Search

The article focuses on the possible source for the 1601 poem "The Phoenix and the Turtle" by William Shakespeare. It describes the second part of the poem as consisting of five heptasyllabic trochaic tetrameter tercets. Poet Nicholas Breton is identified as the first person to introduce the metre in his pastoral poem "A Report Song in a Dream, Between a Shepheard and His Nymph." It cites the possibility that Shakespeare borrowed the triplet stanza from Breton.

Yasna 19 contains an Avestan exegesis of the Gāthic stanza Ahuna Vairiia, the most revered text in Zoroastrianism. The stanza is traditionally understood to be the essential statement of the religion of Mazdā. Thus, in Y 19 we have a unique opportunity to ask about the significance that the Gāthās of Zarathuštra held for the later Avestan tradition. In what intellectual horizon did Zoroastrian priests place their founding text? Although Y 19 exegesis of the Ahuna Vairiia contains semantic obscurities, it is possible to establish the meaning of the commentary through syntactic and conceptual analysis of two key terms and the phrases where they occur. The article critically examines the earlier interpretations of the text. Having found these inadequate, it proposes a new reading and understanding of the Avestan exegesis. In particular, the article argues that the Avestan exegete understood the Gāthic stanza within an eschatological horizon. [ABSTRACT FROM PUBLISHER]

AtCarm. 4. 8. 10 the formres(nom. sing.) is found unsatisfactory; likewiseTroiamat 4. 15. 31 seems hardly defensible as the second of the four objects going withcanemus. As the last of my relatively simple suggestions, the problematic seventh stanza of theCarmen saeculare(25-29) will in this author's view be greatly improved by changing the formservettoservatwith some older editors. [ABSTRACT FROM AUTHOR]

A comparison of Amos with Sumerian City-Lament (SCL) reveals that SCL was likely used as the literary template for Amos’ prophecy. Amos also contains references to the flood, used as a covenant-curse to warn Israel of her treaty violations. This article compares these flood passages, 4.13; 5.8+9; 8.8; 9.5+6, (described by scholars as ‘hymnic’), with SCL, Genesis’ flood account, and Job 9.5–10, a similar flood-like hymn, in order to determine common vocabulary and themes. Analyzing the Amos hymn's vocabulary roots reveals an ancient narrative source. Exploration of the passage's literary connections to Amos in terms of a ‘flood covenant-curse',’, demonstrates why such literature was utilized. This article also discusses a new proposal that Amos’ hymn should be extended to incorporate a fragment at 7.4. [ABSTRACT FROM AUTHOR]

Viśākhadatta's Mudrārākṣasa is somewhat unique among Sanskrit dramas in that its plot is concerned with political intrigue. Though the occurrence of certain stanzas of the Mudrārākṣasa in other (non-fiction) works has been noted even by early editors of the play, no attempt has yet been made to fully explore the textual interconnections of the play. The present paper attempts to sketch a map of the appearance of Mudrārākṣasa stanzas in anthologies of Sanskrit poetry. Such anthologies containing hundreds of well-phrased (subhāşita) stanzas - collected from classical literature, but detached from their context and usually arranged in thematic chapters - made their appearance on the literary stage at the end of the 1 lth century and remain popular to the present day. Out of the total 175 stanzas of poetry in the Mudrārākṣasa, 18 occur in one or more major subhāşita anthologies and other literary works. While 12 of these are probably indeed Viśākhadatta's own compositions according to the testimony of the anthologies, the authorship of the remaining 6 is somewhat dubious, since they are attributed in one or more anthologies to a different source, and/or are found in texts that may be earlier than the Mudrārākṣasa. The paper argues that stanzas of poetry, mostly of a gnomic/didactic nature, could freely migrate not only from works of fiction into anthologies but also in the opposite direction. Widespread quotes that sounded relevant to a specific situation may well have been inserted into the text of dramas (and other opuses) both by the playwrights themselves and by subsequent copyists or redactors of their texts. [ABSTRACT FROM AUTHOR]

