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The article deals with matla‘ (first she‘r – two-line couplet – in a ghazal) of the first ghazal in the Divan by Mirza Asadulla-khan Ghalib (1792–1869) written in Urdu. One of the items usually commented there is the garment made of paper (kāġhażī peirahan). It used to be worn in ancient times by the complainers who appealed to the ruler. The range of complaints in the poetry of Ghalib as well as by other Urdu and Persian poets was wide, however, stable. “Wearing paper clothes”, the petitioner complained about the Almighty, the ill fate, a cruel girl, a lack of understanding of the petitioner’s poetry and the poor remuneration, and finally, about the poet himself, who “dressed” his poems in the paper. Тhese diverse situations form the elements of the literary motif as well as its context and are common in the Persian verses by the predecessors of Ghalib and also himself. Its analysis helps to understand all levels of meaning inherent in one of the most difficult-to-interpret texts by Ghalib.

A mnemonic couplet to help students learn the names of the cranial nerves has been in use in the United States since the mid-nineteenthth century. The original in iambic tetrameter is attributed to Oliver Wendell Holmes, Sr. Using a systematic search, more than 40 variants have been identified and, where possible, ordered in time. Variations depended in part on evolving preferred names for individual cranial nerves, regional geographic features, and idiosyncratic choices. Some inferior variants ignored critical features of the original (e.g., meter, number of poetic feet, or even the rhyme). Others strove to have a memorable couplet with the basic features of the original but without resorting to disparaging phrases. However, with the modern names for the cranial nerves, few of the extant versions of the mnemonic make sense, or preserve iambic tetrameter and rhyme, while avoiding derogatory or lewd expressions. Two new versions are suggested that meet these constraints.

Wāridāt (mystical inspiration) is a term that signifies the sudden inspiration and state that comes to heart from the unknown. Many works in wāridāt genre have been produced by Ṣūfīs. One of these works is Ismāʻīl Ḥaḳḳī Brusawī’s Ayyuh al-Bulbul, which is a handwritten treatise in Arabic. In this treatise which means O Nightingale, the word nightingale refers to heart. The small volume work which contains the leaves 84b-110a was written in AH. 1115/GC. 1704. Even though it is a short treatise, the mystical information in it are of great value. In this work Brūseawī writes about the mystical inspirations he had in different times and situations. Wāridāt sometimes appear as revelations and sometimes in the form of a couplet or rubāʻī (quatrain) in Turkish, Arabic or Persian. The author annotated these wāridāt with several different instruments such as verses and ahadith along with other prophets’ sayings, the opinions of ṣūfīs and their poems. The purpose of this article is to introduce and analyze this small treatise among other manuscripts to the readers and also to present the mystical opinions and explanations in it. Our study is a research based on manuscript examination. Since we had access to the first edition of this manuscript in good condition (without the need of a copy comparison) the author’s copy is used as the source. Ayyuh al-Bulbul is firstly read very carefully and translated into Turkish. Later, in accordance with the limits of the article, the text is examined and analyzed via text analysis method. In this context, along with physical elements such as individuals and events, the actual expressions and ideas that are the basis of the text are evaluated and commented on. Another method used in this article to define and explain these elements that the author tackled in his work, is descriptive research method. To have a better grasp of the text, along with the aforementioned methods, other works of the author and the views of some ṣūfīs were also used. Thus, the basic idea of the text was revealed. The theme of this treatise is the wāridāt that are experienced in the heart. Throughout the treatise the addressing is to heart which is named as nightingale of heart. Brūsawī explained a wārid in detail which he thought that came from Allah. While annotating the wāridāt, he talks about the essence of the heart, how it came to be, its duties and different states as they are related to the topic. He explained the heart’s substance, importance and roles by using some metaphors and similes. According to Brūsawī, the heart is the child that is born out of the soul and the body’s marriage. The state of the heart that turned away from anything but Allah, the important times for the heart and the advices for the heart are also among the matters discussed frequently in the treatise. One of the unique features of Ayyuh al-Bulbul is that the annotations of the wāridāt that came in as revelations are accepted as Ishārī tafsīr. Therefore, it is understood that this treatise can also be seen as a ṣūfī tafsīr. Brūsawī is an author who in his time appeared to be a representative of Ibn al-ʻArabī. Hence, his ideas on heart, his comments and explanations on revelations that came as wāridāt and his choice of terms are all under the effect of Waḥdat al-wudjūd (the unity of existence) thought. There is no doubt that there are a great many works that examines the heart’s spiritual side and states. Since the earliest times, purification and melioration of the heart is one of the topics that is a lot of work is focused on by ṣūfīs. For, they believe that both in the world and hereafter the salvation will come with a pure heart, based on the suggestions of the Qur’ān and Sunnah. As one of those ṣūfīs, Brūsawī reminds us in his books the important points one need to remember and follow in order for his heart to turn back into its original pure state in which the faith in Allah is absolute. Thanks to this attitude, his heart gave him protective advice from harmful diseases and disasters. The author from time to time, also made some psychological analyzes on the human being and some states of his spiritual heart. As a result, this article aims to contribute to the studies in this field by bringing out a manuscript in Arabic which belongs to wāridāt genre, analyze it and introduce it to the reader. But since the limits of the article didn’t allow to a complete translation of the work, we must say that the parts of the book which are deemed more important and necessary to mention are prioritized. There is no doubt that the investigation of other works of similar type and subject, which have not been discovered in manuscripts, by researchers will contribute to the Ṣūfī/Taṣawwuf literature.

There is no information in biographical sources about Kucuk Hafiz Mustafa Efendi (d.?), one of the 18th century authors. What we know about him is limited to what is recorded in his work named Nuzhetu'l-‘ussâk. According to this information, the author was educated in Enderun in Seferli Kogusu, where he spent most of his time learning science during the reign of Ahmed III (r. 1703-1730) and left Enderun in the following years. There are two works of the author who sometimes had difficulties in his life, named Nuzhetu'l-‘ussâk" and Serh-i Kaside-i Rusuhi, written in the style of commentary. The first of these works is written to comment a couplet in the poem of Suleymân Rusuhi which consist of 13 couplets and has the word “nedir” as rhyme, and the second is written to comment the other couplets of the same poem. Serh-i Kaside-i Rusuhi, which constitutes the subject of this study, shows a concise commentary feature compared to the other work of the author. So much so that a few of the couplets in Rusuhi's poem, which contains some mystical questions, were annotated with only a few sentences. In the commentary of some couplets, it is seen that the author kept the explanation wide and discussed the subject in detail with quotations from different sources. In the work, it is seen that various subjects such as "esmâ, sifât, the wisdom, Ruh-i Muhammedi, the Word of the Tawheed, polytheism, the faith, the destiny and superiority of man to other beings " are discussed. The commentary enriched by the quotations of verses and hadiths can be regarded as a work written in the middle prose type.

The notion of love is one of the most studied subjects in diwan poetry. Love-lover-beloved is used by almost all ottoman poets and is one of the indispensable, common forms of diwan poetry. Beloved is at the center of the poems in which love is concerned. The parables used in the diwan poetry about beloved are quite rich. Like moon, water of life, spring, friend, intriguer, houri, image, rose, king, cypress, seductive, belle, unfaithful, angel, candle, sake, fairy many words they are often used to express beloved through simile. Some of these words likened of the beloved and some are adjectives; but all of them are used as the name of the beloved directly in couplets. Modern period Persian poets, name Rahi, Mohammad Hoseyin Moayyeri in own ghazals beloved like gazelle, hunter, moon, saint, spring, life, sun, rose, fairy, image, flame, witness, star agreed with various names and adjectives. In the study, these names and adjectives used by the hostage for the beloved are briefly explained. how the poet used these names and adjectives by associating with his beloved was examined with the sample couplets brought from the ghazals. These names and adjectives are listed in Persian alphabetical order. In the footnote next to the headings, the page number and the couplet number of the similar examples in the poet's diwan are given.

Resumo Para verter o dístico elegíaco latino, algumas traduções poéticas metrificadas de obras ovidianas em língua portuguesa têm demonstrado certa preferência pelo dístico vernáculo, engendrado por Péricles Eugênio da Silva Ramos (1964), composto por verso alexandrino sucedido de decassílabo. Seguindo este modelo, apresentamos nossa proposta de transposição criativa para a carta de Fílis a Demofonte (Ep. 2), elaborada com base nas considerações de alguns tradutores-poetas que se serviram deste mesmo arranjo e nos pressupostos teórico-metodológicos norteadores da prática da tradução poética, segundo Roman Jakobson (1969), Samuel Levin (1978) e José Paulo Paes (2008). Abstract To translate the Latin elegiac couplet, some metrified poetic translations of Ovidian works into Portuguese have shown a preference for the vernacular couplet created by Péricles Eugênio da Silva Ramos (1964). This couplet is formed by combining one Alexandrine verse followed by a decasyllable. Following this model, we present our proposal of a creative transposto of the letter of Phyllis to Demophoon (Ep. 2), based on the considerations of some poet translators that used the same arrangement and on the theoretical and methodological basis of the practice of poetic translation according to Roman Jakobson (1969), Samuel Levin (1978) and José Paulo Paes (2008).

