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The stanza is often overlooked in studies of poetics, and this tendency is even more pronounced during the Renaissance, where it is practically absent from rhetorical treatises. Despite this theoretical neglect, the usage, dating back to Marot, has clearly demonstrated the extent to which poets exploit this scale of verse combination to carry out their lyrical experiments. Agrippa d'Aubigné is not exempt from this poetic exercitatio, as evidenced by the considerable variety of strophes at work in the Odes of Le Printemps. Building upon this reconstructed corpus, this article aims to illustrate how the stanza of the ode constitutes a privileged place for the poet in terms of rhythmic, syntactic, and sonic composition. [ABSTRACT FROM AUTHOR]

In this paper I argue that Catullus 11 anticipates the shift from the first section of the collection (1-14 ), mainly revolving around the poet's passive love for Leshia, to the second section (14b-26), mostly focused on his active love for Juventius. My reading has three interpretive advantages: first, it confirms the authorial arrangement of the first two segments of Catullus' collection; second, it defends the thematic unity of poem 11 by providing a coherent analysis of the connections between stanzas 1- 4 and 5- 6; third, it explains the different tone used by Catullus to address Furius and Aurelius in different poems. [ABSTRACT FROM AUTHOR]

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This contribution proposes a new interpretation of Les sept épées, the third lyrical intermezzo of Apollinaire’s romance La Chanson du Mal-aimé. In spite of a quite impressive number of interpretations, several problems of this text have remained unsolved. My basic assumption is that the complete understanding of the poem requires a sexual reading of its seven stanzas. The swords appear to be symbolic representations of Apollinaire’s physical desires. The young lover of the English governess Annie Playden felt deeply frustrated by her refusal of his proposals. The painful experience inspired an almost allegorical poem, in which the devotional representation of Our Lady of the Seven Sorrows was transformed into a succession of phallic images. My analysis tries to show that the seven swords evoke the masturbatory fantasies of the unfortunate lover. The physical character of his passion may explain why the poem contains so many enigmas. Contrary to the pornographer, the poet could not openly expose his obsessions, but was compelled to conceal them by using different hermetic tropes and figures of style such as anagram, word-play, portmanteau words, periphrasis, allusion, and symbol. Apollinaire’s vast knowledge of both erotic and esoteric literature enabled him to employ such obscure formulations that his poem continues to puzzle the uninitiated reader. [ABSTRACT FROM AUTHOR]

Critics have been sharply divided both on whether the ending of Troilus and Criseyde is an artistic mishap or a key to the meaning of the larger poem and whether it signals agreement with or a departure from Dante. This article argues that the model of the Trinity employed by Dante also has structural meaning for Troilus, but that theending of Troilus clearly signals a worldview that departs from that found in the Commedia. It further demonstrates that the structure of the poem is divided into thirds, even as it is divided in half, and even as it is a cohesive whole, a feature that has important implications for interpretative cruxes surrounding the poem. [ABSTRACT FROM AUTHOR]

The article examines the meter and stylistic features of "Moscow Time" poetry on the basis of the works of S. Gandlevsky, A. Soprovsky, A. Tsvetkov, and B. Kenjeev. The article also proposes a classification of the versification system of their poems according to the principle of banality and originality. The poetry of "Moscow Time" is often called "modern classic". The main principle of its poetic culture can be interpreted as social shock, which is manifested at the level of content and form. Non-standard areas, some obviously striking features of verse, such as graphics, abandonment of capitalisation at the beginning of the line, syntax, stanza structure, hyphenation system and more, are balanced by the use of traditional metrics, which in most cases determines the pattern of intonation. The poetry of "Moscow Time" authors becomes an example of productive use of poetic tradition, because they bend the classics for themselves, creating original, unrecognisable graphics, stanzas, syntax, expansion of the themes assigned to the size, or non-standard rhymes. And this style can be explained by the fact that in their poetry a stable (constant, invariant) complex of elements of the classical verse system is based on a redistribution of known components within the system itself. [ABSTRACT FROM AUTHOR]