Walter Kennedy's Passioun of Crist, the only surviving vernacular work in the tradition of the pseudo-Bonaventuran Meditations of the Life of Christ to be composed in rhyme royal stanzas, is a more significant artistic achievement in the history of Middle Scots poetry and of late medieval devotional writing than has been previously recognized. Combining historicist and formalist methods of analysis, the article describes in detail the cultural locations of the text. The carefully crafted poem reveals a remarkable cooperation between specific material practices of medieval affective devotion and a high courtly mode of medieval literary aesthetics. [ABSTRACT FROM AUTHOR]

The Middle English poem Cleanness is regularly marked off into four-line units in its sole surviving manuscript, British Library Cotton Nero A.x, and I argue that reading Cleanness with attention to these divisions helps the poem emerge as a more complex piece of verbal and homiletic art. By suggesting reading strategies for the lines that they mark off, the stanza marks evoke the interpenetration of the visual and the verbal that the poem proposes more broadly. The author's words and the scribe's activity thus combine to shape the poem's interpretive potential. The crucial issue is therefore not whether Cleanness was intended by its author to be written or read in stanzas, but rather the fact that the poem's uniquely surviving physical form encourages us to consider whether it is so, and what that might mean for our engagement with its content--how we should go about finding, in short, the literary, codicological, and homiletic forms of Cleanness. [ABSTRACT FROM AUTHOR]

It has been argued, with reference to Venus and Adonis, that Shakespeare is the poet targeted specifically by Robert Southwell in his mournful stanza on love poetry in 'The Author to the Reader'; this essay argues instead that Southwell's remark has a wider application to English poets of the early 1590s. The image of ' Venus Rose' draws attention to Tasso's celebrated canto della rosa (1581), which survives in a manuscript translation attributed to Southwell, although there is a significant shift, where Tasso's carpe diem conclusion is replaced with an invocation to turn to God. It has been suggested that the translation dates from Southwell's time in Rome in the 1580s; this essay favours a later date of composition, arguing that the poet was aware of both Spenser's adaptation of the song, and Daniel's rendering of it in Delia (1592), and that his translation should be read as further evidence of an engagement with contemporary poetry during the Jesuit mission in England. The essay also considers Shakespeare's treatment of the carpe florem motif in Venus and Adonis, arguing for the poet's direct awareness of Tasso's song and the Armida episode, and highlighting his bold reworking of it at the end of the poem. [ABSTRACT FROM AUTHOR]

The article provides what referred to as ethnopoetic text on the artist Gima Jansen, which is based on an interview conducted with her, and a critique of the poetic text. An analysis of the writing methodology involved in ethnopoetic text, including technique, the balance form and content and the text's stanzas, is provided. The quoting of Jansen within the ethnopoetic text, including the author's perspective that the quotations portrayed the essence of the interview that he conducted with her, is discussed.

In the first part of this article, a formerly unknown fragment from the early 14th century is described and transliterated. The fragment contains several stanzas of ›Fürstenlob‹ and ›Zabulons Buch‹ − two poems from the set of texts usually called ›Wartburgkrieg‹. In the second part of the article, the author tries to position this new witness within the textual tradition of the two poems. [ABSTRACT FROM AUTHOR]

The author analyzes the 1965 folk blues song "Death Letter" by U.S. musician Eddie "Son" House, focusing on the song's use of traditional blues stanzas and lyrics and the song's narrative structure. Temporal settings in the song, the expectations of music listeners, and comparisons with lyric poetry are discussed, as well as themes of loss, travel, and suffering in the song.

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies 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.)

A literary criticism of Hymns 2 and 4 of ancient Egyptian priest Isidorus is presented. It examines the stanzaic architecture of the elegiac hymns. It also presents perspectives on why Isidorus created the poems in a meter and an archaic style. It concludes that the hymns seem to have been composed as a series of five-couplet elegiac stanzas.