A text with many cultural terms was a complicated source text to translate into the target text because it contained different references as perceived by both language users. This research aimed to find out translation techniques applied by the translator in translating proverbs of Mandailing Folklore Anak Na Dangol Ni Andung into English and to explain its translation quality. This study made uses of a qualitative approach with a descriptive method. The data of the research were the text in Mandailing language as the source language and the English text as the target language; and were enriched by the key informants as the primary data. The data obtained were qualitatively analyzed using the theory of translation techniques. The research result showed that in translating proverbs there were four translation techniques namely single translation technique, couplet technique, triplet technique and quartet technique. It also showed that 45% of data were accurate and 55% translation were less accurate, 58,3% of data were acceptable and 41.7% translation was less acceptable, and 68.3% of data was high readability and 31.7% translation were medium readability. Finally, the study concluded the quality of the translation products depended on the translation techniques by considering the accuracy, acceptability, and the readability of the target language.

Ancient Chinese is the essence of Chinese culture. There are several natural language processing tasks of ancient Chinese domain, such as ancient-modern Chinese translation, poem generation, and couplet generation. Previous studies usually use the supervised models which deeply rely on parallel data. However, it is difficult to obtain large-scale parallel data of ancient Chinese. In order to make full use of the more easily available monolingual ancient Chinese corpora, we release An-chiBERT, a pre-trained language model based on the architecture of BERT, which is trained on large-scale ancient Chinese corpora. We evaluate AnchiBERT on both language understanding and generation tasks, including poem classification, ancient-modern Chinese translation, poem generation, and couplet generation. The experimental results show that AnchiBERT outperforms BERT as well as the non-pretrained models and achieves state-of - the-art results in all cases.

Şiir insanın muhatap aldığı kişi veya topluluğa karşı duygularını en etkili bir biçimde aktardığı, yaygın bir şekilde kullanılan edebi bir türdür. Bütün dillerde ve kültürlerde bir edebi sanat olarak yer alan şiir Arap toplumu ve Arapça dili için de önemli bir unsurdur. İslam öncesi Cahiliye döneminden günümüze kadar bu önemini devam ettirmiştir. Binlerce Arapça divan kaleme alınmış, bu divanların bir kısmı incelenmiştir, bir kısmı ise incelenmek üzere araştırılmayı beklemektedir. Teknolojik gelişmeler ışığında, kitap yapraklarında araştırılmayı bekleyen binlerce şiir dijital ortamlara aktarılmaya başlanmıştır. Binlerce şairin divanının yer aldığı dijital programlardan birisi de el-Mevsûʻatu’ş-Şiʻriyye isimli programdır. Bu programda İslam öncesi dönemden günümüze kadar yaşamış 2.300 şairin divanı yer almaktadır. Programda divanlar şairlerin yaşadığı dönemlere ve ülkelere göre tasnif edilmiştir. Program sade ve kullanışlı bir ara yüze sahiptir. Program dili Arapçadır ve menü sayısı oldukça azdır. Bu özelliği ile programın kullanımı oldukça basittir. Bu çalışmada el-Mevsûʻatu’ş-Şiʻriyye isimli programın kurulumu ve kullanımı resimlerle birlikte anlatılmıştır. Ayrıca programın içeriği detaylı bir şekilde verilmiştir.

Resumo: O presente artigo examina como, a partir das primeiras influencias do humanismo italiano, os autores portugueses traduziram e imitaram os generos antigos. Examina especificamente o modo como esses autores buscaram correspondentes metricos e estroficos portugueses para reproduzir aspectos formais ou funcionais dos metros antigos. Tendo como base os conceitos de correspondencia funcional e formal apresentados por Britto (2016), compara os metros vernaculos aos antigos quanto a forma e aos contextos em que sao utilizados. Conclui que o uso de correspondencias funcionais foi predominante nesse periodo, apontando, entretanto, para o carater relativo dessas duas formas de correspondencia e para a dinâmica que subjaz ao processo de apropriacao de formas estrangeiras. Palavras-chave: correspondencias metricas; hexâmetro; distico elegiaco; metros portugueses; seculos XVI e XVII. Abstract: This paper examines how, from the first influences of the Italian humanism, Portuguese authors translated and imitated the ancient genres. It examines specifically the way in which these authors used Portuguese metrical and strophic correspondents to reproduce formal or functional aspects of the ancient meters. Based on the concepts of functional and formal correspondence presented by Britto (2016), it compares the vernacular meters to the ancient concerning both the form and the contexts in which they are used. It concludes that the use of functional correspondences was predominant in this period, pointing, however, to the relative character of these two forms of correspondence and to the dynamics that underlies the process of appropriation of foreign forms. Keywords: metric correspondences; hexameter; elegiac couple; Portuguese meters; sixteenth and seventeenth centuries.

The article provides the first modern analysis of one of the bestselling transatlantic evangelical poems of the eighteenth century, the Scottish minister Ralph Erskine’s Gospel Sonnets. The article argues that the importance of the marriage metaphor and rhyme in the poem provided a specific meaning to the form of the couplet in eighteenth-century transatlantic evangelicalism—a form often associated with an outdated understanding of a monolithic enlightenment. In the case of Erskine, it produced the Calvinist couplet. What the author terms “espousal poetics” designates the much larger presence and purpose of the marriage metaphor in the emerging revivalist community: to fuse the paradoxes of a sound Calvinist theology with poetics.

The article deals with language representation of such psychological and social scenario as love rivalry. Dialectal lexical items observed on the territory of the Russian North are taken as the material for the research. Particular attention is given to semantic and motivational aspects in the analysis of the chosen language facts. Furthermore, contextual analysis of couplet texts concerned with the topic under study is performed. The author notes axiological load of the notion of love rivalry in traditional society as compared to the state of language in modern cities, where competitions in sports and politics are the leading forms of opposition. There is observed a wide nominative prominence of a subject as a component of the prototype situation of rivalry, with the dominance of lexical items rendering the ‘love rivaless’ definition. Such gender modification is explained through the passive role of women in the country society in terms of the love choice. This state of affairs in traditional society makes girls get engaged into the battle for bachelors. Motivational analysis shows that the inner form of lexical items under research mainly consists of the characteristics of behavior typical of rivalesses (brusqueness, violence, etc.). Rivalry is also conceptualized through spatial images, namely an important part is given to the idea of ‘hostile’ loci (‘opposite’, ‘against something’). Love rivalry often acts as a topic for folk pieces. Couplet texts present a unique social model of a girl engaged into the battle for a bachelor. Folk perception credits the love rivaless with a particular appearance, character and features of behavior.

Rabindranāth Thākur (Tagore) practised nearly every literary form, but his primary mode is lyric poetry. He defines his artistic persona in its terms: all his other work takes its bearings from it. He wrote no epics, virtually no long poems of any kind. Of some 4,500 poetical items, nearly 2,200 are songs, and many more song-like though not set to music. The poems cover an extraordinary formal range. Traditional Bengali verse-forms like the payār couplet appear along with blank verse and the sonnet, derived from the West though assimilated in Bengali by Rabindranath's day. There is a huge range of lyric stanza-forms. His later poetry employs a distinctive type of irregular couplets as well as vers libre . This variety contrasts markedly with the uniform style and structure of Rabindranath's own English versions, couched in a formalized, somewhat archaic poetic prose. They hold no clue to the formal energy and versatility of the originals. The English selection also creates the misleading image of a largely religious or spiritual poet. Undoubtedly, a sustained vein of philosophic spirituality runs through his poetry. He wrote many hymns for the Brahmo Samaj, the reformed Hindu community to which his family belonged. His poetry shows profound assimilation of the Vedas and Upanishads. But it mostly upholds no doctrinal religion and is often incompatible with any. He consistently finds a spirit immanent in nature and human life. The interaction of the natural with the supra-natural is presented in many veins, from the theistic to a kind of refined animism. A great many poems address human matters pure and simple, human love above all. His own art is a regular theme. There is some political poetry, from local satire to fierce attacks on the global order. Many poems concern the inner life and external situation of women, complementing his fiction and essays on the subject. There is an unsuspected amount of humour, whimsy, and nonsense. Rabindranath's poetry comprises a whole universe of themes and concerns. This chapter is a very brief overview of a vast, hugely varied, mostly untranslated, and intellectually complex body of poetry. That poetry does not evolve in a straight graph.

Chapter 1 provides the first literary treatment of the transatlantic bestseller, Ralph Erskine’s Gospel Sonnets. The chapter argues that the poem makes visible how poetry and homiletics enabled each other and, as they did so, fused together the revivalist minister and the poet, the itinerant and the poem, and soteriology and verse form. Erskine developed an espousal poetics (a poetics based on the metaphor of Christ wed to the believer) that saturated the rhymed couplet with Calvinist thought and helped produce a lived affective theology. While scholars have conceived of the Augustan Age in terms of Alexander Pope’s heroic couplet primarily as an Enlightenement form, this chapter argues that early Evangelicalism contributed a different meaning to poetic form—what Roberts calls the “Calvinist couplet.”

