Purpose of the study: This study aims to analyze and describe the form, function, and meaning of incantations (mantra) used in the Suna Ro Ndoso traditional ceremony of the Bima ethnic group in Dompu District, Dompu Regency. Methodology: This qualitative research employed observation, interviews, and transcription methods for data collection. Data analysis was conducted using form analysis, function analysis, and hermeneutic interpretation. Research instruments included an audio recorder (mobile phone), field notes, and a structured interview guide with selected informants. Main Findings: The mantras in the Suna Ro Ndoso ceremony primarily take the form of gurindam (couplets) and free verse. Their functions include serving as prayers (permohonan), expressions of affection (pengasihan), healing (pengobatan), and consciousness-raising (penyadaran). The meanings conveyed are pleas for safety, surrender to God, facilitation of the ritual process, and healing for those believed to be possessed by spirits. Novelty/Originality of this study: This research provides the first specific and detailed documentation and analysis of the mantras within the Suna Ro Ndoso rite of the Bima people in Dompu. It contributes new empirical data to the study of oral literature and local wisdom, offering a deeper understanding of a cultural practice not previously examined in such focused detail.

The purpose of this thesis is to explore the poetic devices employed in the poems of T. S. Eliot and W. B. Yeats and to illuminate their respective roles in them. Although both poets borrow the same mythical figures—the Magi—they utilize distinct poetic devices to achieve different aesthetic purposes. Eliot adopts a free verse form which avoids conventional rhyme schemes or fixed meters; however, he employs a sophisticated “inner musicality” as a primary poetic device. Through the strategic employment of alliteration, repetition, and symbolism, he effectively portrays the tedious and arduous journey of the Magi. In contrast, Yeats utilizes regular rhymes and vowel harmony to evoke the cyclical image of the Magi eternally repeating their wandering across the sky. These poetic devices align with Yeats’s Gyre theory and his philosophy of historical recurrence, reinforcing the thematic depth of his work.

As cultural carriers, proper nouns are confronted with multiple challenges in the process of cross-linguistic conversion, such as the loss of cultural connotations, ambiguous reference, and conceptual mismatch. By analyzing typical translated examples of proper nouns in historical place names, folk sayings, as well as poems and sanqu (a type of traditional Chinese verse form), this paper systematically examines the applicability and limitations of translation strategies including transliteration, free translation, literal cultural translation, and image reconstruction. The study points out that proper noun translation needs to strike a dynamic balance between foreignization and domestication, as well as between faithfulness and readability. It should not only respect the international norm of the name follows its owner but also take into account the cultural cognition and acceptability of target-language readers. This paper emphasizes that translators should possess cross-cultural interpretive awareness when dealing with culture-specific items, and realize the accurate transmission of cultural identity and the cross-linguistic reconstruction of poetic artistic conception through strategic choices, thereby providing theoretical references and practical approaches for the foreign translation and international communication of cultural heritage.

The major concern of this paper is an adequate reproduction of poetry form components in translation. It reveals some theoretical and practical aspects of a verse form as a system of images creating the synsemantic image level of a poem in view of its pre-translational analysis and translation; the synsemantic image concept is verified here; a poem is considered as macro-image structure containing systems of autosemantic, synsemantic and subsemantic images which adequate foreign language rendering reflects the unity of the content and form of the original poem; the synsemantic image level of a poem is qualified as its macro-image structure component that is a subject to reproduction in translation; creation mechanisms of synsemantic imagery and its conveying in the process of translation are shown; some indicator concepts of a full-fledged translation are offered to be included to translation studies terminology, such as synsemantic images, precise and relative-proportional equilinearity, etc. Graphic, intonation, rhythmic, euphonic and compositional means of poetic speech organization are qualified to be the basis of synsemantic images that can acquire appropriate meanings in poetic discourse and enter the system of translation-dominant images of the poem. The study provides an analysis of identifying and translating methods of synsemantic images, counting rhythm, intonation, rhyme, meter, syntax, strophe, sound effects, graphic and grammatical image creation means. The main accent is on the fact that for an adequate translation, it is most important to specify during the pre-translation analysis the expressive and semantic functions the synsemantic images perform, as well as their adherence to the image dominants of a poem to reproduce it, taking into account the poem image hierarchy.

