Baroque Poetry Research Articles

The Excess in Italian Baroque Poetry and Some Translation Techniques

The Excess in Italian Baroque Poetry and Some Translation Techniques

Hedonist and Theologist Narratives in French Baroque Poetry and Spiritual Verses by the English Metaphysicals: Poetising Author’s Experience vs Sacralising Privy Feelings

In the poetic diversity of Western European Baroque, the worldview was dominated by the search for unity in the contradictions of existence, which almost always immersed the man in a theological context. This is especially evident in the works by the seventeenth-century English Metaphysicals, whose unique style is considered from the perspective of the European continental poetic tradition. At the same time, appealing to French Baroque poetry as a specific literary phenomenon compared to Donne’s school in England is determined by the historical and creative process that produces individual strategies of poetising an author`s experience vs sacralising privy feelings. The article discusses the originality of the means of poetic expression of worldview principles in French Baroque poetry and English metaphysical school, which are expressed in close connection with the author’s paradigms of hedonistic-religious vs spiritual vision of reality. These means are actualised at the image-plot and structural levels that determine the methodology based on conceptual approaches to comparative analysis with elements of hermeneutic, imagological, stylistic, and cultural-historical methods. The article emphasises that the profound considerations about the origins of the universe in love poems with hedonistic motives bring the works of the French authors (Théophile de Viau) closer to the verses of the English ones, who discuss serious issues of human existence, religion, world order, etc. (A. Marvell) even in love poems. The religious works of the French poets (d’Aubigné, de Sponde, La Ceppède) contrast with metaphysical ideas about the transcendent world (J. Donne, G. Herbert, F. Quarles, Н. Vaughan) precisely by interpreting the Baroque themes of the transience of earthly existence, imperfection of human being, that are represented defectively from the perspective of style. Metaphysical tension and emotional release of the most secret movements of the soul raise the spiritual verses to the level of contemplative poetry.

Translate Italian baroque poetry into Romanian

Abstract The paper illustrates the Romanian solutions in translating Italian baroque poetry represented by Giambattista Marino and his XVII century followers: redundancy, enumeration, mythological allusions, extravagant concettos, syntactic puzzles and the restrictions imposed by the hendecasyllable.

Chrystal Ann Chemris. The Spanish Baroque and Latin American Literary Modernity: Writing in Constellation

Chrystal Ann Chemris. <i>The Spanish Baroque and Latin American Literary Modernity: Writing in Constellation</i>

ЛІНГВОПОЕТИЧНИ ЙАНАЛІЗ ЛАТИНСЬКОМОВНОГО ПАНЕГІРИКА "ITER LAUREATUM"

This paper presents the linguopoetic analysis of the Latin panegyric "Iter Laureatum" by Hryhorii Vyshnovskyi, dedicated to Josaf Krokovskyi, the former rector of Kyiv-Mohyla Academy. The panegyric is analyzed within the historical and cultural context of that time. The purpose of this study is to give the idea of the structure, poetic means and individual author's performance of the genre in Latin language. The relationship between Ukrainian baroque poetry and antiquity is defined in precedent texts. Precedent texts actualize well-known cultural phenomena, thereby creating the effect of recognition. It is proved that the transfer of the narrative to the mythological plane creates the effect of historicity and legendary nature of the event or personality, which benefits panegyric pathos. The article focuses on lexical poetic means (analysis of poetic interpretation of mythological names) and stylistic means (the amplification, anaphor, use of metaphors and comparisons). The mythological names are classified according to the main thematic groups: geographic names, representing the ancient and medieval realities (Regna Mauri, Regna Lydiae, regna Arabum, Canopus, Thracia, Rhodopa, Troja), personal names of mythological characters (Apollo, Melpomene, Polyhymnia, Thalia, Siren, Echo, Hercules), words of musical art (chorda, carmen, lyra, chorus, nablium), martial arts (Mars, Scipio, trophaeum). The following metaphors were defined for description of patron's dignity: "majorum decus"; "pater Rossiadum"; "patronus pupillae sortis"; "victor cordis"; "princeps pectoris". We direct attention to the realization of author's narrative strategy of the will-expression, which is to exalt the patron's generosity and express the affection and loyalty towards him. It is discussed the poet's intention to cross the time barriers and transfer the mythological realities to the Ukrainian ground (Borysthenes, Siren Kioviensis).

