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While Katherine Philips's translations from Corneille, especially her Pompey, have attracted substantial scholarly attention in recent years, her other translations from the French have been relatively neglected. Yet these shorter translations are key to understanding the kind of niche as a social, fashionable author Philips was attempting to create for herself in the latter part of her career. The French poems she chose to translate or imitate are indicative of the forms of poetry she was trying to promote in the early 1660s, as she looked towards France for inspiration and sought to make an impact in British literary and musical life by emulating French models. Her interest in the French court air and ballet also sheds light on her aims in composing her songs between the acts in Pompey. Philips's French poems testify to her interest in contemporary French musical and literary culture, as well as in a more highbrow pastoral literature that she was trying to adapt for an English audience. Her translation of Saint-Amant's "Solitude" in particular represents an ambitious attempt to make an intervention in the contemporary debate about neo-Epicureanism, while also reflecting her literary flair for identifying popular poems. [ABSTRACT FROM AUTHOR]

Publishing a collection of fragments from a classical author is a risky business: the moment the book appears in print, it may already be outdated, as new fragments could have come to light. Or, in the words of Ecclesiasticus 18:7: ‘When a man hath done, then he beginneth; and when he leaveth off, then he shall be doubtful’ (Ὅταν συντελέσῃ ἄνθρωπος, τότε ἄρχεται, καὶ ὅταν παύσηται, τότε ἀπορηθήσεται). The same fate befell me shortly after the publication of my collection of fragments from Rufus of Ephesus' On Melancholy. Manfred Ullmann wrote to me that the late Rainer Degen had discovered a new fragment; in the course of my research, I came across some relevant quotations in the Hippocratic Treatments by the tenth-century author aṭ-Ṭabarī; and recently, Klaus-Dietrich Fischer published two related fragments. The following short note contains these new fragments together with an English translation and commentary. At the end, I also offer some addenda and corrigenda, partly in light of the reviews that have since appeared. [ABSTRACT FROM AUTHOR]

eliciunt caelo te, Iuppiter; unde minoresnunc quoque te celebrant Eliciumque uocant.constat Auentinae tremuisse cacumina siluae,terraque subsedit pondere pressa Iouis. (Ov. Fasti 3.327–30)They draw you down from the sky, Jupiter, and that is why more recent generations still worship you today, and call you Elicius. It is certain that the summit of the Aventine wood trembled, and the earth sank beneath the weight of Jupiter. Dismayed by an unprecedented flurry of thunderbolts, the pious King Numa sets out to expiate the omen. His divine consort Egeria advises him to learn the ritus piandi (291) from Picus and Faunus, who will, however, only reveal the necessary information under compulsion. Numa makes plans to ambush the gods, taking up position in a cave within a grove ‘under the Aventine, black with the shade of the holm oak, at sight of which you would say, “A spirit is here”’ (lucus Auentino suberat niger ilicis umbra, quo posses uiso dicere ‘numen inest’, 295–6). The description of this numinous location continues (297–9): in medio gramen, muscoque adoperta uirentimanabat saxo uena perennis aquae;inde fere soli Faunus Picusque bibebant.In the middle was a meadow, and an unceasing stream of water, covered with green moss, flowed from the rock. From it Faunus and Picus, unaccompanied, were in the habit of drinking. Once captured by the king, Faunus and Picus tell Numa that only Jupiter himself can be consulted about Jupiter's own domain (if we read tecta at 316; Jupiter's weapons, if we read tela, and there's little to choose between those readings), but that with their help Numa may be able to draw Jupiter down from the sky to answer his enquiry. [ABSTRACT FROM AUTHOR]

