Translation Pragmatics of Phonic Expressive Means in English Poetic Texts

Phono-stylistics is a promising research area. Expressive power of a text depends on its phonetic imagery. The research objective was to identify the pragmatic features of phonic expressive means in translations of contemporary English poetry. The methods included a comparative analysis, phono-semantic and phono-stylistic interpretation of the original poems and their translations, and O. N. Tynyanov's law of versification. The method of sound counting developed by E. V. Elkina and L. S. Yudina was used to calculate the frequency of sounds in the context of phono-semantic analysis in the Russian translations. The method of sound counting designed by Tsoi Vi Chuen Thomas was used to calculate the frequency of sounds in the original English texts. The theoretical foundation of the research was formed by the works by M. A. Balash, G. V. Vekshin, Z. S. Dotmurzieva, V. N. Elkina, A. P. Zhuravlev, L. V. Laenko, F. Miko, L. P. Prokofyeva, E. A. Titov, etc. The study featured the phonics and pragmatics of S. Dugdale’s poem Zaitz and its three translations made by E. Tretyakova, A. Shchetinina, and M. Vinogradova, and C. E. Duffy’s Anne Hathaway translated by Yu. Fokina. The author compared the pragmatics of sound imagery in the English originals and their Russian translations. The research made it possible to define the role of sound imagery in the poetic discourse, as well as the relationship between the sound organization of poetic speech and the pragmatic value at the phonographic level. The results can be used in courses of translation, stylistics, and phonetics.

A corpus-based approach to the lemmatisation of Old English superlative adverbs

This article aims to discuss the lemmatisation process of Old English adverbs inflected for the superlative from a corpus-based perspective. This study has been conducted on the basis of a semi-automatic methodology through which the inflectional forms have been automatically extracted from The York-Toronto-Helsinki Parsed Corpus of Old English Prose and The York Toronto-Helsinki Parsed Corpus of Old English Poetry whereas the task of assigning a lemma has been completed manually. The list of adverbial lemmas amounts to 1,755 and has been provided by the lexical database of Old English Nerthus. Additionally, the resulting lemmatised list has been checked against the lemmatised forms compiled by the Dictionary of Old English and Seelig’s (1930) work on Old English comparative and superlative adjectives and adverbs. Through this comparison, it has been possible to verify doubtful forms and incorporate new ones that are unattested by the YCOE. This pilot study has implemented for the first time a methodology for the lemmatisation of a non-verbal class and can be further applied to those categories that are still unlemmatised, namely nouns and adjectives.

‘The best English-Irish poetry before Yeats’

‘[T]he best Irish-English poetry before Yeats’: thus, in The Listener in 1970, John Holloway described a genre of exuberantly worded songs that employed complex patterns of rhyme deriving from Irish language poetry, many of which were among the nineteenth-century ballad sheet collections of Sir Frederic Madden, held in Cambridge University library. Items in this form seem to have surfaced in the mid-eighteenth century, soon after the appearance of the earliest eight-page songbook to be printed in Ireland, and probably the first anywhere in the ‘British Isles’. This essay traces the development of this genre towards, perhaps its finest manifestation, the luxuriously florid bawdry of ‘The Cuckoo’s Nest’, probably composed by the northern-born but Drogheda-based weaver poet John Sheil (c.1784–1872). Many commonly known and apparently innocuous traditional songs are found as bawdry in early collections and employ a range of sexual metaphors, well understood at that time among men but not (openly) among women or more recently. The combination of verbal flourish and double entendre together with a consummate control over the complexity of rhyme and rhythm forced John Holloway to recognize vernacular verse as, not a debased version of ‘educated’ poetry, but as a genre with its own standards, a parallel form that bears comparison at a high level.

Subramania Bharati and the Rhetoric of Enthusiasm

This article identifies the rhetoric and sentiment of enthusiasm as a certain specifically Tamil historical-aesthetic-political conjuncture that operates in both an affective register and as a structure of publicity. The “people,” who emerge as a subject of politics within the crucible of the swadeshi movement, are both “the masses” (a populist political subject) as well as the anticipated citizens of a future sovereign democracy. To distinguish the Tamil conjuncture from the histories of European populism, Part I outlines the political implications of public enthusiasm in the European Enlightenment. Kant, in his articulation of enthusiasm as a form of reason, is the critical figure here. Whereas in English poetry enthusiasm was domesticated and contained, Bharati’s writings and their impact exemplify its very different trajectory in colonial India. In Part II, Bharati’s poetry is analyzed under three heads: the enthusiasm it manifests, its language and rhetoric, and its focus on nationalism and social reform. Part III describes the communicative technologies and the formation of Bharati’s public and then the colonial conjuncture in which his work encountered censorship and prohibition. The conclusion underlines the significance of Bharati’s writings and the relevance of the political enthusiasm they generated—and still do.