The article focuses on Edwin Morgan's "The New Divan," described as his war poem written in the 1970s and attempts to elucidate the poem's status and function more clearly. The poem is made up of 100 short poems or stanzas that revisit desert landscapes, histories and possible futures known to Morgan both from personal experience and wide reading. It suggests that "The New Divan" is a gay man's war that cannot be articulated similar as his heterosexual compatriots.

One may conclude from the lull in publications on the Gāthic Ahuna Vairiia that a satisfactory understanding of the stanza is at hand. This is, however, not the case. The last substantial treatment of the stanza is from Humbach (1991 II) in his 1991 two-volume edition of the Old Avestan texts. Somewhat less extensive is the discussion we find in Kellens’ and Pirart's monumental three-volume edition and study of the Old Avestan texts (1991). In 1975, Insler published a detailed article on the Ahuna Vairiia. The late 1950s saw the appearance of four studies of the stanza by distinguished Avesta scholars: Benveniste, Humbach, Duchesne-Guillemin and Hinz. As for the number of translations there are, it virtually equals the number of scholars in the field. The source of the difficulties is the syntax of the stanza. The disagreements are due for the most part to the scholar's analysis of syntactic units. Thus the variety of translations may be reduced to a few basic types. [ABSTRACT FROM PUBLISHER]

This article analyses all Polish translations of the well-known poem by Constantine P. Cavafy (1863– 1933), Ithaca (Ιθάκη). Comparing the beginnings of the first stanza and the last stanza, which are fundamental to the comprehension of the poem, I point to the main differences between the original and its Polish versions. In my analysis I concentrate on the idiosyncrasies of Cavafy’s language, so challenging to translators of this poetry. My parallel reading of the translations by Zygmunt Kubiak, Nikos Chadzinikolau, Czesław Miłosz and Antoni Libera reveals striking discrepancies between the original text and the proposed versions, most noticeably Libera’s. [ABSTRACT FROM AUTHOR]

This paper shows how the authority of the poet in certain of Hölderlin's later hymns depends on the remembrance of the sacred word. In the last three strophes of his "As on a Holiday," the holy appears as the Kantian sublime: the divine intellectually elevates the poets while its overwhelming power makes them aware of human limitations. The poets' physical act of accepting the word enables them to come to speech and signifies acknowledgement of limitation. But the speaker's illicit effort to enter the realm of the deities results in speechlessness. In poems "The Only One" and "Patmos" Jesus emerges as the mediator between the timeless realm of the gods and temporal world of humans. God's word--articulated by the God incarnate--gives meaning to finite human existence. Through the commemorative inscription of the divine word, poets gain their voice and speak of human existence as being unto the departed gods. [ABSTRACT FROM AUTHOR]

Abstract: In this article the author discusses Nikolai Zabolotskiiʼs poem “Vchera, o smerti razmyshliaia…” and explores the roles played in it by Aleksandr Pushkin, Velimir Khlebnikov and “the wandering philosopher” Grigorii Skovoroda, whose names occur in one of the poemʼs stanzas. [Copyright &y& Elsevier]