This research aims to identify and analyze the psychological elements contained in the Qur'an and their relevance to Islamic Religious Education (PAI). The study was carried out through the library research method by examining primary literature in the form of verses of the Qur'an, tafsir, and scientific works related to the psychology of Islamic education. The results of the study show that the Qur'an contains a number of psychological concepts that play an important role in the educational process, namely cognitive aspects (tafaqquh, tafakkur, dhikr, critical reason), affective (faith, patience, gratitude, compassion, fear and hope), and psychomotor (pious deeds, positive habits, behavior control). These three elements work integratively in shaping the personality character of students and directing the learning process that touches on mental, spiritual, and moral aspects. This study emphasizes that the use of Qur'an-based psychological principles in PAI learning can comprehensively increase students' motivation, religious awareness, and morals. These findings open up opportunities for the development of a PAI learning model that is more humanistic, holistic, and oriented towards the formation of Islamic personality.

This article comprehensively examines the aruz (arūẓ) meter introduced via Arabic literature and its place in Uzbek poetry through this work. We can observe that the authors skillfully demonstrate various forms of the hazaj meter in their ghazals, as well as the use of rhyme and artistic devices. The article broadly reveals the aruz verse, which came through Arabic literature, and its place in Uzbek poetry through this work. We can observe that the authors skillfully demonstrated the various forms of hazaj verse in their ghazals, as well as the rhyme and artistic arts.

The current study aims to discuss the poetic-ness of the free verse manner in the poetry ‘No Women in Poems’ through an innovative concept of artistic-linguistic discursiveness. The theoretical approach to studying the poetic-ness of free verse is employed by the idea of Fairclough’s three CDA dimensions of examining hidden worldviews in texts. The findings are divided into, first, ‘No Women in Poems’ composed of the free verse form as a whole reflecting several free flows of thought and pointing out the quality of poetic-ness. Marvelously, the book of entire free verse enclosed plenty of artistic applications. Not only is creative in the free verse story but it is also communicative in terms of life, philosophy and truth. Second, ‘No Women in Poems’ holds the form of free verse which is associated with a life way in each area experienced by the poet. The last outreach of poetic-ness of the poetry ‘No Women in Poems’ supported by the components of correlation, comprehension, and context deserves universal attention to both local and global readers. It adequately makes humanistic culture reasonably diverse, particularly in Thai society or the homeland. The discussion of the integrated approach assists in explaining humans, minds, practices, and language use through poetic writing. The application can be a vision of ‘close reading’ skills. HighlightBased on my provided text, here are the highlights that capture the novel results and methods of this research, designed to immediately show an online reader why this content is compelling: The study pioneers an innovative, integrated method called “artistic-linguistic discursiveness”, which combines a new three-part model of “poetic-ness” (correlation, comprehension, context) with Fairclough’s Critical Discourse Analysis (CDA) to dissect free verse poetry. This introduces a novel analytical framework. The article reveals the hidden cultural power of award-winning free verse. The analysis uncovers how Zakariya Amataya’s commencement, fully free-verse collection ‘No Women in Poems’ uses its form to embed critical discourses on life, philosophy, and human dignity, challenging traditional Thai poetic norms and societal values. The paper’s process demonstrates poetry as a tool for social and existential critique. Through close readings, the research exposes how the poems employ artistic language (personification, allusion, parallelism) to articulate powerful, hidden commentaries on local development, cultural globalization, the cost of knowledge, and existential marginalization. It proposes a new model for close reading skills. The integrated artistic-linguistic and CDA approach is presented as a practical, transferable model for deeply interpreting poetic texts, moving beyond traditional literary analysis to uncover layers of socio-cultural and philosophical meaning.

Abstract Working from the biblical concept of a linear history of salvation aiming at a final order that would separate good and evil, Christianity – continuing Jewish apocalyptic tradition and shaped by the persecutions of the early centuries – developed a concept of holiness as the ‘triumphant’ struggle of Christ's ‘soldiers’ against ‘evil’ forces, analogous to Christ's triumph over death. In keeping with its universal orientation, the Christian understanding of individual holiness tends to group ‘holy’ persons into a collective according to varied criteria. Numerous examples of this can be found in the visual arts and literature from Late Antiquity onwards. Of these, the present study analyzes the ‘collective epic’ De triumphis Christi eiusque sanctorum by Flodoard of Reims (first half of the tenth century) using selected passages with attention to the following features: (1) comparison of collective holiness in mosaic art and poetry; (2) Flodoard's triumphi and the Latin epic tradition's treatment of verse forms, narratology, and purpose; (3) connections to Latin biblical epic and collective hagiographic poetry: Sedulius, Aldhelm, Prudentius' Peristephanon / De coronis .