John Gower is known for writing long. After composition of Vox clamantis, however, Gower simultaneously wrote short, mastering the art of the quatrain. This is the form of his very shortest authenticated poems. They form a set. All are in Latin. All employ internal rhyme. These jingling poems stand out from the slow, lugubrious music of the nearly rhymeless Vox clamantis. Gower turned the difficulties of the quatrain-length poem to advantage, composing a series of postage-stamp Latin poems that comment on the vastnesses of his life in poetry. From the archer poem "Ad mundum mitto," associated with Vox clamantis, to the prophetic Lancastrian encomium H. aquile pullus, in Gower's quatrains we find an art of literary asceticism that sorts oddly with the poet's current reputation for prolixity. [ABSTRACT FROM AUTHOR]

The article critiques the Old English poem "The Dream of the Rood." Topics discussed include the interpretation of the phrase "sorhleoð galan" as an expression for mourning noted by historian Michael Swanton, the way said poem on the Passion of Jesus Christ presented contexts for a sorrowful song, and the commentary offered by Irish poet Blathmac Cú Brettan on the stanzas which suggested the failure of the Jews to offer public funeral rites for Christ.

The article discusses the term 'caesura' and its significance in poem, which is a rhetorical and extra-metrical pause or phrasal break within the poetic line. It focuses on in-depth understanding on the relationship between poetry and disability; and several poems are presented to fathom how caesura is used, including 'Reclining Nude' by Sarah Holland-Batt and ‘On Floating Bodies' by Lindsay Tuggle.

Sorrow is perhaps the usual response to the disappearance of things into 'nowhere'. The use of blank space in the poetry of E. E. Cummings and William Carlos Williams indicates an alternative response: to accept and even celebrate this. With a view to exploring this alternative response to disappearance, appearance, and nowhere, the article reads blank space in the little man poem and air poem (Cummings), as well as the obsolete rose poem and red wheelbarrow poem (Williams) – I use these labels because the poems are untitled. The article closely examines the tensions that these poems create between their printed black fragments and the blank space within which these are located. It finds that the former mimes being, existence, and 'something', whilst the latter mimes unbeing, nowhere, and nothing. The poems present the latter condition as vibrant , embodying the place from where being emerges, ablaze with itself. The blank space embodies this vibrancy in the poems examined; the poets use various devices to heighten the perception of this. For instance, Cummings' little man poem signifies the reconnection of a modern subject, a little man, and the huge and dynamic earth by rejuvenating an acute sense of now-here in terms of nowhere, as mimed by breaking a phrase across the poem's final two stanzas, inviting blank space into the poem on an accentuated level. A similar textual event occurs in the tracing of a rose petal's paradoxical line between something and nothing within Williams' obsolete rose poem, where the determiner 'the' is followed abruptly by the fecund nothingness of blank space. At its conclusion, the piece synthesises these and other findings to argue that the use of blank space in these poems boils down to a node of modern ecopoetic maturation: the poems orient themselves to and within the dynamic earth anew, marking radical acceptance of being on the earth in terms of unbeing. [ABSTRACT FROM AUTHOR]

Women face many problems in life. One of the most meritorious women in life is a mother. The mother gives her whole life to raise her child, even giving birth to generations who are very meritorious. Mothers have a very important role in all walks of life. This is what is being studied in this research, which examines how modern Indonesian poets perceive the struggle of a mother contained in poems of modern Indonesian poets. The poems of modern Indonesian poets analyzed are works by Joko Pinurbo, Oka Rusmini, and W.S. Rendra. This research is a type of qualitative descriptive research with a content analysis method. The sources of data in this study were the collection of Telepon Genggam poetry by Joko Pinurbo, Pandora by Oka Rusmini, and Doa untuk Anak Cucu by W.S. Rendra, who has women's resistance. The data in this study are stanzas or lines of poetry in the poems of modern Indonesian poets. [ABSTRACT FROM AUTHOR]