Thomas Percy

Thomas Percy (b. 1729–d. 1811) is primarily remembered for his seminal collection of ballads, Reliques of Ancient English Poetry. However, the 1765 publication of this text was only the midpoint of an extraordinarily prolific decade. After publishing some original poems and a translation of Ovid’s elegy for Tibullus in the 1750s, the 1760s also saw Percy produce the first Chinese novel translated into English, Hau Kiou Choaan (1761); Miscellaneous Pieces Relating to the Chinese (1762); The Matrons (1762); Five Pieces of Runic Poetry (1763); a new translation of The Song of Solomon (1764); A Key to the New Testament (1766); and his influential study of “Gothic” art and society, Northern Antiquities (1770). He also worked on his long poem, The Hermit of Warkworth (1771), and edited the Northumberland Houshold [sic] Book (1770). This only covers his published works: during the same period, he worked on several other editing and translating projects—preparing an edition of The Spectator and other journals by Addison and Steele, for example—which never reached print. As Percy rose through the ranks of the Anglican clergy—becoming one of the king’s chaplains by 1770, Dean of Carlisle in 1778, and finally Bishop of Dromore in 1782—he stopped publishing new works, perhaps because he thought it detracted from the dignity of his ecclesiastical office. Nevertheless, his translations of Spanish ballads—Ancient Songs, Chiefly on Moorish Subjects—were ready for press in 1775 (though they were only published in 1932). His extensive correspondence also reveals his continuing interest in literary matters, and he was certainly ready to lend a hand to other scholars, providing they were sufficiently polite. In antiquarian circles, Reliques of Ancient English Poetry attracted considerable attention: his theory of minstrels’ high status was disputed, and his editorial practice was (and remains) controversial. The literary reception was more positive. Although Percy’s own ballad, The Hermit of Warkworth, was mercilessly parodied by Samuel Johnson, the medieval ballads he anthologized were profoundly important to Romanticism, both British and German. As critics increasingly attend to Percy’s work beyond Reliques of Ancient English Poetry, other aspects of his influence—including troubling legacies—have come to light. His work on Spanish and Chinese material has been taken as foundational for “world literature,” and scholars have debated whether Percy’s treatment of China is orientalist, or whether there are ethnonationalist and racialist elements to Percy’s Gothic interests.

Poetry, Constitution and The Liberal Trienium: English, German, Italian, Portuguese and French literary texts on the Spanish Liberal Revolution (1820-1823)

Recensión de / Review of - Ingrid Cáceres Würsig and Remedios Solano, Kings and peoples German Poetry of the Liberal Triennium. Analysis and Bilingual Annotated Corpus. Ediciones Universidad de Salamanca, Colección Aquilafuente nº 273, Salamanca, 2019, 334 pp. - Gabriela Gândara Terenas and Beatriz Peralta García, Tell the Spaniards: Portuguese Poetry of the Liberal Triennium. Analysis and Bilingual Annotated Corpus. Ediciones Universidad de Salamanca, Colección Aquilafuente nº 274, Salamanca, 2019, 311 pp. - Cristina Clímaco and Lola Bermúdez Medina, Spain’s Tears: French Poetry of the Liberal Triennium. Analysis and Bilingual Annotated Corpus. Ediciones Universidad de Salamanca, Colección Aquilafuente nº 275, Salamanca, 2019, 607 pp. - Vicente González Martín and Mercedes González de Sande, A desired Constitución: Italian Poetry of the Liberal Triennium. Analysis and Bilingual Annotated Corpus. Ediciones Universidad de Salamanca, Colección Aquilafuente nº 276, Salamanca, 2019, 605 pp. - Agustín Coletes Blanco and Alicia Laspra Rodríguez, Romantic Land: English Poetry of the Liberal Triennium. Analysis and Bilingual Annotated Corpus. Ediciones Universidad de Salamanca, Colección Aquilafuente nº 277, Salamanca, 2019, 476 pp Fecha de envío / Submission date: 23/10/2020 Fecha de aceptación / Acceptance date: 3/01/2021

AN ANALYSIS OF FIGURATIVE LANGUAGE USED IN POEM OF THE ECHOING GREEN BY WILLIAM BLAKE

The purpose of this research is to study an analysis of figurative language in poetry. People are interested in reading literary books because reading literary books makes them to understand about life, human and nature. Reading literary books can get pleasure. The language used in poetry make more complex. Figurative language can make create interesting poetry. It is important to know the meaning of poems. Sometimes people read poetry without understanding the meaning conveyed. Poetry is a collection of words that express emotions or ideas into a literary text. In poetry there are many elements of language. English poetry can help students to improve their vocabulary skills. Poetry improves skills in listening word for word conveyed from the reader of the poem. Poetry analysis examines the elements of language to understand literary works as a whole. Analyzing a poem line by line allows you to learn about its structure, form, language, metric patterns, and themes. Hopefully this research can be widely accepted so that readers will be interested in knowing more about poetry and it is nuances

Miscellaneous Spaces of Enlightenment: Dodsley, Percy, and the Midcentury Verse Miscellany

Using current scholarship on verse miscellanies to contextualize a comparison of Robert Dodsley's Collection of Poems by Several Hands (1748) and Thomas Percy's Reliques of Ancient English Poetry (1765), this article considers how the verse miscellany was used to different purposes by editors in the middle decades of the eighteenth century. It was, variously, a space in which to preserve poetry, to test readers’ appetites for the unfamiliar, and to establish or challenge poetic taste. Most of all, however, the verse miscellany functioned as a virtual space of the Enlightenment that encouraged literary experimentation and innovation. Editors like Dodsley and Percy used paratext not only to justify their specific poetic choices, but also to establish identity of their collection. In Dodsley's case, obvious editorial interventions are absent and the typography is elegant, while for Percy, the paratext is busy and noisy, an alternative space in the miscellany through which the collection's antiquarian character is expressed. Both collections test their reader's willingness to engage with less well-known material. This article suggests that although the two poetic collections seem to have little in common, they are both concerned with ideas of literary preservation and loss, on the one hand, and cultural progress and decline, on the other, that helped to establish the poetic miscellany as a key print genre of the Enlightenment.