROLA Rola was the first antisemitic weekly in Poland published in Warsaw between 1883 and 1912. According to the nineteenth-century custom, not only journalism, but also novels published in weekly installments, as well as poems were included in the magazine. In poetry, lofty or religious topics were raised at the time of Christmas or Easter, or virulent antisemitic satire was published on various occasions. The antisemitic satire corresponded to the themes taken up in prose and journalism. The themes were dominated by the myth of Judeopolonia, issues of assimilation and social advancement of Jews, attacks on mixed marriages and mockery of Zionism, or the colonies established by Baron Hirsch in Argentina. It can be said that both prose and poetry were servile to journalism and strengthened the antisemitic content dominant in the weekly.
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Scharnhorst, Gary. ""Ways That Are Dark": Appropriations of Bret Harte's "Plain Language from Truthful James"." Nineteenth-Century Literature 51, no. 3 (December 1, 1996): 377–99. http://dx.doi.org/10.2307/2934016.
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One of the most popular poems ever published, "Plain Language from Truthful James" (1870) has usually been read not as a satire of the Irish, as Bret Harte intended, but of the Chinese, represented by Ah Sin. The text literally constructs a racial Other in stereotypical terms; only when read ironically does it subvert the stereotype. Harte meant to ridicule the anti-Chinese prejudices of the Irish underclass, with whom Chinese immigrants cmpeted for jobs in northern California. At the height of its popularity, however, the poem was adapted by the foes of Chinese immigration to support their cause. This tendency to (mis) appropriate the poem is apparent in various illustrated reprintings of it; in the play Ah Sin (1877), mostly written by Mark Twain; and in juvenile novels by Horatio Alger, Jr. By the 1890s Harte's authority was again invoked by the opponents of Chinese immigration, including the California journalist Adeline Knapp, and the anti-Chinese reading of the poem has remained essentially fixed in American culture since the turn of the century.
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S. Salman, Dr Khitam. "Hair between wisdom and ignorance of Islam (Poets of the Taif model)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 214, no. 1 (September 1, 2015): 1–20. http://dx.doi.org/10.36473/ujhss.v214i1.616.
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A piece of wisdom is a contemplative profound look into life and its issues and people and their morals, goals and destinies. It is a call to uncover the truth and present a typical picture of the values of truth, goodness, beauty and lesson-learning. Poets, since the pre-Islamic paganistictimes, have addressed these humane meanings without which they would not be glorified since “Arabs do not consider a poet laureate unless he originates some wisdom in his poetry”. However, wisdom in poetry has not been an independent purpose as was the case for praising, commiseration, satire, flirtation... etc. It was used to be originated casually where the nature of the theme requires it.
With the advent of Islam, veteran poets continued decorating their poems with wise implications. Islam had a tangible impact on the meanings and contents addressed by those veteran poets, and on using poetry to fight paganisticideology, and serving Islam. Such wisdom has been maintained eternal as poets of wisdom exceeded the individuality to popularity, so he was honored by the people memorizing his verses and communicating them from generation to another.
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Marques, Francisco Cláudio Alves, and Gustavo Henrique Alves de Lima. "Luiz Gama e Leandro Gomes de Barros em Perspectiva Dialógica." Revista Educação e Emancipação, no. 1 (October 9, 2017): 89. http://dx.doi.org/10.18764/2358-4319.v10n3p89-110.
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Neste artigo pretendemos investigar as possíveis relações dialógicas intertextuais que os poemas satíricos de Luiz Gama (1830-1882) e Leandro Gomes de Barros (1865-1918) estabelecem entre si bem como com a tradição oral e escrita da sátira, na qual os textos de ambos se inscrevem. Devem ser levadas também em consideração as relações dialógicas polifônicas – ou embates de vozes – que os textos destes poetas estabelecem com os discursos instituidores de “verdades” sobre as sociedades das quais fazem parte. Neste segundo tópico pretendemos investigar, em alguns poemas selecionados, como cada poeta respondeu às demandas de seu tempo, sobretudo políticas e sociais, que lhes foram apresentadas.Palavras-Chave: Leandro Gomes de Barros. Luiz Gama. Sátira. Luiz Gama and Leandro Gomes de Barros in Dialogical PerspectiveABSTRACTIn this article we intend to investigate the possible intertextual dialogical relations that the satirical poems of Luiz Gama (1830-1882) and Leandro Gomes de Barros (1865-1918) establish with each other as well as with the oral and written tradition of satire, in which the texts of both are inscribed. The polyphonic dialogical relationships - or clashes of voices - that these poets’ texts establish with the discourses that institute "truths" about the societies of which they are part must also be taken into account. In this second topic we intend to investigate, in some selected poems, how each poet responded to the demands of his time, especially political and social, that were presented to them.Keywords: Leandro Gomes de Barros. Luiz Gama. Satire.Luiz Gama y Leandro Gomes de Barros en Perspectiva DialógicaRESUMENEn este artículo pretendemos investigar las posibles relaciones dialógicas intertextuales que los poemas satíricos de Luiz Gama (1830-1882) y Leandro Gomes de Barros (1865-1918) se establecen entre sí así como con la tradición oral y escrita de la sátira, a la cual los textos de ambos se inscriben. Se deben tomar también en consideración las relaciones dialógicas polifónicas – o embates de voces – que los textos de estos poetas establecen con los discursos institucionalizados sobre las sociedades de las cuales forman parte. En este segundo tema pretendemos investigar, en algunos poemas seleccionados, cómo cada poeta respondió a las demandas de su tiempo, sobre todo políticas y sociales, que les fueron presentadas.Palabras clave: Leandro Gomes de Barros. Luiz Gama. Sátira.
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Koch, Jonathan. "‘No Empty Place for Complementing Doubt’: The Spaces of Religious Toleration in Andrew Marvell’s ‘Flecknoe’." Review of English Studies 71, no. 301 (November 22, 2019): 687–708. http://dx.doi.org/10.1093/res/hgz132.
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Abstract Andrew Marvell’s ‘Flecknoe, an English Priest at Rome’ (1646) is a striking document in early modern debates over toleration and an exemplar of their rhetoric and design. Considering ‘Flecknoe’ together with Upon Appleton House (1651), I argue that Marvell uses spatial terms and satiric forms to present confessional rivalry and complementarity. Satire itself might be thought of as a practice of toleration in these poems, at once mocking the languages and gestures of opposing religious confessions and allowing the poet to draw close to—to contrive a surprising intimacy with—the convictions and practices of others. The result is a brilliant interweaving of the ideas and experiences of religious and erotic toleration: Marvell sets liberty of the spirit alongside liberty of the body in these poems’ scenes of forbearance.
