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La fuerte presencia de palabras y expresiones en alemán halladas en la novela La ladrona de libros, tanto en la versión original (inglés) como en su traducción al castellano, hizo que me preguntase, tras observar que eso también ocurría en su adaptación cinematográfica, si realmente una persona sin conocimientos de alemán puede llegar a entender el significado de las mismas. Para investigar sobre esto, lo que hice fue, en primer lugar, comparar la versión original con las traducciones al alemán y al castellano y extraer de ellas los ejemplos más significativos La presència de paraules i expressions que apareixen en la novel·la La lladre de llibres en alemany, tant en la versión original (en anglès) com en la seva traducció al castellà, va fer que em preguntés, després d'haver vist que a la pel·lícula també passa el mateix, si realment una persona sense coneixements d'alemany pot arribar a entendre el significat d'aquestes paraules i expressions. Per investigar sobre aquest fet, en primer lloc, vaig comparar la versió original amb les traduccions de l'alemany i del castellà i vaig extreure els exemples més significatius This study is dealt about the novel The Book Thief. The presence of words and expressions found in german, as in the original version as in the spanish version, made me wonder, after to observe that this also happened in the film adaptation, if really a person without knowledge of german can understand the meaning of this words and expressions. To investigate this, I compare first the original version (english) with the translations in german and spanisch and extract from them the most significant examples

We propose a novel summary based method to infer species trees from input multi-locus gene trees with incomplete lineage sorting (ILS). The method extends an existing technique called STAR [13], which defines average coalescence rank between taxa pairs (couplets), to derive species trees using Neighbor-Joining (NJ) [20, 23]. Such coalescence rank, however, is ambiguous at couplet level. We propose two new couplet based distance measures, termed as accumulated coalescence rank (AcR), and excess gene tree leaves (XL), and show that their combination discriminates individual couplets better. We propose a new method AcRNJXL, which uses the proposed measures, for NJ based species tree construction. Results show that for biological datasets, AcRNJXL produces much better performance than STAR and other reference approaches, with the same time and space complexities as STAR.

Part of the unique cultural heritage of China is the Chinese couplet. Given a sentence (namely an antecedent clause), people reply with another sentence (namely a subsequent clause) equal in length. Moreover, a special phenomenon is that corresponding characters from the same position in the two clauses match each other by following certain constraints on semantic and/or syntactic relatedness. Automatic couplet generation by computer is viewed as a difficult problem and has not been fully explored. In this paper, we formulate the task as a natural language generation problem using neural network structures. Given the issued antecedent clause, the system generates the subsequent clause via sequential language modeling. To satisfy special characteristics of couplets, we incorporate the attention mechanism and polishing schema into the encoding-decoding process. The couplet is generated incrementally and iteratively. A comprehensive evaluation, using perplexity and BLEU measurements as well as human judgments, has demonstrated the effectiveness of our proposed approach.

It is remarkable that after Langston Hughes’s prolific, nearly 50-year literary career, his first published poem (excepting some juvenilia) remains perhaps his best known. “The Negro Speaks of Rivers” (1921), with an opening couplet whose long, reflective second line begins by repeating the first line, has become a signature meditation on heritage and ancestry: “I’ve known rivers: / I’ve known rivers ancient as the world and older than the flow of human blood in human veins” (1– 2). 1 Originally published in the June 1921 issue of the Crisis, the magazine of the National Association for the Advancement of Colored People (NAACP), the poem “promptly became, along with the [W. E. B.] Du Bois editorials and Jean Toomer’s ‘Song of the Son,’ the voice of the Association itself” (Bontemps 122). As it traverses major waterways on three continents, “The Negro Speaks of Rivers” inaugurates Hughes’s relationship with the Congo, which makes it representative of an ongoing internationalist sensibility both in his verse and in the larger cultural movement of which it is a part. While references to modern Africa abound in AfricanAmerican poetry of the 1960s and are understood to be products of the confluence of African national independence movements and the Black Arts movement, Hughes’s earliest poetry suggests a continuity that extends back at least to the 1920s. Throughout his career, Hughes maintained an active association with a range of political and literary institutions in which the Congo was a *Ira Dworkin is Assistant Professor of English and Comparative Literature and Associate Director of the Prince Alwaleed Center for American Studies and Research at the American University in Cairo. He is the editor of Daughter of the Revolution: The Major Nonfiction Fiction Works of Pauline E. Hopkins (2007) and is currently completing a book manuscript on the influence of the Congo on African-American literary, visual, political, and religious cultures since the late nineteenth century.

Poetry takes the most important place in literature. It is very important both for the poet and the poetry reader to have the knowledge of poetry and know the poetical terms and rules. That’s why, especially in the books for school children, it is possible to come across information on poetry. However, in these books which are written to give language and literature education to children, it is observed that instead of giving detailed information, short and practical information is prefered.The periodical number 2727 in the National Library is also a verse dictionary periodical including 3 of the verse dictionaries (Sübha-i Sıbyân, Tuhfe-i Şâhidî, Tuhfe-i Vehbî) written for the primary school children to teach them the prosodic rules together with the Arabic and Persian words. However, in this periodical, there are short literary works apart from these verse dictionaries. One of these works is the “Prosody Pamphlet”. As it is known, pamphlets are short texts written on any subject. This pamphlet is, too, a short literary work giving information about the measure of prosody, Classical Turkish Literature verse forms and types together with figures of speech. It also exemplifies them. In this literary work, it is observed that, besides some known literary information, some literary terms are explained in a different way that we are not familiar with. Therefore, this pamphlet is of great importance. When it is considered that periodicals are not mostly compiled as books, the introduction of this type of short texts in the periodicals to the world of science can be possible by means of articles. Thus, this study aims at examining and transcribing the aforementioned pamphlet text so that researchers can benefit from it. Şiir, edebiyat içerisinde en önemli yeri teşkil eder. Şiir bilgisine sahip olmak, şiire dair terim ve kuralları bilmek, hem şair için hem deşiir okuyucusu için önemli bir husustur. Bu nedenledir ki özellikleeğitim çağındaki çocukların yararlanacağı eserlerde, şiir üzerinebilgilere rastlamak mümkündür. Çocuklara dil ve edebiyat eğitimivermek amacıyla hazırlanan bu eserlerde ayrıntılı bilgiler yerine onların işine yarayacağı kadar kısa bilgilerle yetinildiği görülmektedir. Milli Kütüphane 2727 No’lu Mecmua, esasen ilköğretimçağındaki çocukların Arapça ve Farsça kelimelerle birlikte aruzkurallarını öğrenmeleri maksadıyla yazılmış manzum sözlüklerdenüçünü ihtiva eden (Sübha-i Sıbyân, Tuhfe-i Şâhidî, Tuhfe-i Vehbî) bir manzum sözlük mecmuasıdır. Ancak bu mecmuada bu manzum sözlüklerin dışında başka küçük eserler de vardır ki bunlardan biri de “Aruz Risalesi”dir. Bilindiği üzere risaleler, herhangi bir konuda yazılmış olan kısa metinlerdir. Bu risale de aruz ölçüsü, Klasik Türk Edebiyatı nazım şekilleri ve türleri ayrıca söz sanatları üzerine bilgiler veren ve bunları örneklendiren kısa bir eserdir. Bu eserde bilinen birtakım edebî bilgilerin yanı sıra bazı edebiyat terimlerinin, bugün bilinenden farklı şekilde anlatıldığı görülmektedir. Risale bu nedenle önem arz etmektedir. Mecmuaların çoğunlukla bir bütün halinde kitaplaştırılmadığı düşünüldüğünde mecmualar içerisindeki bu tür küçük metinlerin ilim dünyasına takdimi daha çok makaleler aracılığıyla olmaktadır. İşte bu çalışma da adı geçen risale metninin incelenip transkribe edilmesini ve bu şekilde araştırmacıların istifadesine sunulmasını amaçlamaktadır.

