Animals

Author(s):  
Erik Gray

This chapter focuses on poetry’s frequent use of animals to explore the complexities of love. Animals feature in poems as objects of love, as lovers themselves, or in various other, more figurative, capacities. Although creatures of all kinds populate love poetry, birds are the most ubiquitous. The mating behaviors of birds, at once instinctive and highly patterned, offer a natural parallel to the combination of impulse and predetermined structure that characterizes both love and poetry. And while the same could be said of other animals, birds employ song as a key component of their courtship and so reflect the work of love poetry. A focus on birds and other animals also offers the poet scope to celebrate the role of sexual desire in love. Yet animals, in their mingled familiarity and alienness, ultimately appeal to love poets less as direct models than as signs of erotic uncertainty, queerness, and inconclusiveness.

1997 ◽  
Vol 12 (1) ◽  
pp. 95-99 ◽  
Author(s):  
Gilles Trudel ◽  
Lyne Landry ◽  
Yvette Larose

Author(s):  
Hilkka Yli-Jokipii

This is a study of adjectival modification, that is the use of adjectives and adjectival participles, in the genres of book information and place description. Book information represents a genre with a subtle, covertly persuasive function, while place description is taken to have little or no persuasive force. The study starts out with a quantitative element, establishing lexical densities of the eight texts in the data. This is followed by qualitative analyses of the functions which adjectives have in the genres examined. Answers are sought to these primary questions: 1) What is the role of modifying adjectives in the lexical density of the texts analysed? 2) What discourse functions do these adjectives fulfil in the two genres? The conclusions of the study include: 1) High occurrence of modifying items does not automatically equal nominal style. 2) High occurrence of modifying items is not an automatic sign of high lexical density. 3) The frequent use of modifiers in non-fiction is not limited to persuasion, since adjectives are also frequent in the genre in which the descriptive function is foregrounded.


1989 ◽  
Vol 23 (2) ◽  
pp. 221-234 ◽  
Author(s):  
Patricia Schreiner-Engel ◽  
Raul C. Schiavi ◽  
Daniel White ◽  
Anna Ghizzani

2016 ◽  
Vol 234 (4) ◽  
pp. 599-612 ◽  
Author(s):  
Matthew W. Johnson ◽  
Evan S. Herrmann ◽  
Mary M. Sweeney ◽  
Robert S. LeComte ◽  
Patrick S. Johnson

Author(s):  
Rhodri Lewis

This chapter focuses on Hamlet's imagination and his accomplishments as a poet. It begins with the love poetry that Hamlet writes for Ophelia. The chapter then turns to consider the before, during, and after of Hamlet's attempt to adapt The Murder of Gonzago with a view to catching Claudius's conscience and unkennelling his guilt. Particular attention is paid to the ways in which Hamlet responds to the lead player's speech in the person of Aeneas; to the advice offered by Hamlet to the players; to the central role of the imagination both in seeing ghosts and in creating works of poetic fiction; to the action of the play-within-the-play and the dumb show that precedes it; and to the language and assumptions through which Hamlet convinces himself that The Mousetrap has been a forensic success. As will become clear, William Shakespeare allows Hamlet to delineate his beliefs about the nature of poetic endeavour at unusual length. Crucially, one is also allowed to judge the ways in which Hamlet applies these beliefs in practice; in so doing, a series of disjunctions emerge between the theoretical and practical discourses of humanist poetics.


2017 ◽  
Vol 68 (1) ◽  
Author(s):  
Gaia Gubbini

AbstractThe article reconstructs the ‘strategy’ used by Dante in the Commedia for solving the problem of love: moving from lust (Inf. V), to the possibility of controlling natural desire through free choice (Purg. XVII-XVIII), to the role of hope in the pursuit of divine love, abandoning cupiditas and embracing caritas (Purg. XXVI). This trajectory is identified through lexical, rhyme-related, and thematic connections. It begins and ends with the first and the last sinners Dante encounters during his journey: Francesca and Arnaut Daniel - both condemned for their lust. The article also explores the reflections of Dante on the previous romance literature dealing with love, providing in particular a more convincing explanation of the presence of Arnaut Daniel - whose courtly love poetry was grounded on the theme of hope - at the end of Purgatory, the supernatural realm of Hope. Moreover, the investigation is set in the context of Dante’s philosophical and theological background - confirming with new elements the coexistence of his Augustinian imagery with the Thomist moral structure of the Commedia.


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