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The protest poetry of Claude McKay, a leading writer of the Harlem Renaissance, is couched in the Western sonnet form. How the poetic form supports or conflicts with the messages of African-American pride and contempt for racism is examined. (SLD)

Offers an interview with poet and teacher Bernadette Mayer about her poem "Sonnet," the sonnet form, and teaching poetry. Discusses her particular use of the sonnet and how it adheres to and breaks the standard rules of that poetry style. (SR)

This article compares the sonnets of Richard Barnfield and William Shakespeare, focusing on their exploration of homoerotic and homosocial themes. Barnfield, a lesser-known poet, published works in the late 16th century that included explicit expressions of same-sex attraction. The analysis highlights the linguistic and stylistic similarities between the two poets, while also noting their differences in language and imagery. By examining Barnfield's contributions, we gain a deeper understanding of the diverse expressions of human relationships in early modern England. [Extracted from the article]

This article re-evaluates the merits of Shakespeare's Sonnet 145 and explores its critical legacy over the past half-century. While the sonnet has typically been seen as inferior due to its use of tetrameter rather than pentameter, one article from 1971 made a case for it being the first poem Shakespeare ever wrote. Rather than prompt critical debate, the theory presented in the article gained nearly universal acceptance and has been amplified ever since. The problem I identify is that the theory itself has been adopted without due scrutiny, and that when we approach Sonnet 145 from the standpoint that it is neither inferior nor juvenilia, we can then see how the supposed aberrations are potentially deliberate choices made by Shakespeare to underscore the poem's content. [ABSTRACT FROM AUTHOR]