This essay links the changeable nature of rhyme in Hamlet to a sixteenth-century critical debate in England about the moral, cultural, and intellectual value of rhymed poetry. It demonstrates that Shakespeare was especially aware of and invested in the controversy over rhyme’s relationship to reason. Highlighting his ambivalence toward rhyme, the discussion explores his ironic attraction to the Platonic idea of furor poeticus , his sense of rhyme’s complicity in poetic “madness,” and his tendency to both belittle and exalt rhyme in the plays and sonnets. The essay argues further that this ambivalence was something Shakespeare shared with Sir Philip Sidney, George Puttenham, and other early modern literary critics who wavered uncomfortably between disparaging and defending rhyme. Considering how Shakespeare and his contemporaries convey the generic and social slipperiness of rhyme, equally at home in a king’s couplet and a minstrel’s ballad, the essay contributes to the current authorship debate in Shakespeare studies by positioning rhyme at the intersection of literacy and orality, poetics and performance, and page and stage. Segueing into Hamlet , the essay reads the prince’s couplets and ballad fragments, the play within the play, and Ophelia’s songs as moments that collectively evince the passion or madness of rhyme. The analysis then turns to the gravedigger, whose song signals a change in the status of rhyme. The essay concludes by arguing that rhyme and reason approach one another as the play approaches its end; it is only when Hamlet reconciles himself to his fate that rhyme and reason are finally reconciled.

In almost every instance, Notker’s understanding of the rhythmical shape of sequence melodies governed his composition of sequence texts. Notker himself outlined the fundamental structure of the sequence: generally, the parallel stanzas of each couplet have an equal number of syllables and correspond to a single, non-melismatic melodic line. This article shows that Notker’s texts follow an additional structural guideline: the vast majority of his parallel stanzas are isotonic; that is, they share the same pattern of stress. Additionally, various smaller segments of text within stanzas that all correspond to one repeated portion of melody all follow this pattern. Even entire multiple sequences written for the same melody are isotonic. This article’s close attention to natural stress in sequences reveals another dimension of Notker’s careful and sensitive compositional technique.

This paper demonstrates the importance of short forms — couplets, triplets and quatrains — in the work of the Abbasid poet Ibn al-Mutazz (861-908) and highlights the key role he played in the proliferation of the two-liner. It discusses the scholarly editions of his dīwān, offers statistical data regarding the frequency of the various short forms and comments on the arrangement of the poems in his dīwān. The discussion of a highly selective sample of couplets and triplets shows how epigrammatic expression blurred the generic identity of short poems.

Although the word self appears in nearly a third of Shakespeare's sonnets, the inward coherence of that self is perpetually elusive. Many of the poems seem rather to dramatize the difficulty of reconciling emotion and reason, mind and body, or self and other. Frustrated desire becomes an occasion for phenomenological meditation-not just on the quality of subjective experience but also on the felt reality of carnal embodiment. In situations of sickness and disorder this latter reality comes to the fore, as the individual is forced to confront the normally veiled disjunction between carnality and consciousness. It is at such moments that the chasm between the body's interior complexity and the self 's complex interior becomes most painfully apparent. This essay is concerned with how medical, philosophical, and literary thinking-and the differences and tensions between these forms of thinking-bear on the problem of inward rupture. How is the disconnect between body and self addressed in the cultural and scientific contexts in which Shakespeare wrote? What do Renaissance representations of sickness have to tell us about the nature of subjectivity? To frame my discussion of these broader questions, I will use Shakespeare's sonnet 147-"My love is as a fever, longing still." This sonnet is one of several in the sequence that takes illness as its subject. Yet its invocation of "fever" sets the sonnet apart-for, as I will suggest, this particular ailment occupied a unique place in early modern medical discourse.Fever was a notoriously elusive and complex malady, a disorder in and of itself, and one that challenged Renaissance physicians as much as it had their predecessors. In the late sixteenth century, moreover, fever became mixed up with ideas emanating from neo-Epicurean materialism about the permeability of the body and the particle-based soul. When sonnet 147 is parsed against these contexts, its conceit emerges as more than just a striking trope. Rather, fever initiates a story that begins in the maze of a faltering body with permeable internal boundaries and winds up in the symbolic labyrinths of writing and discourse. The speaking lover meditates on the self-effacing nature of his disease, evaluates the descriptive and expressive merits of "physic," and finally declares that he has perjured himself by calling the dark lady "fair."1 This act of self-perjury is in part a forswearing of the irreducible carnality that the fever signifies: the lover realizes the incomplete perspective he has of his own person, yet he chooses to overtly reaffirm that perspective. Thus, the poem points to a tension between poetic representations of personhood and philosophical hypotheses about a world made purely of matter. This is a tension that appears also in the work of Montaigne, Donne, Burton, Milton, and Marvell. As such, Shakespeare's sonnet joins in a wider cultural negotiation in which a deepening interest in the materiality of the body creates a need to avow, even more self-consciously than before, what amounts to the necessary fiction of selfhood."For I have sworn thee fair, and thought thee bright, / Who art as black as hell, as dark as night." The final couplet of sonnet 147 is often quoted as an example of the perceptual distortion so distinctive of the "dark lady" sonnets. Although extended critical readings of this sonnet are relatively rare, there is consensus about the salience of its last two lines. For Joel Fineman, they illustrate the curious specular truth of the lady, "that she is both fair and foul at once" (22). For Robert Matz, the couplet articulates the "misogynist sensationalism" of dark beauty (129). Dympna Callaghan is among those who note its significance as a speech act, the fact that the lover must "swear" that "black is beautiful" (51). The power of the paradox that explodes at the sonnet's end, then, is clear. But what of the rest? The preceding twelve lines introduce a number of other ideas, among them "fever," "physic," and "discourse":My love is as a fever, longing stillFor that which longer nurseth the disease,Feeding on that which doth preserve the ill,Th' uncertain sickly appetite to please. …

