POETRY (B.A. English Sem. I)
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Jennings on the Trail of Pessoa Or Dimensions of Poetical Music
Jennings on the Trail of Pessoa or dimensions of poetical music Pedro Marques* Keywords Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, translation, versification, musicality, The thing that hurts and wrings, What grieves me is not, What saddens me is not. Abstract Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text. Palavras-chave Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, tradução, versificação, musicalidade, O que me doe, O que me dói. Resumo Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano “O que me dói” e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos. -
Katherine Philips and the Discourse of Virtue
https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] Katherine Philips and the Discourse of Virtue Tracy J. Byrne Thesis submitted for the degree of Ph.D. University of Glasgow Department of English Literature March 2002 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author's prior written consent. ProQuest Number: 10647853 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. -
15. Identity and Irony. Martial's Tenth Book, Horace, and the Tradition of Roman Satire
15. IDENTITY AND IRONY. MARTIAL'S TENTH BOOK, HORACE, AND THE TRADITION OF ROMAN SATIRE Elena Merli Although Martial strongly invokes the Latin epigrammatic tradition in his poetological statements-and thus in part actually constitutes this tradition-the intertextual references in his poetry point far beyond the genre of epigram. In his monograph on Martial, John Sullivan briefly discusses the role of satire and elegy in his view our poet's most important intertextual points of reference. According to Sullivan, Martial takes from satire his critical view of society and human behav ior, and from elegy especially the element of self-representation. Even prior to Sullivan, of course, the question of Martial's relationship to satire was posed frequently, and the answers focused on the humorous and mimic elements; on the poet's description of "types" such as the parvenu, the hypocrite and the legacy-hunter; and on his criticism of Roman society and the system of clientela. 1 To my mind, the limitation of this approach consists in the diffi culty of adequately defining the object "satire". Scholarship has too often abstained from seeking precise, concrete lines and tendencies of development in this genre, and done so in good conscience on the grounds of satire's intrinsic uarietas? As far as our topic is concerned, this fact has led to a kind of optical illusion: the relationship between Martial and Juvenal has moved to center stage, while Martial's much broader and more nuanced relationship to the various forms and stages of the satirical tradition has receded into the background. -
Lyric Poetry :- the Sonnet
By Dr. Anita Singh, Dept of English, For Part – 1 English Hons. LYRIC POETRY :- Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. It is not equivalent to song lyrics, though they are often in the lyric mode. Lyric poetry expresses personal emotions or thoughts of the speaker, just like the songs of today. Also, just like songs, lyric poems always have a musical quality, or a specific melody which makes it easy for you to sing along with. The term 'lyric poetry' actually comes from the ancient Greek word lyre, which refers to the instrument in that era that accompanied the reading of the lyric poem. Almost like the first version of a live concert. Lyric poetry, for the most part, is short and written in first-person point of view. There is always some specific mood or emotion being expressed. Often that mood is about the extremes in life, mostly love or death or some other intense emotional experience. No matter the theme, though, all lyric poems are known for brevity, emotional intensity and musical quality. There are many types of lyric poems, each with their own format and purpose. Let's take a look at some. THE SONNET One type of lyric poem is the sonnet. Overall, sonnets have 14 lines usually written in iambic pentameter, which is five pairs of stressed and unstressed syllables. This overall structure of predetermined syllables and rhyme makes sonnets flow off your tongue in a similar way that a song on the radio does. -
Sidney Keyes: the War-Poet Who 'Groped for Death'
