Form Of Poetry Research Articles

Victorian Women Poets

Victorian Women Poets Heather Bozant Witcher (bio) A. Mary F. Robinson was best known, to her English audience, for her poetry and, to her French audience, as a woman of letters. So begins the introduction to Robinson's "Anglo-French" life in Patricia Rigg's A. Mary F. Robinson (Montreal: McGill-Queen's Univ. Press, 2021). Rigg seeks to reconcile these dual identities in this comprehensive and engaging biographical study. Rigg's book offers a nuanced look at an international poet: the unorthodoxy of Robinson's life, the integration of various literary styles (poetics, historical, biographical), and her Anglo-French identity. Highlighting Anglo-French literary communities and the social components of Robinson's life, Rigg's biography sets the tone for this year's scholarship on Victorian women poets. Its rich, layered approach—bringing together extensive archival material with personal and familial relationships (Rigg details her time in the Robinson family home and her relationship with Robinson's great-granddaughter by marriage)—offers a methodology that foregrounds materiality, affect, and form. Similarly, James Diedrick's edited edition for the MHRA Jewelled Tortoise Series, Mathilde Blind: Selected Fin-de-Siècle Poetry and Prose (Cambridge, U.K.: Modern Humanities Research Association, 2021) foregrounds Blind's contributions as a transnational and displaced (or expatriate) writer. His scholarly edition of Blind's late poetry brings three volumes (published between 1889 and 1895) together, alongside selections of her reviews and literary essays, to foreground Blind's experimental verse forms and affiliations with leading Decadent communities. The scholarship, then, of 2021 predominantly interrogates an intersectional approach to Victorian women poets: from exploring the ecological impact of Decadent poets to the intersections of poetry with a wide range of nineteenth-century sciences, transnational and cosmopolitan outlooks, and various modes of being. In this way, Victorian poetry becomes a site of curiosity, exchange, and engagement—in all senses of the word—with the world. In "Haptic Ekphrasis" (Victorian Studies 64, no. 1 [2021]: 88–114), Jill R. Ehnenn reconsiders the ekphrastic text, usually defined as a technology of vision: the relationship between word and image. In the Victorian period—and more broadly—ekphrasis involves not only vision but a technology of feeling, "both touch and emotion" (p. 89). In what Ehnenn calls "haptic ekphrasis," she identifies the centrality of affect and the sensing body as a method of [End Page 418] phenomenological interpretation and poetic encounter, or poetry's ability to do something, to move our bodies and brains into reconsiderations of the self/ object within the world (in both the nineteenth century and our world today). She makes three central claims. Focusing on haptics alongside vision enables reconsiderations of poetic form that foreground the "visceral register of experience" (p. 92). New ways of analyzing poetry emerge when we consider the tactility of the ekphrastic text or the arousal of emotion when we are attuned to meter and metrical variance. Rather than viewing ekphrasis as a description of an art object, haptic ekphrasis documents the poet's encounter with the art object. When reading poems like Elizabeth Barrett Browning's "Hiram Powers' Greek Slave" (1850) or Julia Margaret Cameron's "On a Portrait" (1876), with priority given to haptics, formal readings encourage sympathy for the object and what it represents. The language of sympathy here foregrounds another of Ehnenn's claims: that haptic ekphrasis resonates with the nineteenth-century discursive shift from sympathy to empathy (Einfühlung). Most intriguingly, perhaps, Ehnenn identifies haptic ekphrasis as a strategic technique for "minoritarian" (women and queer) writers (p. 100). Through insightful close readings of poetry by John Gray, Olive Custance, Julia Margaret Cameron, Graham R. Tomson, and the Bengali poet Sarojini Naidu, Ehnenn showcases how haptic readings communicate the complexities of lived experiences as a woman or queer poet. Not only, then, does haptic ekphrasis permit realistic detail and transportation of feeling, but "ekphrasis built on the haptic . . . permits the author to safely articulate the ineffable, the non-canonical, and the private" (p. 105). In providing a new framework from which to understand ekphrasis, Ehnenn points toward the phenomenological and epistemological potentials of poetic experience and poetic encounter—for both the Victorians and the twenty-first-century reader. Sight and...