One of the most important achievements of Polish research on verse forms of poetry in the final decades of the 20th century was the organization of an international group implementing a program called Slavic Comparative Metrics, dealing with the comparative analysis of verse forms in Slavic literatures. The group’s formation coincided with a time when the field of literary studies sought to clarify its methods, defining its place between linguistics and cultural studies. The program carried out by versologists was based on the concepts of language and poetry contained in the works of the Russian formalists and the Prague structuralists, and its formulation was directly influenced by the writings of Roman Jakobson as well as personal contacts with this scholar. The article presents the circumstances in which the SCM group was set up at the Institute of Literary Research, describes its methods of work as well as subsequent goals and results. Research on a pan-Slavic scale revealed the influence of the different prosodic structures of individual languages on the possibility of implementing specific rhythmic patterns. This research shed light on the value of different forms in linguistically related literatures and on the choice of metrical equivalents in translation. The researchers also examined the functioning of verse structures in intercultural contacts within the Slavic area and metrical poetry as testimony to Slavic literatures belonging to the wider European community. The team was active for 35 years despite the difficulties to which international cooperation was exposed in the political conditions of the time. The results of its work were published in nine volumes of the Slavic Comparative Metrics series.

The 17th century was a period of significant cultural and artistic tran­sformation, characterized by the collision of traditional and emerging forms. This cultural shift gave rise to a diverse and eclectic style in various artistic disciplines, including painting, architecture, and literature. The prevailing ar­­tistic ideas and aesthetic perspectives of the time underwent a transfor­ma­tion, giving way to a new and distinctive style known as Baroque. A foun­dational principle of the prevailing European Baroque culture is the broa­dening of the aesthetic function of literature, which is founded on figurative thinking and the integration of diverse artistic forms within the context of a single work (verbal text, fine art, music). The Baroque pe­riod was distingui­shed by a pursuit of astonishment through imagination, wherein elements of strangeness, unusualness, unconventionality, and bizar­reness played a pivotal role in its aesthetic principles. As demonstrated in the following ana­lysis, Georgian literature of the 17th-18th centuries serves as a prime example of the aforementioned general principles. The present work examines such poetic texts in Georgian Baroque poetry that surprise and amaze the reader due to their unusual form and multiplicity of mea­nings. They are as follows: ‘rvuli’, pattern poem, acrostic, telestic, and the cryptogram. The present article concerns precisely such poetic texts, which are perceived simultaneously by sight and sound. These texts are built on the principle of wit and aim to stunning their readers. Sulkhan Saba Orbeliani’s verse form ‘rvuli’ (რვული) is a four-line poem that exhibits eight identical internal and external rhymes: four before the caesura and four at the end. In the Baroque context, the ‘rvuli’ verse form is notable for its capacity to en­gender multiple interpretations, aligning with the Baroque era's fascination with poetic play, sometimes using the principle of mirror reflection, popular in Baroque poetics. This period was characterized by an inclination among authors to captivate, amaze, and surprise their readers with elements of uni­queness and innovation in their poetry. The poem's original structure enab­les its reading and interpretation in three distinct ways while preserving its content, thus resulting in three variants of a single poem. In this manner, the Baroque author's objective to astonish his audience with innovation is accomplished. Poems of this nature, which encompass two, three, or more reading options, are based on the principle of play. Archil II's "Verse Rotating Like Grinding Wheel", is a particularly no­teworthy example of a pattern poem. Verse consists of single line – “This is ba­­sed on a parable about Vanity” and in ten-strophe verse this one line is repeated 44 times with different order of the words in the line. Archil II has effectively transformed the poem, infusing it with a novel dimension of mo­vement and rotation. This transformation is characterized by a dynamic in­terplay of velocity, with the pace of rotation varying across the verses. This dynamic interplay, when graphically represented, evokes the sensation of acceleration, a phenomenon that mirrors the prevailing scientific interest du­ring the Baroque era. Moreover, poet utilizes a circle, made of this single line, rendered in red ink, to crown the poem, thereby imbuing his religious-philosophical notion with an additional visual dimension, one that further enhances its impact, thus elevating this pattern poem to the status of a splen­did exemplar of Baroque aesthetics. Other notable verse forms include the acrostic, telestic, and the cryp­tog­ram verse, which are distinguished by their unusualness and ornamen­tation characteristic of the Georgian Baroque. Archil II's seven iambics, cha­racterized by profound religious sentiment, are embellished with acrostics and teletics. Furthermore, the acrostics and teletics of all seven iambics, when read sequentially, form an independent poetic text. The "recognition" or "decoding" moment is a conceptual element of the Baroque style. In Georgian Baroque poetry, Vakhtang VI was fascinated by this type of cryptogram, puzzle. The characteristic "unusualness" and quick wit of the Baroque period are the combination that underlies the works cre­ated on the principle of the aesthetics of surprise of this era. In the context of Georgian Baroque poetry, a significant category of po­etic works is grounded in this principle, thereby offering a discernible glim­pse into the aesthetic predilections and intellectual inclinations of Georgian authors and their readership during this historical era. These po­ems are characterized by their intricate structures, unusual and enigmatic ele­ments, and their capacity to elude facile interpretation.