When ancient texts copied repeated words, they commonly used the notation = to represent it; successive repeated words written as A=B= could be read as either AABB or as ABAB. In Pre-Qin manuscripts unearthed in recent years, there have been examples in which these duplication marks can also be read multiple times. Referring to this usage of duplication marks, I raise several hypotheses regarding the poem "You bi" 有駜 (There are Stout Steeds) in the Liturgies of Lu section of the Classic of Poetry , suggesting that the lines 振振鷺，鷺于下 and 振振鷺，鷺于飛 in the first two stanzas of the poem would have been written in early manuscripts as 振=鷺=于下 and 振=鷺=于飛. 振= 鷺=于下 should be read as 振鷺振鷺，振鷺于下 "Flapping egrets, flapping egrets, Flapping egrets are there below," and 振=鷺=于飛 should be read as 振鷺振鷺， 振鷺于飛 "Flapping egrets, flapping egrets, Flapping egrets are taking flight." On the basis of this, I attempt a reconstruction of the original text of "You bi." 摘要: 古書抄寫重文時，常常使用符號"=" 表示，連續兩字的重文"A=B=" 既可以順讀為"AABB"，也可以互讀為"ABAB"。近年來出土的先秦簡帛文獻里，有些重文符號還可以連讀多次。參照這些重文符號的用法，我們對《詩·魯頌·有駜》相關文句提出了一些推測，認為前兩章的"振振鷺，鷺于下""振振鷺，鷺于飛" 在抄本中分別寫作"振=鷺=于下""振=鷺=于飛"。"振=鷺=于下" 當讀為"振鷺振鷺，振鷺于下"； "振=鷺=于飛" 當讀為"振鷺振鷺，振鷺于飛"，在此基礎上對《有駜》篇的原貌進行了復原。 [ABSTRACT FROM AUTHOR]

Compared to the odes of the transmitted Mao Shi 毛詩 (Mao-annotated odes) version of the Shi jing 詩經 (Classic of Odes), many odes in the Anhui University bamboo slip Shi jing manuscript exhibit variation in the sequence of their stanzas. Employing the ode "Si tie" 駟驖 (Iron-Black Horses; Mao 127) as a case study, this paper explores variants of stanzaic order to more broadly assess the significance of these new sources. 提要: 安大簡『詩經』與現行本『毛詩』相比，在章次的問題上多有不同。本稿以秦風 「駟驖」為例，探討了安大簡『詩經』的章次異同以及資料價值的問題。 [ABSTRACT FROM AUTHOR]

This is the third and final part of a study focused on the Madhyamaka accounts of the Cārvāka/Lokāyata so-called "wolf's footprint" stanza and tale, and "beautiful lady" stanza. In particular, this paper discusses Jayānanda's short account of the tale and the stanzas contained in his Madhyamakāvatāraṭīkā on Candrakīrti's Madhyamakāvatārabhāṣya. The Tibetan edition and English translation of Jayānanda's relevant passages are also provided. [ABSTRACT FROM AUTHOR]

This article presents a preliminary scholarly endeavour that aims at introducing Sumnūn Ibn Ḥamza (d. 298/910-911) to researchers working both on classical Arabic poetry and on Ṣūfism. He was a prominent personality whose passionate poetry and ecstatic statements revolved around the theology of love and left their imprint on early Ṣūfism; however, Sumnūn Ibn Ḥamza has not yet been the subject of comprehensive research. As a poet, his heritage has barely attracted any interest among scholars of classical Arabic poetry. The basic innovation of Sumnūn as a poet is his effort to turn poetry into a complementary part of his actual living reality. I argue that Ṣūfī Arabic poetry is not a mere literary work of belles-lettres, but rather a practical-reactive piece of writing designed to help the mystic progress on the Ṣūfī path in a similar way to samāʿ and dhikr. In light of this idea, I suggest using two methods to understand Sumnūn's poetry. First, Sumnūn's strophes should be dealt with as ad hoc love poems through which one can consider the specific themes, structures and metaphors. Second, his poetry should be seen as a snapshot of his life and Ṣūfī career. Therefore, the ideas embedded in his poetry need to be correlated with the few available texts through which his personality was understood by both his contemporaries and later Ṣūfīs. [ABSTRACT FROM AUTHOR]

Based on archival research at the Brontë Parsonage Museum, this paper contributes to our growing appreciation for the Reverend Patrick Brontë's religious principles by exploring his Sunday School hymn book held at the Parsonage Museum alongside the hymn sheets for his annual Haworth Sunday School Anniversaries. I investigate not only which hymns he marked in his hymn book and later used for the Anniversary services, but also which hymns and specific stanzas he disregarded, even which stanzas he rewrote before printing. Examining Brontë as editor, I suggest the religious views he was indirectly promoting: progressive views which empowered children and highlighted heaven in the midst of death. The power of hymns through repetition and singing became a lived religion for his congregants and a source of spiritual inspiration for his own literary daughters sitting in the pews. [ABSTRACT FROM AUTHOR]

