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This article explores the intertextual relationship between three stanzas from the Canto XXVI (of The Inferno) in La Divina Commedia by Dante and La pesquisa by Juan José Saer (1994). The famous discourse pronounced by Ulysses ('orazion picciola') and quoted in its entirety in the novel is interpreted here as a key not only to La pesquisa but to Saer's oeuvre. The ambiguity of Ulysses's character and of its configuration by Dante, as well as the urgency to pursue knowledge beyond the established limits, voiced in Ulysses's exhortation, point to the fundamental elements of Saer's aesthetics: meditation on knowledge, its pursuit and its limits; uncertainty about human comprehension of the world; tension between the evident and the unreachable; fluctuation between madness and lucidity; inevitability of the cognitive pursuit, and the looming failure as an always possible horizon. [ABSTRACT FROM AUTHOR]

This article focuses on the Lingbao Scripture on the Numinous Stanzas of the Cavern Heavens, one of the fundamental texts of the Lingbao corpus. The title of the scripture was listed in the Wondrous Scriptures in the Perfect Script of Lingbao in Ten Sections, and the present text corresponds to number 3 of the Lingbao corpus. This scripture of the canonical Lingbao corpus is not included in the Ming Daoist Canon, and the present work appears to be incomplete. Two versions have been found among the Dunhuang manuscripts. Most of the scripture is in Pelliot 2399, but the opening passages are missing. Stein 2915 also includes part of this scripture, and Wushang piyao contains the Numinous Stanzas of the thirty-two heavens, which forms the core of this scripture. The scripture includes the Numinous Stanzas of the thirty-two heavens and a legend of deities chanting these stanzas. The legend describes a gathering at the court of Celestial Worthy and the sovereigns of the Thirty-Two Heavens sings hymns extolling the blissful joy. These stanzas occupy the major part of the present scripture and are reproduced here in sacred words, corresponding to the esoteric sounds of the heavens. This paper analyses the content of the Numinous Stanzas of the Cavern Heavens from various perspectives: cosmology, philology, the concept of salvation, the structure of the scripture, the reciting tradition, etc. I investigate these issues in order to reveal the main ideas of the Lingbao scriptural tradition in the Six Dynasties Period. [ABSTRACT FROM AUTHOR]

The article focuses on the editions, technical descriptions and theories regarding kharjas. It states that kharja is a technical term in Arabic literature that means the last qufl of a muwaššah, a kind of stanzaic poem in which the stanzas begin with segments in a rhyming sequence that is different in every stanza and ends with stanzas having the same rhyming sequence in each stanza. Furthermore, it also presents a list of the revised texts in Arabic and Hebrew.

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The article discusses the poetic stanza styles of Paula Meehan and the Irish lyric after William Butler Yeats's generation. It notes that Meehan applies regular stanzas but offsets the spreading of sentences from the stanza's periodicity. It cites that poets view sentences or stanzas as the ground and treat other as fluctuating figure after Yeats' generation. It states that Meehan's poem exhibits that recurrent stanza shapes are integrated with sentences which upset the consistency of stanzas.

Recently, Jaap van Benthem has claimed that the cantus firm us 'Comme femme desconfortee' in Josquin's Stabat mater contains 99 notes, and that by the addition of one extra note in the final cadence of the motet, the number 100 is obtained, which in Christian medieval numerology is associated with eternal life. Since in the last strophe of Stabat mater the praying person asks `that his soul is given the glory of paradise', Van Benthem's proposal is certainly ingenious. However, his proposition must be taken with some caution. Actually, the somewhat arbitrary addition of one note in the final cadence reveals itself as superfluous for the following reason: close reading of the eight earliest sources for Stabat mater reveals that the number of 100 notes is indeed present in the reading of the cantus firm us in the Chigi Codex, the primary source for the motet. Only if one accepts this reading as 'authentic', and only if one explains the variants in the notation of the cantus firm us in this source against the notation in the other sources, a new case of number symbolism in Josquin may be discovered. [ABSTRACT FROM AUTHOR]