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Beard, Ellen L. "Satire and Social Change: The Bard, the Schoolmaster and the Drover." Northern Scotland 8, no. 1 (May 2017): 1–21. http://dx.doi.org/10.3366/nor.2017.0124.
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Despite his lack of formal education, Sutherland bard Rob Donn MacKay (1714–78) left over 220 published poems, far more than any other contemporary Gaelic poet. During his lifetime he was equally esteemed for well-crafted satires and well-chosen (or newly-composed) musical settings for his verse. This article examines a group of related satires attacking the schoolmaster John Sutherland and the drover John Gray, comparing them to Rob Donn's views on other schoolmasters and cattle dealers, and considering both what conventional historical sources tell us about the poetry and what the poetry tells us about history, particularly literacy, bilingualism, and the cattle trade in the eighteenth-century Highlands.
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Myers, K. Sara. "THE CULEX’S METAPOETIC FUNERARY GARDEN." Classical Quarterly 70, no. 2 (December 2020): 749–55. http://dx.doi.org/10.1017/s0009838821000045.
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The Culex is now widely recognized as a piece of post-Ovidian, possibly Tiberian, pseudo-juvenilia written by an author impersonating the young Virgil, although it was attached to Virgil's name already in the first century c.e., being identified as Virgilian by Statius, Suetonius and Martial. Dedicated to the young Octavian (Octaui in line 1), the poem seems to fill a biographical gap in Virgil's career before his composition of the Eclogues. It is introduced as a ludus, which Irene Peirano suggests may openly refer to ‘the act of impersonating Virgil’, and, like many of the poems in the Appendix Vergiliana, it seems to have a parodic intent. The Culex has been interpreted as a parody of neoteric style and the epyllion, as mock-epic, as Virgil parody (John Henderson called it a ‘spoof Aeneid in bucolic drag’), as pointed Augustan satire, as mock Ovidian ‘Weltgedicht’ and as just very bad poetry (Housman's ‘stutterer’). Glenn Most has observed that the poem's three ‘acts’ structurally recapitulate Virgil's three major works in chronological succession. Little attention, however, has been paid to the Culex's final lines, which contain a catalogue of flowers the pastor places on the gnat's tomb. Recent scholarship has reintroduced an older interpretation of the gnat's tomb as a political allegory of Augustus’ Mausoleum; in this paper I suggest instead that the tomb and its flowers serve a closural and metapoetic function at the end of the poem.
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Karam, Savo. "The Political Dimension of Byron’s “An Ode to the Framers of the Frame Bill”." International Letters of Social and Humanistic Sciences 41 (September 2014): 157–64. http://dx.doi.org/10.18052/www.scipress.com/ilshs.41.157.
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Byron‘s major poems, such as Childe Harold’s Pilgrimage, Don Juan, and others, are unmistakably flavored with political satire. It is therefore puzzling that a number of literary critics, with the exception of Malcolm Kelsall, Michael Foot, and Tom Mole, have avoided commenting in any significant manner on the political dimension of Byron‘s ―An Ode to the Framers of the Frame Bill,‖ a poem which is emphatically responsible for identifying him as a vibrant, political poet. In his ode, Byron demonstrates his capacity to fuse his political notions with a poetic sensitivity extending beyond rhyming verses. In this respect, the purpose of this paper is to position Byron‘s ode in its appropriate historical and literary frame, to examine its political affiliations, and to highlight the role Byron plays in displaying a synthesis between politics and poetics, a role cautiously avoided by other Romantic poets. Malcolm Kelsall claims in Byron’s Politics that Byron‘s poetry had essentially made no substantial political impact (50). Similarly, Michael Foot in The Politics of Paradise contends that Byron‘s political fervor ―existed independently of his poetry‖ (Qtd. in Coe para. 9). I differ with both and tend to agree with Tom Mole‘s assessment that Byron‘s ―An Ode to the Framers of the Frame Bill‖ is principally responsible for exhibiting him as a poet of an unmistakable political disposition.
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Welch, Tara S. "Est locus uni cuique suus: City and Status in Horace's Satires 1.8 and 1.9." Classical Antiquity 20, no. 1 (April 1, 2001): 165–92. http://dx.doi.org/10.1525/ca.2001.20.1.165.
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Horace's Satires 1.8 and 1.9 have long interested commentators for the enticing glimpse they provide of the changing Roman cityscape in the 30s BCE In light of the recent problematization of the strict correspondence between the poet Horace and his elaborately constructed satiric persona, locations in the Satires should be read not so much as autobiographical accounts of the poet's movement through the city but rather as functions of other themes and motifs in the Satires. This paper examines the moral and aesthetic encoding of the urban landscape in Horace's Satires Book I.Satires 1.9 and 1.8 reveal that Rome's city center and the gardens of Maecenas constitute an arena for the satirist's indirect meditation about the complex relationship between his poetry and his patron Maecenas. By mapping moral and aesthetic behavior onto these urban areas, Horace comments on the viability of satiric poetry in various social situations and settings. The emerging picture presents the city center —— filled as it is with human vice and folly —— as a place appropriate for satiric poetry, and Maecenas' gardens —— free from competition and ambition —— as a place inimical to it. Thus the gardens of Maecenas present for the satirist a moral and aesthetic problem, and their specter haunts his downtown stroll in Satires 1.9 as much as does the aspirant who dogs his steps. The decorum of patronage requires that Horace show proper subordination to his benefactors. Yet the decorum of satire requires that the poet undermine status, stability, and authority. While professing that status is not an issue in Maecenas' circle, the poems reveal instead that status is always an issue, aected no less by one's physical than one's social position.
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Langlands, Rebecca. "Latin Literature." Greece and Rome 62, no. 2 (September 10, 2015): 224–31. http://dx.doi.org/10.1017/s0017383515000091.