PROPEDEUTICS OF POETIC DECLAMATION IN MAOIST CHINA

The paper examines the first attempts at a structured written fixation of the rules for voicing Chinese contemporary poetry, appearing since the late 1950s. These are manuals for teaching poetry recitation, created until the end of the Mao era, which contain detailed technical instructions for the preparation of reciters. They serve as unique material for describing how declamatory practice was regulated in line with the general language regulation of the PRC and, above all, promoting the new standard in prejudice of various regional idioms. These texts make it possible to see general trends in the evolution of "new poetry" ( xin shi ) towards the revival of certain techniques and characteristics of various forms of traditional verse and to assess the relations of the oral and the written in a Chinese poetic text composed and articulated using contemporary diction.

Manna dan Salwa

Manna and Salwa> is a term mentioned simultaneously in the Qur'an three times in three different letters. For the word Manna it self is repeated 37 times with 27 forms in different letters, while for the word Salwa> it self is mentioned 3 times in different letters. Of course, the word has a different meaning in each letter, so it requires a deep understanding to know the difference. The disclosure of the meaning of Manna and Salwa> will be the author of the analysis using semantics, and the interpretation of the Qur'an and its Exegesis and al-Mishbah tafsir. The process carried out in this study is: the author will present the data in the form of verses of the Qur'an related to lafazd Manna and Salwa> and clarify it. Then the author will analyze using semantic theory with the following stages : The first step is to search for keywords, then find the basic meaning and relational meaning, then look for synchronized concepts with. Tracing the definitions of Manna and Salwa> with pre-Qur'anic, Post-Qur'anic, Post-Qur'anic, then presents the Weltanschauung of the word. After studying using semantic theory, the author will conduct a critical study, namely analyzing the meaning of the words Manna and Salwa> in the Tafsir of the Qur'an and its Tafsir, and Tafsir Al-Mishbah.

Philosophical Conception of Stable Verse Forms (Based on Yeghishe Charents’s Poetry Analy-sis)

The article is dedicated to the analysis of stable verse forms in the poetry of great Armenian poet Yeghishe Charents (1897-1937), introducing the structural opportunities for the development of the theme and the idea with some philosophical logic. It has long been criticized that the structure of these verse forms has a clear logic, the roots of which come from ancient and medieval ritual art. Many of the stable forms of Roman poetry (sonnet, triolet, rondel, rondeau, etc.) arose from widespread national dance songs that were popular in medieval Europe, inheriting the lengthy stanza of three parts typical to them, which, in its turn, is associated with the triad often encountered in antique tragedies and odas (strophe, antistrophe and epode). Triolet, sonnet and rondeau resemble ancient superstrophe in their structure, showing the same logic of the development of the theme. Stable forms from Eastern poetry (ruba’i, ghazal, mukhammaz, etc.) also have sound principles of structure and rhyme, which contribute to the expression of their philosophical content. The poetry of Yeghishe Charents, rich in stable verse forms, provides a vast opportunity to demonstrate the philosophical conception of the connection between their form and content.

BALĀGHAH AL-I'TILĀF ʿINDA AL-MUFASSIRĪN

This study aims to analyze the i'tilāf contained in the verses of the Qur'an from the perspective of the exegetes (mufassir). I'tilāf is one of the studies in ʿilm al-badīʿ, a discipline in Arabic rhetoric (Balāghah). I'tilāf is a topic that is rarely raised in Arabic research topics. Therefore, this qualitative research with library research design seeks to examine i'tilāf by analyzing data in the form of verses of the Qur'an containing i'tilāf. The data come from Qur'anic exegesis, including Ibn ʿĀshūr's Al-Taḥrīr wa-al-Tanwīr, Al-Zamakhsharī's Al-Kashshāf, Al-Alūsī's Rūḥ al-Maʿānī, and Al-Ṭabarī's Jāmiʿ al-Bayān. The researcher found several verses containing i'tilāf and the opinion of the exegetes on the verse. These verses are divided into three types of i'tilāf, namely i'tilāf al-lafẓ wa-al-maʿná, i'tilāf al-lafẓ maʿa al-lafẓ, and i'tilāf al-maʿná maʿa al-maʿná. In addition, the exegetes also mention the verses of the Qur'an, which include īhām al-tanāsub, namely the sentence structure of the Qur'anic verses that resemble i'tilāf.

