Classical Poetry Research Articles

Say What Your Longing Heart Desires: Women, Prayer, and Poetry in Iran

Say What Your Longing Heart Desires: Women, Prayer, and Poetry in Iran

Lyrical Looking and World Visions in Late Qing Poetry on Overseas Journeys

Focusing on two sets of classical-style poems describing the experience of climbing up the Eiffel Tower and gazing upon the moon in exploratory overseas voyages, this contribution explores the visual imagination of the world (shijie) found in late Qing poetry. Instead of presenting an argument about the “revolutionary” transformation of classical poetry and poetics, this article shows how mediated poetic visions, fraught with complexity and tension, were a contested arena of conventional rhetoric and new travel experiences. It accordingly explores the underexamined terrain of the recurring tropes of “categorical associations” (lianlei ) and poetic empathy that structured late Qing poets' encounters with the “new world.”

The Image Restoration of the “Regional Image” in the English Translation of “The Sichuan Road”

In the study of "image" of Chinese classical poetry, the generation of "regional image" is quite different from the traditional image. Regional image often has a strong local color. Compared with other poetic images, the regional image formed by a certain geographical space, it has a relatively fixed geographical location and writing group. The regional image is an aesthetic process from the objective "representation" to the objective combination of "image". Regional image is more obviously affected by the internal laws of regional objective literature. Bashu region is characterized by its dangerous terrain, long culture and inclusiveness, which has formed a typical "regional image of Bashu" in ancient Chinese poetry. It is a unique branch of Chinese culture with distinctive regional color and profound spiritual connotation. Since the Sui and Tang dynasties, there have been countless poems and works related to Bashu regional culture. Among these works, “The Sichuan Road”is most typical one. This paper adopts case analysis and comparison method, comparing the translation of regional images in Yang Xianyi's and Sun Dayu's English versions of “The Sichuan Road”, aims to explore the cultural connotation of the Bashu nationality and the correct restoration of the Bashu regional image. It is expected to provide a reference for the study of ethnic culture in Bashu region and provide a new perspective for the study of Tang poetry and other poetry works related to Bashu.

Semantic Analysis Of Poetry “Fear No More The Heat O’ The Sun” By William Shakespeare

Classical poetry is still very popular today. But in this classic piece of literature, especially in William Shakespeare's poem "Fear No More the Heat of the Sun," it can be difficult to understand what the words mean. Therefore, this study aims to help poetry lovers understand the meaning of poetry using semantic analysis that focuses on the lexical meaning and denotation meaning. The dates in this sentence are the words of his four stanza verses of the poem which is the basic level of attention. The data acquisition technique is to reread each word many times. The data obtained were analyzed using dictionaries and encyclopedias. The results of this study were Poetry Fear No More The Heat O' The Sun By William Shakespeare Tells The Story Of Chimney Sweepers in this study was dominated by lexical meaning.

The Appearance of the Idea of War in the Contexts of Establishment and Beauty in the Divan of the Bosnian Aladdin Sâbit

Among the literati and scientists, the view is found that classical Turkish poetry prefers a separate literary expression, where literature when removed from society, reality, and sociality is at a certain level indifferent to the issues of society. Being involved with life will lead a poet to the reality of society and humanity, and the relevant art must have knowledge about signifiers to be noticed by the poet’s addressee.Metaphorical structures will increase the meaning of a text while evaluating literary texts. This article has come across depictions of war in their literal and figurative meanings in classical Turkish poetry and draws attention herein to the ethnosymbolist approach. The focus of Turkish classical poetry appears to be determinable as the metaphor of war. Based on this, metaphors in classical literature such as the image of a lover’s gaze as an arrow or her hair as a bow string are not meaningless. The flamboyant elements that a nation has stated have emerged in literature in its own language.The poets imply that the army is not in war for fighting but to clean the blood of the enemy with cupping or to shave their hair for free. For the poet, war is the natural healing that saves the corrupted world, and based on this idea, war is based on eliminating and correcting evil. This article will examine the couplets about war in the Divan of the Bosnian Alaaddin Sâbit, a 17th-century poet, in terms of embellishment and concretization.

