Versification

2019 ◽  
pp. 227-250
Author(s):  
Howard Jones ◽  
Martin H. Jones
Keyword(s):  
Lyric Poetry ◽  
Classical Period ◽  
Middle High German ◽  
General Account ◽  
Verse Forms ◽  
Selection Of

This chapter describes the chief features of versification in poetry written in the Middle High German Classical period (c.1170–c.1230) and in the remainder of the Middle High German period. The four parts of the chapter treat metre (anacrusis, interior of the line, cadence), rhyme (types of rhyme, rhyme schemes), lines of verse in context (rhythmical continuity or discontinuity between lines of verse, metrical and syntactical structures, rhyming couplets and syntactical structures), and verse forms (non-strophic verse, strophic verse in heroic and lyric poetry, the ‘Stollenstrophe’). Tips for the scansion of verse are included. Technical terminology in English and German is explained throughout. Examples are in the main drawn from the selection of texts (Chapter 5). In the case of lyric verse, the general account in this chapter is supplemented by metrical analyses of each song included in the selection.

Selection of Annotated Texts

2019 ◽  
pp. 317-602
Author(s):  
Howard Jones ◽  
Martin H. Jones
Keyword(s):  
Natural History ◽  
Classical Period ◽  
Middle High German ◽  
Religious Literature ◽  
Legal Texts ◽  
Walther Von Der Vogelweide ◽  
Selection Of

The selection of texts comprises extracts not only from the courtly literature of the Middle High German Classical period such as Erec, the Nibelungenlied, Parzival, Tristan, and the lyrics of Walther von der Vogelweide, but also from religious literature, writings on natural history, chronicles, and legal texts. Verse and prose works from the whole span of the Middle High German period are included. In addition to texts in the normalized Middle High German in which the classical authors are normally read, texts have been chosen to represent all the major dialects of Middle High German. Each text has an introduction placing it in context; texts in a dialectical variety have also linguistic introductions. All texts are accompanied by notes on their grammar, vocabulary, and content, and by recommendations for further reading. Two introductory texts are designed to familiarize readers new to Middle High German with essential features of the language.

The Oxford Guide to Middle High German

2019 ◽  
Author(s):  
Howard Jones ◽  
Martin H. Jones
Keyword(s):  
Middle High German ◽  
Full Time ◽  
Entry Level ◽  
Legal Documents ◽  
Medieval Germany ◽  
Depth Study ◽  
Literature History ◽  
Verse Forms ◽  
Selection Of

The Oxford Guide to Middle High German is the most comprehensive self-contained treatment of Middle High German available in English. It covers the language, literature, history, and culture of German in the period 1050–1350 and is designed for entry-level readers, advanced study, teaching, and reference. The book includes a large sample of texts, not only from Classical works such as Erec, the Nibelungenlied, Parzival, and Tristan, but also from mystical writing, chronicles, and legal documents; the selection represents all major dialects and the full time span of the period. Chapter 1 (‘Introduction’) defines Middle High German linguistically, geographically, and chronologically. In Chapter 2 (‘Grammar and Lexis’) each section begins with a summary of the main points; together, these form a stand-alone introductory grammar, and they are followed by detailed paragraphs for in-depth study and reference. Chapter 3 (‘Versification’) deals with metre, rhyme, lines of verse in context, and verse forms, and includes practical tips for scansion. Chapter 4 (‘Historical, Cultural, and Literary Background’) offers an account of the political and social structures of medieval Germany and a survey of the principal types of texts that originated in the period. Chapter 5 (‘Selection of Annotated Texts’) comprises over forty texts, each placed in context and provided with explanatory footnotes; the first two texts, to be taken together with the introductory grammar, are aimed at newcomers. A glossary provides full coverage of the vocabulary appearing in the texts and throughout the book.

Greek Lyric Poetry. A Selection of Early Greek Lyric, Elegiac and Iambic Poetry

1970 ◽  
Vol 91 (4) ◽  
pp. 466
Author(s):  
Mary R. Lefkowitz ◽  
David A. Campbell ◽  
D. L. Page
Keyword(s):  
Lyric Poetry ◽  
Selection Of

Theme, convention, and prosody in the vernacular poetry Of North Africa

1969 ◽  
Vol 32 (3) ◽  
pp. 477-495 ◽  
Author(s):  
John Wansbrough
Keyword(s):  
North Africa ◽  
Popular Literature ◽  
Vernacular Literature ◽  
Arabic Orthography ◽  
Arabic Speakers ◽  
Transfer Pattern ◽  
Vernacular Poetry ◽  
Verse Forms ◽  
Classical Arabic ◽  
Selection Of

Though not invariably susceptible of demonstration, the influence of Classical Arabic upon the popular literature of Arabic-speaking Muslims in North Africa may safely be assumed. ‘Popular’, indeed, the early Islamic verse forms (ši'r mawzūn) and the later stanzaic compositions (klam or ālat al-andalus) have remained, and in these, even when modified by local tradition, the source of inspiration is easily recognized. Less clear is the transfer pattern of classical elements in the strictly vernacular poetry (klam melḥūn) of the same people. It is this category of composition with which the following observations are concerned, and wḥich suggested selection of the term ‘vernacular’ rather than ‘popular’. A further factor contributory to isolation of this topic is the existence of a vernacular literature amongst non-Muslim Arabic speakers in North Africa: the Jewish communities. There, owing both to Judaeo-Arabic orthography and to confessional motives in the selection of theme, the tyranny of Classical Arabic is considerably weakened, to some extent a consequence of social (educational) lines of demarcation. Important, however, are the affinities between the vernacular compositions of both groups, especially in matters relating to rhetorical convention and prosodic structure.