PINAKI ROY Sidney Keyes: The War-Poet Who ‘Groped For Death’ f the Second World War (1939-45) was marked by the unforeseen annihilation of human beings—with approximately 60 million military and civilian deaths (Mercatante 3)—the second global belligerence was also marked by an Iunforeseen scarcity in literary commemoration of the all-destructive belligerence. Unlike the First World War (1914-18) memories of which were recorded mellifluously by numerous efficient poets from both the sides of the Triple Entente and Central Powers, the period of the Second World War witnessed so limited a publication of war-writing in its early stages that the Anglo-Irish litterateur Cecil Day-Lewis (1904-72), then working as a publications-editor at the English Ministry of Information, was galvanised into publishing “Where are the War Poets?” in Penguin New Writing of February 1941, exasperatedly writing: ‘They who in folly or mere greed / Enslaved religion, markets, laws, / Borrow our language now and bid / Us to speak up in freedom’s cause. / It is the logic of our times, / No subject for immortal verse—/ That we who lived by honest dreams / Defend the bad against the worse’. Significantly, while millions of Europeans and Americans enthusiastically enlisted themselves to serve in the Great War and its leaders were principally motivated by the ideas of patriotism, courage, and ancient chivalric codes of conduct, the 1939-45 combat occurred amidst the selfishness of politicians, confusing international politics, and, as William Shirer notes, by unsubstantiated feelings of defeatism among world powers like England and France, who could have deterred the offensive Nazis at the very onset of hostilities (795-813). -
The Ode As a Genre in the Latin Poetry of Jan Kochanowski (Lyricorum Libellus)*
TERMINUS Vol. 20 (2018), Special Issue, pp. 1–21 doi:10.4467/20843844TE.18.009.9892 www.ejournals.eu/Terminus http://orcid.org/0000-0002-6919-9105 Elwira Buszewicz Jagiellonian University in Kraków [email protected] The Ode as a Genre in the Latin Poetry of Jan Kochanowski (Lyricorum libellus)* Abstract The aim of this study is to establish the place of Jan Kochanowski’s Lyricorum li- bellus (1580) in the history of Polish Renaissance neo-Latin ode presented against a wider European background. The development of this genre in this historico-lit- erary period in Poland has received only fragmentary reporting, e.g. in relation to Horatianism in literature or as a background for the vernacular ode. Yet, as Carol Maddison argues in her Apollo and the Nine, the Neo-Latin ode is, in a sense, a new genre revived and newly “devised” by Renaissance humanists. In her fundamental work, Maddison also presents the development of the ode and its variations in Italy and France. According to ancient patterns used by poets, Horatian odes (includ- ing Kochanowski’s odes) can be divided into the “Pindaric” and the “Anacreontic- Sapphic.” This division coincides to some extent with the classification of odes as “political” or “private.” Similar categorisation criteria adopted by various research- ers (Zofia Głombiowska, Jacqueline Glomski, Józef Budzyński) may result in indi- vidual odes being assigned to several different categories. The first part of this paper, therefore, emphasises the identity of the NeoLatin ode and its status as a new genre strongly related to Renaissance Humanism. In the second part, the author attempts to assign particular poems from Lyricorum libellus to patterns indicated by Mad- dison, and deals with previous attempts at classification based on differentiating be- tween political and private odes. -
How to Read a Sonnet Two Quatrains Is the Octave; the by a Couplet, As in WS 73 Last Six Lines Is the Sestet
Download this brochure as a PDF from VernBarnet.com 4 pages EXTERNAL SCAFFOLDING INTERNAL STRUCTURES (apart from meaning) (pattern of meaning) he “English” or Shakespearean” Within the external sonnet form, T sonnet consists of 14 lines of William Shakespeare (WS) draws iambic pentameter (you can easily his themes in various ways. speak one line in one breath) with the line end-rimes in a pattern of A. The same idea is pre- sented in three quatrains, abab-cdcd : efef-gg. Each set of four lines is a quatrain and the last two each with a different meta- lines are called a couplet, indented phor, a different angle on How to Read a Sonnet in Shakepeare’s Sonnets. The first the same theme, followed two quatrains is the octave; the by a couplet, as in WS 73 last six lines is the sestet. (dying day, dying year, in Shakespearean form An iamb is a set of two syllables dying fire, love now) and the first of which is unstressed and my 30. which means reading aloud the second stressed. Pentameter is B. The octave presents a a line of five feet. (A unit of rhythm in poetry is called a foot from po- theme, the third quatrain T summarizes it, and the cou- etry’s early association with dance; a line of poetry is like a measure of plet condenses it once again, as in WS 55 (you live in my T music.) Thus a line of iambic pen- tameter sounds lines) and my 15. T da DUM da DUM da DUM da DUM da DUM. -
