scholarly journals ‘A FONDNESS FOR BEING SAD’: SOME PORTUGUESE SOURCES FOR ELIZABETH BARRETT BROWNING’S POETICS OF MELANCHOLY IN SONNETS FROM THE PORTUGUESE (1850)

Diacrítica ◽  
2018 ◽  
Vol 31 (2) ◽  
pp. 23
Author(s):  
Paula Guimarães
Keyword(s):  
Comparative Analysis ◽  
Elizabeth Barrett Browning ◽  
Great Similarity ◽  
Felicia Hemans ◽  
Depressed Woman ◽  
Poetic Tradition ◽  
Luis De Camoes ◽  
Letitia Landon ◽  
Sonnets From The Portuguese

In seeing melancholy as the antithesis of poetic creativity, the Victorians often broke with the traditional Renaissance and Romantic attitudes of equating melancholy moods with artistic or poetic genius. This article proposes to explore how, initially viewed as an emotional and ‘depressed’ woman poet, Elizabeth Barrett Browning tried to resist and escape the sickening disempowerment or abandonment which had affected poets such as Felicia Hemans and Letitia Landon, and engage in a new poetics of melancholy in Sonnets from the Portuguese (1850). It demonstrates how the poet plays this poetics out in most of her later sonnets, where she indeed attempts to prove that good poetry can be written without melancholy, even if she herself does not always succeed in this deliberate rejection of ‘dejection’. The article thus intends to suggest, through a brief comparative analysis, that her apparently contradictory poetics of melancholy very probably derived from a specifically Portuguese poetic tradition, namely the ‘fondness for being sad’ of Luís de Camões, as well as the sorrowful love of Mariana Alcoforado’s epistles (1669) and of Soror Maria do Céu’s mannerist poems, an influence that is supported in the great similarity of motives and language that can be found in the respective texts.

VICTORIAN WOMAN’S POETRY

1999 ◽  
Vol 27 (2) ◽  
pp. 601-609 ◽  
Author(s):  
Linda Shires
Keyword(s):  
Poetic Tradition ◽  
Subject Positions ◽  
Michael Field ◽  
Sonnets From The Portuguese ◽  
Religion And Sexuality

PART OF THE EXCITEMENT of reading Victorian woman’s poetry lies in its manifold refusals to adopt wholesale the codes and conventions of the male poetic tradition. Such refusal may manifest itself in the bold rewriting of forms (as in Elizabeth Barrett Browning’s Sonnets from the Portuguese), or in the unhinging of domestic or romantic pieties through irony and other doubling strategies (as in Dora Greenwell’s “Scherzo” or Christina Rossetti’s “Winter: My Secret”). Both the rewriting of male forms and the attack on conventional ideologies opened up new subject positions for women. For example, women’s responses to poetic tradition and to each other’s work initially made use of expressive theory to explore sexual and religious passions simultaneously (as in the poetry of the Brontës), while towards the end of the century, when religion and sexuality were not so inextricably intertwined, women could openly celebrate non-hierarchical sexualities (as in the lesbian poems of Michael Field).

scholarly journals The Moor's Last Sight : Spanish-Moorish exoticism and the gender of history in British Romantic poetry

2002 ◽  
Vol 3 ◽  
pp. 193
Author(s):  
Diego Saglia
Keyword(s):  
Lord Byron ◽  
Washington Irving ◽  
Felicia Hemans ◽  
Romantic Literature ◽  
Romantic Period ◽  
Romantic Poetry ◽  
Letitia Landon ◽  
New States ◽  
Joanna Baillie ◽  
Poetic Texts

Legends and tales of Islamic Granada were among the most frequently re-elaborated exotic subjects in British Romantic literature. A popular theme in the early decades of the nineteenth century, Spanish Orientalism attracted both famous writers such as Lord Byron, Joanna Baillie, Washington Irving, Felicia Hemans or Letitia Landon, and less familiar ones such as Lord Porchester, George Moir and Lady Dacre. This essay concentrates on one component of the myth of Granada which enjoyed great diffusion in Romantic-period literature, the tale of the Moor's Last Sigh and the tears shed by the last Muslim monarch on leaving his capital forever after the Christian conquest in 1492. The aim is to illustrate how, in migrating from its original context, this tale comes to signify and emblematize issues of gender and notions of history as progress specific to British culture. The poetic texts examined here employ the Spanish-Orientalist myth to elaborate ideas of masculinity and femininity, as well as reflections on power and its extinction, the fall of empires and the emergence of new states. Thus King Boabdil's tears were exotically popular also because they were removed from their original meaning and import, and refashioned into vehicles for ideological concerns proper to British Romantic-period culture

scholarly journals Clonal study of avian Escherichia coli strains by fliC conserved-DNA-sequence regions analysis