Considering that early modern poetic theory retains the classical genealogies and iconographies of lyric poetry as song to the accompaniment of a lyre, how can one account for lyrics which portray the poet's stringed instrument, frequently the lute, as antithetical to his or her poetic aspirations, as a recalcitrant tool that resists the poet's desires and thus engenders a lyric crisis? This article uses object-oriented ontology (OOO) to think through the lyric poet's relationship with the lute which, fractured between real object and its sensual qualities, withdraws its essential being from access yet involves the poet in a network of sensual and essentially aesthetic bonds with the instrument. By reading several early modern riddles, sonnets, and other lyrics about deviant lutes as encounters between human and nonhuman objects, the article traces the poetics of unlyric — a form of poetry that disentangles poiesis from musical subjectivity and harmony, articulating instead a vision of lyric as fraught negotiations between entities whose forces lie beyond the powers of human art. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Linguistic & Rhetorical Studies is the property of Semnan University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Yaghma Jandaghi is one of the most famous and prominent poets of the Qajar era who has written significant sonnets with moral and romantic content. Since the beginning of Persian poetry till now, rhetoric has always been taken into special consideration by poets, and one of the fundamental issues of rhetoric in any language is poetic imagination forms, including four general topics, namely simile, metaphor, irony, and metonymy, the thoughtful and appropriate use of which can add to the imaginative aspect as well as the richness of poems. Yaghmai Jandaghi's sonnets are highly important in terms of the inclusion of rhetoric, especially rhetoric and the use of poetic imagery. Yaghma’s sonnets contain moral and romantic themes, written in different meters and mainly in a style similar to that of Hafez’s poems. Since little attention has been paid to the issue of imagination forms in Yaghmai Jandaghi’s poems, in the present research, an attempt has been made to analyze the imagery techniques used in the sonnets of Yaghmai Jandaghi with an in-depth view and with respect to the poet's taste in using them as an aesthetic approach and expressive and artistic technique so that a manifestation of his poetic merits can be presented to the audience. Keywords: Yaghma Jandaghi, Sonnets, Simile, Metaphor, Irony and Metonymy. Introduction Rhetoric is one of the important techniques used by poets in order to add an imaginative aspect to their poetry, and most of them have tried to apply different categories of this artistic technique, especially simile and metaphor. Perhaps, it can be argued that the poets of the Qajar era, including Yaghmai Jandaghi, have created a special innovation from the aesthetic dimension using artistic techniques in poetry. This research attempts to evaluate Yaghmai Jandaghi's sonnets accurately from a rhetorical point of view, and then to discuss the imagination forms used in them, including similes, metaphors, irony, and metonymy so that at the end it would be possible to figure out his intended approach in using poetic imagination forms and provide their frequencies. Therefore, the current study seeks to provide an answer to the following research question: How has Yaghmai Jandaghi used imagination forms in his sonnets? Materials and Methods This research has been carried out using the descriptive-analytical method, examining the content of Yaghmay Jandaghi's sonnets and extracting the examples of imagination forms in them through a library approach. Research Findings Yaghmai Jandaghi's sonnets are considered to be a relatively rich work in terms of using imagination forms, and wherever the poet needed imagination forms to expand the content and also to make his audiences understand the topic under discussion, he used them very appropriately in the layers of his poems. The following table shows the frequency of imagination forms applied in Yaghmai Jandaghi's sonnets. Table 1. The Frequency of Imagination Forms in Yaghmai Jandaghi's Sonnets Title of imagination forms Frequency Percentage Sensible to sensible simile 68 5% Sensible to intellectual simile 14 1% Intellectual-to-intellectual simile - - Intellectual to sensible simile 12 1% Baligh (eloquent) simile 347 29% Tafzil (preference) simile 30 3% Tamsil (allegoric) simile 51 4% Mozmar (hidden) simile 100 7% Plural simile 7 0.08% Tasvieyh (equalization)simile - - Mafruq (subtrahend) 37 3.2% Malfouf (covered) simile 70 5% Conditional simile 14 1% Morakab (compound) simile 65 5% Mosarrahe Mojarrad (explicit singular) metaphor 24 2% Mosarrahe morashahe (descriptive explicit) simile 90 6.5% Motalaghe mosarrahe (descriptive separated ) metaphor 53 4.5% Dependent metaphor 1 - Makniyeh (implicit) metaphor Metaphoric case 110 7% Metonymy 57 4% Nominal allusion 23 2% Verbal allusion 118 9% Total sum of imagination forms in sonnets 1291 100% Discussion of Results and Conclusions Considering the results of this research, the following three conclusions have been made: Yaghmai Jandaghi's sonnets are among the most important parts of his collection due to the inclusion of linguistic issues, lexicology, grammar, rhetorical techniques, and imagination forms as they have the potential to be carefully analyzed by researchers and experts in each of these techniques, so that the unknown aspects of these valuable sonnets can be identified for those interested in literature. The most important imagination forms used in Yaghmai Jandaghi's sonnets are simile, metaphor, irony, and metonymy each of which has been used for specific purposes; for instance, the sensible simile has the greatest contribution to making the topic and content sensible. Due to the closeness of his style to the Indian style, it can be argued that the poet has made the most use of allegorical, implicit, and compound similes in order to make abstract and sensible concepts sensible for the audience and so that his poems could have a double effect on the audience. In Yaghma's poetry, explicit and implicit metaphors stand out in parallel in his poems. Regarding explicit metaphors, it was found that the tools of simile used in his poems mainly include the beloved’s parts of the body, such as their lips, mouth, eyes, and hair. In implicit metaphors, he has mainly given life to things such as death, the sky, the zephyr, and the inanimate phenomena of his surroundings and attributed human and living beings’ characteristics to them.

Shakespeare’s plays and poetry have been translated into over one hundred languages and are performed, read, and taught throughout much of the world more often than those of any other playwright. The article aims to briefly survey the history of translating Shakespeare’s works into Lithuanian. Current developments in business, communication, and cultural production impact the scope and priorities of translations. Our archival research yielded limited information on Lithuanian translations of Shakespeare’s works and their quality. It raised more questions than provided answers. The findings show that the largest number of translations of Shakespeare’s works was made by Aleksys Churginas (published in 1946-1973). Four plays were translated by Antanas Danielius (published in 1983-1997). The two most recent translations by Saulius Repečka were published in 2016. No comprehensive studies of Lithuanian translations of Shakespeare’s plays or their publication/republication history currently exist. The translation of sonnets has been investigated in a doctoral thesis.

