Bloomfield, the Poetry of Interpretation
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And the Henrician Reformation
Robert Radcliffe’s Translation of Joannes Ravisius Textor’s Dialogi (1530) and the Henrician Reformation ágnes juhász-ormsby Memorial University Joannes Ravisius Textor’s Dialogi aliquot festivissimi (1530) exerted considerable influence in England in the 1530s. The English Textor movement was spurred primarily by the dialogues’ effectiveness in advancing and popularizing specific religious changes promoted by the government as part of the unfolding Henrician Reformation. Around 1540, the master of Jesus College School in Cambridge, Robert Radcliffe, dedicated a collection of prose translations of Textor’s three dialogues—A Governor, or of the Church (Ecclesia), The Poor Man and Fortune (Pauper et fortuna), and Death and the Goer by the Way (Mors et viator)—to Henry VIII. Radcliffe’s translations, especially the politically charged A Governor, demonstrate that not only his strategically selected source texts but also his method of translation helped him position himself in influential court circles and shape his image as a humanist scholar, schoolmaster, and translator.1 Les Dialogi aliquot festivissimi (1530) de Joannes Ravisius Textor ont exercé une influence importante en Angleterre pendant les années 1530. Le succès du mouvement anglais de Textor est principalement dû à l’efficacité avec laquelle les dialogues mettent de l’avant et popularisent des transformations religieuses spécifiques que promouvait le gouvernement dans le contexte du déploiement de la Réforme d’Henri VIII. Autour de 1540, le maître du Jesus College de Cambridge, Robert Radcliffe, a dédié une collection de traduction en prose des trois dialogues de Textor — A Governor, or of the Church (Ecclesia), The Poor Man and Fortune (Pauper et fortuna), et Death and the Goer by the Way (Mors et viator) — à Henri VIII. -
Nigel Fabb and Morris Halle (2008), Meter in Poetry
Nigel Fabb and Morris Halle (2008), Meter in Poetry Paul Kiparsky Stanford University [email protected] Linguistics Department, Stanford University, CA. 94305-2150 July 19, 2009 Review (4872 words) The publication of this joint book by the founder of generative metrics and a distinguished literary linguist is a major event.1 F&H take a fresh look at much familiar material, and introduce an eye-opening collection of metrical systems from world literature into the theoretical discourse. The complex analyses are clearly presented, and illustrated with detailed derivations. A guest chapter by Carlos Piera offers an insightful survey of Southern Romance metrics. Like almost all versions of generative metrics, F&H adopt the three-way distinction between what Jakobson called VERSE DESIGN, VERSE INSTANCE, and DELIVERY INSTANCE.2 F&H’s the- ory maps abstract grid patterns onto the linguistically determined properties of texts. In that sense, it is a kind of template-matching theory. The mapping imposes constraints on the distribution of texts, which define their metrical form. Recitation may or may not reflect meter, according to conventional stylized norms, but the meter of a text itself is invariant, however it is pronounced or sung. Where F&H differ from everyone else is in denying the centrality of rhythm in meter, and char- acterizing the abstract templates and their relationship to the text by a combination of constraints and processes modeled on Halle/Idsardi-style metrical phonology. F&H say that lineation and length restrictions are the primary property of verse, and rhythm is epiphenomenal, “a property of the way a sequence of words is read or performed” (p. -
Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected]
University of Richmond UR Scholarship Repository Classical Studies Faculty Publications Classical Studies 2016 Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/classicalstudies-faculty- publications Part of the Classical Literature and Philology Commons Recommended Citation Damer, Erika Zimmermann. "Iambic Metapoetics in Horace, Epodes 8 and 12." Helios 43, no. 1 (2016): 55-85. This Article is brought to you for free and open access by the Classical Studies at UR Scholarship Repository. It has been accepted for inclusion in Classical Studies Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Iambic Metapoetics in Horace, Epodes 8 and 12 ERIKA ZIMMERMANN DAMER When in Book 1 of his Epistles Horace reflects back upon the beginning of his career in lyric poetry, he celebrates his adaptation of Archilochean iambos to the Latin language. He further states that while he followed the meter and spirit of Archilochus, his own iambi did not follow the matter and attacking words that drove the daughters of Lycambes to commit suicide (Epist. 1.19.23–5, 31).1 The paired erotic invectives, Epodes 8 and 12, however, thematize the poet’s sexual impotence and his disgust dur- ing encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of harsh invective, and the virulent targeting of the mulieres’ revolting bodies is precisely in line with an Archilochean poetics that uses sexually-explicit, graphic obscenities as well as animal compari- sons for the sake of a poetic attack. -
