Epilogue

2021 ◽  
pp. 275-294
Author(s):  
Emily Kopley
Keyword(s):  
Original Poetry ◽  
Lyric Poetry ◽  
British History ◽  
Medieval England ◽  
Poetic Tradition ◽  
Between The Acts

Toward the end of her life, Woolf’s resentment of the male poetic tradition and rivalry with the poetic present were displaced by affection for this tradition and for the deep poetic past. This attitude comes through in “Anon” (1979), an essay that honors the anonymous poets of medieval England, and in Between the Acts (1941), in which a country pageant surveying British history draws an anxious community together. Having drawn on the tools of lyric poetry in earlier works, now Woolf includes original poetry of her own, both lyric and dramatic. Manuscript drafts reveal how the lyric poetry evolved. It was initially allusive, polyvocal, and sometimes in verse. In the published novel, it is less allusive, monovocal, and exclusively in prose. The elegiac tone of Between the Acts manifested privately, as well: Woolf’s late letters and diaries are full of allusions to canonical British elegies. Woolf’s farewell to poetry serves as the farewell to this book.

Horace's Odes

2020 ◽  
Author(s):  
Richard Tarrant
Keyword(s):  
Subject Matter ◽  
Lyric Poetry ◽  
Latin Literature ◽  
Poetic Tradition ◽  
Roman World ◽  
Universal Themes

Horace’s body of lyric poetry, the Odes, is one of the greatest achievements of Latin literature and a foundational text for the Western poetic tradition. These 103 exquisitely crafted poems speak in a distinctive voice—usually detached, often ironic, always humane—reflecting on the changing Roman world that Horace lived in and also on more universal themes of friendship, love, and mortality. This book introduces readers to the Odes by situating them in the context of Horace’s career as a poet and by defining their relationship to earlier literature, Greek and Roman. Several poems have been freshly translated by the author; others appear in versions by Horace’s best modern translators. A number of poems are analyzed in detail, illustrating Horace’s range of subject matter and his characteristic techniques of form and structure. A substantial final chapter traces the reception of the Odes from Horace’s own time to the present. Readers of this book will gain an appreciation for the artistry of one of the finest lyric poets of all time.

scholarly journals A Reading of Fragments 926(a) and 926(g) PMG within the Context of the New Music

2021 ◽  
Vol 16 (1) ◽  
pp. 18-31
Author(s):  
Vasiliki Kousoulini ◽  
Keyword(s):  
Classical Tradition ◽  
Lyric Poetry ◽  
New Music ◽  
Poetic Tradition ◽  
The Aesthetic ◽  
Aesthetic Values ◽  
Generic Quality

There has been much controversy regarding the date, the performative context, and the generic quality of fragment 926 PMG, which has been preserved on papyrus (P. Oxy. 9 + P. Oxy 2687) in a rhythmical treatise by an unknown author. The verse fragments on this papyrus were composed in iambic dactyls (∪ — ∪ –) and used as examples of the occurrence of syncope in various lyric meters. Fragments 926(a) and (g) PMG are from a composition performed by a maiden chorus which bear similarities to Alcman’s partheneia and have affinities with archaic epic and lyric poetry. Supposedly, these fragments might have been fragments of partheneia composed in the time of the New Music. Nonetheless, they are not shaped according to the bulk of the aesthetic values and the compositional rules of the New Music. These fragments seem to belong to cultic songs created for maiden choruses, possibly, to honor Dionysus. The alternative is that they imitate such songs within a dramatic context. We may assume that these quasi-dithyrambic partheneia were composed to serve religious needs or at least imitated cultic songs. They looked backward to the archaic and early classical tradition of partheneia, and their existence is an indication that, in the days of the New Music, there was a poetic tradition upheld by “reactionary” poets.

scholarly journals Narrative approaches to lyric poetry: On Kim Sowöl’s 'The Azaleas'

1970 ◽  
Vol 2 (1) ◽  
pp. 2-10
Author(s):  
Yong Ho Choi
Keyword(s):  
Lyric Poetry ◽  
Point Of View ◽  
Korean Literature ◽  
Poetic Tradition ◽  
Narrative Approaches ◽  
Poetic Discourse ◽  
Buddhist Tradition ◽  
Poetic Text ◽  
History Of ◽  
The One

This paper aims at illustrating how narrative theories can apply to the analysis of lyric poetry with an example from Korean literature: The Azaleas by Kim Sowöl. This poem in seven-and-five-syllable meter as well as with its thematic aspect that is concerned with lamentation or broken heart is considered the most representative of the folkloric tradition in the history of Korean lyric poetry. Based on Hühn’s work on “Transgeneric narratology”, I proposed here to analyze the so-called mental story of this poem from a narratological point of view that covers, among many others, the following three topics: i) text and norm; ii) story and discourse; iii) thematic and narrative. First, reading a poetic text inevitably leads us to the poetic tradition serving as an interpretative norm, whether it is explicit or implicit. So the image of scattering flowers in this poem, for instance, cannot be fully understood without reference to the Buddhist tradition in which it is interpreted in terms of charity or mercy. Second, the mental story relative to this symbolic act is doubly mediated – put in narrative terms, by a voice that speaks on the one hand and, on the other by eyes that see - so as to manifest itself in the form of a poetic discourse. Third, the narrative strategy at work in this poem, here considered in Greimas’ terms, pinpoints the ironic aspect of its thematic: so the story of parting in appearance turns out to be a love returning in the end.