О роли «страстных» ритмов французской поэзии XVII — начала XVIII века в жанрах chanson à danser и danse chantée

The article is devoted to the rhythms of French Baroque poetry, which are considered as an important source of emotional expressiveness in the dances of that time period. One example chosen is the Sarabande, as presented in the genres of the chanson à danser and the danse chantée by French composers of the 17th and the early 18th centuries. Special attention is given to the so-called unbalanced phrasing of poems, which leads to the emergence of ‘passionate rhythms.’ Their expressiveness was stipulated by the three types of accents present in the French spoken language — the grammatical, the logical and the pathetic (oratorical), which, according to Jean-Jacques Rousseau, create an impact on musical intonation and are important for composers who write music in dance forms. The equivalents of the grammatical accents, which mark the open or the closed sounds, as well as the brevity vs. the length of the syllables, are presented by the downbeats and the offbeats of the measures. The logical accents indicate the connections and relationships of the expressed thoughts uttered in the sentences of speech. The pathetic, or oratorical accents express the feelings of the speaker and communicate them to the listeners.

Acrostic in Byzantine Hymnography and Slavonic Spiritual Poetry in Byzantine Hymnography

The purpose of the work is to investigate the functioning of the acrostiс verse in various contexts of the spiritual culture of the European space. This ancient form is used in Old Testament poetry, Byzantine hymnography, Ukrainian sacred monody and spiritual song. The methodological basis is the application of systemic and complex approaches, which ensured the establishment of valuable social and cultural functional elements within the historical development of mankind. The use of comparative method of research contributed to the identification of structural models that ensured the integrity and systematicity of the evolution of culture on the example of form-forming structures. In this context, we also use the heuristic method of research, which contributes to the modeling of structural connections within cultural and artistic forms. The use of the specified research methods contributed to obtaining own theoretical results. The scientific novelty of the study is determined by the originality of the theoretical principle of comparing the form of the acrostic in different genres over time intervals. Conclusions. The ways of arranging poetic texts, which laid the foundations of Byzantine hymnography, are a complex system formed on the basis of ancient metrical and melodic constructions. The acrostic became the evidence of the adaptation of such experience of ancient forms of poetry – as a source of a number of important form-creating processes. The long-term use of the acrostic is evidence of the use of liturgical experience in the context of synthesising the “technological developments” of ancient cultures and singling out among them the most functional, in particular, the acrostic.&#x0D; Key words: acrostiс, Byzantine hymnography, sacred monody, baroque poetry, Bohohlasnyk, spiritual song.

Wielość masek w Masce Stanisława Lema. Źródła, konteksty, powinowactwa

The paper is devoted to The Mask (Maska) by Stanisław Lem, one of the best known short stories in the literary output of this Polish novelist. The main goal of the article is to discuss the intertextuality of this tale which evokes many contexts, ranging from mythology, through medieval and baroque poetry, to contemporary science fiction artworks. The Mask recognizes a large variety of problems, such as the definition of humanity, human gender and sexuality, as well as crucial emotions like love and the will to survive. Due to its catalogue of subjects, this short story can be interpreted on various levels and from the perspective of various methodological strategies. The texts of culture mentioned in the essay include: Jacek Dukaj’s Gothic, Ernst Theodor Amadeus Hoffmann’s The Sandman, Hans Rudolf Giger’s artworks, and Bjork’s music video All Is Full of Love.