The aim of this paper is to discuss in brief the contents of Michael Boym' s writings on Chinese medicine. Unlike in my several previous works, 1 I am not touching here the question of Boym' s authorship of the two books sent for publication to Germany by Andreas Cleyer and Philip Couplet. 2 Considering that there are so many proofs that no missionary in China in the 17th century wrote on Chinese medicine and pharmacy apart from Boym, this topic does not require any further explanations. 3 In his preface aimed at the European physicians, which was published at the outset of Clavis Medica,4 Boym writes: Who then handed down to succeeding generations that rich and most perfect knowledge being the foundation of their doctrine on pulse diagnostics, which was accepted by Galenus and after him by other prominent physicians? The work of the oldest [Chinese] doctor Hoamty5 is quite different from that of Hypocrates and similarly the pulse science, which even in dreams is difficult to conceive, considerably differs from that of Galenus. Moreover he discovered methods of treatment of diseases totally differing from the European methods and handed down [to the following generations] all this science, which as they assert derived from the

There is a common perception that football and alcohol go hand in hand and that players and fans routinely engage in excessive and irresponsible drinking. In Australia, this is manifest in the stereotypical ‘Pissed Aussie Rules fan’. Following research with Australian Rules football fans in South Australia, we identified three categories of fans according to their (non)engagement with alcohol: Drinkers, Non-Drinkers and Deferrers. Deferrers were selfidentified drinkers who separated alcohol consumption from spectating, for fear of ‘contamination’. Our identification of counter-stereotypic ways in which fans engage with alcohol (or not) challenges the assumptive worlds in which popular commentary on football and drinking operates. This was, to our knowledge, the first ethnography of drinking behaviour amongst Australian Rules football fans. It demonstrates the advantage of using ethnographic research techniques to understand the relationship between identity and consumption.

The opening couplet of Rudyard Kipling’s “The Ballad of East and West,” first published in 1889, is one of Kipling’s well-worn tautologies and all too obviously fallacious truths that seem simply to confirm his position as the most egregious of Victorian Orientalists. These verses appear, at first glance, to assert that the Orient and the Occident are not only essential spaces but eternal antinomies. In that sense, of course, Kipling’s words can be seen as prefiguring much of the recent rhetoric about East and West (‘Clash of Civilizations,’ ‘War on Terror,’ ‘Islamofascism,’ ‘Islamism,’ etc.) that has been repeated ad nauseam and, as such, has achieved a sort of naturalized, self-evident status in spite of its obvious vacuity. “Kipling,” as

Shakespeare's work has been described as proverbial in two main ways: his works both used existing proverbs and created new ones. This analysis combines these two approaches by focusing on a classical proverb that Shakespeare re-phrased and that continued to circulate in Shakespeare's phrasing. This particular proverb from Love's Labour's Lost, “Fat paunches have lean pates, and dainty bits / Make rich the ribs, but bankrupt quite the wits” (1.1.26–27), is found in multiple seventeenth-century print and manuscript sources. This paper traces the inter-related oral, print and manuscript transmission of the “fat paunches” proverb in order to demonstrate that Shakespeare's phrase was popularized by early print dramatic extracts. Manuscript compilers were not reading Shakespeare's play, but were instead reading treatises on physiognomy and guides to improve their speaking and writing skills. The “fat paunches” couplet from Love's Labour's Lost did not circulate in manuscript because of the popularity of the pl...

On 7 May 1724, Harry Mordaunt shot himself. (1) He had been an officer in the guards and a nephew of Charles Mordaunt, Third Earl of Peterborough, the Whig politician, military leader, and, over many years, close friend of Pope. Mordaunt left a suitably grim note: "But the truest laudanum of all / Is resolution and a ball" (qtd. in Mack 416). Not long afterwards, Pope composed a short poem on the subject of his own birthday, the twenty-first of May, which that year happened also to be the day on which Robert Harley, Earl of Oxford and father to another close friend, Edward, died, though Pope did not discover the fact until his arrival in London on the twenty-second. Pope's poem is unusually bleak: On a Late Birth Day. 1724. With added Days, if Life bring nothing new, But, like a Sieve, let ev'ry Pleasure thro'; Some Joy still lost, as each vain Year runs o'er, And all we gain, some pensive Notion more! Is this a Birth-Day? ah! 'tis sadly clear 'Tis but the Fun'ral of the former Year. If there's no Hope, with kind, tho' fainter ray To gild the Evening of our future Day; If ev'ry Page of Life's long Volume tell The same dull Story--Mordaunt! thou dids't well. (6: 247) Death, in Pope, is always moral. As we live, so shall we die, and Pope rarely introduces a death without its being made an appropriate commentary on the life that preceded it, or even produced it. The Duke of Buckingham, "Sir Balaam," Anne Oldfield ("Narcissa" in the "Epistle to Cobham"), "The Man of Ross," even Hector, Patroclus, and Priam in The Iliad, all provide in their mode of dying some form of summary and judgment on their lives, manners, and morals. (2) Suicide, supremely, would be expected to cap the life and temperament that brought it to pass. Suicide, after all, is the last refuge of the self, the self that cannot face, or that cannot forget, or that has been brought to despair so great that the ultimate act seems to provide the only escape. Yet the sentiment expressed with regard to Mordaunt is, in spite of its being couched in conditional terms, unusually bleak: this death was well done. Moreover, the weight of evidence built up over the nine preceding "if" lines sufficiently diminishes the force of the conditional to render the last couplet well nigh conclusive. "If" life is indeed like this, then Mordaunt's decision is not only understandable, it is the only rational one. Pope does not often write about suicide. Eustace Budgell, for example, killed himself in 1737, between the two Dunciads, yet the lines referring to him in 1743 are identical to those in 1728 (5: A.ii.365; B.ii.397). He does, though, enter into circumstances in which writing about suicide might seem a logical course of action. One of his earliest is in the prologue that Joseph Addison invited him to write for his play, Cato, an occasion that could well have lent itself to reflection on the rationality of suicide. But here Pope is content to confine himself to a confirmation of Cato's status as a true patriot in the Roman republican mode: Cato is described as "godlike" (18); he is "A brave man struggling in the storms of fate, / And greatly falling with a falling state" (21-22); and, his corpse displayed in triumph by Caesar, he is recognized as Rome's "dead Father's rev'rend image," which darkens the "pomp" and causes tears to gush "from ev'ry eye" (31-33). Above all, though, Pope is concerned with transposing the effect of Cato's death from ancient Rome to the London stage of 1713. So, "He bids your breasts with ancient ardour rise / And calls forth Roman drops from British eyes" (15-16). This play, he asserts, will display "no common object to your sight" but "what with pleasure heav'n itself surveys" (19-20). In particular, he attempts to predict the audience's response to the several successive scenes of Cato's story: While Cato gives his little senate laws, What bosom beats not in his Country's cause? …

The paper addresses the issue of integration of "new generation" in the multi-ethnic school and society and focuses on the possibility of counseling and guidance to promote intercultural integration. This issue is addressed in the context of empirical research conducted on a sample of 1314 preadolescents, both Italian and immigrants who attend schools in Abruzzo, a region of central Italy. Abruzzo has experienced a recent sharp intensification of migration, with a transformation of social and demographic bases of the population. For the analysis of data has been used multivariate statistics. In particular, the following variables were considered: the national origin (Italians, Foreigners and Children of mixed couplet), gender, educational level of the family, the help received in the study at home and, with regard to foreigners, the time of stay in Italy and the macro of origin. © 2011 Elsevier Ltd. All rights reserved.