2008 ◽  
Vol 28 (10) ◽  
pp. 508-514 ◽  
Author(s):  
Tatiana Amabile de Campos ◽  
Gerson Nakazato ◽  
Eliana Guedes Stehling ◽  
Marcelo Brocchi ◽  
Wanderley Dias da Silveira
Keyword(s):  
Escherichia Coli ◽  
Comparative Analysis ◽  
Dna Sequencing ◽  
Dna Sequence ◽  
Yersinia Enterocolitica ◽  
Proteus Mirabilis ◽  
Great Similarity ◽  
Flic Gene ◽  
E Coli ◽  
Zoonotic Risk

The clonal relationship among avian Escherichia coli strains and their genetic proximity with human pathogenic E. coli, Salmonela enterica, Yersinia enterocolitica and Proteus mirabilis, was determined by the DNA sequencing of the conserved 5' and 3'regions fliC gene (flagellin encoded gene). Among 30 commensal avian E. coli strains and 49 pathogenic avian E. coli strains (APEC), 24 commensal and 39 APEC strains harbored fliC gene with fragments size varying from 670bp to 1,900bp. The comparative analysis of these regions allowed the construction of a dendrogram of similarity possessing two main clusters: one compounded mainly by APEC strains and by H-antigens from human E. coli, and another one compounded by commensal avian E. coli strains, S. enterica, and by other H-antigens from human E. coli. Overall, this work demonstrated that fliC conserved regions may be associated with pathogenic clones of APEC strains, and also shows a great similarity among APEC and H-antigens of E. coli strains isolated from humans. These data, can add evidence that APEC strains can exhibit a zoonotic risk.

SONNETS FROM THE PORTUGUESE AND THE POLITICS OF RHYME

1999 ◽  
Vol 27 (1) ◽  
pp. 97-112 ◽  
Author(s):  
Margaret M. Morlier
Keyword(s):  
Twentieth Century ◽  
Noun Phrase ◽  
Elizabeth Barrett Browning ◽  
Poetic Voice ◽  
Rhyme Scheme ◽  
Sonnets From The Portuguese

ALTHOUGH VICTORIAN REVIEWERS uniformly praised Elizabeth Barrett Browning for the “sincere” poetic voice of Sonnets from the Portuguese, they often blamed her for faulty craft. In structure and rhyme scheme the poems in the sequence recall the Petrarchan tradition, suggesting the idealized love that accompanies it, yet their varied syntax and diction seem more conversational than ideal. Enjambment usually destroys the integrity of octave and sestet. Then in the Sonnets Barrett Browning continued her use of odd rhymes, which had been raising critical eyebrows since earlier poems. For example, in the most famous sonnet — XLIII, “How do I love thee?” — Barrett Browning rhymed the noun phrase “put to use” (9) with the infinitive “to lose” (11) and rhymed “faith” (10) with “breath” (12). Victorian reviewers, somewhat disoriented, offered a variety of explanations for these apparent technical lapses. Some attributed them to a defective ear for music (“Review of Poems” 278; [Massey] 517).1 George Saintsbury — taking the lead from the controversy over the “cockney school” of poetry — reproved Barrett Browning, born to the educated classes, for relying out of laziness on vulgar pronunciation to force rhymes instead of taking the time to discover correct ones (280–81). Even her poet-friend and correspondent, Mary Russell Mitford, wondered if isolation at Wimpole Street had led to an overly narrow experience with proper pronunciation of English (reported in Horne 458; see also Hayter 38–39). Victorian reproofs and anecdotes like these followed Barrett Browning’s work into the formalist twentieth century.

scholarly journals A Poetics of Reciprocity: Elizabeth Barrett Browning's Ballads and Sonnets

2021 ◽  
Author(s):  
◽  
Rose Harriet Sneyd
Keyword(s):  
Speech Acts ◽  
Mikhail Bakhtin ◽  
Elizabeth Barrett Browning ◽  
The Novel ◽  
Poetic Language ◽  
Literary Language ◽  
Sonnets From The Portuguese ◽  
Social Act ◽  
Selection Of ◽  
The Way