Manuel Quiroz y Campo Sagrado: el juego del ingenio y la agudeza

Silent poems was a visual poetic genre practiced in Italy, Spain and their colonies during the 17th and 18th centuries. Being occasional texts, presented at contests and poetry fairs, they were not printed, but handwritten. In the case of New Spain, one of the few representatives of the genre that have been reached so far is Manuel Quiroz Campo Sagrado (ca. 1751-1821). This communication makes a reading of three silent poems contained in the manuscript Afectos tiernos al santísimo sacramento de el Altar. The document is in the Biblioteca Franciscana (Cholula) has recently been included in the author’s bibliography and has not yet been studied by any specialist. The poems are described and analyzed under the precepts of art and ingenuity, present in conceptual baroque poetry, although the case of Campo Sagrado is special, since it is a late representative.

Stylistic Change in Early Modern Spanish Poetry Through Network Analysis (with an Especial Focus on Fernando de Herrera’s Role)

Early Modern Spanish literature, also known as Golden Age Spanish literature, is a well-established period in the History of Spanish literary tradition, covering from the beginning of the sixteenth century to the end of the seventeenth century, from Renaissance to Baroque works. In the case of poetry, the stylistic change from one aesthetic to the other has been examined from a historical point of view, with some scholars considering a transitional group of poets between both stylistic movements, and many pointing to the writer Fernando de Herrera (1534–1597) as a bridge between the Renaissance style of Garcilaso de la Vega (1501–1536) and the Baroque of Luis de Góngora (1561–1627). This paper examines the stylistic change from Renaissance to Baroque in Spanish poetry and Herrera’s place on it from a quantitative, computational point of view, applying a methodology which combines Stylometry and Network Analysis to a big corpus of poems and authors writing in this period. The resulting stylometric network for Renaissance and Baroque poetry proves there is a computationally measurable chronological evolution in the texts of this period, as well as a change of style from Renaissance to Baroque, and supports the existence of a transitional group of poets between these two literary movements, one of which is Fernando de Herrera.

«SHADOW» TRAIL OF THE NEUROART: FROM THE SACRED MONODY TO THE EUROPEAN PAINTING

The article focuses on the transformation of the image of the shadow in the art of different time periods. Different forms of its reflection are noted depending on the plane of image functioning. In the texts of the sacred hymnography, we find the perception of the shadow as a generalized symbol of protection, which arose on the basis of the peculiarities of the climatic conditions of living in the East. Instead, her mobility was reflected in images of a short life and a symbol of the Old Testament, which was replaced by the light of evangelical teaching. This interpretation of the shadow continued to be used and deepened in Ukrainian baroque poetry and Hryhoriy Skovorda works. Also considered the interpretation of the shadow as a metaphysical symbol that penetrates in Plato’s mythological thinking and Carl Gustav Jung's analytical psychology. The symbol of the shadows of Plato's cave in juxtaposition with Jung's archetypal imagery points to the deeper layers of human thinking. The irrationality of perceiving the world in the form of shadows on the wall or immersion in the dark layers of the subconscious emphasizes the importance of research into the human psyche and thought processes. The emergence of the newest scientific direction neuroart, acquires new opportunities the study of the mental processes related to artistic expressiveness. The persistence and relevance of the image of the shadow for thousands of years focuses attention on the key role of man, his mental activity and creative potential in creating his own picture of the world. In this way, the integrity of the perception of art of various styles is built, and the possibilities of neuroscience will allow to explore the deep inspirations of human creative thinking.