Savaş Düşüncesinin Bosnalı Alaaddin Sâbit Divânı’nda Somutlama ve Güzelleme Bağlamında Görünümü

Akademide ve bazı edebiyatçılar, sanatçılar, çeşitli sanatlarla ilgilenen halk arasında klasik Türk şiirinin; toplumdan, gerçeklikten, sosyallikten uzak olduğu, bu edebiyatın ‘sırça köşkte’ belirli üslup seviyesinde toplumun, insanlığın meselelerine kayıtsızca ayrı bir edebi dil tercih ettiği görüşü kısmen de olsa yer bulmaktadır.Döneminin aynası şairin; toplumun, hayatın bir parçası olması muhakkak ki şairi toplum ve insanlık meselelerine, gerçekliğine yönlendirecektir. Bu gerçekliğin, muhatabı tarafından fark edilebilmesi için ilgili sanat dalının gösterenlerine dair bilgi sahibi olmak gerekmektedir. Edebî metnin gösterenlerinin de kelimelerden, mecazlardan oluşmasından ötürü edebî metinleri değerlendirirken gösterenleri, mecazlı yapıyı göz önünde bulundurmak metnin anlam katmanlarını açacaktır. Şairin kullandığı mecazlı dilin ifadede oluşturduğu farklılıktan kaynaklı, metni anlamada eksik kalındığı için şiire hakkıyla nüfuz etmek birtakım zorlukları beraberinde getirmektedir.Klasik Türk şiirinin mazmun sistemi içerisinde mecaza bağlı gelişen tasvirler klasik Türk şiirinin simgeci tarafına dikkat çekmektedir. Bununla beraber klasik Türk şiirinin merkezini savaş istiaresi olarak da belirlemek mümkün görünmektedir. Savaş istiaresine ve mazmunlara dayalı olarak sevgilinin bakışının oka, kılıca benzetilmesi; saçlarının halata, darağacına benzetilmesi anlamsız değildir. Cihangir bir devletin belirttiği şaşaalı unsurların hepsi edebiyatta kendi dili, estetiği içerisinde ortaya çıkmıştır. Şairler savaşla ilgili olarak ordunun savaşmaya değil; kanı kirlenen düşmanın kanını hacamatla temizlemeye, saçı uzayan düşmanın saçını vakıf berber hizmeti sunarak ücretsiz tıraş etmeye gittiğini güzelleme bağlamında belirtmektedir. Bu noktada şair için savaş; bozulmuş olan âlemin tabiatını kurtuluşa, selâmete erdiren doğal şifa olmakla beraber kötüyü, kirliyi ortadan kaldırmaya dayanmaktadır.Bu makalede, XVII. yüzyıl şairlerinden Bosnalı Alaaddin Sâbit’in Divân’ındaki savaşla ilgili beyitler, gösterenlerden hareketle güzelleme ve somutlama noktasında incelenecektir.

The Efforts of Suzanne Stetkevych in the Study of Arabic Poetry: The Poetry of Abū al-‛Alā al-Ma‛arrī as a Model

This essay examines the efforts of the American orientalist Suzanne Pinckney Stetkevych in her studies of the poetry of Abū al-‛Alā al-Ma‛arrī, which occupies a sizable space of her research interests. Stetkevych’s efforts in studying Arabic poetry are outstanding revealed by the copious research she has attracted. The present essay reviews the most prominent literature and critical reception of Stetkevych regarding her study of al-Ma‛arrī, analyzing the contents and methodologies used by researchers regarding her studies of Arabic poetry. The essay highlights the epistemological and theoretical references she has employed while studying Al-Ma‛arrī. It also connects those references with the broad pedagogical and procedural tools she has utilized while studying Arabic classic poetry in general. It is essential to emphasize that Stetkevych has enriched orientalist literature with remarkable critical contributions that are still worthy of consideration, review, and research.

Mausīqā al-Syi‘ri fī Dīwān al-Rāfi‘ī li Muṣṭafā Ṣādiq al-Rāfi‘ī (Dirāsah Taḥlīliyyah ‘Arūḍiyyah wa Qāfawiyyah)

Poetry in pre-Islamic era is sonsidered the foundation of true Arabic poetry with a classical form that use the 16 baḥr. Entering the modern era, Arabic literature is faced with western literature which has new rules in compiling poetry and many Arab poets prefer that new rule. Muṣṭafā Ṣādiq al-Rāfi‘ī was born in modern era, but he still uses the rules of classical poetry in compiling the Dīwān al-Rāfi‘ī. This study aims to find out the baḥr used and the disgrace of the qāfiyah in the Dīwān al-Rāfi‘ī. The method used is descriptive analysis. The results of this study are that the bahr used in the Dīwān al-Rāfi‘ī is thirteen baḥr, namely al-Ṭawīl, al-Mutaqārib, al-Wāfir, al-Basīṭ, al-Rajz, al-Sarī‘, al-Kāmil, al-Madīd, al-Raml, al-Khafīf, al-Munsarih, al-Mujtaṣ, and al-Mutadārik. While the disgrace of qāfiyah are al-Īṭā' and Sinad al-Ridf