<p>This thesis considers the way in which a selection of the poetry of Elizabeth Barrett Browning (henceforth to be referred to as EBB) exhibits what I will refer to as a poetics of reciprocity. My focus is on EBB’s ballads of the 1830s and 40s, her amatory sonnet sequence Sonnets from the Portuguese, and those ballads found in Last Poems. Lyric poetry is, traditionally, said to be defined by a monologic lyric speaker. Mikhail Bakhtin, for instance, pronounced that the mono-stylistic and cohesive nature of poetic language distinguished it from novelistic prose. However, it was, in part, Bakhtin’s insistence that poetry was by definition monologic that triggered my dialogic investigation of EBB’s poetry. Despite the range of work, both formal and temporal, that I consider in these three chapters, the discussion is nevertheless united by a consideration of EBB’s fascination with language, and her concomitant departure from the conventions of the monologic lyric speaker. In her early ballads, I explore EBB’s presentation of unreliable speakers and protagonists. These figures prove elusive to read because of their use of duplicitous or untrustworthy language, or they falter in the act of interpretation themselves. In EBB’s Sonnets from the Portuguese, I consider the way in which the poet opts for the language of conversation to evoke, in a fresh and powerful manner, the love between her speaker and her beloved. I suggest that this strategy, in part, compensated for the way in which clichéd literary language used to describe the experience of loving had been drained of vigour. Finally, in Last Poems I consider EBB’s presentation of speech as a social act that is influenced by the speaker’s status in society. In these late ballads, women’s attempts to wield language in an effective way are demonstrated to be dependent upon various conditions that reduce or enhance the potency of their speech acts. While Bakhtin’s essay “Discourse in the Novel,” in addition to the work of critics such as E. Warwick Slinn and Marjorie Stone, has been vital to the formulation of my thesis, I have, largely, relied upon a formalist approach to EBB’s poetry. In my close readings I examine EBB’s interrogation of language in her ballads and sonnets in light of her conscientious use, in particular, of metre and rhyme.</p>

scholarly journals Триады в тексте «Истории Усун Дебескерту-хана»

2020 ◽  
Vol 12 (1) ◽  
pp. 22-36
Author(s):  
Baazr A. Bicheev ◽  
◽  
Yeerda ◽  
Keyword(s):  
Comparative Analysis ◽  
Special Form ◽  
17Th Century ◽  
Scientific Discourse ◽  
Writing System ◽  
Analysis Method ◽  
Poetic Tradition ◽  
Special Place ◽  
The Creation ◽  
The Rich

Introduction. Long before the creation of a national writing system, the Oirats (Kalmyks) had developed a unique oral poetic tradition. By the late 17th century, there appeared a large number of translated poetic works distinguished by genre and artistic diversity. Oirat scholars would insistently turn to the rich oral poetic heritage. And triads were one such most ancient type of aphoristic poetry, their genre characteristics still remaining a matter of debate: some classify them as riddles, others as proverbs — but it is universally accepted that triads hold a special place in the oral poetic tradition. Triads were used not only by medieval authors but have also been turned to by modern Kalmyk writers. Goals. The article introduces into scientific discourse a text of the Oirat version of The Story of Usun Debeskertu Khan which contains triads and quatrains; analyzes didactic contents of the literary triads and compares them to oral (folk) ones. Materials and Methods. The work primarily employs the comparative analysis method. Despite triads have been published in a number of folklore collections (along with proverbs and riddles), their contents have never been investigated in the context of written monuments. Results. The wide use of triads in ancient oral poetic traditions of Mongolic peoples is evidenced by works of researchers from Mongolia, Russia, and China. So, it has been revealed that triads are not identical to riddles, constituting a separate Mongolic poetic genre and having been explicitly used in didactic written monuments as a special form of homilies. Conclusions. The Story of Usun Debeskertu Khan is a didactic composition containing triads and quatrains, the latter — judging from their contents and functions attributed — being essentially edifying (moralistic), which thus makes it possible to finally distinguish them from riddles as such.

scholarly journals A Poetics of Reciprocity: Elizabeth Barrett Browning's Ballads and Sonnets

2021 ◽  
Author(s):  
◽  
Rose Harriet Sneyd
Keyword(s):  
Speech Acts ◽  
Mikhail Bakhtin ◽  
Elizabeth Barrett Browning ◽  
The Novel ◽  
Poetic Language ◽  
Literary Language ◽  
Sonnets From The Portuguese ◽  
Social Act ◽  
Selection Of ◽  
The Way