Copyright of Olivar is the property of Universidad Nacional de La Plata 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 paper considers several issues of Russian Verse Theory connected with the architectonics of Lermontov's Borodino strophe. This rare and unique strophe is characterized by an odd number of lines (seven), peculiar rhyme, and mainly by the different number of syllables in its lines: five lines of the strophe contain nine syllables of iambic tetrameter, while the third and the seventh contain six syllables of iambic trimeter. Such a structure does not allow the use of traditional (statistical) methods of the study of verse rhythmics. To prove that, this paper describes the construction of "stress profiles" for the quatrain in iambic tetrameter, and shows that it is impossible to carry out this procedure for Lermontov's Borodino strophe. Unlike the traditional approach, our method of rhythmic-harmonic precision imposes no restrictions on the architectonics of verse, which is why it is this method that underlies the analysis of the structural harmony of the Borodino strophe given in this paper. Our analysis compares the rhythmic-harmonic potential of the strophe and the actual values of the rhythmic harmony parameter with iambic and trochaic quatrains and with Onegin's strophe in Pushkin's verse. Another task of our work was a rhythmic-conceptual study of the "Borodino" text. This poem was published in 1837; together with the poem "On the Poet's Death," it immediately moved Lermontov to the forefront of Russian poets. The main result of our work consists in proving that in its structural-harmonic aspect, the Borodino strophe is unique and, moreover, it turns out to be the perfect verse construction for the expression of a mixed sublime-descending poetic mood: inspiration (in our case, a patriotic rise) and the following disappointment. Our study shows that Lermontov's great poem "Borodino" not only passes "the trial of harmony with algebra," but also, from the point of view of its single a rhythm-sense, stands near the best works of the first Russian poet, Pushkin. [ABSTRACT FROM AUTHOR]

Copyright of Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina 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.)

Few poets have marked tabular spacing as richly as Andre du Bouchet (1923-2001), yet existing studies of this aspect of his writing tend to interpret that space as mainly metaphorical, standing in for absence. I contend that the negative space inherent to metaphors of silence and void limit a reader's understanding of how these interstices render complex any reading and create tensions which play between the temporal-spatial continuum of the page. In a unique combination of both linear and tabular space, the visual impact of du Bouchet's poetry causes the reader to linger at the point where meaning and movement collide. This collision, I argue, originates in the particular use of a set of repeated terms combined with the white spaces of the page to determine both ease of movement and points of immobility. The words, then, rely on the spacing around them and the spaces between them. In this article, I propose a theoretical model of the structural function of the space between words and explain how white space, which is often overlooked or minimized, becomes a catalyst capable of acting upon meaning and movement in reading by virtue of the combined effects of both graphic and linguistic modes. [ABSTRACT FROM AUTHOR]

An essay is presented which presents criticism of an untitled poem by U.S. dramatist Tennessee Williams dealing with Armistice Day. In the U.S., Armistice Day formerly celebrated the conclusion of World War I. The author examines Williams' use of imagery, his stanza structure, and his criticism of patriotism in the poem. The article concludes with the text of the poem.

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies 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 physical characteristics and biological significance of song in the endemic Indian Robin Saxicoloides fulicata are described. Songs are discrete and composed of strophes (structural units) with frequency ranging from 1.03 to 8.00 kHz, preceded and followed by temporal intervals from 0.21 to 21.25 sec. Occasional, monosyllabic whistles are also identified. In a song bout usually the same type of strophe is repeated several times in a stereotyped manner with minor structural variations of elements before switching to another type of strophe. Most strophes are composed of two to five elements, having both simple and complex structure. Two categories of songs have been identified on the basis of their acoustical features and context of production. Type-A songs are simple, stereotyped, spontaneous and common, while type-B songs are rare, female-oriented and more complex than type-A. Song is used in both inter- and intrasexual contexts. It seems that type-A songs are driven by male-male competition for territory and mates. Males also shorten the length of strophes and reduce gaps between strophes (in type-B songs) on the arrival of females in the vicinity, most probably to increase the song rate, suggesting it to be an indicator of male quality. [ABSTRACT FROM AUTHOR]

The article offers poetry criticism of the poem "Midnight on the Great Western," by Thomas Hardy. It offers the interpretation on the mysteries of a boy in relation to time and poses questions in the first stanza and last lines of the poem. The verses of the poem speak in the third person and second person. The author provides a poem with simplicity and of social criticism.

The article focuses on the composition of the choral folk-song settings of composer Percy Grainger. It states that Grainger has championed the use of phonograph in his folk-song settings and he was intent on capturing the dialect, embellishments, and differences of performers in the delivery from stanza to stanza. It mentions that Grainger had scored the tune for unison men's choir in the song "The Hunt Is Up."