Psalm lxxxviii consists of two cantos, four stanzas, ten strophes, and twenty bicola. Two bicola consistently form a strophe, and two, sometimes three strophes form larger units, or stanzas. Two stanzas make up the psalm's first half (a canto), and two stanzas make up its second half (a second canto). The psalm-halves, which contribute to the alternating structure of the whole (ABA'B'), correspond and complete one another (a diptych). The speaker reviews the past and reports on his persistent suffering and prayer. Verses 3, 11, and 15 are to be understood as quotable coordinated “prayers within a prayer”. Along with the recurrent apostrophes of God (verses 2, 10, and 14), they actualize the whole: despite darkness and the lack of a reply, they keep the direct address to YHWH as the “God of my salvation” (2a) alive. [ABSTRACT FROM AUTHOR]

The author reflects on the poems "The Princess," by Alfred Lord Tennyson and "Love's Philosophy," by Percy Bysshe Shelley. The author compares the stanza "Now Sleeps the Crimson Petal" from Tennyson's poem with Shelley's poem. The author feels that the similarity of form is less striking than the thematic links between the poems. The author comments on the source of the titles of the poems, citing Shelley's title as a romantic rewriting of the metaphysical poem of persuasion.

Horace does not distinguish neatly between the public "Augustan" voice he adopts in stanzas 1-3 of Odes 3.14 and the private "Horatian" voice he adopts in stanzas 5-7. In the latter, Horace both differentiates himself from and assimilates himself to Augustus, as portrayed earlier in the poem, and thus offers a portrait of himself that is best understood as a Horatio-Augustan composite. As both voices coexist in his self-representation, the similarities and differences between them cannot be interpreted as expressions of acceptance or rejection of Augustus as many have done. Instead, Horace is engaged in a form of identity negotiation. [ABSTRACT FROM AUTHOR]

Recent critical observations on Akhmatova's Poema bez geroia (Poem Without a Hero) are drawn together, suggesting that it detaches itself from modernism and moves beyond it in various ways. These ideas are then extended in relation to the poem's innovative stanza form. It is argued that Poem represents a conscious attempt to revive the formalism and spirit of experimentation that was characteristic of the Silver Age. Akhmatova both demonstrates and celebrates modernist poetics, but ultimately exceeds modernism by establishing a new poetical system which regards modernism with considerable irony. The unusual stanza constitutes an important part of this dual desire both to revive, and to establish a distance from, Silver Age modernism. The stanza manifests a peculiar capacity for variation and frequently departs from its basic structure, so that previous descriptions of Akhmatova's stanza in scholarship discern both regularity and a capricious elasticity. This paradoxical combination of order with unpredictability suggests that the stanza might usefully be characterized — employing scientific discourse as a metaphor — as a kind of chaotic system. It furnishes Akhmatova with a means of establishing a dialogue with chaos at the level of prosody which constitutes a formal expression of the theme of disintegration and chaos which is central to the poem. [ABSTRACT FROM AUTHOR]

The article examines the critical implications of the so-called Horatian Alcaic caesura, which can be found in odes by Roman lyric poet Horace. They serve as the subtlest and most characteristic poetic nuances of Horace. The Horatian caesura has been described as the typical break found between the fifth and sixth syllables of the first three lines of the Alcaic stanzas. The idosyncractic word-placement is considered. Words describing Rome and its military occupations are typically found at one side of the line.

This article critiques the poem "Anatomy of Monotony" by Steven Wallace. It is said that this in one of the finest written by Wallace due to the fact it is numbered, symmetrical stanzas. Also is the reason that this poem is something that came straight from his core and shows both extremes of his writing styles.

This essay presents a critical analysis of the poem "Skunk Hour," by Robert Lowell. Like most of his other poems this was written in the same manner. He wrote the last four stanzas and the first three were the last to be written. This poem was first entered into the authors mind while talking with a pedestrian of a naval submarine and then he put a twist and this is the success that he came up with.

The emergence of cognitive poetics has focused attention on how stylistic features are processed by readers. One area ripe for empirical investigation in this respect is point of view. Little attention has previously been paid in cognitive science to the specifics of how point of view is identified during reading. This essay reports on an experiment designed to examine how readers respond to a narrative style that has attracted a great deal of interest from both stylisticians and literary critics: free indirect discourse. The experiment tested two questions in particular: (1) Do readers hear a 'dual voice' when reading passages of free indirect discourse? and (2) What kind of 'contexts' influence the identification of point of view? Some critics have noted the importance of the preceding co-text in deciding whose point of view is present in ambiguous passages; this experiment suggests that the succeeding co-text might also be relevant. This in turn has implications for the flexibility of the reading process, especially when more than one point of view may be present. [ABSTRACT FROM AUTHOR]

The article discusses the musical inharmony of the poems "A Complaint Against Blacksmiths" and "The Choristers' Lament" included in the archive of the British library MS Arundel 292. The latter uses various musical terminology making it more incomprehensible. Editors have difficulty of punctuating "The Choristers' Lament" due to its 52 long alliterative lines in thirteen stanzas. The former consists of 22 long alliterative lines and its representation of metalworkers failed to connect a monastic connection.