The poet Janez Menart was a major figure in the postwar Slovene literary milieu. As such, his complete translation of Shakespeare’s Sonnets is of great interest in its own right. When placed in the broad framework of Skopos theory, the translation and the critical argument surrounding it also illuminate the irreconcilable nature of certain divergent approaches to literary translation. The chief point my remarks here will attempt to add to the discussion is that, notwithstanding the licence Menart occasionally permitted himself, his rendering of the work as a whole displays an uncanny sense of the logic and cohesion of the overall sequence the Sonnets comprise. His practical handling of the poems anticipated later trends in Anglo-American editorial scholarship; his translation manages to be both a classic in its own language and to offer a significant, if internationally overlooked reading of the original text.

Early in his career the astronomer William Herschel argued that the appearance of 'so many changes among the stars' – stars materialising out of nowhere and stars gradually vanishing, stars fluctuating in brightness and stars changing position – 'should cause a strong suspicion that most probably every star in the heaven is more or less in motion'. Given his knowledge of modern astronomy, Keats's plea to be as 'stedfast' as the bright star might be considered deliberately retrograde: the aesthetic privileging of an ideal by a sky-gazing lover indifferent to empirical science. This essay argues, on the contrary, that the 'Bright star' sonnet seizes upon a figurative paradox produced in a period of epistemological transition. The indeterminacy of the bright star image introduces an affective dimension to the sonnet more in keeping with its Petrarchan roots and captures an essential quality of even steadfast lovers: changeability. [ABSTRACT FROM AUTHOR]

Christopher Marlowe is one of the most interesting and complex Elizabethan poets and playwrights, and among the favourite candidates to embody at least one of the "rival poets" mentioned in some of William Shakespeare's Sonnets, where it is possible to find different concepts of beauty and poetry. Among these is the idea of a 'painted' beauty, connected to other considerations on writing, style and artistic composition. Marlowe's Hero and Leander, with its polished and refined writing and its lavish and rich images, represents a literary product in which formal and aesthetic beauty are exalted through bodies, garments, and settings. The main aim of this paper is to show how Marlowe managed poetic fashions and rhetorical instruments in order to create a purely Elizabethan literary product. After an introduction on the characteristics of the epyllion as a genre, I will analyse how the bodies and garments of the two young protagonists, and the settings of the poem, are wisely 'embroidered' by Marlowe, who used all the most fashionable threads available to an Elizabethan poet, ranging from the widespread Petrarchan rhetoric to a learned display of an abundant mythological apparatus, with the poetical aim of exalting Beauty. It will be necessary to draw some comparisons with one of its primary sources: the Greek epyllion Hero and Leander by Musaeus. The whole paper will take into consideration, as reference points to carry on the analysis, some Shakespearean sonnets so as to better show Marlowe's expression of a courtly literature glistered with love, beauty, and knowledge. [ABSTRACT FROM AUTHOR]

This essay engages a previously underexplored motif in a handful of early modern and Shakespearean tragedies that, other than the Inns of Court play, Tancred and Gismund (1567), are fairly well studied. It explores the conjunction of secretly exchanged verses (often sonnets, or almost) and material love tokens in Shakespeare's love tragedies Romeo and Juliet and Troilus and Cressida after first observing the trope in the more familiar Seneca-influenced tragedies, The Spanish Tragedy and Hamlet. In each instance the sonnet fails to find completion and the token is lost, misplaced, or re-gifted signalling that the love of the play cannot be perfected or sustained. This exchange, and loss of physical love token conjoined or connected to failed or incomplete text acts in concert with the failed love that is the essence of love tragedy in the period. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artículo da a conocer y edita dos sonetos inéditos que Gabriel Aresti escribió en febrero de 1953. Hasta ahora se conocían textos editados en 1954, por lo que se adelanta año y medio el comienzo de su carrera. Son sonetos de iniciación a la escritura, pero enmarcados en la estética que defendía en su primerísima época. En un segundo trabajo se cuenta la historia de su descubrimiento y conservación. Lan honek 1953ko otsailean Gabriel Arestik gazteleraz idatzitako Soneto bi argitaratzen ditu. Poema biok Bilboko idazleari ezagutzen zaizkion lehen lanak dira. Izan ere, urte eta erdi aurreratzen da horrela bere lanen kronologia. Ikasketa garaian egindako sonetoak dira, baina bere sorkuntza Gabriel Arestik zuen literaturaren kontzeptuaren barnean kokatu dira, eta horrela lanak Gabriel Arestiren lehen sorkuntza prozesua aztertu du. Bigarren alde batean poemak nola gorde eta agertu ziren kontatu da. The article reveals and publishes two previously unknown sonnets which Gabriel Aresti wrote in February 1953. Until now, texts published in 1954 were known, so the beginning of his career is pushed back by a year and a half. The sonnets are from his initiation in writing, but framed in the aesthetic he championed in his earliest era. A second works tells the story of their discovery and conservation.

Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Béla Markó’s first book of poems published in Hungary, Mindenki autóbusza, appeared in 1989 in the József Attila Circle of Young Writers’ series of booklets published by Magvetõ. The new volume marked a classicist turn in Markó’s poetry with its choice of the sonnet, a symbol of inner freedom preserved in a closed space. In the book, the avant-garde prose poem Rövid, korszerûtlen kiáltvány is followed by Költõk koszorúja. The 14 poems and the master sonnet are portraits of 14 classics of Hungarian literature from Janus Pannonius to Miklós Radnóti. During the dictatorship, Romanian authors were not allowed to publish their writings abroad without permission, but Markó sent his poems to Miklós Csapody for more than ten years, who arranged for their publication. This “philological memoir” by the editor of the book, based on the poet’s letters and the documents of the József Attila Circle, recalls the story of the book’s birth, the struggles of the new generation of poets of the time and the situation of Hungarians in Transylvania in the 1980s until the end of the dictatorship. [ABSTRACT FROM AUTHOR]

Copyright of Alustath is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Of all the created beings in the world, a human is the most mysterious one. A human is the only being who is aware of his uniqueness, distinctiveness, and irreplaceability. A human is the only being who is self-aware but at the same time remains a secret to himself, a secret which he can never get to the bottom of. In the search for the truth about oneself, one encounters both: the abyss within oneself and the awareness of greatness and beauty that reflects external beauty, eternal beauty, the Beauty of the One who gives life, the beauty of God who supplicates the life and draws his Divine essence into that life. The more the human is aware of the limitations of his mind, the more challenging revealing the truth about the Transcendent is. Still, it is possible as long as humans feel the »sharing« of one’s mind in God’s mind, which enables revealing the truth in the first place. The tool that helps people to do this is language which also has its boundaries and limitations. Both philosophy and poetry come from the same origin, that is, the wonder of being. They both use the same tool, that is, the language. However, they diverge, which is clearly expressed in the thoughts of Heidegger, the German philosopher of the modern age, who shows that philosophy can no longer perform its task correctly, but poetry can help it to uncover and express reality. In discovering and endeavouring truth, philosophers and poets face the same challenge, the same demanding task, which they each »solve« in their specific way. The way of approaching this assignment, both for a philosopher and a poet, is influenced by the time in which they live, the socio-political situation, the broader social context, personal circumstances, and a personal life story. Knowing the intimate life story of a philosopher or poet enables more accessible insight into the understanding of creative poetic activity or the development of philosophical thought. This article introduces a brief insight into the rich creative life of Zdenka Serajnik, a Slovenian poet, writer, and pedagogue. Due to the extent of her hitherto unknown and little researched literary legacy, the article only presents some of her attempts to find answers to life’s questions and the deepest longings, which Zdenka Serajnik masterfully outlines in the literary strokes of her rich creative work. The article analyses unknown manuscripts of Zdenka Serajnik, especially her sonnets, and shows how she reveals a longing search for answers to the most profound existential questions, questions that are also inherent in philosophy.