Смислотворча функцiя архаïзмiв вiршiв Данила Братковського у перекладi Валерiя Шевчука

The semantic loading of archaisms in Ukrainian translations of Danylo Bratkowskyi’s poems by Valerii Shewchuk is analyzed in the article. They are separated from another layer of outdated vocabulary – historicisms in modern language. Their belonging to different groups is indicated in terms of structure and content. Taking into account the structure of archaisms, we distinguish stylistic, morphological, word-formation, phonetic and lexical groups. Semantically we should consider that there are complete and superficial archaisms, so they perform different functions in the translated text and in the original text. In the publication attention is paid to the level of adequacy and equivalence of translated baroque poetry. The prospects of translation of the ancient text with the use of archaisms are determined. Among the words-realities in the Ukrainian versions of Bratkowskyi’s poems we identify historicisms and a small group of archaisms consonant with them, which either have synonymous equivalents in modern Ukrainian or had them not so long ago, in the 20th century. Very often this type of vocabulary refers to public positions, professions, household items, etc. In this case the technique of archaizing the text is fully justified, as it conveys the spirit of antiquity and reproduces the linguistic richness of the ancient kingdom of Poland, which consisted of several nations and which is no longer on the world map. The most common group are archaisms of the classical type, which are divided into subgroups by the nature of creation. In Ukrainian translations of Bratkowskyi we find their phonetic, morphological, word-forming and semantic variations. Regardless of the type of creation, all these obsolete words are used for a single purpose – imitation of the Baroque epoch, from which we are separated by three centuries. Word-forming and lexical archaisms predominate among them. Most of them perform the superficial function of archaizing the text without significantly changing its content. To the individual translation style we assign so-called pseudo-realities and pseudo-archaisms, which, thanks to the preserved transcription of words from the original transfer of Polish words to the Ukrainian lexical ground, gain an old-fashioned flavour. The number of such authorial interpretations is very significant, so they must be allocated to a separate group. Descriptive translation in this case would be most appropriate and equivalent to the original texts. It can be concluded, on the basis of the conducted research, that archaisms are one of the most numerous groups of vocabulary in Ukrainian translations of Danylo Bratkowskyi’s Polish language poetry. Phonetic and lexical (semantic) archaic groups predominate among them and are significantly widespread due to the translator’s creation of his own words that correspond to the Polish original definitions through transcription. We can define this individuality as a tendency for polonization of speech that is often characteristic of dialectal vocabulary.

A una flor nacida en una calavera: En torno al concepto de propagación contextual

This study deals with the way in which the literary motif of the flower born in a skull was transmitted. In particular, it is analyzed the textual formulation that emerged in baroque poetry and how it was projected later in several cultural contexts. In addition, this analysis tries to illustrate the concept of contextual propagation, which refers to a process of literary transmission that explains the survival and evolution of certain texts through new channels of expression involving a change in literary genre and even expressive medium.

Las constelaciones literarias como proyecto educativo para incentivar la lectura del género poético: “las cuatro galaxias de Góngora

For some time now, many researchers have shared the conviction that the literary education of adolescents requires other pathways than those habitually travelled. With the intention of renewing educational initiatives, a pedagogical intervention proposal is presented based on the concept of “literary constellations” by Jover, 2007, on the teaching innovation strategies of gamification. In this context, an educational innovation project focused on promoting the reading habit, entitled “Góngora’s Four Galaxies: A Universe of Stars to be Discovered,” is presented. The aim of that proposal is to encourage reading of the poetic genre that consists in the creation of four reading itineraries from four poems by the baroque writer Luis de Góngora y Argote. The results obtained have been positive, thanks to this initiative. Not only do students improve their literary competence, but they also increase their interest in baroque poetry by relating it intertextually with diverse artistic productions and, above all, close to their contemporaneity.