Kasîde-i Tantarâniyye; Mu‘înuddîn Ebû Nasr b. Abdurrezzâk et-Tantarânî el-Merâğî’nin, Büyük Selçuklu sultanları Alparslan ile oğlu Melikşah döneminde vezirlik yapan ve eğitimin öncüsü olarak addedilen Nizâmiye medreselerinin kurucusu olan Nizâmülmülk’ü methetmek amacıyla kaleme aldığı meşhur bir kasidedir. Otuz beş beyitten müteşekkil, Kasîde-i terci‘iyye, Kasîde-i mücennese, Kasîde-i tarsi‘iyye gibi birçok isimle de anılan Kasîde-i Tantarâniyye, edebî sanatlarla müzeyyen yapısı itibariyle diğer kasideler arasından temayüz etmiş; üzerine yazılan şerh, nazîre ve tesdislerle farklı bağlamlarda dikkate değer bir edebî ilgiye mazhar olmuştur. Kasideye şerh yazan isimler arasında Ebu’l-Alâ Alâeddin Muhammed b. Muhammed el-Bihiştî el-İsferâyînî, Muhammed Hâcî Nebî el-Humeydî el-Kevsec, Ni‘metullah b. Rûhullah el-Hüseynî el-Kerbelâî, Ebu’l-Leyl Abdurrabbih Muhammed İbnu’l-Hâc el-Arabî el-Unnâbî, Mustafa İsâmuddin Üsküdârî, Derviş Muhammed b. Hâc Velî b. Hac Resûl Tarsûsî Bezârî Hanefî Kâdirî, Muhammed b. Murâd el-Bosnevî, Mustafa b. Ebû Bekir es-Sivâsî, Şerîf Abdulkâdir el-Mevsılî, Müderris-Müftü Mehmed Kemâleddin Harpûtî bulunmaktadır. Kasidenin Türkçe, Farsça ve Fransızcaya tercümeleri de yapılmıştır. Beyazıt Devlet Kütüphanesi’nde Farsça tercümesi bulunan kasidenin, Silvestre de Sacy tarafından yapılmış Fransızca bir tercümesi de mevcuttur. Kemalpaşazâde ile İbrâhim b. Mehmed el-Yalvâcî’nin tercümeleri de kasidenin Türkçeye yapılan tercümelerinden en fazla ön plana çıkanlardır.Kasidenin bazı Türkçe tercüme ve şerhleri üzerine birkaç akademik çalışma yapılmış olmasına rağmen Arapça şerhleri üzerine herhangi bir neşre rastlanamamıştır. Bu çalışmada da Kasîde-i Tantarâniyye hakkında çeşitli bilgiler verilmekle birlikte Ni‘metullah b. Rûhullah el-Hüseynî el-Kerbelâî’nin kasideye yazmış olduğu Arapça şerh ele alınmıştır., al-Kasidah at-Tantaraniyyah was written by Muinuddîn Abu Nasr b. Abd al-Razzak al-Tantarani al-Maraghi for the purpose of praising Nizamulmulk who was vizier on the period of Alparslan and his son Malekshah who were Sultans of Great Seljuk Empire. al-Tantarani also was considered as founder of Nizamiah Madrasah which was regarded as the leader of education at that time. al-Tantaraniyyah composed of thirty five couplets and is called with a few names such as al-Kasidah al-Tarjeeyyah, al-Kasidah al- Mojannasah and al-Kasidah al-Tarseeyyah. It took attention with its preciosity which is full of literary arts. al-Kasidah maintainces its importance in literary circle until today by the paraphreases and nazeerahs and tasdeeses which had been written about it.Abu al-Lail Abdarrabbih Mohammad Ibn al-Haj al-Arabi al-Unnabi, Abu al-Alâ Alaaddin Mohammad b. Mohammad al-Baheshtî al-Esfarayini, Mohammad Haji Nabi al-Humaidi al-Kavsaj, Nimetallah b. Rûhullah al-Hoseinî al-Kerbelai, Mustafa Isamuddin Uskudari, Mohammad b. Haj Veli b. Haj Rasul Tarsusi Bazari Hanefi Qadiri, Mohammad b. Murad al-Bosnawi, Mustafa b. Abu Bakr al-Sivasi, Shareef Abdalqadeer al-Mavsili, Müderris-Müftü Mehmed Kemaleddin Harputi are some commentators who wrote the paraphreases about al-Tantaraniyyah. Also it were translated into Turkish, Persian and French. A version of its Persian translation is stored in Bayazit State Library. It was translated into French by Silvestre de Sacy and translated into Turkish by Kemalpashazade and Ibrahim b. Mehmed al-Yalvaci.Though availabity of academic studies on al-Tantaraniyyah’s Turkish paraphrases and translations, it has not been found out an academic study on Arabic paraphreases. So in this article, giving some informations about al-Kasidah al-Tantaraniyyah, it will be submitted on Sharh al-Kasidah al-Tantaraniyyah by Nimetallah b. Rûhullah al-Hoseinî al-Kerbelai.Structured AbstractIn Arabic literature, eulogiums which are written within the frame of particular issues and in certain order are named by their subjects and their rhyme letters or their first verses. For example, in regard to be its ryhme letter, some of eulogiums are named as al-Kasidah al-Mimiyyah, al-Kasidah al-Nuniyyah, Lamiyat al-Arab and Lamiyat al-Ajem; in regard to their issues some are named as al-Khamriyyah and al-Tardiyyah; and also there are eulogiums which have a specific names such as Qasidah al-Burdah, Qasidah al-Munfarijah.In classical Arabic poetry, as a verse form the eulogiums are taken much interests by poets and some of them comes to the fore in proportion to others because of some reasons and they are studied again within the contex of paraphreas, annotation, takhmees and tashteer.Qasidah al-Burdah written by both Kaab b. Zuhair and Busiri, al-Qasidah al-Khamriyyah and al-Qasidah al-taiyyah written by Ibn al-Faridh, Lamiyah al-Arab by Shanfarah, al-Qasidah al-Nuniyyah by Abu al-Fath al-Busti were among those eulogiums which were the most paraphreased ones.In classical Arabic literature, al-Qasidah al-Tantaraniyyah is among those most popular eulogiums. It is named as al-Qasidah al-Tarjeeyyah in regard to have similar repeated voices, named as al-Qasidah al-Mujannasah in regard to include different examples of literary art named paronomasia, named as al-Qasidah al-Tarseeyyah in regard to have a lot of items in same ryhme and poetic meter, also named as Zu al-kafiatain to involve two rhymes in each verse. al-Kasidah al-Tantaraniyyah was commited to paper by Muinuddîn Abu Nasr b. Abd al-Razzak al-Tantarani al-Maraghi who was from Baghdad and Baghdad’s best poets in hijri fifth century. He was described as ‘the greatest intellectual’ and qualified as ‘the poesy is his unimportant talent’ by Dawlatshah in Tazkirat al-shoarah. al-Kasidah al-Tantaraniyyah was written to glorify Nizamulmulk who was the most known vizier of Great Seljuk Empire. al-Tantaraniyyah has high sense of art and thirty-five couplets. In each six parts of poem comprises of five couplets. Its twenty-five couplets are for the part of naseeb and ten couplets are for encomia part. It was written by using Arabic aruz prosedy’s ramal form which is fâilâtun fâilâtun fâilâtun fâilun.In part of naseeb which is formed of twenty-five couplets, writer of al-Kasidah al-Tantaraniyyah Abd al-Razzak al-Tantarani explains his deep love to Prophet Mohammad. Due to this reason al-Kasidah al-Tantaraniyyah is respected between encomias which were written for Prophet Mohammad. al-Tantarani says in this poem that he lost his mind by reason of his deep love to Prophet Mohammad and his waist was leaned like an arc, he was suffering because of being away from Prophet Mohammad and his heart which is full of love was exhausted. Also, he says in poem that he cried so much, because of this some scars were appeared on his cheeks and he would be well if he came together with Prophet Mohammed. From twenty fifth couplet al-Tantarani begins to glorify Nizamulmulk to whom he calls as ‘ascetic’ and describes as a leader who guides intellectuals in consequence of his knowledge and piousness. In this part, al-Tantarani mentions about Nizamulmulk’s generosity to poor people and his power and his fairness and moderation to his comrades.Abu al-Lail Abdarrabbih Mohammad Ibn al-Haj al-Arabi al-Unnabi, Abu al-Ala Alaaddin Mohammad b. Mohammad al-Baheshti al-Esfarayini, Mohammad Haji Nabi al-Humaidi al-Kavsaj, Nimetallah b. Rûhullah al-Hoseinî al-Kerbelai, Mustafa Isamuddin Uskudari, Mohammad b. Haj Veli b. Haj Rasul Tarsusi Bazari Hanefi Qadiri, Mohammad b. Murad al-Bosnawi, Mustafa b. Abu Bakr al-Sivasi, Shareef Abdalqadeer al-Mavsili, Müderris-Müftü Mehmed Kemaleddin Harputi are some commentators who wrote the paraphreases about al-Tantaraniyyah. Also it were translated into Turkish, Persian and French. A version of its Persian translation is stored in Bayazit State Library. It was translated into French by Silvestre de Sacy and translated into Turkish by Kemalpashazade and Ibrahim b. Mehmed al-Yalvaci.Though availabity of academic studies on al-Tantaraniyyah’s Turkish paraphrases and translations, it has not been found out an academic study on Arabic paraphreases. So in this article, giving some informations about al-Kasidah al-Tantaraniyyah, it will be submitted on Sharh al-Kasidah al-Tantaraniyyah by Nimetallah b. Rûhullah al-Hoseinî al-Kerbelai. In this copy of Sharh al-Kasidah al-Tantaraniyyah, el-Kerbelai followed three periods while studing on this eulogium. First is to explain poet’s word with the words which are commonly used in Arabic. Second is to clarify the words grammatically. Third is to explain couplets meanings clearly.