This study aims to shed light on the significance of the Chang(唱) in Yeogyuhyeong’s Chunhyangjeon, which has not received much scholarly attention until now. Yeogyuhyeong in particular adapted the songs, which occupy an important place in pansori, into the form of classical Chinese verse and marked them with the label “chang.” In the twelve-chapter Chunhyangjeon, thirty-one instances of chang appear, and Yeo inserted them with deliberate awareness of adaptation, carefully distributing them across the chapters. Functionally, these chang convey emotions, provide narrative information, or substitute for dialogue within the story. Formally, Yeo used various poetic forms to create dramatic effects. In Yeogyuhyeong’s Chunhyangjeon, the chang serve as one of the major components of the work, alongside the narrator’s narration and characters’ dialogue, and—being all in the form of classical Chinese verse—are well-suited to realizing the rhythmic style characteristic of pansori-based fiction. Through these chang, the work may be regarded as a new reading experience that embodies both the qualities of pansori and of hansi. Considering that, even in the twentieth century, a considerable number of readers were still capable of appreciating classical Chinese verse, this work can be understood as a meaningful cultural experiment that expanded culture through the hybridization of the popular pansori genre.

After embracing Islam, the Turks engaged in conquests and struggles to spread the religion. These struggles influenced various aspects of life, including literature. Cenknames (epic war narratives) are among the examples of this influence. The text we examine in this study is a Cenkname of Hazrat Ali. The battles of Hazrat Ali and his acts of bravery in these wars have been a popular subject not only among writers but also among readers in Turkish literature. Hazrat Ali, who was both a relative and a close companion of Prophet Muhammad and the fourth caliph of Islam, holds a significant place due to the hardships he endured, his critical role in the early years of Islam, his contributions to the religion, and his central position in pivotal events. These factors are among the primary reasons for the enduring interest in his life. In this study, a manuscript of a Cenkname of Hazrat Ali, writ-ten in the masnavi verse form and from our personal library, has been transcribed into mod-ern Turkish and analyzed. The study first provides information about Cenknames, introduc-es the work, and then examines its content, style, and linguistic features. It has been deter-mined that this Cenkname shares similarities with other Cenknames of Hazrat Ali in certain aspects. The text consists of 229 couplets, and there is no information available about its author or copyist.