Nuvole barocche: Clouds as synesthetic metaphors across baroque poetry and music

In his 1961 song “Nuvole barocche” (Baroque Clouds), Italian songwriter Fabrizio De André commented on the fascination exerted by colorful clouds at sunset and their artistic representation as canonized by the visual culture of the baroque, fittingly emblematized by the transience of clouds themselves. The domain of the visual is turned into that of the acoustic, triggering the synesthetic interaction of forms of sense perception, which are usually conceived as separate from one another. The song thus reminds us that the polysemous nature of clouds makes them particularly suitable for forms of artistic representation that, moving across mediums, blur the boundaries of sense perception. This essay looks at how such interplay of sensory layers actually works and to what extent it fits the rhetoric and poetics of the Baroque. In order to do so, I chase the sound of baroque clouds through arias and songs that play with the ambiguous semantics of meteorology and make the singing voice convey anxieties about topics as diverse as the course of time, the volatility of love, devotional and spiritual concerns. After framing the discussion in rhetorical terms, with a focus on metaphors and similes, the essay examines works by John Dowland, Francesca Caccini, Sigimsondo D’India, and George Frideric Handel in order to assess some of the ways in which the unstable nature of clouds lends itself to a kind of metaphoric code that is best described in synesthetic terms.

Begräbnisdichtung im russischen Barock: Simeon Polockijs Threnodien

Summary This article is about Simeon Polotskii’s voluminous lament of 1669 about the death of Mariia Il’inichna, the wife of tsar Aleksei Mikhailovich. The lament is analysed as a specimen of baroque court poetry and as a poetic cycle. Special attention is paid to its religious content. What are the lament’s principal ideas about death and the afterlife? How does it treat the central motif of contemptus mundi, the Christian contempt of life on earth? And how does it relate to the religious tenets of the Orthodox Church?

Metaphorical and Strategic Competence in the Spanish Language Teaching Classroom as a Foreign Language through Task-Based Learning Methodology

This article focuses on highlighting the application of discourse analysis in the Spanish Language Teaching as a Foreign Language. Especially, it does emphasize the importance of the conceptual fluency acquisition, as a strategic competence in particular, and as a communicative competence in general for non-native speakers of other languages enrolled in Spanish courses as a foreign language. That is, it does draw attention to Metaphorical Competence (MC), which can be defined as the ability to acquire, create, and interpret metaphors in the target language. For this purpose, we have chosen a Golden Age poet, Gongora, considered by most literary critics as the most influential and important poet in Spanish-language poetry, whose works represent the most admirable literary masterpieces in the western classical literature and Baroque poetry. In the same way, we would like to bring to light his literary value, excellent, and didactic potential for teaching poetry in the second language classroom, underpinned by a Task-based Learning methodology.

Засоби увиразнення української барокової поезії: лінгвостилістичний погляд

The mysterious world of Baroque poetry has scientific interest among both literary critics and linguists for a long time. However, despite some elaboration of the problem, there are some gaps that need linguistic and stylistic coverage. It determines the relevance of the consideration of expressive and pictorial means of different linguistic nature, manifested in the poetic works of the Baroque era. The purpose of the research is to identify and characterize the means of linguistic and artistic expression of the language of the Ukrainian Baroque poetic. Fundamental in the formation of a system of artistic means, realized in Baroque poetry at all levels of language, is a combination of rational and irrational principles. In the poetry of that time, the “atmosphere of the literary game” was consistently created, which was embodied with the help of certain linguistic and expressive units. The author concludes that Ukrainian Baroque poetry is characterized by the use of various tropes and stylistic figures, including assonance and alliteration, equiphony and metaphony, paronymic attraction and phonetic epanalepsis, sound imitation and capitalisation, metaphor and metonymy, comparison and epithets, personification and periphysis, hyperbole and meiosis, parallelism and gradation, antithesis and oxymoron, polyptoton and annomination, doubling and anadiplosis, anaphora and epiphora, homeothelium and chiasm, amplification and polysyndeton. Among them, the artists mostly used figures based on exaggeration, opposition, repetition, and metaphor. The masterful combination of different stylistic means ensured the creation of an expressive, unique and perfect linguistic and artistic picture of that time. The logical continuation of the started research is to find out the influence of the Baroque tradition of decorating the fabric of a poetic work on the further formation of the Ukrainian poetic language.