When the Europeans first came to Asia, they met with the multiform presence of Buddhism. They gradually came to understand that a common religious tradition connected the different brands of Buddhism found in Sri Lanka, Thailand, Japan, and China. I propose here to examine a presentation of Buddhism written in Guangzhou by the Italian Jesuit Prospero Intorcetta (1626–1696) around the year 1668. This text was later edited by the Flemish Jesuit Philippe Couplet (1623–1693) and published in Paris in 1687, within an encyclopedia on Chinese thought titled Confucius Sinarum Philosophus (The Chinese Philosopher Confucius, hereafter called CSP). In the first part of this study, I shall introduce the background of the Jesuit encounter with Buddhism, first in Japan and then in China, as well as their literary production on the subject. Then, I shall examine Intorcetta’s presentation of Chinese Buddhism, especially his understanding of the two faces of Buddhism: Pure Land Buddhism, which he categorized as superstition, and Chan Buddhism, categorized as atheism. These two notions of superstition and atheism seem contradictory, but in fact they are derived from Intorcetta’s interpretation of the Buddhist theory of the “two truths.” I shall conclude with an evaluation of Intorcetta’s account. Because this early presentation of Buddhism exists only in Latin, I have inserted excerpts that I have translated.

Put forward the method that one kind of calculation antithetical couplet moved the planet circular system efficiency , and expounded uniteing the relation moved between the positive and negative direction drive efficiency of planet circular system . List its efficiency calculation formula that variously joins under the different mobile states of merit rate of method

Amores1.1, as usually understood, ends in a way that seems a little flat: after an amusing account of how falling in love made him turn from epic to elegy, the poet concludes by ponderously invoking an elegiac muse. In this note I will argue that the ending is more entertaining, and more significant: the muse invoked in the last couplet, who is to inspire the poems to come, is none other than Corinna herself.

‘Cricket’ and ‘Englishness’ have long been regarded as the most perfect couplet. However, as Dominic Malcolm argues in this interesting and wide-ranging book, the relationship between the two is so...

And the first distance for the most part goeth all by distickt’~ or coi~ples of verses agreeing in one cadence, and do pass so speedily away and so often return again as their turn is never lost, nor out of the ear, one couple supplying another so ... suddenly. This proportion, Puttenham adds, is “the most vulgar [native] proportion of distance or situation employed by Chaucer in his Canterbury tales and John Gpwcr in all his works”

Psychopathologisation, broadly understood as processes that lead to the effects of being psychopathologised, can have considerable consequences for isolating students from education. This can be especially the case for children and young people affected by the racialisation of behaviour and/or socio-economic disadvantage. Drawing on Foucault's analysis of the relationship between the psychiatrist and the asylum in his lectures ‘Psychiatric Power’, the argument is made that these effects can be tantamount to being institutionalised in a mobile asylum. Portrayal of the asylum in the American television series House MD is used to highlight how, if we rely on classic depictions of the asylum–psychiatrist couplet, we risk missing – or minimising, the mobile asylum that some young children experience when they are psychopathologised in schooling.

A 59-year-old man with two different premature ventricular contractions (PVCs) forming a couplet underwent electrophysiological testing. Although pacing from the aorto-mitral continuity (AMC) produced an excellent pace map of one type of PVCs, a radiofrequency application within the right coronary cusp (RCC) eliminated all the PVCs. This case demonstrates that a single origin with two breakout sites in the left ventricular ostium (LVos) may result in a couplet consisting of different PVCs and preferential conduction from the RCC to AMC may also occur. These possibilities should be kept in our mind when predicting sites of origin of LVos ventricular arrhythmias. (PACE 2010; 33:e88–e92)

A neural correlate for phrase boundary perception in language has recently been identified as a reliable and replicable brain effect. It is called the closure positive shift (CPS) and has an equivalent in the perception of music (music CPS). Nevertheless, either in language or in music, this component is elicited by phrase boundary embedded in sentence or melody. Poetry, as the interlude of language and music, is a special kind of discourse and promising material to explore prosodic boundary processing beyond sentence level. The aim of the present study was to investigate the cognitive processing of hierarchical prosodic boundaries in Chinese Tang poem using rhythm matching task. There are generally four hierarchical levels in each poem, including foot boundary, phonological phrase boundary, intonational phrase boundary, and couplet boundary. The electrophysiological results indicated that all the prosodic boundaries of different levels in poems could give rise to the CPS reflecting prosodic phrasing. Furthermore, as the prosodic hierarchical level became higher, the onset latency of the CPS got longer, suggesting the influence of retrospective processing of former information. With regard to the amplitude, we analyzed the CPS amplitude in every 100 ms time window. It was showed that phonological phrase boundary elicited higher CPS amplitude as compared to that evoked by couplet boundary in an earlier time window, whereas in a later time window both of them were lower than the CPS correlated to intonational phrase boundary. The present results further shape our understanding of the CPS component and its relation to the processes involved in prosodic phrasing.

The few remaining fragments from the works of the Latin poet Cornelius Gallus (c. 70-26 BC), discovered in Egypt in 1978, are presented, translated and analyzed in this paper. The role of these works among the books dated from the time of the poet, as well as some critical appreciation left by poets that lived during the Augustan reign and elected Cornelius Gallus as a model, are also brought into discussion. In addition, a poetic translation is also suggested. KEYWORDS: Cornelius Gallus (c. 70-26 BC); epigram; elegy; poetic translation; elegiac couplet.