The purpose of the research. The paper presents a comparative analysis of musical interpretations of V. Ivasiuk’s song ‘I’ll Go to Distant Mountains’ in the paradigmatics of music production. The research methodology consists in applying a comparative method, which made it possible to trace the textual and musical changes in the interpretations of the song ‘I Will Go to Distant Mountains’ by L. Vidash, V. Ivasiuk, V. Zinkevych, and K. Cisyk in different years, and to characterise its musical decisions, which were dictated by the individual producer’s vision of the work. The scientific novelty of the study lies in the fact that in the work, using the example of V. Ivasiuk’s song ‘I’m Going to Distant Mountains’, a new type of analysis of a musical work is proposed, the focus of which is the disclosure of the interpretative potential of a song composition by music producers, whose work is aimed at finding optimal artistic solutions that are able to fully meet the aesthetic demands of the listening audience. Conclusions. The song composition ‘I Will Go to Distant Mountains’ is a landmark work for Ukrainian musical culture. Since its writing by V. Ivasiuk, many performers have offered listeners their own versions of this musical masterpiece. An important function in these interpretations is played by the music producer, who forms the interpretative concept and sound solution of the work, focusing on the listening audience. In the music production system, the basis of the producer’s interpretation is the basic components of the song work – text, melody, timbre solution. The interpretations of L. Vidash, V. Ivasiuk, V. Zinkevych, K. Cisyk showed the peculiarities of their producers’ approaches to updating the song’s lyrics, which undergoes changes, deepening nationally marked elements. The musical component of the song, according to the producers’ vision, is marked by stylistic diversity: in V. Ivasiuk’s version, the emphasis is on the stylistics of the vocal substyle of rhythm and blues doo-wop. L. Vidash’s interpretation combines doo-wop and pop music styles. V. Zinkevych’s interpretation is notable for the use of funk elements. K. Cisyk’s version combines the achievements of classical pop and academic music, which allowed for the creation of a unique performing and producing interpretation that fully revealed the interpretative potential of V. Ivasiuk’s song masterpiece. The musical dramaturgy of the song ‘I’ll Go to the Distant Mountains’ has undergone a transformation: despite the preservation of the verse form with a chorus, supplemented by an introduction and vocalise-coda, the main musical emphasis gradually shifts from the chorus to the vocalise and a thematically related verse, which indicates a departure from hit canons and an approach of the song composition to the traditions of musical academicism.

The author analyzes the text of M. Yu. Lermontov’s “Blue mountains of Caucasus, greetings to you!”, which is significant for Russian culture. The study shows that, by its genre, this text is an encomium – a eulogy in honor of a deity or hero, originally in a verse form. The genre of the text determines its eloquent form, in particular periodic and foot rhythmization, which bring this miniature closer to the sound of the verse. Foot rhythmization gives the text the form of rhythmic prose; the interpretation of this text as a “poem in prose” (e. g.: V. V. Litvinov, A. M. Ranchin) is difficult to accept, since a poem in prose as a speech genre is not subjected to either colometric or a fortiori end-to-end foot rhythmization. The text is written in dactyl; dactyl, as a descending meter, gives the miniature an emotional minor. The text is prosaic in its form, since there is no writing “in a column” and, consequently, obligatory terminal pauses in it. In this regard, attempts to interpret this text as a poem are questionable, as well as the opinion that the rhythm in this text changes from phrase to phrase (S. N. Durylin, B. I. Yarkho, S. I. Kormilov, etc.). Terminal, in particular phrasal pauses are inappropriate here, since they break: a) the dactylic structure of the text, changing the minor descending rhythm to the major ascending one; b) the monotonous flow of speech corresponding to the melody of prayer.

Prokhor Kolomniatin Tikhomirov was a monk and an outstanding literatus with a wide range of interests, as can be seen from the five surviving manuscript miscellanies. The article examines one of these miscellanies, known as the "School ABCs" (1682–1683). This is a unique opus of 17th-century pedagogical thought, written in verse. After providing a general description, the author of the article focuses on one of the seven ABCs in this manuscript, the "Complete ABC". It is the most extensive (contains 32 chapters) and informative among others, written in prose with poetic prefaces. The sum of all knowledge is united under the general concept of "wisdom," and it is from the perspective of this transcendent entity, which is one of the Christ’s incarnations, that conversations with both students and teachers are conducted. Everything that Wisdom conveys is traditional for Orthodox literature and aimed at saving the human soul. Prokhor's innovation lies both in the poetic verse form in which this knowledge is presented, and in his attempt to apply it in school education.

Prokhor Kolomniatin Tikhomirov was a monk and an outstanding literatus with a wide range of interests, as can be seen from the five surviving manuscript miscellanies. The article examines one of these miscellanies, known as the "School ABCs" (1682–1683). This is a unique opus of 17th-century pedagogical thought, written in verse. After providing a general description, the author of the article focuses on one of the seven ABCs in this manuscript, the "Complete ABC". It is the most extensive (contains 32 chapters) and informative among others, written in prose with poetic prefaces. The sum of all knowledge is united under the general concept of "wisdom," and it is from the perspective of this transcendent entity, which is one of the Christ’s incarnations, that conversations with both students and teachers are conducted. Everything that Wisdom conveys is traditional for Orthodox literature and aimed at saving the human soul. Prokhor's innovation lies both in the poetic verse form in which this knowledge is presented, and in his attempt to apply it in school education.