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James Uden's impressive new study of Juvenal's Satires opens up our understanding not only of the poetry itself but also of the world in which it was written, the confusing cosmopolitan world of the Roman Empire under Trajan and Hadrian, with its flourishing of Greek intellectualism, and its dissolution of old certainties about identity and values. Juvenal is revealed as very much a poet of his day, and while Uden is alert to the ‘affected timelessness’ and ‘ambiguous referentiality’ (203) of the Satires, he also shows how Juvenal's poetry resonates with the historical and cultural context of the second century ad, inhabiting different areas of contemporary anxiety at different stages of his career. The first book, for instance, engages with the issues surrounding free speech and punishment in the Trajanic period, as Rome recovers from the recent trauma of Domitian's reign and the devastation wrought by the informers, while satires written under Hadrian move beyond the urban melting pot of Rome into a decentralized empire, and respond to a world in which what it means to be Roman is less and less clear, boundaries and distinctions dissolve, and certainties about Roman superiority, virtue, hierarchies, and centrality are shaken from their anchorage. These later Satires are about the failure of boundaries (social, cultural, ethnic), as the final discussion of Satires 15 demonstrates. For Uden, Juvenal's satirical project lies not so much in asserting distinctions and critiquing those who are different, as in demonstrating over and again how impossible it is to draw such distinctions effectively in the context of second-century Rome, where ‘Romanness’ and ‘Greekness’ are revealed as rhetorical constructions, generated by performance rather than tied to origin: ‘the ties that once bound Romans and Rome have now irreparably dissolved’ (105). Looking beyond the literary space of this allegedly most Roman of genres, and alongside his acute discussions of Juvenal's own poetry, Uden reads Juvenal against his contemporaries – especially prose writers, Greek as well as Roman. Tacitus’ Dialogus is brought in to elucidate the first satire, and the complex bind in which Romans found themselves in a post-Domitianic world: yearning to denounce crime, fearing to be seen as informers, needing neither to allow wrongdoing to go unpunished nor to attract critical attention to themselves. The Letters of Pliny the Younger articulate the tensions within Roman society aroused by the competition between the new excitement of Greek sophistic performance and the waning tradition of Roman recitation. The self-fashioned ‘Greeks’ arriving in Rome from every corner of the empire are admired for their cultural prestige, but are also met by a Roman need to put them in their place, to assert political, administrative, and moral dominance. This picture help us to understand the subtleties of Juvenal's depiction of the literary scene at Rome; when the poet's satiric persona moans about the ubiquitous tedium of recitationes, this constitutes a nostalgic and defensive construction of the dying practice of recitatio as a Roman space from which to critique Greek ‘outsiders’, as much as an attack on the recitatio itself. Close analysis of Dio Chrysostom's orations helps Uden to explore themes of disguise, performance, and the construction of invisibility. Greek intellectual arguments about the universality of virtue are shown to challenge traditional Roman ideas about the moral prestige of the Roman nobility, a challenge to which Juvenal responds in Satires 8. Throughout his study, Uden's nuanced approach shows how the Satires work on several levels simultaneously. Thus Satires 8, in this compelling analysis, is not merely an attack on elite hypocrisy but itself enacts the problem facing the Roman elite: how to keep the values of the past alive without indulging in empty imitation. The Roman nobility boast about their lineage and cram their halls with ancestral busts, but this is very different from reproducing what is really valuable about their ancestors and cultivating real nobility – namely virtue. In addition, Uden shows how Juvenal teases readers with the possibility that this poem itself mirrors this elite hollowness, as it parades its own indebtedness to moralists of old such as Sallust, Cicero, and Seneca, without ever exposing its own moral centre. In this satire, Uden suggests, Juvenal explores ‘the notion that the link between a Roman present and a Roman past may be merely “irony” or “fiction”’ (120). Satires 3's xenophobic attack on Greeks can also be read as a more subtle critique of the erudite philhellenism of the Roman elite; furthermore, Umbricius’ Romanness is revealed in the poem to be as constructed and elusive as the Greekness against which he pits himself. Satires 10 is a Cynic attack upon Roman vice, but hard-line Cynicism itself is a target, as the satire reveals the harsh implications of its philosophical approach, so incompatible with Roman values and conventions, so that the poem can also be read as mocking the popularity of the softer form of Cynicism peddled in Hadrianic Rome by the likes of Epictetus and Dio Chrysostom (169). Both Juvenal's invisibility and the multiplicity of competing voices found in every poem are thematized as their own interpretative provocation that invites readers to question their own positions and self-identification. Ultimately Juvenal the satirist remains elusive, but Uden's sensitive, contextualized reading of the poems not only generates specific new insights but makes sense of Juvenal's whole satirical project, and of this very slipperiness.
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Oushakine, Serguei Alex. "Being In-between: Poetry for Children and Its Formal Method." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 10–26. http://dx.doi.org/10.31860/2304-5817-2020-2-18-10-26.
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This introduction to the archive bloсk on poetry for children as a critical object attempts to place the development of poetic literature aimed for children within a larger context of literary debates that were taking place at the same time. Throughout the 1920s, such formalist scholars as Yuri Tynianov and Boris Eikhenbaum persistently emphasized in their work that literature should be seen (and judged) as an autonomous field of creative activity. A similar trend could be easily traced in the field of poetic literature for children, too. In this case, the claim to artistic sovereignty was realized as a desire to develop a distinctive set of literary tools, specific for children’s poetry. As many critics maintained at the time, poetry for children should be distinguished not by its themes, but by the ways it organizes the poetic material. New, purposefully created methods of structuring the word mass were perceived as the key feature which could distinguish poetry for children from the rest of the Soviet literature. As a result, by the middle of the 1930s, the Soviet poetry for children gradually developed its own characteristic features: this poetry was playful, lyrical, and humorous. Poems created by K. Chukovsky and S. Marshak delineated the lyric-and-ludic pole of Soviet poetry for children, while poems by V. Mayakovsky and A. Barto would become the classical examples of the “didactic” poetry, in which satire and scorns would function as pedagogical tools. Consequently, the [position of the poet for children would evolve, too: lonely outsiders (like Chukovsky) would be overshadowed by “revolutionary poets” (like Mayakovsky), systemic “fellow-travelers” (like Marshak) and “class-conscious” Soviet children’s writers (like Barto).
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Zamzuri, Ahmad. "KULINER, TUBUH, DAN IDENTITAS: SEBUAH PEMBACAAN GASTRO-SEMIOTIKA TERHADAP SEPILIHAN PUISI KARYA HANNA FRANSISCA/CULINARY, BODY, AND IDENTITY: A SEMIOTIC-GASTROCRITICAL READING TO HANNA FRANSISCA’S SELECTED POEM." Aksara 33, no. 1 (July 12, 2021): 1–10. http://dx.doi.org/10.29255/aksara.v33i1.721.1-10.