This research is aimed at finding the procedures and method of three bilingual storybooks. The research method used is descriptive qualitative with content analysis. Based on the theory of Newmark about translation method and procedures, it is found that the frequently used procedures are literal, modulation, shift, addition and reduction. The translation on the first book indicated that the translator uses shift modulation, couplet, cultural equivalent, addition. In the second book, the procedures used are literal, addition, modulation, reduction, transference, expansion and couplet. Whilst, in the third book, there couplet, literal, addition, reduction, modulation, cultural equivalent, shift, synonymy, expansion procedures are found. On the other hand, the most dominant procedure used is literal and the translation method used is semantic translation. The method shows the translation orientation of the translators.Keywords: Translation procedures, translation method, Newmark, bilingual storybooks

Disagreement has been expressed between scholars over the existence of poetic sub-units in Prov. 10.1—22.16 and 25.1—29.27. Some claim that there is evidence of poetic units in these chapters that go beyond the couplet, while others deny this, saying that most of the proverbs in these chapters are limited to the typical proverbial form, which is the two-line saying. Proponents of the latter view would not see any larger development beyond the poetic couplets in these two sections of Proverbs. This article proposes the identification of a small poem in Prov. 28.1-11, and also attempts to answer some of the objections posed by those who are skeptical of the existence of poetic units such as the one suggested here.

This paper attempts to present four different variations of the sonnet form in the poetry of Rafał Wojaczek. Through the analysis of Wojaczek’s sonnets it identifies the following variations of the sonnet’s form: a graphic sonnet, a classic sonnet, a sonnet with a final couplet (dystych), a free sonnet. It uses archival sources. This paper argues for the vitality of some of the forms of Polish poetry after 1989, and particularly of free verse, making a classical sonnet alive again in multiple ways.

eorge T. Wright notes that "The fairies in A Midsummer Night's Dream, the witches in Macbeth, the caskets in The Merchant of Venice, and several speakers of Epilogues and Prologues sig nal their peculiar status (at least part of the time) through tetrameter couplets."1 Missing from this catalog is the Duke's final speech in act 3 of Measure for Measure. Wfhether one considers it a "sententious" speech as Edward Capell would have it, a "chorus summarising the drama's import" as Alfred Thiselton writes, or a "finale to an act full of sur prises" according to J. W. Lever,2 it is in keeping with the marking of the Duke's special status in the play. In addition to the rhyming tetrameters, Brindsley Nicholson notes "the close connection of each thought with that which precedes it"; he also notes "the shortness of each clause? each, with one exception, ending with the couplet."3 This adds to the sententiousness of verse, as if we are being treated to a stream of adages by the Duke. The exception that Nicholson refers to occurs at the same point as a celebrated crux. Nicholson believes this is no accident and posits a missing couplet, which ushers in two clauses of three lines each in contrast to the preceding two-line clauses. I agree with Nicholson that the change in clause length and the crux are related, but I believe there is an easier explanation. Let us examine the speech as it reads in the First Folio (3.2.243-64, by Carl D. Atkins

In nautical terms, tacking is a zig-zag, indirect means of advance when faced with a head wind. Medieval Scandinavian ships could sail much closer to the wind than other European craft, within 60 degrees it is judged, and thus developed the tacking operation long before it was practiced in other parts of Europe. This sea-faring capability was carried by the Northmen to the future Normandy. In the Anglo-Norman poem Le Voyage de saint Brendan by Benedeit, Brendan and his monks are in a quandary when the favorable east wind drops off and they have not yet learned to put their faith entirely in God the Navigator. As aviruns dunc se metent. La grace Deu mult regrettent, Quer ne sevent quel part aler, Ne quels cordes deient aler, Quel part beitrer, quel part tendre, Ne u devrunt lur curs prendre. Un meis sanz vent nagerent tut plein. (1) The perhaps grumpy monks set to their oars, judging themselves bereft of God's grace. They do not know in which direction to row nor which lines to haul. The second aler is the verb haler and is derived from Old Norse. Although hala is only sparsely attested in the Norse written record, it could well have been a preferred term in the Old Danish carried to the future Normandy. (2) Elsewhere in the poem the author at times seems to forget the Irish ship of his Latin source, with its hide-covered wooden hull-frame, and instead provides details relevant to the Norse-inspired ships of Normandy and Britain, as illustrated in the Bayeux Tapestry. We seem called on to envisage a ship with a clinker-built hull of overlapping planks, a single square sail, and a complex of standing and running rigging (cordes). The sequences of changes rung on the phrase 'ne savent' ('they do not know') continues through the next couplet: '[ne sevent] Quel part beitrer, quel part tendre Ni u devrunt lur curs prendre'. Ian Short and Brian Merrilees have refined their appreciation of Le Voyage de saint Brendan since their original edition of 1977. After a modern French translation in 1984, they published a bilingual edition in 2006 that may be thought to reflect their best understanding of key passages and words. The above couplet they render somewhat tautologically as follows: '[ils ne savent] ni dans quel direction gouverner, ni comment se guider, ni sur quel point mettre le cap'. (3) The deixis is complicated here and it will be seen that there are two or more orders of magnitude. The Anglo-Norman Dictionary has an entry for beitrer, where it is explained as 'to steer' and the variant forms beiter, beitier are also listed. (4) The dictionary offers no etymologies in its entries and the Voyage offers the single attestation of the simple verb. What seems a figurative use is found in the phrase estreit beitrer, which the AND glosses as 'to act carefully'. Two passages from the Proverbs of Sanson de Nanteuil, written in Britain, purportedly illustrate this use (see further below). (5) Although the AND headword is beitrer, the forms beiter and beitier will be seen as more faithful to the etymology, even though this leaves us with a doublet or homonym, since beiter is also found in the Anglo-Norman Dictionary with the meanings 'to survey, look over; keep watch'. Beiter is to be derived from Old Norse beita, one of the figurative meanings of which was to 'cause to bite (into the wind)', that is, to tack or luff in sailing (reflected in later English 'to beat to windward'). (6) In order to tack or effect a zig-zag advance into the wind, the sail might be lowered or reefed, the braces trimmed to set the sail at an angle to the axis of the hull, the windward corner of the sail (the tack) boomed out, the sheets at the bottom corners of the sail correspondingly tightened, perhaps even a bowline run forward to the stem to belly out the sail. We see this sail-trimming principle made concrete in Wace's reference, during Arthur's embarkation for Gaul in Le Roman de Brut, to the betas 'tacking spar' (