Allusions to Archaic Elegy in the Epigrams of Leonidas of Tarentum Alissa A
Allusions to Archaic Elegy in the Epigrams of Leonidas of Tarentum Alissa A. Vaillancourt (The Graduate Center of The City University of New York) Within the epigrams of the Greek Anthology, some scholars have identified a few elegiac elements. For example, in his article on the influence of archaic elegy on sympotic epigrams, Bowie proposes that Asclepiades, Callimachus, Hedylus and Posidippus “see themselves as in some respects reworking the early elegiac tradition.”1 I would like to add Leonidas of Tarentum to this list. In their commentary on Leonidas of Tarentum, Gow and Page identify two epigrams by Leonidas as elegies: 11 GP =AP 7.440 and 71 GP =AP 7.466.2 Using these elegies as my starting point, I will investigate how the poetry of Leonidas of Tarentum engages archaic elegy. I will begin by investigating the influence of archaic elegy on Leonidas with particular focus on the works of Mimnermus and Tyrtaeus. Through this investigation, I will show not only that the qualities of lamentation in archaic elegy influence Leonidas of Tarentum, but also that the didacticism that is common in archaic elegy is being refashioned by Leonidas to suit his own collection of epigrams. Leonidas applies elegiac didacticism in some of his poems in order to emphasize his own philosophy, which stresses the moribund nature of life. He refashions the elegy of Tyrtaeus by defining a sort of virtue in his epigrams, but instead of relating this virtue to valor earned through polemic pursuits for Sparta, Leonidas presents the virtue of the traveler, who is alone, jaded, and ready to embrace death. -
The Oxford Companion to English Literature, 6Th Edition
e cabal, from the Hebrew word qabbalah, a secret an elderly man. He is said by *Bede to have been an intrigue of a sinister character formed by a small unlearned herdsman who received suddenly, in a body of persons; or a small body of persons engaged in vision, the power of song, and later put into English such an intrigue; in British history applied specially to verse passages translated to him from the Scriptures. the five ministers of Charles II who signed the treaty of The name Caedmon cannot be explained in English, alliance with France for war against Holland in 1672; and has been conjectured to be Celtic (an adaptation of these were Clifford, Arlington, *Buckingham, Ashley the British Catumanus). In 1655 François Dujon (see SHAFTESBURY, first earl of), and Lauderdale, the (Franciscus Junius) published at Amsterdam from initials of whose names thus arranged happened to the unique Bodleian MS Junius II (c.1000) long scrip form the word 'cabal' [0£D]. tural poems, which he took to be those of Casdmon. These are * Genesis, * Exodus, *Daniel, and * Christ and Cade, Jack, Rebellion of, a popular revolt by the men of Satan, but they cannot be the work of Caedmon. The Kent in June and July 1450, Yorkist in sympathy, only work which can be attributed to him is the short against the misrule of Henry VI and his council. Its 'Hymn of Creation', quoted by Bede, which survives in intent was more to reform political administration several manuscripts of Bede in various dialects. than to create social upheaval, as the revolt of 1381 had attempted. -
ELEGY 397 ( ); K. Strecker, “Leoninische Hexameter Und