Among the most enthusiastic supporters of the well-known French Jesuit Mis sion to China was Louis xivs legitimatized son , Louis-auguste de Bourbon , Duc du Maine . Joachim Bouvet S.J. ( 1656-1730 ) , one of the five Mathematiciens du Roi , wrote of him the following : " For after knowing from the discourses of Father Philippe ] Couplet [ S J , 1623-1693 ) that there were so many rare and curious things in China , he kept saying that it was necessary for French Jesuits to be sent [ there in order to obtain information specifically about it . The young duke , who by then was only fifteen years old , received the missionaries before they left for China and gave them a scientific instrument that he had made for his own use . Perhaps the adolescent noble's curiosity for that faraway and foreign land was what compelled him to commission from art merchant Monsieur d'isrode an unusually rich and expensive series of eight tapestries known as L'histoire de lempereur de la Chine ( The Story of the Emperor of Chi na ) , produced by the exquisite Beauvais Tapestry Manufactory under the direc tion of Philippe Behagle ( 1641-1705 ) .

Im?m Al Sh?f? has great contribution towards grammatical and principled Arabic poetry. It is observed that his poetry is rich with ethical values. He gained his reputation at the same time as a Muslim jurist and a great man of wisdom. He is the writer of many books regarding Islamic jurisprudence, and a famous book of poetry “Deewan e Sh?f?.” More over his books contain such ethical values in couplet mood. All of these discussed values, he truly abstracted and retrieved from the holy Quran and hadith. This article presents a special study regarding his valuable topics of ethics. The article is a comprehensive study of the ethical values found in the poetry of Al imam Al-Sh?f?. The important ethical values of his poetry are: true advice of Muslim and knowledge positively. He also discussed some bad habits to aware the people about their bad impacts on nature and gives examples of their destructions in human beings. Some of them are fraud, cruelty and being the secretary of the ruler etc. He also discussed some bad habits to aware the people about their bad impacts on nature and gives examples of their destructions in human beings. Some of them are fraud, cruelty and being the secretary of the ruler etc.

In this paper the authors trace and challenge the legacy of Erasmus Darwin’s conviction that ‘[s]cience is best delivered in prose, as its mode of reasoning is from stricter analogies than metaphor...

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.

Viewed as a declaration of love for the law, Steedman’s fascinating new book is very much in the vein of Shakespeare’s Sonnet 130 – albeit without the final redeeming couplet. Ranging across lawyer...

Esta sección experimental incluye algunas partes del evento performativo “La materialidad de las transformaciones: escuchar a los objetos”, que clausuró el XIV congreso de SIEF celebrado en Santiago de Compostela en 2019. Barbara Kirshenblatt-Gimblett, Regina Bendix, Dorothy Noyes, Sharon Roseman y Francisco Cruces conversaron sobre los significados culturales de una selección de objetos personales. Al desvelar las historias contenidas en mezuzahs, cabello, una fuente o un chal, se puso a prueba el poder metodológico del par objeto / historia, los beneficios de articular la narratividad con la materialidad y el silencioso poder de las cosas en la vida cotidiana. Se destacó el carácter incorporado de la narración y algunas de sus virtudes afectivas, morales y celebratorias. Este evento performativo se puede ver en from minute 00:52:50 to 01:31:00.

In the Persian poem, the elements constituting the music are: metrical prosody, the rhymes, and homophony of words in the poem that is the result of the artistic repetition of the various phonetic units of the language. Harmony between these elements and poem content can be considered as a footnote of this phonetic phenomenon and Complementary of the musical quality of the lyrics. In the form of “sonnet”, with regard to the structural characteristics, the mentioned musical elements can be divided into two groups: one is related to the sonnet structure (which is constantly in a sonnet) and other is related to the couplet (which in the different couplet of a sonnet may be changed). The Biddle Dehlavī lyrics is described by “roam” adjective, but his sonnet meter is to a large extent “ordinary”, because high frequency meters of the sonnet, which four fifth of sonnets were versified in that format, are according to the lyric tradition of that time period. However, in low frequency meters of his sonnets, there are uncommon meters that distinguishes it from other poets. Most of the readers of Biddle poems and experts in the Biddle poems believe that his sonnets are the most valuable of his poems. In the other hand, because of its history and lyric nature, the sonnet form has a stronger link to the musics and the meter role is more highlighted in his sonnets.

This chapter interrogates the fantasy of nation/state congruency in twentieth-century thought, focusing on traditional post–WWII IR (International Relations) theory, showing how congruency is now intertwined with the knowledge of the ‘international’. The chapter has three main arguments: first, traditional IR theory construes the fantasy of nation/state congruency around the ‘nation-state’ couplet and as constitutive of the ‘international’. Second, however, traditional IR discourse does not see the ‘nation-state’ or nationalism as fait-accompli, neither historically nor normatively. Traditional IR theory, therefore, does not take the ‘nation-state’ as ontologically given. Third, the fantasy of congruency is now transposed onto the ‘international’, clearly seen through the theorisation of the anarchical international, the danger of (nuclear) war and/or the need for collaboration and institution building in order to prevent conflict and/or achieve peace.

Türk edebiyatının önemli isimlerinden biri olan Ali Ekrem Bolayır (2 Ağustos 1867-27 Ağustos 1937) 1886 yılında, Adana’da defterdarlık yapan eniştesi Menemenlizade Rifat Bey’i (1856-1932) ve ablası Feride Hanım’ı (1864-1896) ziyaret etmiş; burada birçok şairle de tanışmıştır. Adana vilayetine gerçekleştirdiği on beş günlük ziyareti sırasında gördüğü köylerden hareketle Anadolu’nun perişan halini ve zavallı halkını tanımış; genç yaşta yazdığı “Mektep” şiirindeki “Yüzler siyah, büyût siyah, cebheler siyah/Bir ahter inmemiş beşeriyet semâsına” beytini ise, bu ziyaretinden aldığı ilhamla yazmıştır. Görüldüğü gibi Ali Ekrem’in Adana’ya bir ziyaret gerçekleştirdiği bilgisi yeni değildir. Ancak İstanbul Şehir Üniversitesi Taha Toros Arşivi’nde bulduğumuz ve 1930’da Ali Nihat Tarlan’a hitaben yazılmış mektup, bu ziyaretin içeriğine ışık tutması bakımından önem taşır. Ali Ekrem’in, bir Osmanlı aydını olarak 1886 yılının Adana’sına, onun doğasına ve otantik kültürüne ilişkin izlenimlerini kırk dört yıl aradan sonra anlattığı bu mektup; haberleşme işlevinin ötesinde pastoral bir eda taşır. Mektubunda ilkin Adana’nın merkezine, ardından şimdiki adı Bürücek Yaylası olan Müftüyurdu’na odaklanan Ali Ekrem, egzotik bir bakışın eşiğinden bakıp âdeta yüceleştirdiği Adana ve doğasının büyüleyici güzelliğinde vatanın büyüklüğünü görür. Biz bu makalede, Ali Ekrem’in Latin harflerine aktardığımız mektubu ışığında Adana’nın, bir Osmanlı aydınının gözünden nasıl göründüğünü değerlendirmeye çalışacağız., Ali Ekrem Bolayır (2nd August,1867-27th August, 1937), one of the prominent figures of Turkish literature, visited his brother-in-law Menemenlizade Rifat Bey (1856-1932) who worked as provincial treasurer and his older sister Feride Hanım (1864-1896); here he met many poets as well. He got to know the miserable state and poor people of Anatolia during his fifteen-day visit to the province of Adana; in his poem, Mektep (School), which he had written at a young age, he wrote the couplet of “Yüzler siyah, büyût siyah, cebheler siyah/Bir ahter inmemiş beşeriyet semâsına (Faces black, homes black, fronts black / no light on sky)” with inspiration from this visit.As can be seen, the information that Ali Ekrem paid a visit to Adana is not new. However, the letter we found in the Taha Toros Archive of İstanbul Şehir University, addressed to Ali Nihat Tarlan in 1930, is important to shed light on the content of this visit. This letter in which Ali Ekrem, as an Ottoman intellectual, described his impressions of 1886’s Adana, its nature and of its authentic nature after fourty four years, has a pastoral characteristic beyond its communication function. Having focused firstly on the center of Adana and then on Müftüyurdu, which is now known as the Bürücek Plateau in his letter, Ali Ekrem sees the greatness of the homeland in the fascinating beauty of Adana and its nature, which he sublimes by interpreting it from an exotic overview. In this article, we will try to evaluate how Adana looks from the eyes of an Ottoman intellectual in the light of the letter which was put into the Latin letters of Ali Ekrem.