A Resource Guide for Studying and Appropriating the Psalms
Leaven Volume 7 Issue 3 I Lift Up My Soul Article 10 1-1-1999 I Lift Up My Soul: A Resource Guide for Studying and Appropriating the Psalms Paul Watson Follow this and additional works at: https://digitalcommons.pepperdine.edu/leaven Part of the Biblical Studies Commons, Christianity Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Watson, Paul (1999) "I Lift Up My Soul: A Resource Guide for Studying and Appropriating the Psalms," Leaven: Vol. 7 : Iss. 3 , Article 10. Available at: https://digitalcommons.pepperdine.edu/leaven/vol7/iss3/10 This Resource Guide is brought to you for free and open access by the Religion at Pepperdine Digital Commons. It has been accepted for inclusion in Leaven by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. Watson: I Lift Up My Soul: A Resource Guide for Studying and Appropriatin 160 Leaven, Summer, 1999 ILift Up My Soul: A Resource Guide for Studying and Appropriating the Psal By Paul Watson We are experiencing among our not to suggest that oldel"'tesources the new Interpretation Biblical people a renewed and increased are not also valuable); and third, Studies series. Intended for use in interest in the psalms, which is most that they be readable and accessible congregational Bible classes, this is encouraging. We are turning to the to any serious student of the psalms. a ten-unit study guide. The first two psalms in many different settings-- I hope that you will find these units provide a general overview of in classes and small groups, in the resources as helpful and insightful the psalms; the remaining eight pulpit, in private devotional mo- as I have. -
John Donne 1 John Donne
John Donne 1 John Donne John Donne John Donne Born between 24 January and 19 June [1] 1572 London, England Died 31 March 1631 (aged 59) London, England Occupation Poet, priest, lawyer Nationality English Alma mater Oxford University Genres Satire, Love poetry, elegy, sermons Subjects Love, sexuality, religion, death Literary movement Metaphysical Poetry John Donne (/ˈdʌn/ DUN) (between 24 January and 19 June 1572[1] – 31 March 1631) was an English poet, satirist, lawyer and a cleric in the Church of England. He is considered the pre-eminent representative of the metaphysical poets. His works are noted for their strong, sensual style and include sonnets, love poetry, religious poems, Latin translations, epigrams, elegies, songs, satires and sermons. His poetry is noted for its vibrancy of language and inventiveness of metaphor, especially compared to that of his contemporaries. Donne's style is characterised by abrupt openings and various paradoxes, ironies and dislocations. These features, along with his frequent dramatic or everyday speech rhythms, his tense syntax and his tough eloquence, were both a reaction against the smoothness of conventional Elizabethan poetry and an adaptation into English of European baroque and mannerist techniques. His early career was marked by poetry that bore immense knowledge of British society and he met that knowledge with sharp criticism. Another important theme in Donne’s poetry is the idea of true religion, something that he spent much time considering and theorising about. He wrote secular poems as well as erotic and love poems. He is particularly famous for his mastery of metaphysical conceits.[2] Despite his great education and poetic talents, Donne lived in poverty for several years, relying heavily on wealthy friends. -
English 201 Major British Authors Harris Reading Guide: Forms There