The articel focuses on poem "Letter of Cupid" by poet Thomas Hoccleve which is Middle English rework of poet Christine de Pizan's poem "Epistre au dieu d'Armours." Topics discussed include poem that circulated in several stanza orders, collation error in exemplar introduced by disordered stanzas and constituent booklets that may come from several exemplars and creation dates for manuscripts.

This article examines poet William Collins' interest or fascination with the translation of Torquato Tasso's "Gerusalemme Liberata," by Edward Fairfax. It presents Collins' characterization of Fairfax in his posthumously published ode. Collins' understanding of the poetics of Tasso and Fairfax's translation is attributed to his work on Aristotle "Poetics." His use of the Spenserian stanza was due to a number of reasons.

Pierre Boulez composed several related pieces during the latter half of the 1950s. These pieces all share both serial structures and wholesale notational borrowings. Importantly, when Boulez reused notated material, his focus shifted from executing organizational processes to nuancing the contour, dynamics, and instrumental character of his musical figures, a concern I equate with "revision" in the broadest sense. His habit of revising works in this way altered his stylistic priorities in future works. [ABSTRACT FROM AUTHOR]

We studied the song of the Lark Sparrow (Chondestes grammacus) in recordings of 15 individuals from a variety of locations in California. Lark Sparrow song is delivered as variable sequences structured in a hierarchy of four levels: elements, syllables, strophes, and themes. At the simplest level, elements can be distinguished by their appearance on a spectrogram. Birds vary the number of repetitions of each element to produce a syllable and string together several syllables to produce a strophe (mean 5.9 syllables per strophe). Strophes are delivered at an average rate of 5.4 per minute. Strophes can be further classified as belonging to one of a few themes in a male's repertoire, where strophes in different themes are composed of almost entirely distinct elements and syllables. In <6% of strophes did we find elements from one theme mixed with elements from a different theme. Each individual sang one to three themes. The size of the repertoire of strophes is large but we could not quantify it because within a continuous bout of singing any particular sequence of syllables was repeated in only 5% of strophes. Each theme comprised roughly 20-40 distinct syllables. Thus an individual singing three themes could have a repertoire of 60-120 syllables. The number of unique elements per theme ranged from 11 in birds revealing just one theme up to 39 in birds revealing three themes, but longer recordings may have yielded more elements per bird. If our observations for single-themed birds may be extrapolated, birds with three themes might have repertoires of 33-51 elements. In the two comparisons possible, we detected almost no sharing of elements among neighboring birds. [ABSTRACT FROM AUTHOR]

Central to the world of thirteenth‐century Galician‐Portuguese song are the Cantigas de Santa Maria (CSM), on whose narrative cantigas de miragre this article focuses. These songs comprise alternations between a refrain and strophes that finish by reiterating the refrain's metre, rhymes and melody. Combining the strictly linear narrative of the miracle cantiga with this cyclical framework poses manifold complications. Self‐contained narrative logic is divided by interstrophic refrains, and chains of thought are divided by destabilising chains of interstrophic enjambment. This setup in the cantigas de miragre is rendered all the more curious given that few comparable instances of cyclical structure and linear narrative occur elsewhere in late‐medieval vernacular repertoire. In essence, concatenating the linear with the circular does not – and perhaps should not – work in narrative song. In this article, I examine how the cantigas de miragre navigate this dichotomy. Parsing the musical, poetic and narrative structures of CSM 232, I demonstrate how the sonically tenacious refrain, recapped within the latter part of each strophe as the strophe‐b, works to highlight the narrative thrust of a miracle story. The memorially marked recurrence of refrain metre, rhymes and melody in the strophe‐b functions as a device to separate the narratively central from the extraneous. It thereby exposes a miracle song's essential message to its audience. Through the analysis of CSM 232, this article highlights the fundamental role of sonic memory in late‐medieval vernacular song. [ABSTRACT FROM AUTHOR]

I suggest a reconsidered approach to a certain group of poems in my paper through reinterpreting Attila József's "Consciousness", a poem of twelve numbered stanzas without titles. In my opinion such poems cannot be satisfactorily described as either organic poems or cycles. My proposition is that this kind of poetry is worth approaching from the angle of the tradition of the (avant-garde) themeless poetry. [ABSTRACT FROM AUTHOR]

Focuses on the three-line writing style of poet Robert Frost. Derivation of stone-wall-measurer verse; Variation of stanzas; Description of poem-within-a-poem.