A Common Humanity? From Poetry to Philosophy in Hugo Grotius

This essay shows how Hugo Grotius (1583–1646) made use of classical poetry and drama, especially that of Lucan, Euripides, and Seneca, in developing his thought on the treatment of captives, prisoners of war, and slaves, and argues that his method was humanist and philological. From his early publishing projects to “The Rights of War and Peace” (De Iure Belli ac Pacis, 1625), Grotius developed an account of common social experience, a formal mechanism to represent dialogue with difference, and a refusal to apply categorical distinctions positing natural difference among peoples. His engagements with classical poetry and drama are thus an important piece of the story of early modern thought.

SA-Model: Multi-Feature Fusion Poetic Sentiment Analysis Based on a Hybrid Word Vector Model

Sentiment analysis in Chinese classical poetry has become a prominent topic in historical and cultural tracing, ancient literature research, etc. However, the existing research on sentiment analysis is relatively small. It does not effectively solve the problems such as the weak feature extraction ability of poetry text, which leads to the low performance of the model on sentiment analysis for Chinese classical poetry. In this research, we offer the SA-Model, a poetic sentiment analysis model. SA-Model firstly extracts text vector information and fuses it through Bidirectional encoder representation from transformers-Whole word masking-extension (BERT-wwm-ext) and Enhanced representation through knowledge integration (ERNIE) to enrich text vector information; Secondly, it incorporates numerous encoders to remove text features at multiple levels, thereby increasing text feature information, improving text semantics accuracy, and enhancing the model’s learning and generalization capabilities; finally, multi-feature fusion poetry sentiment analysis model is constructed. The feasibility and accuracy of the model are validated through the ancient poetry sentiment corpus. Compared with other baseline models, the experimental findings indicate that SA-Model may increase the accuracy of text semantics and hence improve the capability of poetry sentiment analysis.

A Comparative Study of Five English Versions of Ding Feng Bo from the Perspective of Eco-Translatology

Chinese classical poetry involves abundant information about Chinese traditional culture, playing an important role in the publicity of Chinese culture and history. The proper Chinese-English translation will help eliminate the barriers to target readers’ comprehension, promoting the conveyance of cultural connotation and aesthetic value of Chinese classical poetry. Based on Eco-translatology, this paper takes five representative English versions of Ding Feng Bo as a research corpus and explores the prosody, onomatopoeia, culture-loaded words, and emotional aspects about whether the three dimensions–language dimension, culture dimension, and communication dimension of Ding Feng Bo have been effectively transformed, so as to evaluate the quality of translation. Through multifaceted consideration, it is suggested that the version by Xu Yuanchong is more in accordance with three-dimensional transformation, achieving harmony between selection and adaptation. The research on the value and function of eco-translatology not only provides strategies for the translation of Chinese classical poetry but also facilitates the construction of China’s public discourse and images in international communication and external publicity of Chinese culture.

About the Features of the Thai Poetic Meter Rai

The article examines Thai poetic meter rai. Rai is one of 5 meters of Thai classical poetry. On the one hand, it was one of the most common Thai meters, because it was commonly used in epic poems. On the other hand, it is not only studied enough (like all other Thai meters and Thai metric in general), but very troubling for typological classification. While all 4 other Thai meters (at least in modern editions) are written with a division into graphical lines, which corresponds to the division into the poetic lines (like it must be in poetry in European and the most part of other languages), rai is written without such correspondence. Structural elements of rai (waks) are divided only by space (which is equivalent of comma or dot in Thai alphabet) and a graphical line can contain any number of waks. Stanzas (the number of waks in them also is not fixed) are divided as paragraphs. As a result, in terms of graphical representation rai looks more similar to prose than to poetry. According to this, T. Hudak classifies it not as a poetic meter, but as a rhymed prose. In this study I have analyzed rai statistically by counting the number of syllables in 555 waks of rai from one of the most famous examples of Thai poetry – epic poem ‘Lilit Phra Lo’. The results have shown that the most part of waks consist of 5 (47,8%–53,4%) or 6 (29,4%–32,9%) syllables. Also, the rhyme usually connects the last syllable of the wak with the third or the second syllable of the next one. This means that rai has a quite rigid syllabic and rhyme structure, which is typical for poetic meter and not for prose. According to this it should be classified not as rhymed prose, but as a syllabic poetic meter. It is important to notice that, being very different in terms of structure from all other 4 Thai meters, it is similar to Burmese traditional syllabic meter. Also, Burmese verses traditionally are written without graphical division of the text according to its division into poetic lines (how it is in rai and not in other Thai meters). These facts make it possible to provide a hypothesis that rai may be historically connected with Burmese poetry and this can explain its difference from other Thai meters.