Intense scrutiny can raise chimaeras, and Virgil is the most scrutinized of Roman poets, but he may have engineered coincidences in line number (‘stichometric allusions’) between certain of his verses and their Greek models. A handful of potential examples have now accumulated. Scholars have detected Virgilian citations of Homer, Callimachus and Aratus in this manner, as well as intratextual allusions by both Virgil and Ovid, and references to Virgil's works by later Roman poets using the same technique. (For present purposes I disregard the separate, though related, phenomenon of corresponding numbers of lines in parallel passages: G. Knauer, Die Aeneis und Homer (Göttingen, 1964) suggests several examples of such correspondences between Homer and Virgil, especially in speeches. Another purely formal mode of allusion faintly present in Roman poetry is homophonic translation (the technique which Louis Zukofsky's 1969 translations of Catullus pursue in extenso); thus Virgil's fagus, beech, corresponds with Theocritus' phagos, oak.) If genuine, the phenomenon lacks any consistent method or regular pattern (and the degree of plausibility varies); if genuine, it is very rare, even if accidents in textual transmission could have obscured some examples; if genuine, it probably originated in the Hellenistic period, although such a case has yet to be made. Virgil presently seems the earliest and most copious practitioner of stichometric allusion. A previously undetected example in the Aeneid is proposed below. [ABSTRACT FROM PUBLISHER]

A literary criticism is presented of Antonin Artaud's translation of Lewis Carroll's poem "Jabberwocky" in the episode of "Humpty Dumpty" in his novel "Through the Looking-Glass." It notes that Artaud, confined in mental asylums for years, was asked to translate the text in an artistic-therapeutic experiment. It explains why Artaud's "L'Arve et l'Aume," subtitled "Tentative anti-grammaticale à propos de Lewis Carroll et contre lui" and published in 1947 cannot be called a translation.

While questioning Hushi's theory of "Great liberation of genre," Xueheng School again proposed its idea of genre reform, which claimed "to use new material into the old rhyme. "The formation of Xueheng School's concept of "New Poetry" was, to some extent, originated from the tradition of "Differentiation Poetry. " First of all, Xueheng School stuck to the traditional belief that poetry has its own principles and believed that poetry styles contribute to determine poetry qualities. Xueheng School regarded the genre style as the primary feature of poetry. Secondly, the traditional poetic theories placed great emphasis on the differences between poetry and prose, the spirit of which was totally accepted by Xueheng School. Thirdly, the tradition of merging poetry and music together was also used as a critical weapon to criticise the "free style poetry" in New Literature school. Xueheng School believed that non-rhyme and non-meter meant losing the nature of poetry, and proposed that preserving rhyme and meter was the only hope of China's modern poetry. Finally, influenced by the tradition of "Differentiation Poetry," Xueheng School also discussed the differences between ancient poetry and modern poetry, as well as those between Chinese poetry and foreign poetry. They criticized that the "May Fourth new poets" had blindly copied foreign poetry which ignored the characteristics of the Chinese poetry and made new poems from the translated versions of foreign poems. They also specified the basic features of the "ideal New Poetry. "Between the choices of old and new, Xueheng School insisted that content of poetry should be constantly updated but the ancient style should remain. Additionally, Xueheng School also suggested that maintaining the old style did not mean rigid adherence to the rules of ancient poetry, and they claimed that appropriately changing the style and maintaining the nature of ancient poetry were two sides of the same coin. The reason for the decline of old-style poetry proposed by Xueheng School was the decayed content. Therefore, they think that the literature revolution should concentrate on the aspect of content. As far as cultural attitudes were concerned, Xueheng School was undeniably very conservative, which was embodied in its proposal of style reform. The old rhyming style is a genre, which is comprised of learnable conventions and symbol systems. The old rhyming is one of the carriers of cultural identity. To some extent, identifying with the old rhyming style is identifying with Chinese culture. The persistence of Xueheng School in keeping the old poetry style showed their identification with the tradition Chinese culture. As for how to reform literature, Xueheng School favored building up the concept of "New Poetry" on the basis of the old ones. The ideas of Xueheng School showed their full respect for the old literature traditions and the old literature principles. Nonetheless, the weakness of Xueheng School was also obvious, for example, they lacked innovation and constrained themselves by the old principles. The poetic ideas of Xueheng School appear to be stagnant. From the perspective of theory building, Xueheng School did not propose anything new, and from the perspective of poetry practices, Xueheng School did not contribute too much either. It is hence expected that there were no strong response to the call of Xueheng School. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "Why Translation Matters" by Edith Grossman is presented. The author discusses the importance of translation in the book and compares to other poetry works. It notes that Grossman's subject of her most eloquent writing focuses on translation as an ally and means of cosmopolitanism with parochialism as her great antagonist. An overview for several translated literary works including "Eugene Onegin," "Ars Poetica" by Horace and "Tartuffe" are also presented.