The article focuses on the shoe my foot stanzas. It mentions that the stanzas have been called as the hydrogen ion of balladry due to readiness of combination. It notes that a gap of several centuries is not at all unusual when depending on classical analogues for items of modern folklore. It states that the said type of stanzas are far older than has been thought.

In several manuscript versions, John Donne's "Breake of Day" is accompanied by or incorporated into the non-canonical poem "Stay, O Sweet, and do not Rise." "Stay, O Sweet, and do not Rise" can be found in one-, two-, and three-stanza versions, both as a separate poem and combined with "Breake of Day" in several interesting ways. This paper explores the intersections between these two poems and looks at the ways in which the text of "Breake of Day" changes when intermixed with "Stay, O Sweet." [ABSTRACT FROM AUTHOR]

In Āryadevapāda's Skhalitapramathanayuktihetusiddhi we find a problematic passage in which some Cārvāka theories are expounded. The problem here lies in the fact that, according to Āryadevapāda, the Cārvākas-who did not admit rebirth-would have upheld that happiness in this life can be gained by worshipping gods and defeating demons. As the Cārvākas were materialists, the reference to gods and demons does not fit so much with their philosophical perspective. In this paper, by taking into account several passages from Pāli and Sanskrit Buddhist sources, I have tried to demonstrate that Āryadevapāda is here probably following the Laṅkāvatārasūtra, where mention is made of some Lokāyatikas who are said to have been able to infatuate gods and demons. In both the Pāli Canon and the Mahāyāna sūtras, however, the term lokāyata does not refer to 'materialism'. It rather conveys the meaning of 'art of disputation', and is generally used in the description of brāhmaṇas well versed in the Vedas, in the recitation of mantras and in dialectic methods in general. It is the Laṅkāvatārasūtra that introduces the idea-corroborated also by a passage from the Mahābhārata-that these brāhmaṇas, skilled in lokāyata, would have indulged in some materialistic tenet. When the two terms, Cārvāka and Lokāyata, came both to mean 'materialism', around the IV century CE, it is highly probable that non-Cārvāka thinkers and commentators-as could be the case of Āryadevapāda-had in some occasion assimilated and integrated certain points of view, originally belonging to the ancient lokāyata perspective (for instance, the references to gods and demons), into what they believed Cārvāka philosophy had to be. [ABSTRACT FROM AUTHOR]

The article offers the author's insights concerning a specific hymn for "Wondrous Love." The author mentions that he utilizes open fifths for the introductory part of the music as well as on the first stanza during morning worships. He presents a lead sheet which contains chord symbols, melody, and words that could be utilized for band or solo piano. Moreover, he states that "Wondrous Love" contributes to the unaccompanied singing in which it ranges from four or more parts.

The Traveling Stanzas design project was conceived and implemented during the spring of 2009 in a collaborative endeavor between two Kent State University (KSU) programs; Glyphix design studio and the Wick Poetry Center. Design and poetry were combined with the intent to distribute unique imagery and inspired writing to the local community and beyond. The mission of the project was to promote literacy and design through the display of posters in unconventional venues for public enjoyment. As a design educator and Creative Director of Glyphix, the practicum studio course in the School of Visual Communication Design, my goal is to provide educational experiences that benefit the students in their long-term endeavors as design thinkers. As a vehicle of instruction, the second edition of the Traveling Stanzas project, called "Peace Stanzas," allowed me to develop the objective of creating a design assignment that combines collaborative interdisciplinary and service learning components. Recently, design professionals have become consultants during the project development process, rather than simply being hired as single service providers. The ability to function well in the most enterprising design environments requires effective interaction across disciplines. Students who learn collaborative processes in a mentored educational setting acquire an enriched learning experience and are better prepared for enlightened creativity in the workplace. As part of the mission of the Traveling Stanzas project,"Peace Stanzas" is expected to spread aesthetically appealing words and images of peace to a worldwide audience. Design components included in the project were brand identity, posters, greeting cards, two Web sites, animated greetings, and a video production. With this multi-faceted project, design students participated in transdisciplinary collaborations and investigative problem solving. These projects have enabled the studio model to move toward a broader, more creative learning experience while providing public service campaigns to the community. [ABSTRACT FROM AUTHOR]

The article offers information on the transpositions of the final stanzas in the theatrical production "Oedipus Tyrannus" as argued by German theatrical director Friedrich Haase in 1858. It highlights the alleged merits to reverse the final two stanzas of the play. It mentions that the scholars has hardly adopted the proposed transpositions of Haase, which have been restored in the books of author R. D. Dawe.