The article surveys the four known Russian examples of Galliambic verse – a syllabo-tonic counterpart of the Latin metre associated with the cult of Cybele, as in Catullus’ Attis: works by Vyacheslav Ivanov, Maximilian Voloshin, Nikolai Gumilev, and Georgij Adamovich – analyzing how metre, rhythm, and meaning interact in the rarest of Silver Age verse forms.

This study focuses on twenty-two seven-character regulated verses (七言 律詩) by Myeongwon contained in Jeungbo Haedong Siseon (增補海東詩選) and compares the poetry of literati women and gisaeng through their structure, characteristics, themes, and content. Chapter 2 examines the structure and features of Myeongwon’s poetry. The seven-character regulated verses of noblewomen—such as Shin Saimdang, Yulgok’s mother; the wife of Seo Yeongsuhab, Hong Seokju’s mother; the wife of Hong Sun-eon; the wife of Vice Minister Choi Il; the wife of Prince Sukcheonryeong; Heo Nanseolheon; and Okbong Yi—served as an important means of demonstrating their cultural refinement and intellectual capacity. These women primarily expressed emotions through descriptions of nature and emphasized familial love and ethical virtues. Having received systematic training in poetry, they possessed a high level of understanding of the regulated verse form and paid close attention to balancing couplets, thereby pursuing formal beauty. By contrast, the poems of gisaeng reflected their literary growth through interactions with male literati. Their works often dealt with themes of love, parting, and the hardships of life, marked by strong emotional and lyrical qualities and a keen awareness of affection and fate. However, few courtesans were selected for composing regulated seven- character verse. Instead, it was evident that they mainly wrote five-character poems, which were better suited for conveying emotional expression. Chapter 3 explores the themes and content of Myeongwon’s regulatedverse. The major themes include: (1) communion between nature and emotion, (2) expressions of separation and longing, (3) reflections of social oppression and solitude, and (4) women’s self-awareness and literary consciousness. In terms of content, the majority of gisaeng’s works were more emotional and direct in expression than those of literati women, revealing their greater familiarity with open emotional expression in Joseon literature. By analyzing twenty-two poems of Myeongwon’s seven-character regulated verse in Jeungbo Haedong Siseon, this study illuminates their formal significance, methods of composition, and thematic realization. It further reveals that while gisaeng and literati women shared similar themes, their creative approaches diverged: gisaeng emphasized emotional expression through diverse subjects, whereas noblewomen focused on formal and structural beauty. This distinction underscores the significance of the study.

Valued as a crucial military node in the Asia-Pacific, Guåhan (Guam) has been occupied continuously by colonial forces since the 1500s. Today, a third of the island remains under US military control, making it one of the most militarized places on earth. While most overt in firing and flying activity, the effects of ecological imperialism are also manifest in the slower, unspectacular legacies of contamination, biodiversity loss, and the linguicide, disenfranchisement, and displacement of the indigenous CHamoru people. Drawing on CHamoru poet Craig Santos Perez's ongoing poem series From Unincorporated Territory (2008–2023), this essay explores how poetic recycling effectively gives form to the incremental damage of militarization and affords a sustained correspondence with the complexities unfolding in Guåhan. Literary recycling in the Pacific has received little critical attention within ecocritical and decolonial research. Yet I argue that by recycling motifs and language in each iteration of the series, the reader is encouraged to imaginatively “journey” between texts and contexts, helping to situate smaller happenings within longer chronicles of imperialism. Moving back and forth between microbial events and huge colonial histories, Perez's intertextual journeying gathers up a fuller picture of continuing injustice. This essay also suggests that such journeying reconciles with the Kåntan Chamorrita, an indigenous verse form in which one must dialogically “sing both forwards and backwards”. As a textual rearticulation of the verse form, I argue that journeying provides not only cognitive and affective methods for “staying with” ecological imperialism, but in reasserting CHamoru indigeneity through its form, recycling also compounds as a powerful political statement.

Abstract This article considers a particular poetic form, historically known as macaronic verse. Surveying the three extant examples of verse of this type in Old English, this article argues that there was an established macaronic verse form known in early medieval England. This genre of verse appears to have been used primarily as a framing device where its conspicuous mixed-language style likely encouraged close reading and drew attention to the constructed nature of the text. The extant examples also suggest that this form was used especially to emphasize the importance of piety for salvation and where a broader message was personalized to an individual reader. Finally, the article considers whether this form of verse could have arisen alongside or in response to a mixed-language Old English prose tradition.