The article examines verses and strophes (stanzas) of ancient Iranian poetry. The author discusses the challenges of translating this work into other languages. The author discusses and compares translations of this poetry by scholars. Works such as "Altiranisches Wörterbuch," by Christian Bartholomae and "Die Gāthās des Zarathustra," by Helmut Humbach are cited.

The article reports on the study of five chapters of the first allround interpretation of A. S. Pushkin's famous political poem "Klevetnikam Rosii." Chapter 1 deals with the history of the poem and its influences, chapter 2 deals with the genesis and formation of the poem, chapter 3 gives an analysis of rhymes, stanzo, meter, rhythm and its euphonic elements, chapter 4 explains some single expressions or verses and the final chapter deals with the relation of poetry and politics and explains "the voice of poetry" in everyday life and historical antagonism.

This study seeks to revive, defend and further illustrate the suggestion of Weil (1862) (adopted by Rossi (1953/4)) that the longer fragments of Tyrtaeus (nos. 10-12 in West 1992) were composed in five-couplet units (Weil called them 'strophes' but I prefer 'stanzas') that either alternate between exhortation and meditation (e.g. 10.1-30 or 11.1-20) or contrast, for example, the defensive and offensive modes of hoplite warfare (11.21-38), men skilled and unskilled in warfare (12.1-20) or the differing honors that await those war-heroes who die on the battlefield and those who return home alive (12.21-30 and 35-44). These units, moreover, often display a kind of responsion (similar to that found in ancient Greek choral poetry), which allows the poet to draw attention to the stanzaic architecture of the poem and emphasize parallels and contrasts between the individual stanzas. Weil's theory, moreover, provides us with evidence of later re-performances of these poems, especially Tyrtaeus 12, where the transmitted text shows clear signs of a subsequent performance (perhaps in classical Athens as the Platonic paraphrases in the Laws suggest) by a poet who was ignorant or careless of the earlier archaic practice. [ABSTRACT FROM AUTHOR]

Purpose - To express and illustrate in verse ubiquitous problems of organizational, auditing and trading malfunctions, thereby stimulating the imagination to contemplate alternative approaches. Design/methodology/approach - Poetic expression of the following design: I. "Putting out work". Three nine-line stanzas of syllabic verse, mythic in tone, otherwise of irregular, free form. Expression approaches prose poetry. II. "The happiest days of your life". Three seven-line stanzas of free verse, mythic in tone. 111. "The exchange". Twelve six-line stanzas in free verse; a narrative prose poem. Findings - I. Asks whether the discredited putting-out system is not lurking yet in modem "home-working", but with more subtle drawbacks, and even closer control. II. Finds that pressures to permit labour abuses are persistent, even in alleged "advanced" economies - its incidence and its form are just more surreptitious. III. Develops an alternative metaphor for North-South economic relations, and suggests exploring an ethics of "gift exchange", in contrast with the so-called "anonymity of the market". Research limitations/implications - The limitation of verse in this context is that it is a stimulus to the imagination, but not a vehicle for empirical investigation as such. However, what verse does here is to suggest three areas for research that are novel and challenging, but may otherwise be neglected without this stimulus. Originality/value - I. Finds an emerging "new putting-out system" II. Shows how the motivation for child labour is persistent, even in "advanced" economies. III. Points to an alternative approach to exchange, as a mutual process of gifting. [ABSTRACT FROM AUTHOR]

The article discusses the early Greek elegy. In early elegy, poets were used to incorporate powerful exhortation and sober meditation in their elegiac verses in the form of longer fragments. These elegiac poets were accustomed to compose their thoughts into stanzas of equal length, which alternated. According to the supposition given by Heinrich Weil, poet, many elegists were used to separate their poems into strophes that hardly exhibited a kind of response that could match with those found in ancient Greek choral poetry.