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AbstrakMakanan pada era kiwari tidak lagi sekadar hidangan, tetapi menjadi perantara munculnya beragam tafsir. Hanna Fransisca menjadi salah seorang penyair yang memanfaatkan khazanah kuliner dalam puisi. Artikel ini mengulas tiga puisi pilihan karya Hanna Fransisca, yaitu “Bakpao Tionghoa”, “Kambing Guling”, dan “Tumis Paru”. Penelitian ini menyoal kuliner dalam puisi yang dibaca melalui perspektif gastrokritik dengan menggunakan metode semiotika Rolland Barthes. Penelitian ini berusaha mengungkap makna kuliner dalam ketiga puisi. Hasil penelitian ini menunjukkan bahwa kuliner dalam puisi “Bakpao Tionghoa”, “Kambing Guling”, dan “Tumis Paru” menyoal tubuh. Bakpao dan kambing guling menjadi medium penarasian tubuh yang tidak memiliki otoritas gerak di ruang sosial. Tubuh disepadankan bakpao yang cenderung diposisikan sebagai objek konsumtif. Tubuh dalam “Kambing Guling” hadir sebagai tubuh dalam ruang teritori yang cenderung mengekang kebebasan sebagai subjek. “Tumis Paru” menjadi medium penarasian tubuh yang telah terbebas dari penjara badani. Dalam hal identitas, ketiga puisi menarasikan identitas Tionghoa yang identik berkulit cerah dan berada pada ruang-ruang stereotip. Kuliner dalam ketiga puisi tersebut menjadi medium kritik, upaya protes, dan sindiran terhadap praktik-praktik warisan kolonial yang membedakan status dan identitas. Kata kunci: identitas, kuliner, tubuh, Tionghoa, gastrokritik, semiotik AbstractFood in the recent era is no longer just a dish, but an intermediary for various interpretations. One of the poets who have used culinary treasures in the world of poetry is Hanna Fransisca. This article reviews selected poems by Hanna Fransisca entitled "Bakpao Tionghoa", "Kambing Guling", and "Tumis Paru". This research examines culinary in poetry through a gastro-critical perspective using the semiotic method of Rolland Barthes. This research attempts to reveal the culinary meaning in the three poems. The results showed that the culinary in the poetry "Bakpao Tionghoa", "Kambing Guling", and "Tumis Paru" shows body problems. Bakpao and Kambing guling become a medium for body narration which does not have the authority in social space. The body, through bakpao, is to be positioned as a consumptive object. Meanwhile, the body in “Kambing Guling” is present as a body in territorial space which tends to restrain freedom as a subject. “Tumis Paru” becomes a medium for narrating the body that has been freed from physical prison. In terms of identity, the three poems narrate a Chinese identity that is identical with bright skin and exists in stereotypical spaces. The culinary in the three poems is a medium of criticism, protest, and satire against colonial heritage practices that differentiate status and identity. Keywords: identity, culinary, body, Tionghoa, gastrocritics, semiotics
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Chisholm, David. "Daniel Call’s Schocker: German Knittelvers in the late twentieth century." Studia Metrica et Poetica 4, no. 2 (January 4, 2018): 7–30. http://dx.doi.org/10.12697/smp.2017.4.2.01.
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The word “Knittelvers” has been used since the eighteenth century to describe four-stress rhyming couplets which seem to be rather simply and awkwardly constructed, and whose content is frequently comical, course, vulgar or obscene. Today German Knittelvers is perhaps best known from the works of Goethe and Schiller, as well as other late eighteenth and early nineteenth century writers.Well-known examples occur together with other verse forms in Goethe’s Faust and Schiller’s Wallensteins Lager, as well as in ballads and occasional poems by both poets. While literary critics have shown considerable interest in Knittelvers written from the fifteenth to the eighteenth century, there has been almost no discussion of the further use and development of this verse form from the nineteenth century to the present, despite the fact that it continues to appear in both humorous and serious works by many contemporary German writers. This article focuses on an example of dramatic Knittelvers in a late twentieth century play, namely Daniel Call’s comedy Schocker, a modern parody of Goethe’s Faust. Among other things, Call’s play, as well as other examples of Knittelvers in works by twentieth and early twenty-first century poets, demonstrates that while this verse form has undergone some changes and variations, it still retains metrical characteristics which have remained constant since the fifteenth century. Today these four-stress couplets continue to function as a means of depicting comic, mock-heroic and tragicomic situations by means of parody, farce and burlesque satire.
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Onyejizu, Raphael Chukwuemeka, and Uchenna Frances Obi. "Ideological Commitment in Modern African Poetry: Redefining Cultural Aesthetics in Selected Poems of Niyi Osundare’s The Eye of the Earth and Village Voice." Journal of Language and Literature 20, no. 2 (October 5, 2020): 332. http://dx.doi.org/10.24071/joll.v20i2.2579.
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<p>In this study, ideological commitment to cultural norms is a standpoint that has led to the development of modern African poetry. The Modern African poet is seen as an advocate for cultural prowess and transformation and as such naturally adopts this African traditional antecedent in his poems. Several critical studies on the two collections have focused on the stylistic and literary values of Osundare’s craft without appropriate reviews on the poet's use of cultural forms to reflect his ideological stance on pertinent issues affecting the society. The descriptive qualitative content analysis method was used to show how the selected poems reflect Homi Bhabha’s postcolonial theory of hybridity as expressed through the shifting of cultural margins in the society, thus, illustrating the use of cultural art forms as a means of appreciating nature and exploring issues of exploitation and marginalization. The study also examines the influence of the traditional Yoruba African culture on the poet with an adequate focus on the content and devices of orature, proverbs, riddles, parables, humor, satire, and traditional forms of language. The study submits that the poet adequately incorporated the ideals of culture and its elements in his enduring craft showing his allegiance to his folk cultural patterns.</p>
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P, Sridevi. "Literary Personality evident in Kalaignar M.Karunanidhi’s Text bibliography." International Research Journal of Tamil 2, no. 3 (May 16, 2020): 60–69. http://dx.doi.org/10.34256/irjt2036.
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Kalaignar M. Karunanidhi stands high of all literary stalwarts of his age through his contribution to the language, literature and the state as a writer and a leader. He had been meticulously writing for decades together producing wide range of works that include political statements, pamphlets, editorial columns, poems, plays, stories, and translations of classics, screenplay and dialogues for films, Television serials and so on. His area of expertise includes ancient Tamil literature on which he has written kuraloviyam, sangaTamizh, Tholkapiyapoonga and ThirukuralThelivurai. He registers his vision for Tamil language and people in his works. He records his pride in rich Tamil tradition and at the same time he employs satire to comment about the grey areas. This paper studies the works of Dr. Kalaignar and presents the social history of the Tamils depicted in it through various literary devices.