Рецепція Біблії у символіці українського поетичного бароко

For the poets of the Baroque period, the Bible became a means of artistic expression of their feelings, their vision of the earthly, the real, and the divine, their understanding of the place of God in human life and the place of a human in the universe. Old Ukrainian literature actively used quotations from the Bible, its images, plots, and symbols. The symbols of Baroque poetry were ambiguous, arbitrary, and contradictory, like the epoch in which this poetry was created. The objectives of the article are: to determine semantic content of biblical symbols in the Ukrainian Baroque poetry, to offer reinterpretation to their meanings in the Ukrainian poetic discourse of the Baroque period, to clarify the stylistic functions of symbols. The symbolic images of the Ukrainian poetic Baroque have deep philosophical and biblical roots. Several semantic groups can be singled out here: 1) names of objects (bowl, cross, door, mirror, candle); 2) names of creatures (bird, wings, wolf, lamb, hen, shepherd); 3) names of plants (garden, vine, rose, lily, grass, flower); 4) astral names (sun). However, symbols appear on a certain national and historical basis and presuppose the common experience of the writer and the reader. A vivid example of this, in our opinion, is the symbol of a garden (in Ukrainian “sad”, rhyming with two other commonly used words, “vynohrad” and “vertohrad”). The symbolic perception of a garden is recorded in the Bible in the Song of Songs, in the Book of the Prophet Isaiah, and in the Gospel of St. John. In Baroque literature, the symbol of a garden has acquired an extraordinary semantic development. The garden was also called “vertohrad” – a word well known to the readers of the time. Therefore, poets calling their works “vertohrad” / “vynohrad” or using this image turned to the ideas that readers had already formed: Ñìеðòü, ÿê óæ, â òîì ñÿ ìëàäîì êðûåò âеðòîãðàäh - æ³é îïàñíî, ñе òè ãðîá â ñеì ïðеäëеæèò ñàäh (Українська (Крекотень) 37). Undoubtedly, for the contemporaries of the Baroque poets who knew the Bible and its image system well, biblical and artistic symbols meant more than for us, the people of the beginning of the XXI century, and therefore their artistic and aesthetic value was more significant. However, they are valuable components of the Ukrainian language worldview not only in the XVI–XVII centuries, but also in our historical path in literature and language. In this aspect, it will be promising to trace the durability of use of the analyzed symbols with established meanings in later poetic texts, and to follow the reinterpretation and the emergence of new meanings of symbols.

Female Images in European Baroque Poetry (Based on the Verses of Ivan Velychkovsky, Danylo Bratkovsky, Robert Herrick, and Andrew Marvell)

The following paper explores the specificity of female images with regard to the peculiarities of their formation in European poetry of the Baroque period on the examples of Ivan Velychkovsky’s works. The oeuvre of this striking representative of seventeenth-century Ukrainian literature is compared with the verses of the Polish-language author Danylo Bratkovsky as well as English Baroque epigrams by Robert Herrick and verses by Andrew Marvell. Comparison of poetic specimens belonging to different linguistic and cultural spaces is possible because, in spite of the different local mentality, all the above-mentioned poets are carriers of the common Baroque worldview formed on the basis of the Holy Scripture, Christian theology, and the heritage of Greek and Roman antiquity. In the course of our research, we observed the existence of common Baroque poetry traits (regardless of the place of genesis and confessional affiliation) in the perception of women and the formation of female images. All of the mentioned poets followed the bipolarity and Baroque antithesis of women’ imagery. All of them, in one way or another, derive their judgments from the reception of the established biblical stereotypes. In view of the insufficient reflection on this issue in contemporary Ukrainian literary criticism and in order to arrive at a more comprehensive outline of female images in the seventeenth-century poetry, we use a method of comparing Ukrainian, Polish, and English samples of Baroque verses in terms of their features and traits, characteristic for the works of this period. This article proposes to create a generalised Baroque image of the woman, outlining her place in the society at that time, by comparing the works of the representatives of different local mentalities.