Ovid is now firmly established as a central figure in the Latin poetic canon, and his Fasti is his most complex elegy. Drafted alongside the Metamorphoses before the poet's exile, it was only published after the death of Augustus, and involves a wide range of myth, Roman history, religion, astronomy and explication of the calendar. In its aetiology and conversations with gods, it is a Latin equivalent of Callimachus' Aetia. This invaluable new commentary on a central book of the poem explores Ovid's playful inversion of genre, his witty but challenging style of Latin, his use of the elegiac couplet, intertextuality and much more. With a comprehensive introduction providing key background for students and instructors, this guide to Book 3, the first in English for nearly a century, makes use of the latest scholarly research to illuminate Ovid's wide-ranging and amusing account of Roman life.

Many mawlids (mawlid al-nabī) have been writtenas a reflection of the love for the prophet Muhammad. Süleymān Çelebi’s (d. 825/1422) Wasila al-nacāt, has been seen asthe founding work in Turkish literature in this category. The effect of Wasila al-nacāt has continued for centuries, and inspired many other mawlids. One of them is Enverī Erzincānī’s work named Mawlūd al-sharīf (Sumbulal-gulzār al-kalām al-kadīm). In literature tradition, mawlids are written inmasnawī in ​​verse form, Mawlūd al-sharīf was written instyle. ode. In this respect, the work can be seen as an exception between theother ones. Another remarkable aspect of the work is the similarity between thetwo stories in Nasibī al-mawlid which is estimatedto be written in XV. or XVI. century. Until now, no academic work has been doneabout Mawlūd al-sharīf. Thesources that provide information about Mawlūd al-sharīf report about, two copies, one in Çorum Hasanpasha Manuscript Library (Çorum HasanpaşaYazma Eserler Kütüphanesi) and the other in Kastamonu Manuscript Library(Kastamonu Yazma Eserler Kütüphanesi). Research showed that the copy inKastamonu was in fact another copy of Wasilaal-nacāt another copy of Mawlūd al-sharīf was also found in the ÇorumHasanpasha Manuscript Library (Çorum Hasanpaşa Yazma Eserler Kütüphanesi). The number of couplets of Mawlūd al-sharīf has increased to 202 with the finding of the second copy. About theauthor of the work that is approximatly written in the XVII. or XVIII.century no information could be found. This study, introduces the Mawlūdal-sharīf and its authors, compares it with Wasila al-nacāt and presents an critical analysis of the text.Summary: The term mawlid means birth,birth time and place of birth. It was used to describe works such as the birthof the Prophet, miracles and the death of the Prophet. Next to these there alsomany mawlids about the lifes of Fatīma the daughter of the Prophet and herhusband Alī, and few about the lifes of a spiritual guide. The first examplesof this type seen in Arabic literature are Ibn Dihya al-Kalbī (d. 633/1235),Muhammad al-Azafī (d. 633/1236) and Cafar b. Hasan al-Barzancī (d. 1177/1764);Muhammad b. Masūd el-Kāzarūnī (d. 758/1356) and Sūzanī (d. 569/1173). The celebrations related to mawlid have turned into ceremonial form inthe era of the Fatimies. The Fatimies held, Mawlid-al-Alī, Mawlid al-Hasan,Mawlid al-Husayin and Mawlid al-Fatīma ceremonies next to the Prophet’s. Thefirst mawlid ceremony in the form of today was seen in the time of Muzaffaral-Dīn Gokboru (d. 630/1233).Different ideas have been put forward about the first mawlid text inTurkish literature, but Süleymān Çelebi’s Wasila al-nacat has beenaccepted as a pioneer work in the recognition and love of this kind. Manymawlids were written with the influence of Wasila al-nacat. The likenessof the content and the motifs of the majority of mawlids to Wasila al-nacatis interpreted as a strong sign indicating its importance in this genre. Thetranslation of Wasila al-nacat into Arabic, Circassian, Greek, Kurdish,Tatar, Sawamish, English, German, Albanian, Bosnian... languages ​​should beconsidered as a factor that exposes its breadth.It is estimated that around 200 Turkish mawlids have been written, butthis number is increasing with new studies. One of these mawlids is the work ofEnverî Erzincānī called Mawlūd al-sharīf Ethem Erkoç and Mehmet FatihKöksal are the researchers who have been aware of the existence of this workfor the first time. Both researchers mention that the work has 142 couplets andthe only copy is that in the Çorum Hasanpasha Writing Works Library (ÇorumHasanpaşa Yazma Eserler Kütüphanesi). In his work called Mawlid-nāmaKöksal states that there is a second copy of the work, but the copy ofKastamonu, which is known as the second copy, is actually a copy of Wasilaal-nacat. In the present study, another more bulky version of Mawlūdal-sharīf was recorded in Çorum Hasanpasha Manuscript Library (ÇorumHasanpaşa Yazma Eserler Kütüphanesi). In the catalogs of the National Library(Milli Kütüphane) and Çorum Hasanpasha Manuscript Library (Çorum HasanpaşaYazma Eserler Kütüphanesi), the mawlid is indicated as Persian; the reason forthis mistake might be, the fact that the first twelve of the text is Persian.Although there were many poets who used the pseudonym Enverī there is nopoet in Turkish literature, who was from Erzincan and wrote a mawlid with thesame pseudonym. It was understood thatthe poet was a sayyid.In five places the author’s name or pseudonym is mentioned. His workshows that he is from Erzincān and that he has a mawlid. As a mawlid poetEnverī, adopted a quite ambitious style. He praises himself for writing inPersian, being the best Persian speaker in this area, and boasted his purecharacter and wise poetry.In the headlines of the copies the work is called Mawlūd al-sharīf /Sunbul al-gulzār al-kalām al-kadīm. Therefore, it would be moreappropriate to consider the work as a double name sage. The copies do notinclude a record of the copyright date of the work. According to the secondcopy, which is shorter and which has the impression that it is incomplete, thework was copied in 1249/1833. It can be said that the Mawlid was writtenin the XVII. or XVIII. century because of its language and style.In the mawlid tradition of writing mawlid, generally masnawī form waspreferred. Rarely some mawlids were conposed in verse styles. One of theseworks, which are two for now, is the one in which Çizmeci-zāde Vehbī wrote thecouplets of Wasila al-nacat in sixth verse form. The other one is the Mawlūdal-sharīf of Enverī Erzincān. Mawlūd al-sharīf was written entirelyin the form of an ode, except of two stories with 48 couplets must have beenadded later. The work with 202 couplet was separated from Wasila al-nacat andother mawlids in terms of starting with a Persian tawhid and using the style ofan ode. Because of the small number of citations, the subjects described in Wasilaal-nacat have not been contacted or have been summarized. Mawlūdal-sharīf is one of the shortest ones. Because of the small number ofcouplets of Mawlūd al-sharīf, the subjects described in detail in Wasilaal-nacat are either not mentioned or only summarized. The work, consists oftwo major sections: The birth of the Prophet and the miracle of miraj.The remarkable feature of Mawlūd al-sharīf is that the two storiestold are identical to the stories in Nasībī Mawlid (XV. or XVI.century). The first story tells how, a Jewish couple living in Baghdad becameMuslims because of their respect for the mawlid ceremony. The second storytells about, a young named Alī who organized a mawlid ceremony with littlemoney left from his mother and therefore died with