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Ab Jabar, Nordiana, and Mohd Faradi Mohamed Ghazali. "Komunikasi Bahasa Sindiran dalam Seloka Pak Pandir dan Pak Kaduk." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (March 31, 2021): 363–78. http://dx.doi.org/10.17576/jkmjc-2021-3701-21.
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Sarcasm Language Communication in Seloka Pandir and Pak Kaduk ABSTRACT The creative work of traditional Malay poetry is recording the story of a life filled with examples. Traditional Malay poetry serves as the main communication tool used by the ancestors until now. Among the poems involved are seloka; its original function was created to provide entertainment to society by raising certain icons as references. This study focuses on the role of seloka as a tool of personal communication and criticism with the concept of teaching to the imaginary. Among the seloka used as a reference are Seloka Pak Kaduk and Pak Pandir. Library methods and research materials such as articles, books, magazines and theses are used as the basis for this study. The objective of the study is to analyze the communication process in seloka. In addition, this study examines the wisdom of the community to communicate. The theory underlying this study is the SPEAKING framework by Dell Hymes. This theory aims to look at the types of satire found in the two ditches. The findings showed that the method of communication for smooth gentle satire is one of the identities of the Malay community in disseminating criticism among them. Seloka brings a good impact on the communication innovation process in the Malay community in producing a nation that has good social behaviour. Keywords: Seloka, sarcasm, Pak Pandir, Pak Kaduk, SPEAKING framework.
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Fredericksen, Erik. "WHEN ENOUGH IS ENOUGH: AN UNNOTICED TELESTICH IN HORACE (SATIRES 1.4.14–18)." Classical Quarterly 68, no. 2 (November 8, 2018): 716–20. http://dx.doi.org/10.1017/s0009838818000381.
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In these lines from the fourth poem of his first collection of satires (1.4.9–18), Horace defines his poetic identity against the figures of his satiric predecessor Lucilius and his contemporary Stoic rival Crispinus. Horace emerges as the poet of Callimachean restraint and well-crafted writing in contrast to the chatty, unpolished prolixity of both Lucilius and Crispinus. A proponent of the highly wrought miniature over the sprawling scale of Lucilius, Horace knows when enough is enough. And, owing to a playful link between what is satis (‘enough’) and satura (‘satire’), this makes Horace not only a skilful poet but also the consummate satirist. I suggest that this programmatic message is both emphasized and illustrated by a piece of wordplay beginning in line 14. In a previously unnoticed telestich, the last letters of lines 14–18 spell out the word satis (‘enough’). Moreover, this hidden word—made possible only by the particular arrangement of words in all five of its lines—anticipates and deepens the poem's later interest in the matter of compositio, or artful word-arrangement. While this may be unique as an example of a Horatian telestich, Horace does engage in various forms of wordplay elsewhere, and could look not only to Hellenistic poets but also to Lucretius as a predecessor in this regard. In the Satires, a collection in which problems of libertas make forms of implication and veiled speech especially significant, a wide range of hidden words and wordplay has been detected and suggested. The instance observed here reaffirms Horace's interest in wordplay, while its uniqueness as a telestich is, as I hope to show, particularly suited to its context in this poem.
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Boler, Michael. "Screwtape’s Remedy for Love: C. S. Lewis and Ovid." Renascence 71, no. 1 (2019): 21–38. http://dx.doi.org/10.5840/renascence20197112.
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In the Ars Amatoria Ovid claims to make his audience experts in love; in the Remedia Amoris he teaches them how to fall out of love. These two poems are masterpieces of satirical comedy. At first glance Ovidian satire seems worlds apart from The Screwtape Letters of C.S. Lewis. While written for entirely different aims and differing in many obvious aspects, both works describe the surest means by which to suffocate love. For Ovid, it is romantic love that must be extinguished; for Screwtape, it is the love of God. While it might seem that the irony of The Screwtape Letters is distinctively modern, Lewis’s special form of irony finds its ancient precedent and model in the master of mock-didacticism, Ovid. Not only can the influence of Ovid’s Remedia Amoris be seen in the broad themes contained in The Screwtape Letters, but many of Screwtape’s specific avenues of attack were recommended by Ovid centuries ago.
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Costa, Horácio. "Fernan Díaz, quem teve que esperar 800 anos para se casar, ou: Sobre desleituras históricas e revisões canônicas." Cadernos de Literatura Comparada, no. 43 (2020): 107–15. http://dx.doi.org/10.21747/21832242/litcomp43a7.
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There are many poems of homoerotic bias/themes amongst the archive of the “cantigas de escárnio e mal-dizer”, which in general show traces of satire and/or disgust. Some characters of medieval Portugal are fo-cussed in series of such cantigas, composed by many Gallician and Portuguese troubadours. Cantiga 1479, collected at the Cancioneiro da Biblioteca Nacional is by Aires Pérez Vuitoron and deals with some Fernan Días, who probably was a royal justice, who seems to have developed delusions of marrying someone of his own gender –to general scorn. It is studied in the fundamental edition of the “Cancioneiro Escarninho” (i.e., “Scornful Poetry Collection”) organized by Rodrigues Lapa (1965). The present essay adopts a critical eye on the necessity of reshaping and re-reading the unread in the literary canon of the Portuguese language. Such a critical stance considers that the construction of memory –including the literary one– coincides with the construction of citizenry.
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Pelevin, Mikhail. "“The Time of Lament”: A Momand drama of 1711 through the eyes of Pashtun litterateurs." Bulletin of the School of Oriental and African Studies 84, no. 1 (February 2021): 47–66. http://dx.doi.org/10.1017/s0041977x21000045.
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AbstractThis article offers a comparative examination of the literary responses of four leading early modern Pashtun authors to an armed clash in the Momand tribe in 1711. The responses include a chronicle record in prose (Afżal Khān Khaṫak) and three poems – an elegy (ʿAbd al-Raḥmān Momand), a satire (ʿAbd al-Ḥamīd Momand), and a war ode (ʿAbd al-Qādir Khaṫak). Discussed as both authentic historical documents and creative writings linked to a local social discourse, these Pashto texts enable us to reassess the intensity of everyday literary communications in Pashtun tribal areas in early modern times and append new factual material to the study of ethno-cultural processes within the Persophone oecumene. The salient stylistic and rhetoric diversity of the texts not only highlights the authors’ individual mindsets and literary techniques, but also provides an insight into a variety of social moods, political attitudes and ethics in the Pashtun traditional society.