An essay is presented which explores the ways in which lyric poetry that is written in a different language is understood and interpreted in translation, focusing on the ways this act can open avenues for cultural understanding and social justice to combat violence. Topics include the poet Agha Shahid Ali, the Indian Pakistani poet Faiz Ahmed Faiz, critic Aamir Mufti, and Urdu literature.

The article discusses the English-language reception of the Arab poet al-Khansa'. According to the author, problematic translations of and responses to al-Khansa's work have reproduced Orientalist stereotypes surrounding Arab women. It is suggested that scholars should confront such problems directly and should be careful to contextualize and historicize literature and literary figures. Details on the elegy form used by al-Khansa', known as marathi, and on English-language responses to her choices of form and content, are also presented. Other topics include al-Khansa's conversion to Islam, the translation of her name, and her writings about her brother's death in battle.

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The article discusses the usage and the development of the Oral-Formulaic Theory since its initial stage in the field of Eddic studies. It offers an overview of the Oral-Formulaic Theory. It argues with some relevant problems and scholarly views and gives interpretation in some cases. It explores the application of the Oral-Formulaic Theory in the poetic Edda. It details the Eddic poems "Alvíssmál" and "Hávamál" from an oral-formulaic point of view because of the different techniques of memorisation.

The article explores the translation of poems by Seamus Heaney, a best known poet in the English language. It relates the origin and background of Heaney. It states that the choice of Heaney to write poetry possesses dangerous dimensions as it could easily be trapped by stereotypes, political discourse and certain commitments and allegiances. It analyzes the influences of the Western, Northern and Eastern poets to Heaney. It also discusses Heaney's interest in the Eastern poets to broaden his horizons.

The article introduces the poem "Enter" by Steve Benson. It shows how the two columns of the poem were created and spontaneously dedicated to the deceased poet Robert Creeley and Carla Harryman. The use of the "I" character as a method to link writer and reader is applied. The author offers a critical transcription of the poem and provides a significant explanation of what he transcribes. According to the author, the material he used in writing the poem was improvised, adding that it has no advance decisions as to content or theme.

The article presents the author's reflections on modernist poetry, translation and belief. The author considers the impact of modernism on poetry citing Russian poets Vasilii Kandinsky and Velimir Khlebnicov and commenting on the interest in archaic art, mortality and everyday particulars. He explores the challenge of translating poetry into English and points out coinciding historical periods of great poetry and intense translation. He also reflects on belief and the poetic response to ideologies such as fascism, communism and Nazism.

The article focuses on the Priapea and how its compilation of poems depicts some of the qualities of Priapus. Accordingly, some of Priapus' qualities are self-consciousness concerning ligneous origin, red phallus, raised arm and protection of gardens against thieves. It is claimed that Priapus depicts the personality of Horace, its creator, and relays the latter's own memory of new gardens. In addition to his experiences in new gardens, it is also pondered that Horace is speaking of his tenure on the Esquiline.

The article discusses the development of Russian symbolism in literature with a focus on the influence of poet Dmitrii Merezhkovsky. The poet's book of verse "Simvoly" or "Symbols" which was published in 1892 is discussed. Topics include a mystical or religious slant on idealism in literary symbols and the continuity of thematic motifs in translations. Merezhkovsky's poetic technique in three collections of verse, "Simvoly," Stikhotvoreniia," and "Novye Stikhotvoreniia," is compared. His lectures "O prichinakh upadka i o novykh techeniiakh v sovremennoi russkoi literature" or "The Reasons for the Decline and the New Currents in Contemporary Russian Literature" are mentioned.

The article examines the content and the popularity of "The Death Song of Ragnar Lodbrog," one of the first Norse poems to gain attention and have translation in English. It presents the early manuscript history of the poem, and discusses its structure, translations, adaptations and literary interpretations. It analyzes several aspects of the poem including its association with romance and chivalry, and the changes in its translation and interpretation during the late eighteenth century.