scholarly journals Motifs in Gabdulla Tuqay’s Lyric Poetry (On the Draft Dictionary-Index of Motifs)

2019 ◽  
Vol 14 (2) ◽  
pp. 166-177
Author(s):  
Marsel I. Ibragimov
Keyword(s):  
Lyric Poetry ◽  
Mental Condition ◽  
Poetic Tradition ◽  
A Value ◽  
Arab Muslim ◽  
Explicit Content ◽  
Intertextual Connections ◽  
Value Crisis ◽  
Muslim Culture

The article is focused on the aspects of the lyrical motive theory connected with the project of the motives’ index of Gabdulla Tuqay’s lyric poetry. The conceptual provisions for the index are formulated on the basis of systematized works on the lyrical motive problem. The lyrical motif is considered as a theme-rematic unity based on the functional identity of the motif and the theme. When analyzing lyrical motifs, it is important to establish the contexts that determine their semantics: biographical, cultural-historical, literary (components of literary tradition (traditional images, motives, themes) and modern artistic and non-artistic texts). These theoretical and methodological provisions are demonstrated by the example of the motivational analysis of Gabdulla Tuqay’s poems, united by the theme of hope and hopelessness. It is established that poems in which the lyrical personage experiences a value crisis prevail among the works of this thematic group: “Omid” (“Hope”, 1910), “Ozelgan Omid” (“Broken Hope”, 1908), “Omidsezlek” (“Hopelessness”, 1910). Semantic representations of the motive of hope and hopelessness in these poems by G. Tuqay are revealed. The factors influencing the semantics of this motif of his poetry are determined, the intertextual connections of the analyzed poems, biographical, cultural and historical contexts determining the semantics of the studied motif are analyzed. The article raises the question of the influence of the Eastern poetic tradition and the principles of meaning formation typical for the Arab-Muslim culture on the semantics of G. Tuqay’s lyrical motifs. In accordance with the special nature of the connection between word and meaning in Arab-Muslim Philology (“indication of meaning”), the analysis of G. Tuqay’s poem “Ber Man” (1910) demonstrates the possibility of transition from the explicit content of the poem to the hidden meaning. The analysis let us determine the role of reminiscences for the meaning of the poem interpreted as a work about a transcendental event (G. Tuqay’s poem “Poet and Khatif”, Quranic reminiscence-quote from 107th ayat of the 21st Surah of the Quran). In “Ber Man” there is an actualization of the internal form of the word, in accordance with the etymological meaning of the word “man” (from Arabic “ma’na” – meaning), which gives reason to consider the change in the mental condition of the lyrical personage as a process of acquiring the once lost meaning. At the same time, considering that G. Tuqay’s poetic talent developed at the intersection of Tatar, Russian, and European literatures, it should be mentioned that it is inadmissible to absolutize the Eastern origin as the only one which determines the motives’ semantics in the lyrics of the Tatar poet.

scholarly journals The Past Sets the Context for the Present

2020 ◽  
Vol 8 (2) ◽  
pp. 230-253
Author(s):  
Angela Cinalli
Keyword(s):  
Social Identity ◽  
Driving Force ◽  
Lyric Poetry ◽  
Hellenistic Period ◽  
Poetic Tradition ◽  
The Past ◽  
Musical Structures ◽  
Ancient Times ◽  
Of Greece

Abstract This contribution examines musical and poetic tradition, in so far as it influenced the culture and society of the Hellenistic period. Epigraphy attests to the recollection of traditional heritage as one driving force for public-at-large performances. Extra-agonistic and agonistic performances pursued by the so-called poeti vaganti, travelling all over the cultural centres of Greece chasing fame and rewards, attest to different ways to preserve the legacy of musical and poetic tradition, by lingering on it or re-modulating its facies. Re-performing ancient times, through selections of dramas and lyric poetry, and demonstrating the musical structures and poetic ways of former days, had the purpose of strengthening social identity and reinvigorating communal knowledge. Inscriptions allow us to envisage the nuances and potentialities of these thoughtful revivals, highlighting the ways this concept could shift with time, context, and place.

Fugitive Lyric: The Rhymes of the Canting Crew

PMLA ◽  
2005 ◽  
Vol 120 (1) ◽  
pp. 82-96 ◽  
Author(s):  
Daniel Tiffany
Keyword(s):  
Lyric Poetry ◽  
Poetic Tradition ◽  
Cultural Cohesion

This essay examines the correlation between lyric obscurity and lyric communicability—that is, the capacity of lyric poetry to serve, even in the absence of understanding (for certain communities of readers), as a matrix of social and cultural cohesion. The essay takes up this question by examining the contours of a little-known vernacular tradition in poetry and by considering the correspondences, in a limited sense, between slang and poetry. Specifically, the essay examines the permutations of the so-called canting tradition (lyrics written in the jargon of the criminal underworld) and its relation to the dominant poetic tradition.

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