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Baral, Khil Prasad. "समकालीन नेपाली गद्यकवितामा वर्णविन्यासवक्रता [Characterization in contemporary Nepali prose poetry]." International Research Journal of MMC 2, no. 2 (June 30, 2021): 92–106. http://dx.doi.org/10.3126/irjmmc.v2i2.38153.
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पूर्वीय साहित्यशास्त्रमा आचार्य कुन्तकद्वारा प्रतिपादित वक्रोक्तिसिद्धान्त मूलतः एउटा समन्वयशील सिद्धान्त हो । पूर्ववर्ती आचार्यहरूका मान्यतासमेतलाई समाहित गर्ने गरी प्रस्तुत गर्न खोजिएको यस सिद्धान्तमा कुन्तकले वक्रोक्तिका विभिन्न छ भेद तथा तिनका उपभेदहरूको चर्चा गरेका छन् । यस लेखमा उनले प्रस्तुत गरेका वक्रोक्तिका छ भेदहरूमध्ये वर्णविन्यासवक्रताका आधारमा केही समकालीन नेपाली गद्यकविताहरूको अध्ययन विश्लेषण गरिएको छ । यसका लागि सर्वप्रथम वक्रोक्तिसिद्धान्त र वर्णविन्यासवक्रताका बारेमा सङ्क्षिप्त सैद्धान्तिक चर्चा गरिएको छ । त्यस्तै समकालीन नेपाली गद्यकवितामा वर्णविन्यासवक्रताको प्रगोग कसरी भएको छ भन्ने सन्दर्भलाई स्पष्ट पार्न विभिन्न समकालीन कविका कवितांशलाई उहाहरणका रूपमा प्रस्तुत गरी तिनमा पाइने वर्णविन्यासवक्रताको अध्ययन विश्लेषण गरिएको छ । विक्रम संवत् सत्तरीको दशकयता प्रकाशित कविताहरूमा केन्द्रित यस अध्ययनमा वर्णविन्यासवक्रताका छवटै भेदहरूका आधारमा कविताहरूको विश्लेषण गरिएको छ । प्राथमिक र द्वितीयक दुवै स्रोतका सामग्रीको प्रयोग गरी वर्णनात्मक पद्धतिअनुसार विवेच्य सामग्रीहरूको विश्लेषण गरिएको छ । मूलतः निगमनात्मक पद्धतिमा आधारित यस अध्ययनबाट समकालीन नेपाली गद्यकवितामा पूर्वीय काव्यशास्त्रमा वर्णित वर्णविन्यासवक्रताको सफल र सार्थक प्रयोग पाइने निष्कर्ष निकालिएको छ ।[In Eastern literature, the theory of curvature formulated by Acharya Kuntak is basically a coordinating theory. In this theory, which seeks to incorporate the beliefs of the earlier Acharyas, Kuntak discusses the six distinctions of satire and its variants. In this article, the study analysis of some contemporary Nepali prose poems has been analyzed on the basis of chromaticism out of the six distinctions of irony presented by him. For this, first of all, a brief theoretical discussion has been given about the theory of curvature and chronology. Similarly, in order to clarify the context of how the use of colloquialism has been used in contemporary Nepali prose poetry, various contemporary poetic poems have been presented as examples and the study of colloquialism found in them has been analyzed. This study focuses on the poems published in the seventies of Bikram Samvat and analyzes the poems on the basis of all the six distinctions of chromaticism. The material of both primary and secondary sources has been analyzed according to the descriptive method. Basically, this study based on the deductive method has concluded that the successful and meaningful use of the chromatic descriptions described in Eastern poetry in contemporary Nepali prose poetry has been found.]
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Sulko, Lirim. "THE POETICS OF REALISM AND THAT OF SOCIALIST REALISM." International Journal of Applied Language Studies and Culture 2, no. 2 (July 30, 2019): 19–23. http://dx.doi.org/10.34301/alsc.v2i2.21.
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When discussing the poetics of realism, we consider the fact that the indisputable dominant literary genre is the novel which, since the 18th century, in the context of romantization, turned out to be a suitable form for expressing the basic contradiction of romantization, the one between the individual and the community, where the hero is a direct expression of the archetype of the romantic individual. Later, in the nineteenth century, the novel became the main literary genre in Western literature as well, which, through the development of the psychological novel (the non-psychological, pre-psychological novel, is only a form of epic or satire) becomes an expression of the individualist vocation characterizing western civilization, when the latter has finally passed from the traditional (holistic) society to modern (individualist) society. Even in the poetics of socialist realism, the novel remains the most favorite lyrical genre (in addition to poems and lyrical poetry) being directly linked to the base paradigm of the communist regime, which was the creation of a ‘New Man’.
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Do-Hyun Jeon. "Aspects of Satire and Laughter in Hwang, Ji-woo's Early Poems - Focusing on Even Birds Leave the World(『새들도 세상을 뜨는구나』)." Korean Poetics Studies ll, no. 30 (April 2011): 57–81. http://dx.doi.org/10.15705/kopoet..30.201104.003.
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Vivier, Eric D. "What Satire Does: Lessons from the English Renaissance for the Great Age of American Satire." Genre 53, no. 3 (December 1, 2020): 199–227. http://dx.doi.org/10.1215/00166928-8847162.
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This essay argues that satire should be defined as a rhetorical genre rather than a literary genre or mode. It begins by analyzing a little-known meta satirical poem from the English Renaissance—John Weever's The Whipping of the Satyre (1601)—in order to highlight the range of potential rhetorical consequences of satire, which include not only blame for the target but also blame for the satirist, polarization of the audience, and more satire in the way of imitation and response. It then shows that these potential rhetorical consequences are consistent across time by analyzing The Onion's coverage of mass shootings in the twenty-first-century United States. This comparison between English Renaissance satire and modern American satire suggests that satire is consistent in rhetorical rather than formal terms, and therefore that satire is less a type of art than a type of social action. Satire is a way of using creative expression to make someone or something look bad.
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Bond, R. P. "Dialectic, Eclectic and Myth (?) in Horace, Satires 2.6." Antichthon 19 (1985): 68–86. http://dx.doi.org/10.1017/s0066477400003245.
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Commentators have agreed that this poem is among the finest, if not the finest of Horace’s Satires. Naturally, therefore, it has been accorded much critical attention. One of the most penetrating analyses is that of Brink, who quite properly places considerable emphasis on the complex nature of the relationship between Horace and Maecenas. Rudd too adopts this line, relating Satires 2.6 to the sixth satire of Book 1, which describes the beginning of Horace’s association with Maecenas.