Although the locution ky ' l kn introducing adverbial clauses of cause is well known, the coordination of its separate parts is virtually unstudied. My interest here is in how causality is expressed by groups of clauses in which ky is coordinated with ' l kn, creating a total structure of "since" / "therefore." A clearer understanding of this structure has important implications for the interpretation of well-known passages of Hebrew Scripture, notably the opening strophes of The Song of Songs and Psalms. [ABSTRACT FROM AUTHOR]

This article presents information on the poem "Esthétique du Mal," by Wallace Stevens. This poem is one of Stevens' most technically achieved poems, consisting of 15 sections of varying lengths, alternating rhythms, inconsistent rhymes, and fluctuating registers. It is, in other words, a difficult poem. It is one that, as with most of Stevens' work, requires the presence of an informed and attentive reader&mdaash;a reader on whom nuance and subtlety are allowed full sweep and play. The poem, in fact, is so well structured that the alteration of a word, comma, or line ending can affect how the poem is read and understood. The sheer power of these minute differences becomes especially apparent if one places the poem in the context of its multiple incarnations.

Three more passages in the cantica of Euripides, currently unsatisfactory, are discussed and conjecturally remedied. [ABSTRACT FROM AUTHOR]

Looks at the concept of loss in the poem "One Art," by Elizabeth Bishop. Characteristics of the philosophy of survival constructed by the first stanza; Teleological justification for losing; Interpretations of the punctuation marks used in the final stanza.

Interviews author Frank Kuppner about his personal life and career. Experiences in studying at Mitchell Library in Glasgow, Scotland; Poets that influenced his poetry; Background on the book "A Concussed History of Scotland"; Reasons for numbering his stanzas; Interest in reality and truth.

Analyzes the poem "Ode: Intimations of Immortality from Recollections of Early Childhood," by William Wordsworth published in 1807. Propositions of the poem; Definition of the term virtual in reference to the poet's account of memory; Details of the analysis of stanzas of the poem.

The ego or speaking subject of Pindar's Sixth Paian is anomalous, as has been acknowledged by many scholars. In a genre whose ego is predominantly choral, the speaking subject at the beginning of Paian 6 differentiates himself from the chorus and confidently analogizes his poetic authority to the prophetic power of Delphi by his self-description as άοίδιμον Πιερίδων προφάταν. I would like to correlate Pindar's exceptional ego in this poem with what has recently emerged as the poem's exceptional performance context. Following Ian Rutherford's 1997 discovery of a second marginal title for the third triad ("For the Aeginetans, a prosodion to Aiakos"), we might postulate performance by two choruses: the first two triads sung by a Delphian chorus stationary at the altar, the last triad sung by an Aeginetan chorus as they process to the altar. The need to reconcile within the poem and the space of performance two choruses, two communities, and two local mythic traditions generates the strikingly prominent speaking subject of Paian 6 as a mediating figure. [ABSTRACT FROM AUTHOR]

This article presents information on various translations of the text "Kâmakalâ-Vilâsa," consisting of fifty-five strophes written in Sanskrit. The version of the "Kâmakalâ-Vilâsa," edited by John Woodroffe includes both the text and the comment. Till now, this text has not been translated to the Spanish, at least not in a widely used way; hence his presentation is advisable to the world of Hispanic speech. The relevancy of this text takes root in his detailed exhibition of the construction of the Sri-cakra or Sri-yantra, which is one of the mystical prominent diagrams inside the tradition sakta. At the same time, the text realizes the theological symbolism of the Sri-cakra. Arthur Avalon translates the text as the emanation or evolution of Kamakala, which is the Supreme Triangle formed by the bindu and the visarga, for prakasa and vimarsa, for Siva and Sakti. In effect, in several contexts, vilasa can be taken as the eternal divine game. The Sri-cakra possesses a very special function inside the practices saktas: all the yantras are designed so that the follower realizes the nature and splendour of the Divinity.

This article presents information on the Japanese poetry called haikú. The insects like dragonflies, fireflies and butterflies conform a coherent thematic unit with respect to the spilled Japanese astonishment in the haikú. The haikú is, in principle, one strophe that is born in Japanese 16th century and it consolidates in the 17th century, with a strophe composed by three verses with a fixed number of syllables 5-7-5. In addition the strophe must contain a word that makes reference to the station of the year as well as an unequivocal flavor of deep commotion. The haikú in Japan, is an art that neither demand formation nor some specialization. To have access to an astonishment and to say it in 5-7-5 only require to be alive and to be able to use the word. There are no cultured terms in the haikú and no elaborated literary turns. In Japanese, saying a haikú it is to speak. All the published haikús deserve a comment so that the reader can understand the briefness of this Japanese poetry. The interior silences which separate one haikú them from other haikús, are even more important than words.