Focuses on the ordering of stanzas in the poems 'Sunday Morning' and 'Sunday Morning' by Harriet Monroe. Complexity of the poem; Correlation between poet and self; Renunciation of Christianity in the poem.

The article analyses the song "Silent Night" with the analytic phenomenological method, such as the stanza structure, the relationship between text and melody, melody and selected linguistic textual aspects. Topics include methodology of hymnology, explores stanzas of verses 2, 3, 4 and 6, and aspects of Christianity and teachings of Christ.

'Who wrote the scurrilous iambic poems of the first stanza?', asks David West at the start of his commentary on the ode. 'The culprit', he declares, 'must be Horace.' This answer accords with that to be found in other commentaries: 'my scurrilous verses' (Page), 'my scandalous lines' (Gow), 'my scurrilous iambics' (Wickham), 'my abusive iambics' (Shorey), 'miei ingiuriosi giambi' (Colamarino and Bo), 'my libellous iambics' (Nisbet and Hubbard), 'my libellous iambic verses' (Quinn), 'miei giambi ingiuriosi' (Fedeli). What, then, are these iambic verses? Some earlier scholars suggested that Horace is referring to various of his epodes, such as those addressed to Canidia (5, 17); but our knowledge of Canidia (cf. also Serm. 1.8) indicates that she would scarcely make plausible the accent on beauty in the first line of the ode. Most commentators, at least since the latter half of the nineteenth century, have believed that Horace is referring to some iambics which he had targeted at the ode's addressee but of which we now have no further knowledge: Kiessling and Heinze, for example, refer to 'the satirical poems which Horace ... has levelled at her', while in the most recent commentary in 2012 Mayer says that Horace 'assures an unnamed young woman that it rests with her to put an end to his vituperative attacks'. [ABSTRACT FROM AUTHOR]

The stylized medievalism of William Morris’s The Defence of Guenevere, and Other Poems (1858)—often expressed in cryptically condensed and iterative ballad stanzas—appears to reflect asocial and escapist nostalgia. Memory, however, is politicized in the Chants for Socialists that Morris wrote during the 1880s and early 1890s. These poems’ conventional and repetitive forms underscore the communal nature of identity, and their commemoration of the dead awakens activist fervor. Yet readings of two representative poems reveal vital continuities between Morris’s early and late poetry; after all, the Chants are also at times nostalgic in their admiration of pre-capitalist communities and their urge to cultivate imaginative solidarity with past eras. And paradoxically, in The Defence of Guenevere, self-justifying poetic beauty that uses retrospection to resist the demands of an industrializing society can itself lay claim to political utility. [ABSTRACT FROM AUTHOR]

The late Netta Zagagi's interpretation of this passage as constituting a 'mythological hyperbole' is bolstered on stylistic grounds (as is Diggle's confirmatory but independently advanced emendation of v. 377), and the interpretation is shown to exclude a more recent reading of the stanza which distracts from the mythological hyperbole's effect. [ABSTRACT FROM AUTHOR]

The article provides information on the book "A Story" which is a set of seventy nine sonnets of the 16th century consisting of fourteen free stanza divided into two quatrains and tercets. Topics include difference in various sonnet of different centuries, origin of the sonnets and the concept of connotation in poetry writing.

Elaine Feinstein's translations of Tsvetaeva have acquired a near-classic status. Paul Muldoon pointed out, however, that in one case a stanza from one of the originals was omitted without explanation, and close examination of other examples reveals further unexplained omissions, reorderings, conflations, and splittings of Tsvetaeva's compositions in Feinstein's renderings. From this point, other questions are asked about how much justice is done to the Russian poems by this non-Russian-speaking translator. [ABSTRACT FROM AUTHOR]