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Jones, F. M. A. "The Persona and the Addressee in Juvenal Satire 11." Ramus 19, no. 2 (1990): 160–68. http://dx.doi.org/10.1017/s0048671x00002903.
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The approach to the Satires of Juvenal via the persona theory is well-known and has been productive. Somewhat less notice has been given to the fact that a considerable number of the satires have their persona moulded around another character, an addressee or an interlocutor, or sometimes an important narrative figure. Such characters ‘justify’ the persona, which can now be seen as a kind of ad hominem irony. This matter is intricately linked with the role of indignatio. Thus indignation, programmed in the first satire, becomes a little suspect in Laronia's mouth in the second. Laronia is a small scale character, but the techniques used in her regard appear again in the third satire, where the difference between Juvenal and Umbricius reveals the inadequacy of indignatio a little more clearly. The difference between the treatment of Crispinus and of Domitian in the fourth satire carries this process further. In the fifth, Juvenal tries to rouse the abject Trebius, but in his own apostrophe to Virro (Sat. 5.107f.) shows that indignatio is not, perhaps, appropriate at all. The role of indignatio diminishes further in the later satires, noticeably in the ninth, where Juvenal's tone is one of banter and Naevolus reveals his own unpleasantness. Much of this process has been charted by S. Braund in a book on the seventh, eighth, and ninth satires. The argument can be resumed with the eleventh satire where there is a further development. In the earlier satires which use address or dialogue there is an impressive realism in dramatic terms about the confrontation and psychology. In the eleventh (and even more, the twelfth) the development of the techniques of irony begins to intrude on the dramatic plausibility: the voice assumed in the poem becomes more aware of the audience as well as the addressee. As the beginning of a demonstration of this change I now provide an analysis of the use of Persicus in the eleventh satire.
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Miola, Robert S. "Lesse Greeke? Homer in Jonson and Shakespeare." Ben Jonson Journal 23, no. 1 (May 2016): 101–26. http://dx.doi.org/10.3366/bjj.2016.0154.
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Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.
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Clark, Lorna J. "Teaching "the young idea how to shoot"." Journal of Juvenilia Studies 1 (July 4, 2018): 20–36. http://dx.doi.org/10.29173/jjs127.
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"The Burney family stood at the centre of cultural life of eighteenth- and nineteenth-century England, and excelled in several forms of artistic expression, especially in writing. Among the manuscripts preserved in the family archive are some collections of juvenilia produced by the children of Charles Rousseau and Esther Burney, Frances Burney’s elder sister. These literary projects helped the young authors to build confidence in their writing, refine their craft, and find a voice. This paper examines two: the first is an early example of a family-produced magazine that is patterned after one of the first-ever periodicals aimed at children. The second collection is a series of anthologies containing poems, plays, and stories written by Sophia Elizabeth Burney and dedicated to her novelist aunt. The plays seem designed to be performed in amateur theatricals; the stories contain images of female suffering, sharp satire on social pretentions, and a raucous (even violent) sense of humour that evoke the novels of Frances Burney. The newly discovered manuscripts reflect an environment that evidently encouraged creative play, self-expression, and artistic production. The study of these juvenile works yield insight into the creative world of the Burneys and, more generally, into the world of the child reader and writer in late eighteenth-century England.
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Williams, Abigail. "The Politics of Providence in Dryden's Fables Ancient and Modern." Translation and Literature 17, no. 1 (March 2008): 1–20. http://dx.doi.org/10.3366/e0968136108000034.
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The politics of Dryden's Fables Ancient and Modern (1700) are at once transparent and obscure. These poems speak the idiom of late seventeenth-century political debate, introducing into, or simply discovering in the fictions of Chaucer, Ovid, Homer, and Boccaccio, the language and concepts of patriotism, abdication, passive obedience, arbitrary power, and political flattery. They seem to invite political reading on account of their subject matter itself – their narratives of tyrants, wronged parents and children, dynastic disputes, and usurpation. Moreover, they have been shown to incorporate numerous topical reflections on contemporary political issues: there are clear allusions to the standing army debates in Sigismonda and Guiscardo and Cymon and Iphigenia; to contemporary controversy over moral reformation and satire on Puritanism in The Cock and the Fox. Yet although the seventeenth century, and the 1690s in particular, saw an outpouring of explicitly political fables, Dryden's translations frustrate the application of sustained political allegory, as numerous critics have found.1 They offer contradictory signals: so, for example, we are invited to identify the conquering Theseus at the beginning of Palamon and Arcite as a type of William III, but by the end of the translation he has become a stoic figure offering a humanist consolation on loss and love.2 The collection as a whole tends to deny us the consistent political allegory that it invites us to make through its vocabulary and topical allusion.3
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Freitas, Marcus Vinicius De. "Sobre o estatuto da sátira na obra de Jorge de Sena." Revista do Centro de Estudos Portugueses 31, no. 45 (June 30, 2011): 189. http://dx.doi.org/10.17851/2359-0076.31.45.189-208.
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<p>Este artigo visa a uma análise do papel desempenhado pela sátira no conjunto da obra de Jorge de Sena, em especial no livro póstumo <em>Dedicácias</em>, organizado e publicado por Mécia de Sena. A hipótese principal é as de que, através da sátira, Sena cria um elo entre a fatura poética e a atividade crítica. Ao longo do trabalho, são analisados, sob a mesma perspectiva, alguns outros poemas centrais da obra de Sena, tais como “Camões na Ilha de Moçambique” e “Em Creta com o Minotauro”.</p><p>This paper aims at analysing the role of the genre satyre inside Jorge de Sena’s works, specially in the posthumous collection of poems named <em>Dedicácias</em>, edited by his wife and editor, Mécia de Sena. The main hypothesis is that, throughout his entire work, Sena uses satyre to create a link between poetry and criticism. Aside poems from <em>Dedicácias</em>, the paper analyses as well some of the axial poems in Sena’s works, such as “Camoes in Mozambique Island” and “In Crete with the Minotaur”.</p>
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Orlitsky, Jurij. "ONCE AGAIN ABOUT SO-CALLED BRODSKY’S «SYLLABICS» AND ITS OBJECTIVE CONTEXT – RUSSIAN SYLLABICS OF THE LATE XX CENTURY." Izvestia of Smolensk State University, no. 1 (49) (May 26, 2020): 33–46. http://dx.doi.org/10.35785/2072-9464-2020-49-1-33-46.