faith. Surprisingly, thissimilarity is seen in the content and narrative forms of the stories in bothtexts. The fact that the comparative stories are almost the same makes on thinkof the possibilities of imitating, quoting or saving rather than an impressionof the author by the previous text. Taking into account the chronological time,it seems more likely to accept the quotations in the Mavlūd al-sharīf asduplicating. Writing the stories in Mawlūd al-sharīf after the mainchapters and the line differences in the rulers reinforce the impression thatthe stories are added later., Hz. Muhammed’e duyulan sevginin yansıması olarak birçok mevlidyazılmıştır. Süleyman Çelebi’nin (ö. 825/1422) Vesiletü’n-necât’ı, Türkedebiyatında bu türün kurucu eseri olarak kabul edilmiştir. Vesiletü’n-necât’ınetkisi asırlarca devam etmiş, bu saikle birçok mevlid yazılmıştır. Bunlardanbiri de Enverî Erzincanî’nin Mevlûd-i Şerif (Sümbül-i Gülzâr-ı Kelâm-ıKadîm) adlı eseridir. Edebî gelenekte mevlidler, genellikle mesnevi nazımbiçimiyle yazılırken Mevlûd-i Şerif, kaside şeklinde telif edilmiştir.Eser, bu yönüyle diğer mevlidler arasında bir istisna olarakdeğerlendirilebilir. Eserin dikkat çeken başka bir yönü de XV-XVI. yüzyıldayazıldığı tahmin edilen Nasibî Mevlidi’nde geçen iki hikâye arasındakiayniyete yakın bir benzerliğin bulunmasıdır. Mevlûd-i Şerif hakkında şuana kadar akademik bir çalışma yapılmamış. Mevlûd-i Şerif hakkında bilgiveren kaynaklarda, biri Çorum Hasanpaşa Yazma Eserler Kütüphanesinde, diğeriKastamonu Yazma Eserler Kütüphanesinde bulunan iki nüshasından söz edilmiştir.Yapılan incelemeler sonucunda Kastamonu’daki nüshanın aslında Vesiletü’n-necât’ınbaşka bir nüshası olduğu anlaşılmıştır. Yapılan araştırmalarla Mevlûd-iŞerif’in başka bir nüshası, yine Çorum Hasanpaşa Yazma Eserler Kütüphanesindebulunmuştur. Mevlûd-i Şerîf’in 142 olan beyit sayısı, ikinci nüshanınbulunmasıyla 202’ye çıkmıştır. XVII. ya da XVIII. yüzyılda yazıldığı tahminedilen eserin müellifi hakkında bir bilgi bulunamamıştır. Bu çalışmada Mevlûd-iŞerîf ve müellifi tanıtıldıktan sonra Vesiletü’n-necat’lakarşılaştırılmış ve iki nüsha karşılaştırılarak mevlidin tenkitli metnineşredilmiştir.Özet: Doğum, doğum zamanı ve doğum yeri anlamınagelen mevlid terimi, edebiyatımızda Hz. Peygamber’in doğumu, mucizeleri vevefatı gibi dönemleri ve olayların anlatıldığı eserleri tanımlamak içinkullanılmıştır. Hz. Peygamber’in yanı sıra çokça Hz. Ali ve Fatma, nadiren birmürşidin hayatını anlatan mevlidler de yazılmıştır. İlk örnekleri Arapedebiyatında görülen bu türün müellifleri arasında İbnü Dihyeti’l-Kelbî (ö.633/1235), Muhammed el-Azefî (ö. 633/1236) ile Cafer b. Hasan el-Berzencî (ö.1177/1764); İran edebiyatında Muhammed b. Mesûd el-Kâzerûnî (ö. 758/1356) ileSûzenî (ö. 569/1173) sayılabilir.Mevlidle ilgili kutlamalar, ilk defa Fatimiler zamanında tören formunadönüşmüştür. Hz. Peygamber’in dışında Fatimilerde, Mevlid-i Ali, Mevlid-iHasan, Mevlid-i Hüseyin ve Mevlid-i Fatma törenleri de yapılmıştır. Günümüzdekişekliyle ilk mevlid merasimi, Muzafferiddün Gökbörü (ö. 630/1233) zamanındagörülmüştür.Türk edebiyatındaki ilk mevlid metninin hangisi olduğu hakkında farklıfikirler ileri sürülmüş olsa da Süleyman Çelebi’nin Vesîletü’n-necât’ıbu türün tanınmasında ve sevilmesinde öncü eser olarak kabul edilmiştir. Vesiletü’n-necât’ıntesiriyle birçok mevlid yazılmıştır. Bunların büyük bir kısmının muhteva vemotiflerinin Vesiletü’n-necât’a benzetilmesi, onun bu türüniçindeki önemini gösteren kuvvetli bir işaret olarak telakki edilmiştir. Vesiletü’n-necât’ınArapça, Çerkezce, Rumca, Kürtçe, Tatarca, Sevâhil dili, İngilizce, Almanca,Arnavutça, Boşnakça... gibi dillere tercüme edilmesi, onun etki alanıngenişliğini ortaya koyan bir unsur olarak görülmüştür.Türk edebiyatında 200 kadar mevlidin yazıldığı tahmin edilmekle beraberyeni çalışmalarla bu sayı daha da artmaktadır. Bu mevlidlerden biri de Enverî-iErzincanî’nin Mevlûd-i Şerîf adlı eseridir. İlk kez bu eserinvarlığından haberdar eden araştırmacılar Ethem Erkoç ile Mehmet FatihKöksal’dır. Her iki araştırmacı eserin 142 beyit olduğunu ve Çorum HasanpaşaYazma Eserler Kütüphanesinde bulunan tek nüshasından söz etmiştir. Köksal, Mevlid-nâmeadlı eserinde, eserin ikinci nüshasının bulunduğunu belirtmişse de ikincinüshası olarak bilinen Kastamonu nüshası, aslında Vesiletü’n-necat’ınbir nüshasıdır. Yaptığımız araştırmada Mevlûd-i Şerîf’in yine ÇorumHasanpaşa Yazma Eserler Kütüphanesinde kayıtlı daha hacimli başka bir nüshasıtespit edilmiştir. Milli Kütüphane ve Çorum Hasanpaşa Yazma Eserler Kütüphanesikataloglarında bu mevlidin Farsça olduğu bilgisi verilmiş olsa da metnin ilk oniki beytinin Farsça olması, bu yanlışın nedeni olabilir.Türk edebiyatında Enverî mahlasını kullanan birçok şair bulunmasınarağmen tezkireler ve diğer biyografik kaynaklarda mevlid yazan, Erzincanlı olanve Enverî mahlasını kullanan başka bir şaire rastlanmamıştır. Şairin seyyidolduğu anlaşılmıştır. Mevlidin beş yerinde yazarın adı ya da mahlasızikredilmiştir. Eserinden, şairin Erzincanlı olduğu ve şu an için birmevlidinin olduğu bilgisine ulaşılmıştır. Enverî, bir mevlid şairine göreiddialı bir üslubu benimsemiştir. Şair, Farsça yazmayı övünç vesilesi yapmış,bundan dolayı kendini, bu alanda en iyiFarsça bilen kişi olarak tanıtmış, saf karakteri ve hikmetli şiiriyleövünmüştür.Eser, nüshaların başlıklarında “Mevlûd-i Şerîf /Sünbül-i Gülzâr-ıKelâm-ı Kadîm” olarak adlandırılmıştır. Bundan dolayı eseri, çift isimlibir mevlid olarak değerlendirmek daha uygun görünmektedir. Nüshalarda eserintelif tarihiyle ilgili bir kayıt belirtilmemiştir. Daha kısa olan ve eksikolduğu intibaını uyandıran H2 nüshasına göre eser, 1249/1833 yılında istinsahedilmiştir. Dil ve üslup özelliklerinden dolayı Mevlid’in XVII. ya daXVIII. yüzyılda yazıldığı söylenebilir.Mevlid geleneğinde genellikle mesnevi nazım biçimi tercih edilmiştir. Çoknadir görülse de farklı nazım biçimleriyle oluşturulan mevlidler deyazılmıştır. Şimdilik iki tane olan bu eserlerden biri, Çizmeci-zâde Vehbî’nin Vesiletü’n-necât’ınbazı beyitlerini tesdis ettiği mevlididir. Diğeri ise Enverî-i Erzincanî’nin Mevlûd-iŞerîf’idir. Mevlûd-i Şerîf, sonradan ilave edildiğini tahmin ettiğimiz 48 beyitlik iki hikâyedışında bütünüyle kaside nazım biçimiyle yazılmıştır. 202 beyit olan eserinFarsça bir tevhidle başlatılması ve kaside şekliyle yazılması bakımından eser, Vesiletü’n-necâtve diğer mevlidlerden ayrılmıştır. Mevlûd-i Şerîf kısa mevlidlerdenbiridir. Mevlûd-i Şerîf’in beyit sayısının az olmasından dolayı Vesiletü’n-necât’taayrıntılı olarak anlatılan konulara ya değinilmemiş ya da bunlar özetlenerekverilmiştir.Eserde, çoğu mevlidde bulunan temel iki bölüm anlatılmıştır: Hz.Peygamber’in doğumu ve Mi’raç mucizesi.Mevlûd-i Şerîf’in dikkat çekicibir hususiyeti, anlattığı iki hikâyenin Nasîbî Mevlidi’ndeki (XV-XVI.yüzyıl) hikâyelerle aynı olmasıdır. Birinci hikâyede, Bağdat’ta yaşayan Yahudibir karı-kocanın mevlide saygılarından dolayı Müslüman olmaları anlatılmıştır.İkincisinde ise Ali adında bir gencin annesinden kalan bir flori ile mevlidokutması ve imanla vefat etmesi anlatılmıştır. Şaşırtıcı orandaki bu benzerlik,her iki mevlidde anlatılan hikâyelerin muhteva ve ifade biçimlerinde degörülür. Mukayese edilen hikâyelerin nerdeyse aynı olması, etkilenmeden çoktaklit etme, alıntılama ya da müstensihin tasarrufu ihtimallerinidüşündürmüştür. Kronolojik zaman hesaba katıldığında Mevlûd-i Şerif’tekialıntılamaları, bir müstensihin ilavesi olarak kabul etmek daha muhtemelgörünüyor. Mevlûd-i Şerif’teki hikâyelerin ana bölümlerden sonrayazılması, cetvellerdeki çizgi farklılıkları hikâyelerin sonradan eklendiğiizlenimini daha da kuvvetlendirmiştir.