The article discusses the factors that involve in innovating the lyrical imperative in renaissance France. These factors include poems which can be used to trace Clément Marot's poetic evolution and to reveal how his composition of typical French forms, leading to his translations of certain Petrarchan sonnets, ultimately produce a poetic effect unique to the French sonnet that will be termed as le couplet marotique. It is stated that Marot's French imitation of the Petrarchan sonnet has most certainly presented with one of the finest examples of lyrical innovation.

The article discusses the teaching of Roman poet Publius Ovidius Naso's "Metamorphoses." The author states that "Metamorphoses" involves selected myths but that students studying the work are usually not given a sense of the poem's complex thematic interrelationships or its chronological sweep. The author also states that examinations of the poem often overlook the importance of the female voice. The author suggests reading "Metamorphoses" simultaneously in translation because it may help widen the students' understanding of the poem's narrative and thematic texture.

AbstractThe Therag?th?anthology of ?Elders' Verses? is one of the canonical Pali verse texts for which K. R. Norman provided much-needed fundamentally revised English translations, with full-scale philological annotation that in most respects supersedes all that had gone before. He has now again revised these in the light of the progress that has been made over nearly forty years since their original publication. What emerges in Therag?th?is in large measure a delightful collection of character sketches of ascetic types, labelled with captions that contrast exemplary monks such as ?Mr. Well-being? with others, such as ?Beggarly Bh?radv?ja?, the bumptious ex-brahmin convert, and ?Rags?, who is inclined to sleep during the sermon. This specimen survey seeks, however, to emphasize how much effort is still required in order to achieve and communicate an adequate appreciation of the verses, by striving to free the poetry from commentatorial obfuscation and editorial corruption. [ABSTRACT FROM AUTHOR]

The article presents an examination of Chinese manuscripts from the Warring States era pertaining to Confucian poetic philosophy and applies their principles to the examination of the poetry of the era. The work of the Shanghai Museum towards this end is cited and discussed, including several revisions pertaining to translation and poetic criticism.

Translations by the English poet Katherine Pierpoint of the Mexican Coral Bracho test the terms abstract and concrete, popularized by Ezra Pound and T. E. Hulme. A comparative reading redefines the apparently concrete language of Pierpoint as a more evasive notation of the relationship between a perceiving consciousness and the physical world. Conversely, the abstraction of Coral Bracho employs intricate patterns of syntax and sound to foreground a materiality of the word, which is defined by Paul Valéry and theorists of the Hispanic neo-baroque. The terms abstract and concrete themselves make an imperfect, if revealing, translation of the reading experience. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The author focuses on translations of the Psalms in "Silex Scintillans" by poet Henry Vaughan. According to the author, although Vaughan often depended upon previous texts in his translations, his translations of Psalms 65, 104, and 121 reveal elements of Vaughan's own historical context, philosophy, and political opinions. The author analyzes how Vaughan's translations reveal Vaughan's ideas of God, nature, and other themes.

The author focuses on the verse romance "Guy of Warwick." According to the author, a particular manuscript of the romance produced in the 1470s underwent significant linguistic and literary revision in order to make it more modern and acceptable to a 15th century reading audience. The author examines the differences between the various translated and revised texts to explore the manuscript's origins and purpose.

Poring over good translations of poetry is a special pleasure. It takes us almost uniquely close to the poem and offers insight into the intricate choices of phrasing and rhythm its composition involved. Translating Goethe's poems is also a special problem, because of the simplicity and directness of his diction. The paper looks at the detail of some of John Whaley's versions and celebrates some of his most successful versions. [ABSTRACT FROM AUTHOR]

This essay presents a syntactic analysis of the first three lines of the poem "Beowulf." The poem focuses on the royal glory during the ancient times. Its emphasis is on the heroic achievements of Beowulf. The opening verses of the poem provides a background of the achievements of Geatish hero Beowulf. The opening verses were written in syntactic unit. Some of the syntax in the opening lines clearly define specific and direct objects related to the achievements of Beowulf. The English translation of the first three lines of the poem is presented.

The article examines the textual interior of the poetry of writer Thomas Hardy. Hardy's poetry does not organize, rationalize or valorize objects it takes. It does not bring them under a concept of the aesthetic. The materials incorporated by the poetry retain an awkward empirical quiddity even if they are assembled in a recognizable value-form.