English 201 Major British Authors Harris Reading Guide: Forms There are two general forms we will concern ourselves with: verse and prose. Verse is metered, prose is not. Poetry is a genre, or type (from the Latin genus, meaning kind or race; a category). Other genres include drama, fiction, biography, etc. POETRY. Poetry is described formally by its foot, line, and stanza. 1. Foot. Iambic, trochaic, dactylic, etc. 2. Line. Monometer, dimeter, trimeter, tetramerter, Alexandrine, etc. 3. Stanza. Sonnet, ballad, elegy, sestet, couplet, etc. Each of these designations may give rise to a particular tradition; for example, the sonnet, which gives rise to famous sequences, such as those of Shakespeare. The following list is taken from entries in Lewis Turco, The New Book of Forms (Univ. Press of New England, 1986). Acrostic. First letters of first lines read vertically spell something. Alcaic. (Greek) acephalous iamb, followed by two trochees and two dactyls (x2), then acephalous iamb and four trochees (x1), then two dactyls and two trochees. Alexandrine. A line of iambic hexameter. Ballad. Any meter, any rhyme; stanza usually a4b3c4b3. Think Bob Dylan. Ballade. French. Line usually 8-10 syllables; stanza of 28 lines, divided into 3 octaves and 1 quatrain, called the envoy. The last line of each stanza is the refrain. Versions include Ballade supreme, chant royal, and huitaine. Bob and Wheel. English form. Stanza is a quintet; the fifth line is enjambed, and is continued by the first line of the next stanza, usually shorter, which rhymes with lines 3 and 5. Example is Sir Gawain and the Green Knight. -
Introduction to the Puritans: Memorial Edition
Introduction to the Puritans Memorial Edition Erroll Hulse (1931-2017) INTRODUCTION TO THE PURITANS Erroll Hulse (1931-2017) Memorial Edition A Tribute to the Life and Ministry of Erroll Hulse Dedicated to the memory of Erroll Hulse with great joy and gratitude for his life and ministry. Many around the world will continue to benefit for many years to come from his untiring service. Those who knew him, and those who read this volume, will be blessed by his Christ- honoring life, a life well-lived to the glory of God. The following Scripture verses, psalm, and hymns were among his favorites. ISAIAH 11:9 They shall not hurt nor destroy in all my holy mountain: for the earth shall be full of the knowledge of the LORD, as the waters cover the sea. HABAKKUK 2:14 For the earth shall be filled with the knowledge of the glory of the LORD, as the waters cover the sea. PSALM 72 1Give the king thy judgments, O God, and thy righteousness unto the king’s son. 2He shall judge thy people with righteousness, and thy poor with judgment. 3The mountains shall bring peace to the people, and the little hills, by righteousness. 4He shall judge the poor of the people, he shall save the children of the needy, and shall break in pieces the oppressor. 5They shall fear thee as long as the sun and moon endure, throughout all generations. 6He shall come down like rain upon the mown grass: as showers that water the earth. 7In his days shall the righteous flourish; and abundance of peace so long as the moon endureth. -
Adam Winthrop's Library Draft: 30 January 96; Not to Be Quoted Or Cited
Adam Winthrop's Library draft: 30 January 96; Not to be quoted or cited Adam Winthrop (1548-1623) was the father of John Winthrop (1588-1649), the first governor of the Massachusetts Bay Colony. He was the youngest son of Adam Winthrop (1498-1562), Master of the Clothworkers. Born in London in 1548, he probably spent some of his youth at Groton, in Suffolk, his father having purchased the former monastic manor in 1544 and taken up residence there in around 1552 . The elder Adam Winthrop died in 1562 and his widow, young Adam's mother, married William Mildmay. Young Adam inherited little land from his father. At the time he was enrolled in a private grammar school run by John Dawes in Ipswich. In 1567 he matriculated fellow commoner at Magdalene, Cambridge where he stayed for a few years, making friendships with John Still, John Knewstub, and Henry Sandes among others. In 1574 Adam married Alice Still and around then presumably began legal studies at the Inns of Court. In 1575 the fellows of St John's College, where John Still was Master, appointed Adam steward of the college's Kentish manors. In 1577 his wife Alice died and two years later he married Anne Browne, son of Henry Browne, former clergyman of Groton. In 1584 Adam was called to the outer bar of the Inner Temple following a recommendation to the benchers from Robert Dudley, the earl of Leicester. He was one of the signatories of a declaration of loyalty to the Queen signed by the barristers of the Inner Temple in 1585. -
The Glass No. 11, Winter 1998