This research, entitled Translation of cultural terms in Mirah of Banda novel,deals with the analysis of the translation of cultural terms in the novel. This study was intended to answer the the research problems under the study namely (1) to inverstigate the categories of Cultural Terms in Mirah of Banda Novel (2) to elaborate how the cultural terms in Mirah of Banda translated into English (3). The data were collected from Mirah dari Banda , as the SL; and Mirah of Banda , as the TL, by applying documentation method of close-reading and notetaking technique. The data was descriptively analyzed based on theories from Newmark to find out the answer of the research problems. The result of the data analysis shows that There were six categories of cultural terms in Mirah of Banda Novel namely (1) ecology (2) material culture, (3) social culture, (4) custom , concept,( 5) gestures and habits and (6) Indonesian metaphor and Indonesian metaphor was the new categories found besides the prior categories which is proposed by Newmark. In detail, it is dominated of ecology in 33.75 % (27 data), material culture 25.00 % (20 data), social culture 23.75 % (19 data), custom 6, 25 % (5 data), concept 6. 25 % (5 data),gestures and habits 1. 25 % (1 datum), and Indonesian Metaphor 3.75 % (3 data).It was found the cultural terms in Mirah of Banda Novel were translated by applying ten strategies, namely Transference (12%), cultural Equivalent (2,5%), functional Equivalent (10 %), descriptive equivalent (2,5%),synonymy (20%),through Translation (22,5%),modulation (6, 25%),compensation (5%), couplet (1, 25), trope change (3,75 %). There were three reasons of using translation strategies in Mirah of Banda Novel, they are desire to conform to expectancy norm, desire to conform the accountability norm, desire to the communication norm. However the dominant reason is desire to communication norm.

During the 17th-18th centuries, Hoian gradually became an urban centre and a prosperous trade-port. At that time, the Hoa people settled in Hoian and built five huiguans consisting of Phuc Kien Huiguan, Trung Hoa Huiguan, Quang Dong Huiguan, Quynh Phu Huiguan and Quang Trieu Huiguan. The Huiguans are extremely special buildings with high historic and cultural values. It marks the notable stages of the Hoa’s immigrating and settling in Hoian and reflects the up-and-down stages of this land. Horizontal lacquered boards and couplet tablets are special items in these Huiquans. It conveys to us the message from history, the value of handicrafts in such aspects as archaeology, Han-Nom, society, culture, chirography, literature, etc. They also express Hoianese’s spirit life, offerers’ and skilled workers’ concept and art standards handed on to future generations. Trung Hoa Huiguan is that of the Five Bangs (one type of congregations the Hoa people in Vietnam) in Hoian. This Huiguan was built in the early 18th century and took an important role in the Hoa’s history of settling in Hoian. At present, in the most formal spaces of the Huiguan, many horizontal lacquered boards and couplet tablets are hanged up for display and worship. The Huiguan’s special tradition and uniquities needs to be conserved and researched since it provides materials for full research works on the Hoa people and on the history of Hoian in general.

This research aims at describing spell (mantra) language of Ponorogo’s warok  on the aspect of language style, diction, and rhyme. This is a field research with Ponorogo’s warok as the informant. It applies observing, listening and note-taking technique. The data are analyzed using descriptive qualitative approach. The results of the research show that the spells of warok have characteristics of aliteration, assonance, polysidenton, asidenton, antonomatia, metaphor, hyperbole, pararhyme, and repetition language style, including anadiplosis, simploke, mesodiplosis, epizeuksis, tautotes, epistrofa, anafora. Meanwhile, on the aspect of diction, they cover connotation, denotation, religious symbols, synonyms, antonyms, and spirits. In addition, the taste of spell rhyme is resulted from some factors, such as sound repetition and connection between lines in a couplet, all that has functions to add artistic values to the spells so that they produce harmonious and synchronous effects of sounds.

At the 1982 Barnard conference on sexuality, anthropologist Carole Vance observed that women’s sexuality is marked by a persistent tension between pleasure on the one hand and danger on the other. In the years that followed, Vance’s “pleasure and danger” formulation assumed an outsized influence both inside and outside the academy. This essay takes stock of the work performed by this influential couplet, particularly its influence on queer studies and activism and on scholars working at the intersection of women’s/gender history and the history of sexuality. While arguing for the continued relevance of “pleasure and danger,” I acknowledge that the political contentiousness of the 1980s—the period of the feminist sex wars—shifted the formulation’s meaning in ways that have proven both limiting and productive.

Zwischen 1688 und 1700 veroffentlichte der jesuitische China-Missionar Philippe Couplet seine „Geschichte einer christlichen Dame aus China“ in vier europaischen Sprachen. Darin schilderte er einem europaischen Lesepublikum das tugendhafte Leben seines Beichtkindes Candida Xu (1607-1680), einer chinesischen Christin aus einer beruhmten Literati-Familie aus Shanghai. Der vorliegende Beitrag untersucht die 1691 erschienene, im Vergleich zu den anderen Versionen besonders ausfuhrliche spanische Version, die Historia de una gran senora christiana de la China, aus einer geschlechtergeschichtlichen Perspektive und fragt nach der jesuitischen Positionierung gegenuber europaischen und chinesischen Geschlechternormen im Text. Daruber hinaus wird gezeigt, dass eine Lekture der Historia „gegen den Strich“ weibliche Handlungsspielraume aufscheinen lasst, die nicht in das jesuitische Bild der chinesischen Frau passen. Between 1688 and 1700, the Jesuit missionary to China, Philippe Couplet, published his “History of a Christian Lady in China” in four European languages. In this book he described the virtuous life of Candida Xu (1607-1680), a Chinese Christian woman originating from the famous Xu literati family of Shanghai. In the present article I analyze the Spanish version of this text, the Historia de una gran senora christiana de la China (1691). This version presented an especially detailed picture of Candida Xu’s life. My analysis employs a gender perspective in order to examine the Jesuits’ construction of a particular view of Chinese women. In particular, I ask how the text uses European and Chinese gender norms for this construction. Furthermore, I show that reading the Historia against the grain helps to unearth evidence of female agency that does not conform to this Jesuit view of Chinese women.

This article examines how two late seventeenth-century women read Katherine Philips as attested by their surviving manuscript compilations. In her commonplace book, Katherine Butler quotes from six poems by Philips, her passages ranging in length from a couplet to an entire poem. Her favoured theme is friendship, but she is also drawn to passages that treat the emptiness of worldly pleasures and the need to master passions. Stylistically, Butler favours the rhyming couplet in the commonplace book as a whole, but when she quotes Philips she is drawn to both rhyming couplets and other stanzaic forms. Sarah Cowper includes two passages from Philips in two different manuscripts: an alphabetical, thematically arranged commonplace book and a largely prose religious miscellany. In the former, Cowper includes a couplet on implicit religious duties being the most acceptable and, in the latter, she includes the entire poem “A prayer”, which we know from a diary entry of 1701 that she admired. For both reade...

This article provides a reading of Miguel Angel Asturias (1899–1974), widely regarded as one of the most important writers of the twentieth century. We focus on his first substantial literary work, Leyendas de Guatemala [Legends of Guatemala] (Asturias [1930] 1995)—a text considered by some critics as the first instance of “magic realism”—to consider the problem of the literary representation of race and space. Asturias’s early works, we contend, are especially fruitful sites for exploring the complex interrelations of space, race, nation, and territory. Reading his Leyendas, which aesthetically represent the origins of Guatemala, we analyze the failure of his project. This is a productive failure, illuminating Asturias’s commitment to addressing the race–space couplet and reaffirming its tragic relevance for Guatemala, and our world, today. For, we conclude, the problem is not Asturias, but the liberal nation form itself.

This article explores points of connection between the couplets of Shakespeare’s Sonnets (1609) and the instructional literature of husbandry, arguing that Shakespeare shares with these practical genres a commitment to an aesthetic of didacticism and detachability. Through a reading of the Sonnets alongside Thomas Tusser’s Hundreth Good Pointes of Husbandrie (1557), a popular handbook composed in rhyming couplets, I argue that a poetic tradition of practical fragmentation is embedded in Shakespeare’s couplets, and helps explain a longstanding critical dissatisfaction with the sonnets’ conclusions. Attending both to the imaginative practices of husbandry and to the material forms of the printed page (specifically, practices of indentation), I argue, generates new insights into the operations of a poetic memory performed not by a whole poem, but by detachable, and so storable, fragments.