The article presents William Popple's translation of Juvenal's "Book 4th: Satire 10th: Englished." First Line: From farthest West, to where the Ganges flows, Last Line: Fools only place blind Fortune in the Skies. Also included is the scholarly commentary of Stuart Gillespie who seeks to make comparisons with other accepted translations in order to argue for the importance of Popple's version.

The article presents William Popple's translation of Juvenal's "Book 2nd: Satire 6th: Englished Against Women." First Line: It has been fabled (and it may be so,); Last Line: And at one stroke, their husband's Lives destroy. Also included is the scholarly commentary of Stuart Gillespie who seeks to make comparisons with other accepted translations in order to argue for the importance of Popple's version.

The author considers William Popple's translations of two Juvenal satires: VI and X. He asserts that these translations, which are part of a group of works contained in a Bodleian Library folio, are of a quality to rival the most accepted English versions of the 18th Century, yet they are largely unrecognized. He discusses his own analysis of the translation.

The author considers the Renaissance poetry of English writers Henry Howard, Earl of Surrey, and Sir Thomas Wyatt in order to better understand their incorporation of humanist tradition during the Tudor period. He asserts that most critiques do not pay proper attention to the role of neo-Latin in their literary merge with humanism. He makes a connection between Surrey and Nicholas Bourbon in order to locate a specific example of how the tradition emerged from the continent to impact Tudor poets.

The author considers the play "Poetaster," by Ben Jonson, suggesting that the work should be appreciated in the context of its treatment of the art of translation as it connects with the role of the poet. She also seeks to challenge some of the dominating criticism addressing the conclusion of the play by examining Jonson's allusions to Horace's "Satires" more comprehensively, comparing the frameworks of both to reach a fuller understanding of the act of translation and its significance.

Copyright of Byzantion Nea Hellás is the property of Universidad de Chile, Facultad de Filosofia y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Christopher Smart's work not only includes best known poems but also translations and magazine writings. The author explores the double "morality" of translation theory in Smart's Jubilate Agno and Preface to the verse Horace. The effort required to imagine a continuity between humility and vainglory is termed as the "literary history." Smart must sanction the troubled ethics of translation, and, more generally, of writing; and the sanction can only come through the historical imagination of a disguised ethic called literary "value." In the essay,"Christopher Smart's MAGNIFICAT: Toward a Theory of Representation," Geoffrey Hartman is speaking nostalgically and selfreflectively from within poststructuralism. Hartman suggests the difficulty of establishing any relation between deconstruction and traditional poetics at all in his Epilogue, and ties up the difficulty with the idea of constructive incongruity. Smart makes mistranslation of writing into voice a foil for the rhetoric of charitable translation. Smart's most interesting prose criticism, the Preface to his verse translation of Horace, contains the manifesto of uncharitable translation.

The article focuses on the presence of trans-sense language on poetry. The author believes that poems created using the trans-sense language have made a great impression and has caused an immediate literary scandal. Relative to this, he also added that these poems have been regarded by the people with curses while the critics have analyzed and rejected them in the light of science and democracy. On the other hand, he reveals that some individuals assert that the best way to express their emotion is through a certain sound-language which often has no definite meaning but acts outside or separately from its meaning.

The article discusses the English translation of the 12th century poem "Vie d'Edouard le Confesseur," by an anonymous Nun of Barking Abbey, which was considered to be the translation of Saint Aelred of Rievaulx's manuscript "Vita S. Edwardi Regis et Confessoris." The changes to Aelred's manuscript include added direct speech, addresses to an audience, personal comments, and omissions and amplifications. The Nun's poem differs from Aelred's manuscript in the introduction of the story of King Edward's Ring which is paralleled to the lines in the poem "The Battle of Maldon," that were spoken by Byrhtwold.

The article takes a position affirming the centrality of the identity issue to ethnopoetics. It is stated that ethnopoetics, a particular method of analyzing the linguistic use and structure in oral literature, studies the creative expression of non-western and marginal cultures through translation, performance, and criticism. In this article, the author eloquently argues that the value of ethnopoetics stems from the fact that it acknowledges a peoples' expressive behavior as authentic cultural production being shaped and determined by criteria uniquely evolved while, at times, even rejecting universal aesthetic paradigms.