THE GLASS THE GLASS NUMBER 11 WINTER 1998 Editorial 2 ‘Mercie, mercie to crye and crye again’: repentance and resolution in Anne Lock’s Meditation of a Penitent Sinner Jill Seal 3 Escape to Wallaby Wood: C S Lewis’s Depictions of Conversion Michael Ward 16 Old Western Man for Our Times: C S Lewis’s Literary Criticism Stephen Logan 33 From Pillar to Post: A Response to David Tomlinson’s The Post- Evangelical Kevin Mills 50 Reviews 58 Notes on Contributors 62 News and Notes 63 Published by the Universities and Colleges Christian Fellowship (UCCF) for the Literary Studies Group. UCCF 38 De Montfort Street Leicester LE1 7GP Tel 0116 255 1700 www.uccf.org.uk [email protected] © The contributors 1998 ISSN 0269-770X All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any1 form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. The views of the contributors do not necessarily reflect editorial stance. UCCF holds personal details on computer for the purpose of mailing in accordance with terms registered under the Data Protection Act 1984 – details available on request. THE GLASS Editorial Even those who have done courses in 16th century English literature may not be familiar with the name of Anne Lock, yet she is the poetic creator of a remarkable sonnet cycle based on Psalm 51, the psalm of Davidic repentance. Anne Lock was in fact a pioneer of the sonnet form, and her opus, presented in this issue by Jill Seal − whose research may also be fairly described as pioneering − is the earliest known sonnet sequence in English. -
Horace - Poems
Classic Poetry Series Horace - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Horace(8 December 65 BC – 27 November 8 BC) Quintus Horatius Flaccus, known in the English-speaking world as Horace, was the leading Roman lyric poet during the time of Augustus. The rhetorician Quintillian regarded his Odes as almost the only Latin lyrics worth reading, justifying his estimate with the words: "He can be lofty sometimes, yet he is also full of charm and grace, versatile in his figures, and felicitously daring in his choice of words." Horace also crafted elegant hexameter verses (Sermones and Epistles) and scurrilous iambic poetry (Epodes). The hexameters are playful and yet serious works, leading the ancient satirist Persius to comment: "as his friend laughs, Horace slyly puts his finger on his every fault; once let in, he plays about the heartstrings". Some of his iambic poetry, however, can seem wantonly repulsive to modern audiences. His career coincided with Rome's momentous change from Republic to Empire. An officer in the republican army that was crushed at the Battle of Philippi in 42 BC, he was befriended by Octavian's right-hand man in civil affairs, Maecenas, and became something of a spokesman for the new regime. For some commentators, his association with the regime was a delicate balance in which he maintained a strong measure of independence (he was "a master of the graceful sidestep") but for others he was, in < a href="http://www.poemhunter.com/john-henry-dryden/">John Dryden's</a> phrase, "a well-mannered court slave". -
Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic. -
David Mamet's Drama, Glengarry Glen Ross, and Three Iconic Forerunners
Ad Americam. Journal of American Studies 20 (2019): 5-14 ISSN: 1896-9461, https://doi.org/10.12797/AdAmericam.20.2019.20.01 Robert J. Cardullo University of Kurdistan, Hewlêr [email protected] https://orcid.org/0000-0003-0816-9751 The Death of Salesmen: David Mamet’s Drama, Glengarry Glen Ross, and Three Iconic Forerunners This essay places Glengarry Glen Ross in the context of David Mamet’s oeuvre and the whole of American drama, as well as in the context of economic capitalism and even U.S. for- eign policy. The author pays special attention here (for the first time in English-language scholarship) to the subject of salesmen or selling as depicted in Mamet’s drama and earlier in Arthur Miller’s Death of a Salesman, Eugene O’Neill’s The Iceman Cometh, and Tennes- see Williams’ A Streetcar Named Desire—each of which also features a salesman among its characters. Key words: David Mamet; Glengarry Glen Ross; American drama; Selling/salesmanship; Americanism; Death of a Salesman; The Iceman Cometh; A Streetcar Named Desire. Introduction: David Mamet’s Drama This essay will first placeGlengarry Glen Ross (1983) in the context of David Mamet’s oeuvre and then discuss the play in detail, before going on to treat the combined subject of salesmen or selling, economic capitalism, and even U.S. foreign policy as they are depicted or intimated not only in Glengarry but in earlier American drama (a subject previously undiscussed in English-language scholarship). I am thinking here of Arthur Miller’s Death of a Salesman (1949), Eugene O’Neill’s The Iceman Co- meth (1946), and Tennessee Williams’ A Streetcar Named Desire (1947)—each of which also features a salesman among its main characters.