В поисках скрытого смысла: роль «внутреннего комментария» в поэзии Насир-и Хусрава (XI в.)

The research is devoted to the function of inner commentary in the Nasir-i Khusraw’s poetic works. Being the outstanding religious philosopher and Ismaili Teacher, he had reformed the artistic language of Persian Classic Poetry with the help of strategy of allegorical commentary ta’wil, which was firstly used only on the Quran’s text. He used the traditional form of qasida for didactic aim. Сonventional poetic motifs and standard beginnings served as the basis for creating allegories of varying degrees of complexity. The objects of this article are some examples of allegories based on traditional poetic motifs and standard beginnings of Nasir-i Khusraw’s qasida, his interpretations of term ta’wil and author’s discourse upon form and meaning of Word. The article also deals with different kinds of inner commentary in Nasir-i Khusraw’s three spring qasida. The analysis shows that on the first stage of formation of mystic poetry’s language commentary, giving secret meaning of text was the sphere of author’s individual initiative. At the stage of fixing the created connotations in the canon, they become stable and to a lesser extent depended on the presence of the author’s commentary, thus the allegorical ambiguity of the text becomes the generally accepted norm.

Reflections on Osip Mandelstam’s Poem “Erected on a Wet Stone …” (1909)

The poem “Erected on a wet stone …” was sent in the Autumn of 1909 first to Max Voloshin and them to Vyacheslav Ivanov and is part of “poems in letters” which were only published in the second half of 20th century. The central theme of the poem is the juxtaposition of love and death. Cupid finds himself standing on a tombstone (“green moss and wet stone”) and being surprised by what he discovers tries to avenge on death through love (“illegal flame of the heart”). The poetics of the poem represents another step in the development of Mandelstam’s inherent technique of subtexts and contexts. The “mentioning keys&8j1; here are combinations of nouns with uncommon adjectives (“illegal flame&8j1;, “naive valleys&8j1;, etc.), as well as pairs of rhymes: “nagoi – nogoi” (naked – foot), “kamen – plamen” (stone – flame), “grubiy – gubi” (rough – lips). The subtexts of the poem might be read on two levels, so that the motifs of classical poetry shine through the symbolist associations, linking together the poetry of the Russian Golden and Silver Ages. The key image of Cupid for the poem (the only context in the author's poetry) has, apparently, a literary origin.

Жазба ақындар шығармашылығындағы шығыс стилі

The article studies religious-didactic and Sufi motifs in the works of Kazakh poets who lived in the second half of the XIX-early XX centuries. It is known that many of them at one time studied in Muslim madrassas in the cities of Central Asia and Russia. The paper analyzes aspects of Sufi literature, the most common words in the poetry of shairs: garip, miskin, kul, pahir, kamine, beishara. The authors focus on various aspects of Sufi literature, arguing each of them with relevant examples. In 182С.Қ. Қосанов, Ә.М. Кәкенова, Ж.С. Әділханова Turkic Studies Journal 2 (2023) 167-184the poetry of shairs, who deeply absorbed the traditions of classical poetry of the East, there are many common themes, plots, motifs and artistic techniques. The article also pays special attention to the motives of ‘abjad’ and ‘alphabet’, which were often used by the authors of the works. In this regard, the idea of the revival of the ‘nama’ genre by Kazakh poets, which was clearly manifested in the literature of the Golden Horde era, was touched upon here. The article analyzes the influence of the medieval literary tradition on the Kazakh poetry of the early twentieth century. The works of outstanding representatives of written literature, such as Akan Seri Koramsauly, Mashhur Zhusup Kopeyuly, Shakarim Kudaiberdiuly, Makysh Kaltayuly, Omar Shorayakuly, Kanly Zhusup, Turmagambet Iztileuuly, Kete Zhusup, Karasakal Yerimbet are compared with samples of poems by Turkic-Kipchak poets such as Yasawi, Bakirgani, Rabguzi, Khorezmi and Sarayi. Conceptual reflections on artistic images used by poets of two eras are presented. The article introduces into scientific circulation the works of poets, who were insufficiently studied in Kazakh literary studies.