ELEGY 397 (); K. Strecker, “Leoninische Hexameter und speare, Two Gentlemen of Verona) can be recommended Pentameter in . Jahrhundert,” Neues Archiv für ältere to a would-be seducer. T is composite understanding deutsche Geschichtskunde (); C. M. Bowra, Early of the genre, however, is never fully worked out and Greek Elegists, d ed. (); P. F r i e d l ä n d e r , Epigram- gradually fades. mata: Greek Inscriptions in Verse from the Beginnings to T e most important cl. models for the later devel. of the Persian Wars ( ); M. Platnauer, Latin Elegiac Verse elegy are *pastoral: the lament for Daphnis (who died (); L. P. Wilkinson, Golden Latin Artistry ( ); of love) by T eocritus, the elegy for Adonis attributed T. G. Rosenmeyer, “Elegiac and Elegos,” California to Bion, the elegy on Bion attributed to Moschus, and Studies in Classical Antiquity (); D. Ross, Style another lament for Daphnis in the fi fth *eclogue of and Tradition in Catullus ( ); M. L. West, Studies in Virgil. All are stylized and mythic, with hints of ritual; Greek Elegy and Iambus ( ); A.W.H. Adkins, Poetic the fi rst three are punctuated by incantatory *refrains. Craft in the Early Greek Elegists ( ); R. M. Marina T e elegies on Daphnis are staged performances within Sáez, La métrica de los epigramas de Marcial (). an otherwise casual setting. Nonhuman elements of the T.V.F. BROGAN; A. T. COLE pastoral world are enlisted in the mourning: nymphs, satyrs, the landscape itself. In Virgil, the song of grief is E L E G I A C S T A N Z A , elegiac quatrain, heroic qua- paired with one celebrating the dead man’s apotheosis; train. -
JOSEPH WILLIAM DAY Emeritus Professor of Classics ADDRESS
JOSEPH WILLIAM DAY Emeritus Professor of Classics ADDRESS Department of Classics Office tel.: (765) 361-6348 Wabash College Mobile tel.: (765) 918-2389 Crawfordsville, IN 47933 Fax: (765) 361-6470 E-Mail: [email protected] INTERESTS General & teaching: Greek and Latin languages and literatures Greek religion Ancient history, including social and cultural history Ancient sport and athletics Greek art and archaeology Research: Greek metrical inscriptions, the inscribed objects and their contexts, and the ancient reception of each Links among early Greek poetry, religion, art, and society Aspects of Byzantine culture and continuities in the Hellenic tradition Athenian popular history EDUCATION Gonzaga University, B.A. in Classics (1970, summa). Stanford University, M.A. (1973), Ph.D. (1978) in Classics. EMPLOYMENT and TEACHING American School of Classical Studies at Athens Elizabeth Whitehead Visiting Professor, 2011-2012 Seminar: inscribed Greek epigram Wabash College Award: 2010 McLain-McTurnan-Arnold Award for Excellence in Teaching. Rank: • Assistant Professor, F1983, 1985-1989 • Associate Professor, 1989-1999 • Professor, 1999-2011 • Emeritus Professor, 2011- Courses taught: • Greek: all levels, frequently; advanced includes Classical tragedy, comedy, history, oratory, philosophy, New Testament, Byzantine historians • Latin: intermediate (3 times); advanced many times, including historians, comedians, Age of Caesar, Age of Nero, Age of the Flavians, Latin sources for Roman history 1 • History: Greek survey (alternate years); Roman survey -
Abstract Old English Elegies: Language and Genre
ABSTRACT OLD ENGLISH ELEGIES: LANGUAGE AND GENRE Stephanie Opfer, PhD Department of English Northern Illinois University, 2017 Dr. Susan E. Deskis, Director The Old English elegies include a group of poems found in the Exeter Book manuscript that have traditionally been treated as a single genre due to their general sense of lament – The Wanderer, The Seafarer, The Riming Poem, Deor, Wulf and Eadwacer, The Wife’s Lament, Resignation, Riddle 60, The Husband’s Message, and The Ruin. In this study, I conduct a linguistic stylistic analysis of all ten poems using systemic functional linguistics (SFL) and a variety of computational and linguistic tools: Lexomics, Voyant, and Microsoft Excel. My results focus on three characteristics of the poetry: (1) the similarity of the linguistic style within the poems, measured by Lexomics; (2) an oscillation between first- and third-person clausal Themes, measured using SFL analysis; and (3) themes in the lexical categorization, measured through detailed lexical analysis. In the end, my methodology creates a new and more nuanced definition of the elegy: a relatively short reflective or dramatic poem, similar in style and content to other elegiac poems, that alternates between first- and third-person perspectives and includes (1) themes of exile; (2) imagery of water or the sea, the earth, and/or the weather; and (3) words expressing both joy and sorrow. Ultimately, I argue for a recategorization of only five poems as “Old English elegies”: The Wanderer, The Seafarer, Wulf and Eadwacer, The Wife’s Lament, and The Riming Poem. NORTHERN ILLINOIS UNIVERSITY DE KALB, ILLINOIS MAY 2017 OLD ENGLISH ELEGIES: LANGUAGE AND GENRE BY STEPHANIE OPFER ©2017 Stephanie Opfer A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH Doctoral Director: Dr.