GERARD MANLEy HOPKINS (1844-89), Victorian poet and contemporary of Robert Browning (1812-89), wrote "Seven Epigrams," the sixth of which reads: By one of the old school who was bid to follow Mr. Browning's flights: To rise you bid me with the lark: With me 'tis rising in the dark. (1) "Dark" in this telling couplet certainly means without inspiration, or even admiration. On another occasion, in a letter to Robert Bridges dated November 27, 1882, Hopkins explicates his poem "Walking by the Sea," later titled "The Sea and the Skylark," and says: "There is, you see, plenty meant; but the saying of it smells, I fear, of the lamp, of salad oil, and what is nastier, in one line somewhat of Robert Browning." (2) Hopkins critic Paul Mariani conjectures that in all likelihood the line was "Race wild reel round, crisp coil deal down to floor," (3) reminiscent of Browning's "Irks care the crop-full bird? Frets doubt the mawcrammed beast?" from "Rabbi Ben Ezra." (4) Hopkins was put off by "the clogged consonantal tongue twisting," or what someone else has called Browning's "lumpy and gritty erudition." (5) Hopkins eliminated the line in question from the final version of his poem. Apart from Hopkins' usage, "dark" had the more widely held sense of "obscure meaning" when applied to Browning's poetry. An often repeated story from the Browning lore concerns "Sordello," perhaps the most boldly obscure of all his works. As the story goes, shortly after publication of "Sordello," Robert Browning at a social gathering was approached by one of his devoted admirers. "Mr. Browning," the lady began, "I dearly love your new poem, but I am having difficulty with these lines." At that point she produced the troubling passage for Browning to read. After briefly scanning the lines, Browning turned to the lady saying: "Madam, when those lines were written two knew their meaning, God and Browning. Now only God Knows." Whether the story is true or apocryphal its point is accurate, for Browning "was addicted to touch-and-go allusions which demand extensive knowledge on the reader's part, to plunge in media res without preliminary description of character, place, or time, and above all to elliptical syntax and the sudden jump from thought to thought without benefit of connecting links." (6) Such unconnected jumps prompted one of Browning's friends to protest his use of "hieroglyphics" and torn scraps of meaning that required his readers to fill in the gaps. His wife, Elizabeth Barrett Browning, observed: "A good deal of what is called obscurity in you, arises from a habit of very subtle association; so subtle, that you are probably unconscious of it ... the effect of which is to throw together on the same level and in the same light, things of likeness and unlikeness--till the reader grows confused as I did." (7) The critical negativism caused by these structural practices has been intensified by Browning's philosophical habit-of-mind repeatedly referred to as optimism. Browning's boisterous joy in life sprang from a passionate love of existence. He believed that every person has some window through which he or she can view the essential excellence of things and like Pippa can know that "God's in his heaven,--/All's right with the world!" (8) All of this was so for Browning because he accepted life as he found it, inherently good even though at times it goes wrong. He, like Shakespeare, understood the weak, the erring, the self-deceiving, but the fact that the world is imperfect implies a design of perfection; incompleteness itself argues that there is a completeness. Thus, deficiency may always be the basis of hope and provides an excellent argument for an optimisim not founded on "opinions which were the work of Browning but on life which was the work of God." (9) The critics who were contemptuous of these views because they (the critics) were complete skeptics or because they relied wholly on dogma called them (the views) sentimental and complacent optimism. …

This paper stages an encounter between the philosophical systems of Alain Badiou and Gilles Deleuze specifically as these relate to the production of subjectivity, or what I call the finite/infinite relation. I attempt to demonstrate that for Badiou a bar of sorts between the finite and the infinite remains determining, whereas for Deleuze – and specifically with his actual/virtual couplet – this bar no longer operates. The paper is at times quite technical in its excavation of the systems in question; however, the introduction and conclusion foreground what is at stake in this confrontation: a certain militant orientation to that which is beyond the world versus an ethical and experimental attitude that is located firmly within the world.

Preview - Allusion can be a difficult thing to define when its object is the most widely imitated dramatic poet of the 1590s. In As You Like It, the couplet “Dead shepherd, now I find thy saw of might: / ‘Who ever loved that loved not at first sight?’” (3.5.82–3) is clearly an allusion, or perhaps more properly a quotation, since Phoebe advertises the one hundred and seventy-sixth line of Hero and Leander as a “saw” and attributes it to the unnamed “dead shepherd.” In a looser sense, in The Alchemist Jonson alludes to Doctor Faustus in his characterization of Sir Epicure Mammon, whose promises to “purchase Deuonshire, and Cornwaile, / And make them perfect Indies” and to “fright the plague / Out o’ the kingdome, in three months” once he has the philosopher’s stone (2.1.35–6, 69–70) echo Faustus’s claims that he will make spirits “fly to India for gold,” “levy soldiers with the coin they bring / And chase the Prince of Parma from our land” (A-Text, 1.1.84, 94–5).

Transplanted into the vernacular languages and later periods, Classical art forms sometimes assume very different characteristics from the original ones, largely under the influence of the cultures into which they have been adopted. This applies to the genre of elegy, which is addressed in the present paper. In Greco-Roman times, the ‘elegy’ was any longer elegiac form (that is, a poem composed in the elegiac couplet), which could deal, especially in Ancient Greece, with a number of themes expressing personal feelings or opinions: exhortations to war or virtue, reflections on serious or light topics, epitaphs or laments, and often love. In English poetry, the term ‘elegy’ first appeared in the 16th century, which also witnessed the beginnings of a separate sub-genre – the funeral elegy. From an initial generalised meaning, which reflected the broad thematic scope of the Classical genre, ‘elegy’ gradually narrowed down to a poem expressing lament or displaying a grave, pensive tone. An important influence on the funeral elegy was Classical pastoral poetry, or rather the laments for dead persons which were sometimes embedded in eclogues. As a result, a number of devices used by the founder of pastoral poetry, Theocritus, in the 3rd century BC recur as conventions in the major English elegies from the 16th to the 20th centuries, although recent English elegy often defies tradition. Another important divergence from the Classical genre is the arbitrariness of form: ever since its beginnings, the English elegy has displayed a variety of verse patterns, and nowadays even a novel may be labelled an ‘elegy’. Thus the decisive criterion of the genre has shifted from form to content and especially to mood.

It is always a pleasure for me to participate in these annual meetings. The knowledge and the talent displayed are immense. The quality of discussion is high. I had never thought however that I would have the honor of delivering the Aalama Iqbal lecture. To prepare for this lecture I read extensively from Iqbal’s poetry. Of course I read in translation, but even so I was overwhelmed by the beauty of the ideas and the expression. My search for an apt couplet or set of lines for this paper was in vain. Iqbal was speaking to his people and although he was expansive in his view of society, it is still not meant for me to carry the word of Iqbal to you. Nevertheless I do display at the beginning of this paper three lines from Iqbal. He is clear on the importance of doing for oneself and for ones country. At least in the modern world ones efforts are so much more productive if government provides a favourable environment for individual effort. And he would embrace the brotherhood of mankind, leaving some potential for us to help each other. He was very clear that learning from the West was desirable, and he was very selective about that—science and technology in particular. My paper is about what government must do, and specifically the government of Pakistan must do, to create an environment in which not just a few gather dew but in which all people gather dew. As soon as ones concern encompasses the bulk of the population food security comes to the fore. My paper can be seen as addressing how all rural people can gather the dew. It has a prominent place for science and technology.