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The article considers existing opinion in modern science devoted to Brodsky's about the rhyme in his two poems written in the middle of the 1960s. These poems («The Poetry», «Imitation of Cantemir`s Satires») appeal to the name and word of Cantemir. On the basis of this fact and due to the use of unconventional forms of syllabotonics (dactyl with two caesuras) and tonics (accentual rhyme with a constant clausula), the author often makes a conclusion about syllabic nature of these poems. The author of the article explains the reasons for the error and suggests
ways of solution. In addition, the context of this error is shown in regular appeals of Russian poets of the late XX century to the memory of the syllabic rhyme and its experiments appeared a bit later. The article presents examples of modern
Russian syllabics stylized and completely original.
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Williams, John. "Wordsworth, Shelley, and the Riddle of Peter Bell." Romanticism 23, no. 1 (April 2017): 75–87. http://dx.doi.org/10.3366/rom.2017.0308.
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In 1819 Shelley was moved to anger and derision when Wordsworth published Peter Bell. His satirical response was predicated on an ironically autobiographical interpretation of the poem, and in this respect, Shelley's reading of the poem merits further study with respect to both poets. Hazlitt, Keats, Lamb, and others, were quick to note the egotistical drive that informed Wordsworth's writing, but in Peter Bell the Third Shelley claimed that Wordsworth went far beyond that. He insisted that Wordsworth had unintentionally satirised himself with devastating accuracy in the manner of Thomas Moore's satire on political apostasy, The Fudge Family in Paris. Shelley's reading of the poem casts a fresh light on the importance of Peter Bell for an appreciation of the complexity of Wordsworth's development as a poet at the time of writing Lyrical Ballads, a complexity that relates both to the controversial style of Peter Bell, and to the ambivalent relationships within the poem between poet, narrator, protagonist, and reader.
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Zykova, Elena I. "The Specificity of Functioning of Winged Expressions in the Poetry of Dmitry Bykov." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 3 (December 15, 2020): 463–78. http://dx.doi.org/10.22363/2313-2299-2020-11-3-463-478.
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The article deals with the specific features of the functioning of winged expressions in the poetry of Dmitry Bykov. Analyzing the poetic work of Dmitry Lvovich Bykov, a modern Russian writer, poet, public figure, publicist, it is impossible not to notice that the poet uses a winged language arsenal in all its diversity. These are biblical winged words and quotations ( мафусаилов век, ищите и обрящете, геенна огненная ), quotations from works, Russian and European literature ( Через четыре года здесь будет город-сад! Прощай, свободная стихия! Офелия, О нимфа! Помяни грехи мои в молитвах! ), winged words, dating back to antiquity ( Жребий брошен! белая ворона ), quotes from modern and Soviet songs ( Я люблю тебя жизнь и надеюсь, что это взаимно! ). In addition, the question of the specific stylistic functions of winged expressions, which Dmitry Bykov uses in his poetry, is considered. Among the most significant and most frequent and expressive can be distinguished satirical and compositional functions. In Russia, Dmitry Bykov is known as a writer, a satirist poet, writing mainly on acute political and socially significant topics. Therefore, it is completely understandable why one of the favorite winged words functions that he uses is depathetic. An important artistic language means in D. Bykovs poetic satire is his authors transformations of winged expressions. In the poetry of Dmitry Bykov, you can find the use of almost the whole range of individual-author transformations. Both semantic and structural-semantic. Dmitry Bykov is a master of a deep, complex image. In his poems, he creates complex allegories, his images are metaphorical, full of sarcasm. And in order to reach this depth of the image, the author most often uses not one, but several methods of transforming winged words within one context, which is, in our opinion, another specific feature of the writer's artistic style.
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Zaytseva, T. I., and N. P. Yamaeva. "The comic in Udmurt folklore and artistic literature of the late XIX – early XX centuries." Bulletin of Ugric studies 10, no. 4 (2020): 652–61. http://dx.doi.org/10.30624/2220-4156-2020-10-4-652-661.
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Introduction: the сomic is one of the ways of artistic reflection of reality. It shows the peculiarities of the national worldview at the certain period of history. To generalize the stages of evolution of the comic in literature, to establish causeand- effect relationships of development of genres and forms of the comic, it is necessary to identify its origins. The article development. Objective: to identify the origins and features of formation of comic genres in Udmurt literature in the aspect of continuity of traditions of oral folk art. Research materials: satirical and humorous works of Udmurt folklore and the initial stage of development of national literature. Results and novelty of the research: prerequisites of the comic in Udmurt literature are contained in laughing culture of the people, in rituals and rites that perform a magical function. An important source of the origin of literary comic genres was the genres of oral folk art with a dominant social function. A significant role was also played by the translation and cultural activities of the enlighteners, as well as the influence of older literatures. Based on the genres of oral and poetic creativity (comic, satirical, dance and game songs, fairy tales, fables, madyos, takmak) and taking into account, first of all, the experience of Russian literature, comic works of various genres are created in the Udmurt language. For the first time the article considers poorly studied works of Udmurt comic literature of the late XIX – early XX centuries. These are works of different genres of folklore origins: verses, poems, plays, essays, stories, novellas, feuilletons, parables, fables, madyos, new takmak, pamphlets, «light tales», etc. The educational theme of the first works gradually acquires a social and socio-political meaning complicating the poetics of the comic. Key words: the comic, genre, Udmurt folklore, Udmurt literature, laughter, satire, humor.
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Gellérfi, Gergő. "A nők ellen vagy a nők ellen is?" Antikvitás & Reneszánsz, no. 2 (January 1, 2018): 23–36. http://dx.doi.org/10.14232/antikren.2018.2.23-36.
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The opening of Juvenal’s longest and maybe the most well-known poem, Satire 6, is based on the ancient concept of the “Ages of Man”, starting from the reign of Saturn and ending with the flight of the two sisters, Pudicitia and Astraea. The first part of this 24-line-long passage depicts the Golden Age making use of two different sources: the idealized Golden Age appearing in Vergil’s poetry among others and the prehistoric primitive world from the Book 5 of Lucretius. The Juvenalian Golden Age, presented briefly in a naturalistic way, is a curious amalgam of these two traditions, being the only time in human history according to the poet when marital fidelity was unblemished. However, while reading Satire 6, it seems far from obvious that the lack of adultery should be attributed to higher morals. Albeit Juvenal presents a great variety of women’s sins in Satire 6, the poem’s central motif is infidelity beyond doubt, which is called the most ancient of all sins by the poet, being the only one that appeared in the Silver Age already. This is his cause for looking back to the mythological past in the introductory lines of the “Women’s Satire”; but as his words reveal it, the return to this state of the world and humanity seems neither possible nor desirable to him...