This paper contrasts the rhythm of Li Bai's “GUAN SHAN YUE”（关山月）and that of Fletcher's English version “The MOON OVER The PASS” and finds out the functional equivalence between the Ping (平) and Ze (仄) (level and oblique tones) of Chinese poetry and the lightly stressed and heavily stressed syllables of English poetry, the number of Yan (言) (the number of characters) and the number of feet, and the rhymes. To promote the realization of musical beauty, formal beauty and emotional expression in the translation of Chinese poetry and reproduce the rhythm of ancient Chinese poetry, five-character and seven-character poem with regular line can be translated into iambic pentameter; pre-Tang poem and Song Ci with irregular line can be translated according to the analogy of character and syllable, and the feet of the translated poem can mainly be iambs; the rhyme of the translated poem can be couplet rhyme, cross rhyme or alternate rhyme. Based on this strategy, the author translates her self-created poem “MAN JIANG HONG ZHAN YI”（满江红·战疫）into English to prove the feasibility of the rhythm reproduction strategy of the English translation of ancient Chinese poetry.

La Belle Helene (1864) quickly became an international success. Directors und those responsible for arranging the score soon began to take fairly arbitrary liberties in their dealings with the libretto and music, presumedly in an attempt to adapt them to contemporary aesthetics or divergent cultural tastes. When Offenbach conducted the opera-bouffe in Berlin in 1865, he introduced a new overture, a substantial aria for Helene that replaced her couplet “La vrai, je ne suis pas coupable,” and other changes that had not yet appeared as alternative, authoritative versions in new editions. Four German versions (Fulda 1927, Reinhardt 1931, Finck 1946, and Hacks 1964) as well as the arrangement in English by Anderson and Rippley are analysed in detail.

“Fixe heere,” a curious fragment by the young Milton, has been interpreted by critics as an emblematic piece expressing the poet’s pervasive sense of belatedness. In my “speculative flight of fancy,” I propose a different reading, one that finds a general sense of anticipation and adventure in Milton’s couplet.

Chinese couplet is a special form of poetry involving a pair of lines that adhere to certain rules. This paper presents VV-Couplet, an open source automatic couplet generation system. This system is based on the attention-based sequence-to-sequence neural model that ‘translates’ the first line to the second line. Particularly, it relies on a local attention mechanism that learns the basic rules of couplet generation. Moreover, entity names such as person names and addresses are particularly treated. We open an online couplet generation service, and the entire source code and data for interested readers to reproduce our work.

This article is born out of an oral history study of 31 elderly homosexual men in four cities in China. It shows the ways in which major events of Chinese history since the birth of the People's Republic in 1949 intervene in personal lives and, in turn, how personal lives are drawn into larger historical events. One of the major themes running through these life narratives is that of love and duty. The interrelationship, as well as the tensions, between duty and love is a central part of the experiences of elderly Chinese homosexual men; their lives have been beset by hardships and duty, as well as by the joys of love, and these have an impact on their health and wellbeing. The experience of one individual, Mr Peng, illustrates the important yet shifting ways in which love and duty have been twinned throughout key life events. His narrative indicates an intricate interweaving of love for family, love for Deng, his male partner of 20 years, and love for his wife, as well as duty to family and to a patron. The inseparable couplet of love and duty served as the source of hardship and pain, but also of protection and great joy.

This chapter draws on two separate but inter-related areas of research. The first is the life, career and works of Thomas Maitland, who was the son of Richard Maitland of Lethington and a Scottish neo-Latin poet. Maitland’s extant work was printed in the Delitiae Poetarum Scotorum (1637) and is surprisingly versatile, comprising seven elegies, four sylvae (or occasional poems) in hexameter, and 28 short poems and epigrams, ranging in length from 2 to 30 lines, and in a variety of meters. The second is the use of the elegiac couplet by Scottish neo-Latinists before 1603, which by necessity also involves an examination of the extent and nature of erotic and obscene poetry written by Scots in the same period, and the situation of Scotland within the context of international developmets in neo-Latin elegy. Maitland’s erotic poems, which comprise four elegies and a range of epigrams in elegiac couplets and hendecasyllables, are important for two reasons. Firstly, Maitland comes closer than any of his other Scottish contemporaries to creating original poetry that also successfully emulates the conceits, themes and structures of Classical erotic poetry – chiefly that of Tibullus, Propertius, Ovid, Catullus, and Martial. Secondly, Maitland is an important ‘missing link’ in the development of Scottish elegiac verse. While the greatest Scottish neo-Latinist of the age, George Buchanan, wrote erotic and obscene poetry in the 1540s and 1550s, and a range of authors including David Hume and Arthur Johnston contributed to the genre in the early seventeenth century, only Maitland and Mark Boyd (author of Epistolae quindecim (1590) and Epistolae heroides et hymni (1592), which directly imitated Ovid’s Heroides) actively developed this field in a Scottish context in the immediate post-reformation period.

A widespread kind of parallelism is a relation between sections of text such that each resembles the other in linguistic form, or in lexical meaning, or in both form and meaning. In poetry, this kind of parallelism can be systematic, and when it is, it holds between two adjacent sections. The new claim of this article is that these sections are short enough for the whole parallel pair to be held in working memory (in the episodic buffer). Parallelism thus shares a property with the other added forms of poetry - meter, rhyme and alliteration - that it holds over material which can be held as a whole section (such as line or couplet) in working memory. I conclude by suggesting that processing the parallel pair in working memory brings advantages to the poetry: an emotional effect from contrastive valence, an epistemic effect from the fluency heuristic, and the production of metaphorical meaning.

In order to inherit and develop the Couplet culture, one of the most famous language culture in China, this paper implements a creation system of couplets. In this paper, a noval way to generate the customized couplet is discussed from the name-embedded couplet. The 2-gram word graph technology is used to generate the first sentence which contained the given word. Then, combined with language model which based on statistical method, grammar model and mutual information model, improved Viterbi Algorithm based on HMM is used to decode the second sentence. It turned out that the system can realize the automatic generation of the name embedded couplet. According to the contents involved in the given couplet, the system can generate pictures to match the couplet. This system is aimed for Spring Festival couplets and Birthday couplets, both are name-embedded couplet that generated with the name of people. Users can choose the templates and relative special elements freely to create a satisfactory multimedia couplet picture.

This article supplies the 757 lines of this never-before-printed translation into English couplet verse found in BL MS Add. 38448A. The author's identity is currently unknown, but circumstantial detail suggests that Robert Jenkinson, the second Lord Liverpool, was his patron. An introduction explains the manuscript's context and probable date.

This paper argues that the final couplet of Horace,Epode13 alludes both to the description of Achilles playing the lyre inIliad9 and to ancient scholarly debate about the Homeric passage. Horace's reworking of theIliadunderlines his transfer of epic material to a sympotic setting, and the scholarly allusion reinforces Horace's presentation of himself as a symposiastic speaker by drawing on the tradition of symposia as sites of learned conversation. This dual engagement with Homer encourages readers to see their own responses to Horace's poem as part of a continuum of literary debate.

While Milton famously rejected rhyme in Paradise Lost, the Genesis poem by his contemporary Lucy Hutchinson, Order and Disorder, is in rhymed couplets. This article asks how Hutchinson used the couplet, how her couplets were read by the seventeenth-century readers who encountered her work, and whether the manuscript of her poem can be treated as evidence of how poetic regularity and irregularity were coded with political and gendered meanings in the seventeenth century, and how differently they are so today.

In Commentaries on the Laws of England, William Blackstone drew not only on an impressive body of legal and historical knowledge, but also on the very poetics that he had supposedly rejected in his early poem, “The Lawyer's Farewell to his Muse.” Placing the Commentaries in the fuller context of Blackstone's poetics helps explain its international impact while offering insight into Blackstone's most all-encompassing concern: that of the relationship between English common law and justice.

The objective of this study is to describe characteristics of Aceh verse. The description covers: (1) number of verses per couplet, (2) long and short verse, (3) content of verse, and (4) poetical nuance of verse. Data of this study were obtained from document of Aceh’s verse and SMS. The study reveals that each couplet of Aceh verse consists of verses that varies from: 2, 3, 4, 6, 8 and 12 verses. Relying upon its length, Aceh verses may consist of a one-complete sentence verse and some couplets verses or a brief story. Contents of Aceh verses are classified into: (1) religious verses, (2) advice verses, (3) tradition verses, (4) fate verses, (5) young verses, (6) joke verses, (7) kidding verses, (8) condolences verses, (9) happiness verses, (10) children verses, and (11) seumapa verses. Based on poetical nuances, a perfect Aceh’s verse should advice coherent rhymes and rhythms (pakhok and buhu) incorporating intended message, couplets and contents.