It is always a pleasure for me to participate in these annual meetings. The knowledge and the talent displayed are immense. The quality of discussion is high. I had never thought however that I would have the honor of delivering the Aalama Iqbal lecture. To prepare for this lecture I read extensively from Iqbal’s poetry. Of course I read in translation, but even so I was overwhelmed by the beauty of the ideas and the expression. My search for an apt couplet or set of lines for this paper was in vain. Iqbal was speaking to his people and although he was expansive in his view of society, it is still not meant for me to carry the word of Iqbal to you. Nevertheless I do display at the beginning of this paper three lines from Iqbal. He is clear on the importance of doing for oneself and for ones country. At least in the modern world ones efforts are so much more productive if government provides a favourable environment for individual effort. And he would embrace the brotherhood of mankind, leaving some potential for us to help each other. He was very clear that learning from the West was desirable, and he was very selective about that—science and technology in particular. My paper is about what government must do, and specifically the government of Pakistan must do, to create an environment in which not just a few gather dew but in which all people gather dew. As soon as ones concern encompasses the bulk of the population food security comes to the fore. My paper can be seen as addressing how all rural people can gather the dew. It has a prominent place for science and technology.

Awareness of the constraints and fallibilities of language, a major concern among post-modernist critics, is rooted in Romanticism. In the Romantic period, too, the theory and practice of translation underwent radical change. The prevailing aim of translations in the first half of the 18th century was not simply to adapt the original to the target language, but also to meet the cultural expectations of stylistic form and aesthetic appeal. The French referred to this kind of translation as "les belles infideles"--the unfaithful beauties. The change was promoted by Alexander Fraser Tytler in his Essays on the Principles of Translation (1790). (1) He described a "good translation" to be "that, in which the merit of the original work is so completely transfused into another language, as to be as distinctly apprehended, and as strongly felt, by a native of the country to which that language belongs, as it is by those who speak the language of the original work." Fried-rich Schleiermacher in On the Different Methods of Translation (1813) defined translation as a hermeneutic action: "We have to translate even our own discourses after some time, if we want to make them our own again." (2) Schleiermacher is harkening back to the Athenian endeavors to regain literary possession of the Iliad and the Odyssey. (3) Philologians of the Romantic era encountered a parallel set of problems with the effort to reclaim the language of Beowulf, or the more recent language of the Canterbury Tales. There was also a recognition that even the language of Shakespeare was drifting away from modern usage. William Wordsworth's task in translating Chaucer and Virgil was very different than John Dryden's. In 1683, Dryden produced an edition of Plutarchs Lives Translated From the Greek by Several Hands, and he maintained a high literary standard with his poetic translations, all crafted in his distinctive heroic couplets. Dryden translated works by Horace, Juvenal, Ovid, Lucretius, and Theocritus. Then, in 1694, he began translating The Works of Virgil (1697). In his English rendition of Virgil's Aeneid, he was more concerned with sustaining the narrative verve in well wrought heroic couplets than in echoing the auditory effects of the original. Virgil mimics the sound of galloping horses in the line: Quadripedante putrem sonitu qualit ungula campum. (VIII:596) In Dryden's translation: The neighing coursers answer to the sound, And shake with horny hoofs the solid ground The couplet is well wrought but bereft of the "galloping anapests" that give tonal verve to Lord Byron's "Destruction of the Sennacherib." A more pronounced onomatopoetic gallop is achieved in the hexameter line: "Then struck the hoofs of the steeds on the ground with a four-footed trampling." Dryden's Fables, Ancient and Modern (1700) contained translations of the First Book of Homer's Iliad, eight selections from Ovid's Metamorphoses, three of Geoffrey Chaucer's Canterbury Tales A century later, the translator served new audiences, each with a different set of expectations. (4) The new audiences were shaped by the rising middle-class and the rapidly expanding literacy. Translations from the Greek and Latin were sill familiar exercises in the schools, but the translator no longer served an audience trained in those exercises. The translation may once have been for many readers a supplement to their reading in the original. Now it was relied upon by a broader reading public as their sole access to an unknown language and culture. What was expected of a translation depended on what was translated and for whom. A vast and lucrative enterprise was sustained by Covent Garden, Drury Lane, and Haymarket as the plays of Kotzebue and Pixericourt were promptly translated, adapted, and performed. The English rendering of Kotzebue's Kind der Liebe in Elizabeth Inchbald's Lover's Vows (1798) or Kotzebue's Die Spanier in Peru in Richard Brinsley Sheridan's Pizarro (1799) were not held to the same standard of fidelity as John Black's translation of August Wilhelm Schlegel's Lectures on Dramatic Art and Literature (1815) or John Gibson Lockhart's translation of Friedrich Schlegel's Lectures on the History of Literature (1818). …

Couplet-style stratifications refer to the sedimentary sequences that consist of alternating coarse-grain-dominated bed and fine-grain-dominated bed, with or without a sandwiched middle-sized bed. The formation mechanism is complicated due to the interplays of varying driving force (s), sediment supply & transport and topographic configurations. This paper presents a comprehensive overview of such characteristic bedforms, which emerge during the transport and deposition of non-uniform sediments. The leading formative models include water-stage variation, gravel-overpassing process, superimposition of bedload sheets and avalanching process (inverse grading). Each process might produce similar or distinct sedimentological features with respect to grading, matrix content, grain attitude, bounding faces between beds and internal longitudinal/transverse geometry. The couplet-style stratified strata might play an active role in landscape evolution.

Josquin’s five-voice Je me complains de mon amy incorporates the melodic and poetic fragment ‘La tricoton, la tricoton / La belle tricotee’, derived from a pre-existing popular song, as its final couplet. Despite the unusual placement of the quotation and the obscure meaning of the word ‘tricotee’, the chanson has attracted little scholarly attention. Relying on the concept of intertextuality, this article explores the signifying function of the insertion. The above quotation forms the last phrase of the tune ‘La tricotee est par matin levee’, which survives in three 15th-century polyphonic settings. Its text is related to other ‘Je m’y levay par ung matin’ poems, whose associative meanings were easily recognizable by contemporary audiences. Comparison between the individual phrases of ‘La tricotee est par matin levee’ and the phrases of the canonic melody in Je me complains de mon amy reveals a one-to-one correspondence of their motivic content and structural layout. On the level of the poetry, the interaction of the ‘tricotee’ topos with the amorous complaint of the main poem creates a subtle layer of irony, present from beginning to end. The proposed reading reveals Josquin’s reliance on the full verbal and musical ‘text’ of ‘La tricotee est par matin levee’ and the social and cultural overtones with which the tune resonates.

Recent publications by Robert Springer and Michael Taft have brought renewed attention to the subject of the formula in blues lyrics. This article critiques these works. Drawing insights from the author’s fieldwork in the blues tradition, it agrees with Springer that a blues formula can be a half-line, whole line, or couplet unit and suggests that the blues formula should be understood, as Parry and Lord understood the oral epic formula, to be a lexical rather than semantic unit. The author offers a method of structural analysis of highly formulaic blues texts and discusses the relationships of folk blues to commercially recorded blues.