<p>This thesis considers the way in which a selection of the poetry of Elizabeth Barrett Browning (henceforth to be referred to as EBB) exhibits what I will refer to as a poetics of reciprocity. My focus is on EBB’s ballads of the 1830s and 40s, her amatory sonnet sequence Sonnets from the Portuguese, and those ballads found in Last Poems. Lyric poetry is, traditionally, said to be defined by a monologic lyric speaker. Mikhail Bakhtin, for instance, pronounced that the mono-stylistic and cohesive nature of poetic language distinguished it from novelistic prose. However, it was, in part, Bakhtin’s insistence that poetry was by definition monologic that triggered my dialogic investigation of EBB’s poetry. Despite the range of work, both formal and temporal, that I consider in these three chapters, the discussion is nevertheless united by a consideration of EBB’s fascination with language, and her concomitant departure from the conventions of the monologic lyric speaker. In her early ballads, I explore EBB’s presentation of unreliable speakers and protagonists. These figures prove elusive to read because of their use of duplicitous or untrustworthy language, or they falter in the act of interpretation themselves. In EBB’s Sonnets from the Portuguese, I consider the way in which the poet opts for the language of conversation to evoke, in a fresh and powerful manner, the love between her speaker and her beloved. I suggest that this strategy, in part, compensated for the way in which clichéd literary language used to describe the experience of loving had been drained of vigour. Finally, in Last Poems I consider EBB’s presentation of speech as a social act that is influenced by the speaker’s status in society. In these late ballads, women’s attempts to wield language in an effective way are demonstrated to be dependent upon various conditions that reduce or enhance the potency of their speech acts. While Bakhtin’s essay “Discourse in the Novel,” in addition to the work of critics such as E. Warwick Slinn and Marjorie Stone, has been vital to the formulation of my thesis, I have, largely, relied upon a formalist approach to EBB’s poetry. In my close readings I examine EBB’s interrogation of language in her ballads and sonnets in light of her conscientious use, in particular, of metre and rhyme.</p>

Neue Gedichte

Rilke ◽  
2020 ◽  
pp. 86-166
Author(s):  
Charlie Louth
Keyword(s):  
Poetic Language ◽  
Poetic Tradition ◽  
Time Translation ◽  
New Material ◽  
Sonnets From The Portuguese ◽  
To Come ◽  
First Time

This chapter attends to the idea of ‘thing-poetry’, but less as a poetry about things than as poems which aspire to the condition of things. Rilke’s new material sense of poetic language, under the influence of Rodin, is given special attention, his deliberate efforts to come to terms with the specificity of language, his awareness of it as a medium that is ‘obstacle and vehicle’ (W. S. Graham) at once. Rilke’s use of the sonnet is important here, and a sign of Rilke’s new consciousness of poetic tradition. In this context there is a comparative reading of Rilke’s sonnet ‘Leda’ and Yeats’s ‘Leda and the Swan’. For the first time translation becomes an integral part of his work (Elizabeth Barrett Browning’s Sonnets from the Portuguese). This is looked at, along with the influence of Baudelaire, who shaped Rilke’s whole experience of Paris, and whose importance, though acknowledged, has still not been given the attention it deserves.

“Some Interchange of Grace”: “Saul” and Sonnets From the Portuguese

1987 ◽  
Vol 15 ◽  
pp. 55-68 ◽  
Author(s):  
Mary Rose Sullivan
Keyword(s):  
Robert Browning ◽  
Elizabeth Barrett Browning ◽  
Men And Women ◽  
Shared Experiences ◽  
Sonnets From The Portuguese ◽  
The Way

That Robert Browning and Elizabeth Barrett Browning had an influence on each other's poetry is difficult to doubt but more difficult to prove; their similar backgrounds and shared experiences, and a reticence in both to discuss their working habits, generally make attempts to fix possible influences between them problematic at best. Two periods of their shared lives, however, do provide an unusually clear record of the way each affected and was affected by the other's writings: the first, from their introduction in January 1845 until their marriage in September 1846, during which time Browning completed the last two numbers of his Bells and Pomegranates series and Elizabeth Barrett wrote her Sonnets from the Portuguese, and the second in 1855, when Browning published Men and Women. Their courtship letters show that they considered themselves engaged in a unique poetic as well as personal partnership, and their poetry of this time, together with Browning's 1855 volume, reveals that their creative interaction was more extensive than even they realized. Of particular note is the way that Browning's first version of “Saul” helped to shape the theme and imagery of Sonnets from the Portuguese, which in turn influenced his later conclusion to “Saul.”

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