scholarly journals Die klassiflkasie van die antieke Griekse liriekvorms

Literator ◽  
1994 ◽  
Vol 15 (1) ◽  
pp. 145-158
Author(s):  
W. J. Henderson
Keyword(s):  
Lyric Poetry ◽  
General Term ◽  
Classical Period

Early Greek lyric poetry was composed for and performed on specific occasions. Instead o f a general term such as our 'lyric particular forms of 'lyric’ were composed for particular occasions and for particular ways of performance. In this article such distinctions as are encountered among the poets themselves, as well as the theoretical classifications of the 'lyric' forms in the Classical period (5th to late 4th century) as exemplified by Plato and Aristotle, and in the Hellenistic or Alexandrian period (late 4th to 1st century B.C.) - as reflected, inter alia, in the Chrestomatheia of Proclus (410-485 C.E.) are examined.

Relevance Theory and the use of voice in poetry

2001 ◽  
Vol 15 ◽  
pp. 11-34 ◽  
Author(s):  
Barbara MacMahon
Keyword(s):  
John Keats ◽  
Relevance Theory ◽  
Theory Model ◽  
Robert Browning ◽  
Gerard Manley Hopkins ◽  
Literary Works ◽  
General Account ◽  
Dorothy Parker ◽  
Selection Of

This article explores the extent to which the Relevance Theory concepts of interpretive and echoic use can help to explain the complexities of the use of voice in poetry. Echoic use in Relevance Theory is a sub-type of interpretive use, a use which can allow a speaker to communicate one of many possible attitudes towards a proposition, ranging from endorsement through disapproval to ridicule. My argument is that this model could be extremely powerful in accounting for the differences and relationships between perceived poets’/authors’ views and views presented directly in literary works. This approach goes some way towards integrating the study of poetry into a general account of communication. The article develops these arguments by using the Relevance Theory model in analysing the use of voice in a selection of poems by Dorothy Parker, Robert Browning, John Keats, Gerard Manley Hopkins, Fleur Adcock and Tony Harrison, and raises the question of whether all poetry might be considered interpretive.

Rhetoric, Trickery, and Tyranny: Testimonies on Sophists of the Hellenistic period

2021 ◽  
Vol 39 (3) ◽  
pp. 247-272
Author(s):  
Jan Erik Heßler
Keyword(s):  
Classical Period ◽  
Hellenistic Period ◽  
Second Sophistic ◽  
Negative Image ◽  
Characteristic Features ◽  
And Performance ◽  
Selection Of

In this article, I would like to provide a reappraisal of sophistic activities during the Hellenistic period. An analysis of passages in Philodemus, Posidonius, and several more fragmentary sources can show that there is a continuous and lively tradition of sophistic teaching and rhetoric from the Classical period until Imperial times. The texts give the impression that characteristic features of Hellenistic sophists point towards the generation of Gorgias and his colleagues as well as towards the star speakers of the Second Sophistic. The traditional but outworn negative image of the Hellenistic sophists and Hellenistic rhetoric in general can be explained as a result of the source situation, the decentralisation of schools and performance spaces, and a Classicistic bias of ancient and modern authors. In the end, the testimonies allow for more conclusions than generally thought. A selection of related sources is provided in an appendix.

Metre and Temporality: Between Hegel and Benjamin

2016 ◽  
Author(s):  
Marion Thain
Keyword(s):  
Nineteenth Century ◽  
Case Studies ◽  
Theoretical Basis ◽  
Lyric Poetry ◽  
Wide Range ◽  
Verse Forms

Chapter 2 is the first of three chapters that make up ‘Part I’ of the book. This part focuses on issues of lyric temporality. As the first chapter in this part, Chapter 2 builds a conceptual and theoretical basis that will underpin the poetic case studies offered in the subsequent two chapters. It situates aestheticist lyric poetry, historically and conceptually, between Hegelian and Benjaminian ideas of lyric temporality; and argues for the need to read aestheticist poetry’s metrical structures as responsive to this frame. Drawing on a wide range of writings on poetic meter (from Romantic to modernist and beyond), it offers a new understanding of the significance of the strict verse forms revived in the 1870s and popular with aestheticist poets over the rest of the nineteenth century. Ultimately arguing that the revival of medieval verse forms in Parnassian poetry becomes (in certain ways) a response to the pressures of modernity, this chapter offers a new way of understanding the operation of those forms.

The Twelfth and Thirteenth Centuries

2019 ◽  
pp. 177-205
Author(s):  
Derek Attridge
Keyword(s):  
Middle English ◽  
Lyric Poetry ◽  
Old Norse ◽  
Middle High German ◽  
Chanson De Geste ◽  
English Verse ◽  
Skaldic Poetry ◽  
Vita Nuova ◽  
Vernacular Poetry ◽  
Germanic Languages

This chapter is concerned with the vernacular poetry of Europe in the twelfth and thirteenth centuries. Side-by-side with the monastic production and preservation of poetry, the castles and courts of the nobility became centres of culture. France, in particular, saw extensive poetic activity, notably in the genres of the chanson de geste and the troubadour lyric. Other French genres of the time include saints’ lives, romances, lais, and fabliaux; the use of the octosyllabic line for these poems is examined. Poetry in the Germanic languages, notably the Middle High German courtly epics and Minnesänger lyrics and the Old Norse eddic and skaldic poetry of Iceland, is discussed, as is the lyric poetry of Italy. The evidence for the experience of poetry in Dante’s Vita nuova is considered. The rhythmic variety of Middle English verse, it is argued, suggests some uncertainty in the adoption of French metres.

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