This article readdresses Gramsci's use of Italian history, focusing on his judgement that the Italian Renaissance marked the start of a specifically Italian course of historical failure because it led directly to the Counter-Reformation, the Risorgimento and Fascism. It shows that Gramsci's political strategy after 1923 – on the need for a mass socialist movement – informed his historical opinions. His view of a regressive Renaissance contrasted the dominant historiographical consensus that saw it as the start of European modernity. Gramsci conceptualized modern European history according to a Reformation–Renaissance dichotomy that also determined his general sense of culture. By contrasting Catholic Italy (whose Renaissance had failed to lead to a Reformation) with the Protestant north (whose general Renaissance had formed a harmonious couplet with the Reformation), Gramsci reveals that his single greatest debt as a historian was to Weber rather than Marx or Croce.

There are times when sociology hits a little too close to home. As I sat in my living room reading Amy Traver’s wonderful piece on “Home(land) Decor,” I found myself looking up at a piece of calligraphy I purchased in Guangzhou 5 years ago when I adopted my younger daughter. To my untutored eye, this seems a very nice piece of calligraphy—certainly less hokey than the painting of peonies I bought outside an ancient Buddhist temple in Henan province 5 years earlier, when I adopted my older daughter. Like some of Traver’s informants, I like to think of myself as a highly cultural capitalized person, and I try to keep the ethno-consumption tasteful. Still, truth to tell, I do not really know enough about Chinese calligraphy to know whether this really is a “good” piece or not—or even what it says. I was told it was an inspirational couplet about patience and hard work leading to wisdom, and so far none of my Chinese-reading friends have disabused me of this. Still there is a part of me that cannot help but think it is probably a rude comment on clueless adoptive parents, and that the smaller characters on the bottom can be translated “please don’t tell him!” A few pages later, I looked up from the paper and cast my eye on the long black-haired, Asian-featured “Barbie”-sized doll which my younger daughter brought home from FCC “Culture Day” last month. When I started to go the FCC events more than a decade ago, shopping was a side activity. The group was smaller and our gatherings were more about sharing information. Over the years, as Traver would predict, the consumption of identity props has become more and more central. This works out well for me, since my kids are quite reasonably skeptical about the “Chinese stuff” their parents want them to do and are fairly resistant to events like Culture Day. On the other hand, they are bribe-able. Having learned that ethnic identity loosens the parental purse strings, they make good use of Culture Day as a shopping spree. Dolls are a particular favorite. We have all read about those Kenneth Clark doll studies and we know the value of positive self-image and racially appropriate standards of beauty. And while I have some feminist qualms about the whole Barbie doll aesthetic, Chinese Barbie does reasonably well on the positive self-image side. Qual Sociol (2007) 30:221–224 DOI 10.1007/s11133-007-9075-8

A delegation of Illinois Indians on a diplomatic mission astonished the residents of New Orleans in 1730 with their ardent participation in the Catholic ritual life of the colonial capital. The Jesuit Mathurin le Petit observed that during their three-week stay "[the Illinois] charmed us by their piety, and by their edifying life. Every evening they recited the rosary . . . and every morning they heard me say Mass." People crowded into the church to witness the spectacle of "savage" Indians worshiping and singing before the altar. The high light for the audience was a responsive Gregorian chant in which Ursuline nuns "chanted the first Latin couplet,. . . and the Illinois continued the other couplets in their language in the same tone." The Illinois appeared to be very well educated in Catholic practice, paus ing during their daily activities to recite a variety of prayers. "To listen to them," concluded the missionary, "you would easily perceive that they took more delight and pleasure in chanting these holy Canticles, than the generality of the Savages." Le Petit was correct in a sense. The performance that so delighted the people of New Orleans represented the results of more than a generation of intercultural and linguistic exchange between the Illinois and the French.1 Illinois leaders Chicagou and Mamantouensa arrived in the city at the head of the deputation to show solidarity with their French allies who were embroiled in deadly conflicts with Native nations in the lower Mississippi valley. In an audience with the French governor, Chicagou presented two calumets or ceremonial pipes, one symbol izing the shared French-Illinois attachment to Christianity and the other the diplomatic and military alliance between them. The Illinois had since the middle of the seventeenth century engaged the French

Using the evidence of Gower's internally datable poems, Carlson is able to construct a pattern in the development of the poet's use of rhyme as a stylistic ornament in his Latin verse. Gower's first compositions – the earliest portions of VC – are in the "relatively more informal and conversational" (15) unrhymed elegiac distichs. Leonine verses – in which the word preceding the caesura rhymes with the final word in the line – do occur, but at a rate (around 20%) consistent with chance, given the limited number of word endings in Latin, and most of these are monosyllabic rather than disyllabic. Some evidence of the use of rhyme for rhetorical effect can be found in passages in which leonines appear in higher than normal concentration, which tend to occur at the beginnings or endings of important sections. The opposite extreme is provided by the more elevated, more serious, and more ornate hexameters of TC, with regularly occurring disyllabic rhyme. The Latin epigrams in CA are in the style of VC: the final six hexameters, however ("Explicit iste liber . . .") are in the style of TC, and the couplet rhyme in the third and fourth lines suggests (as Siân Echard recently argued) that the two verses that follow, beginning "Derbeie Comiti," should be regarded as a separate poem. The turning point in Gower's use of rhyme, according to Carlson, is the "Carmen super multiplici viciorum pestilencia" of 1396-97, which mixes unrhymed sections largely lifted from VC with new passages in leonine hexameters, heavy with disyllabic rhyme, with the most ornate passages, incorporating rhyming couplets or repeated rhymes, again marking the beginnings and endings of sections of the poem. With these as his points of reference, Carlson suggests some revisions in the chronology of the less easily dated works. "Ecce patet tensus," in unrhymed elegiac distichs, he places before the 1390s. (R.F. Yeager, who had access to Carlson's essay in advance of publication, suggests on other grounds a date of 1398 in his recent edition of Gower's Minor Latin Works, p. 72; see JGN 26 no. 1 (April 2007): 19-22.) The poems with heavier use of rhyme, on the other hand, would be later, including "O Deus Immense," in the same style as TC, and "Tractatus de lucis scrutinio," despite its similarities in content to VC. (Yeager, p. 55, suggests a date of 1392-95.) Carlson also proposes different periods for the revisions in VC, but he also suggests some caution, noting on the basis of "Rex Celi Deus" that "even after he began to work with disyllabic rhyme, Gower retained considerable tolerance for unrhymed lines and monosyllables" (46). Carlson concludes with some speculations on the driving force in Gower's stylistic development, whether it had a "strictly literary-internal genesis" (49) or was related to a literary effort to reassert "right order" after Henry's usurpation; and he finally links Gower's more ornate style to "the same self-monumentalizing ambitions represented by Gower's late editorial business over his own work" (50) as he organized his literary legacy in his final years. [PN. Copyright The John Gower Society. JGN 26.2]