Presents literary criticism on the complementary aspects of the work of A. R. Ammons and Robert Morgan. The article examines the way artists may be shaped through recognition and cultivation of difference. The author addresses the parallel's between the two poet's lives and careers. The author examines the aesthetic differences between the two poets.

The present study explored the effect of speaker prosody on the representation of words in memory. To this end, participants were presented with a series of words and asked to remember the words for a subsequent recognition test. During study, words were presented auditorily with an emotional or neutral prosody, whereas during test, words were presented visually. Recognition performance was comparable for words studied with emotional and neutral prosody. However, subsequent valence ratings indicated that study prosody changed the affective representation of words in memory. Compared to words with neutral prosody, words with sad prosody were later rated as more negative and words with happy prosody were later rated as more positive. Interestingly, the participants' ability to remember study prosody failed to predict this effect, suggesting that changes in word valence were implicit and associated with initial word processing rather than word retrieval. Taken together these results identify a mechanism by which speakers can have sustained effects on listener attitudes towards word referents. [ABSTRACT FROM AUTHOR]

Background: Prosody, the melody and intonation of speech, involves the rhythm, rate, pitch and voice quality to relay linguistic and emotional information from one individual to another. A significant component of human social communication depends upon interpreting and responding to another person's prosodic tone as well as one's own ability to produce prosodic speech. However there has been little work on whether the perception and production of prosody share common neural processes, and if so, how these might correlate with individual differences in social ability. Methods: The aim of the present study was to determine the degree to which perception and production of prosody rely on shared neural systems. Using fMRI, neural activity during perception and production of a meaningless phrase in different prosodic intonations was measured. Regions of overlap for production and perception of prosody were found in premotor regions, in particular the left inferior frontal gyrus (IFG). Activity in these regions was further found to correlate with how high an individual scored on two different measures of affective empathy as well as a measure on prosodic production ability. Conclusions: These data indicate, for the first time, that areas that are important for prosody production may also be utilized for prosody perception, as well as other aspects of social communication and social understanding, such as aspects of empathy and prosodic ability. [ABSTRACT FROM AUTHOR]

This article examines the development and use of the congedo, a strophe of closure, as a formal structure in the medieval Italian canzone. A historical overview traces its increasingly frequent adoption, from sparse usage by the love poets of Sicily to a regular structural presence in the canzoni of the communal poets, whose broader thematic range included the political and topical. The essay argues that the congedo's standard formulation as an apostrophe from poet to public was especially suited to the new subject-matter of political exile, permitting authors to make themselves rhetorically present to audiences they could no longer physically reach. Analysis of several selected canzoni from the second half of the Duecento explores a broad range of performative positions adopted by exile speakers in their congedi, and shows the transformative effect that the closing stanza can exert on the overall interpretation of the lyric as a whole. [ABSTRACT FROM AUTHOR]

Reading the strophes of Meinloh von Sevelingen in the form as they have been handed down, one can scarcely resist the impression of their telling a story. The article seeks to highlight the basis upon which the supposition of Minnesang being indeed narratively composed makes sense and the circumstances under which such a composition is likely. It is possible, under the present supposition, to show that Meinloh's strophes in their cyclical order are to be situated in the 13th century as a work of collectors and manuscript-editors. The narrative tendencies turn out to be a phenomenon of reception, a form of ›Konkretisierung‹ typical of the period. [ABSTRACT FROM AUTHOR]