An Analysis of Conceptual Metaphor in the Poems Entitled “Classic Poetry Series” by William Blake

This research aims to analyze the types of metaphors used and contained meanings contained in a collection of poems by William Blake. A metaphor is a part of figurative language that compares one thing to another. The researcher used a descriptive employed in study qualitative method to identify a collection of classic poetry by William Blake. The researcher uses the theory of Lakoff, George, and Johnsen (2003) to analyze the conceptual metaphors that shape the reality of 'life' which is reflected in poetry. There are three steps in collecting research data: observation, selection, and classification. This research result shows that ninety-five metaphorical lyrics are contained in the ten of classic collections of poetry by William Blake. The data were gathered using a collection of poems from three types of conceptual metaphors: structural, orientational, and ontological. The types of metaphors found in this research are ontological metaphors. And in reverse, the meaning of each metaphor depends on the type used in the poem. In conclusion, the poems by William Blake have a high imagination based on experiences as well as advice to the readers.

나손 김동욱 선생의 향가 및 고려속요 연구, 그 행보와 족적

This study aims to arrange Nason Kim Dong-wook’s research achievements in the study of Hyanggas and Goryeo Sokyos(including Halimbyeolgok) and examine their significance in the research history.
 The study examined his research achievements in the study of Hyanggas from the perspective of Buddhist ideology and discussed his general theories about the history of Silla’s Hyanggas, his theories about individual works reflecting each Buddhist idea, his papers on the nature and transmission history of Cheoyongga in Silla, and his papers that ended the controversy over the forgery of Doijangga. It is especially noteworthy that he traced the history of Silla Hyanggas based on correlations between Buddhist ideas and shamanism and linked Dosolga(Wolmyeongsa) to the Maitreya ideology, Wonwangsaengga to the Pure Land ideology, and Docheonsudaebiga to the Avalokitesvara ideology since they provide certain milestones for the following researches in the viewpoint of Buddhist ideology.
 In the study of Goryeo Sokyos and Halimbyeolgok, he attempted to categorize Goryeo Gayos by viewing their overall phenomena, included Mugas about Siyonghyangakbo in the category of Goryeo Sokyos, and investigated the time and nature of Halimbyeolgok. He left some room for improvement by treating Goryeo Sokyos as part of Goryeo Gasas instead of classifying them as an independent genre, but his attempt at categorization itself had considerable impacts on follow-up researches. His research on Siyonghyangakbo, which is considered as one of his greatest achievements, provided results that will remain eternal in the study of the subject. His research has benefitted a lot the Korean music circles as well as the classical poetry and oral literature circles.
 His researches hold significance for their contribution to the settlement of literature empirical methodologies and the introduction of macroscopic and open research attitudes. His achievements in the study of Hyanggas and Goryeo Sokyos encompass a broad range of areas from microscopic literature researches to macroscopic comparative literature and literary history researches, broadening their academic extension.

고전시가 2021년 연구동향

고전시가 2021년 연구동향

Based on teaching materials woman figure in the turkish poetry

In Turkish poetry, the figure of women is important in university curricula. The images of women in the examples shown to students in the taught literary texts are also important in mastering the subject. Since ancient times, woman figure has been one of the most widely used figures in the Turkish literature. We meet women as a lover, a mother and a sister in the works of poets and writers for centuries. In classical poetry, the woman figure has been developed more as a symbol of beauty. When describing the beauty of a woman, the representatives of the Divan literature compared it with the beauties of nature and often equated them with various elements of nature. The value given to women began to change over the period of Turkish literature formed under the influence of the West. Poets and writers are already expressing their views on the role of women in social life and address the problems faced by women.

NAZIRES IN THE CONTEXT OF THE INTERACTION OF CLASSICAL AND FOLK LITERATURE

Nazire; It is a poet’s rewriting of another poet’s poem by using elements such as measure, rhyme, and content. The artist has the opportunity to show himself better by improving himself in the production process, which he starts by imitating. For this reason, nazireism played an important role in the upbringing, self-development and mastery of poets. The first reflections of the Nazire tradition were seen in classical literature, and then nazire was also used by folk literature poets. Nazires provided intercultural interaction by being written on works written in different languages ​​as well as on works written in the same language. In this study; it is aimed to reveal the reflections of the nazire tradition, which is one of the most important elements of the relationship between classical literature and folk literature. In this direction, some related examples of nazires in classical and folk literature have been identified. Admiration and imitation were influential on the basis of folk poets writing nazires for classical poets. The nazires written by folk poets to classical poets are an example that increases the common points of the two literatures. It is known that folk poets wrote nazires to each other, except for the nazires written by poets of classical literature. It has been seen that the poems written by the folk poets in nazire are also the works that are admired and arranged in the classical poetry tradition.