Focuses on the text and meter of the strophe and antistrophe parts of the Second Stasimon of Agamemnon. Difficulty to understand several passages in the book; Arrangement of the text in the antistrophe part; Former lineation of the symmetrical phrasing.

Focuses on ottava rima, a stanza that has been used for narrative purposes, originating in the Italian oral tradition of the cantastorie. Requirement of too many ryhmes in writing an ottava rima; Indication on the resemblance between the ottava rima and English sonnet; List of most famous Renaissance ottava rima narratives; Creation of a dialogue of narrative voices and a plurality of viewpoints by an ottava rima stanza.

Analyzes the genetic turn of the Scandinavian poem "Baldrs draumar." English translation of the poem by Carolyne Larrington; Number of the stanzas; Goal of poem characters Ódinn and Pokk.

Discusses the some possible socio-political and historical aspects of Chapter 3 of the book of Job. Components of the book of Job; Strophes of the book of Job; Literary technique used in Job 3; Evidences that the book was written in the early Persian era; Interpretation of suffering.

In quantity-sensitive stress languages, syllable weight is typically determined by looking at the rhyme only. The location of stress in these languages depends on syllable weight, and hence, the onset never influences the placement of stress. This has long been considered to be a linguistic universal. However, recent phonological studies reveal the existence of languages in which geminate onsets can influence syllable weight as relevant to phonological phenomena other than stress. This predicts the existence of languages in which geminate onsets influence stress placement. In this squib we introduce Pattani Malay, a language in which geminate onsets seem to behave exactly in this fashion. We suggest that the Pattani Malay data are of crucial importance to the discussion on the possibility of onset weight. At the end of this squib, we discuss some theoretical consequences and sketch a possible analysis of the Pattani Malay stress rule in Optimality Theory. [ABSTRACT FROM AUTHOR]

In quantity-sensitive stress languages, syllable weight is typically determined by looking at the rhyme only. The location of stress in these languages depends on syllable weight, and hence, the onset never influences the placement of stress. This has long been considered to be a linguistic universal. However, recent phonological studies reveal the existence of languages in which geminate onsets can influence syllable weight as relevant to phonological phenomena other than stress. This predicts the existence of languages in which geminate onsets influence stress placement. In this squib we introduce Pattani Malay, a language in which geminate onsets seem to behave exactly in this fashion. We suggest that the Pattani Malay data are of crucial importance to the discussion on the possibility of onset weight. At the end of this squib, we discuss some theoretical consequences and sketch a possible analysis of the Pattani Malay stress rule in Optimality Theory. [ABSTRACT FROM AUTHOR]

This essay explores rhetoric tropologically through various strophes: antistrophe, catastrophe, and apostrophe. Our purpose is to delineate problems and possibilities that these tropes pose for rhetoric in an effort to create new rhetorics. We seek to display the antistrophic and catastrophic figurations of rhetoric and then use visual lenses of photography and cinema to disrupt the figurations. Following the disruption, we seek to heighten sensibilities to other figurations, in particular an apostrophic figuration. We cast apostrophe as a figure for change because it marks a deeply felt turn toward difference and otherness. Turned as such, rhetoric becomes erotic. [ABSTRACT FROM AUTHOR]

Presents a textual analysis of the parodos and cantica in the classical literature 'Cyclops,' by Euripides. Issues in the strophes and antistrophes of the texts; Sense and meter of the sentences.

Presents a contextual analysis of the medieval Welsh text, 'The stanzas of the months.' Focus of the stanzas; Significance of the text; Versions of the manuscripts; Argument on the explanation suggested by astrologers.

The article offers the author's insights regarding the alcaic and sapphic stanzas in the questions and teachings of poet John Hollander about the tropic, signifying and allusive power of shape. The author says that in Hollander's poem "A Possible Fake," the poem answers itself about a dry and empty cup. She adds that the poet's classical stanza shapes the phrase in "The Figure of Echo" which establish lines of continuity.