POLA KOMUNIKASI SATU ARAH SEBAGAI INTERAKSI EDUKATIF DALAM KISAH NABI ĀDAM AS

Educational interaction is a relationship between two or more people in the educational process. The interaction will form a pattern of one-way, two-way and even multidirectional communication. In the story of the Prophet Adam AS in the Qur'an there is an educational interaction that forms a pattern of one-way communication. This study aims to find one-way communication patterns as educational interactions in the story of the Prophet Adam AS. The research method used is a type of library research (library Research). The data source comes from the primary data source in the form of verses from the Qur'an about the story of the Prophet Adam, and the secondary data source comes from an interpretation book about the opinions of scholars. Data analysis using content analysis. As a result of this study, there is a pattern of communication as an educational interaction between God and the Angels, between God and Satan, and between God and Adam AS and His Wife.

Eski Anadolu Türkçesi Dönemine Ait Bir Eser: Dâsitân-ı Cümcüme Sultân [06 Mil Yz A 9991/2

The story of Cimcime Sultan is an old folk tale from the Islamic period of Turkish Literature, written in verse form. The story is based on a conversation between Jesus and a skull, Cümcüme Sultan, whom Jesus encounters when he walks on his way. In the story, Jesus asks guiding questions, and Cimcime Sultan tells what he lived in the world and after he died, in his grave and hell. The work has a didactic feature. In the story, the idea is that this world is temporary and the eternal and permanent one is the afterlife accordingly, death can knock on our door when we least expect it, and we must be prepared before we die. The way to do this is to follow the path of Allah and Allah’s prophet - in this story, Jesus. In the story, the transience of worldly life is told in an instructive way by telling the experiences of Cümcüme Sultan, who has everything to be owned in the world, has thousands of soldiers and employees in his entourage, and has no enemies. In this study, transcription of the text, in-language translation, and index of the work will be given and the story will be examined in terms of both literary and linguistic features.

Sound Logic: Verse Form, Musical Paradox, and The Phoenix and the Turtle

ABSTRACT This paper traces the historical and cultural associations of the heptasyllabic verse form of The Phoenix and the Turtle to contextualize its use in the poem and how that might shape the interpretation of the musical and theological allusions in the text. Finding connections to both Catholic and Reform musical worship, it demonstrates that the versification of the poem enacts the paradoxes at work throughout the text, which are read here as a confluence across confessions rather than a contradiction between them. The paper also considers the use of heptasyllables by Ben Jonson in the same collection to see how the same form is manipulated to very different acoustic effect in three poems, each suited to and materializing the concerns of their respective texts. In so doing, it resists the allegorical interpretation of a given verse form, instead focusing on its polysemic potential.

Meter and Modernity in English Verse, 1350–1650 by Eric Weiskott

Reviewed by: Meter and Modernity in English Verse, 1350–1650 by Eric Weiskott Ben Glaser Meter and Modernity in English Verse, 1350–1650. By Eric Weiskott. Philadelphia: University of Pennsylvania Press. 2021. xviii+297 pp. £64. ISBN 978–0–8122–5264–4. Eric Weiskott's second monograph continues to reimagine a non-teleological history of English metre. Amid extensive archival research, two major methodological [End Page 478] concerns surface: a running critique of periodization that centres on modernity, and an expansion of historical prosody. Working against a false symmetry between metrical and social history, Weiskott dislodges the attribution to Chaucer of a break between earlier metrical traditions and pentameter. Before the modern 'break' with pentameter there was a retroprojected 'break' into it that left behind a large corpus and above all Langland. Weiskott brings decades of medieval scholarship on prosody into focus to demystify pentameter's prestige. With deep linguistic and archival knowledge, his book writes new plural histories of English verse forms for early periods in which there is little explicit poetics or meta-prosodic reflection. To overemphasize the latter threatens to reproduce a periodization in which the premodern is the untheorized and therefore untheorizable. Weiskott thus successfully historicizes historical prosody, building bridges backward from its 'Victorianist incarnation' (p. 17). His book answers the pressing need for poetics to find rigorous methods for moving between time periods with truly divergent and non-'modern' literary cultures. The first five chapters establish a corpus of prophetic texts which develop their own historiography and serve to 'think the ideal social arrangement' (p. 42). Prophecy dynamically conserves metrical pasts and lets that pastness infuse prophecy. The scholarship is impressive throughout, delineating an unfamiliar genre in full historical breadth. It was not entirely clear, however, which decisions about metre mattered to authors and scribes, why pentameter was unsuited or deselected for prophecy, or how tetrameter creates 'rhythmical dimensionality' so as to constitute a 'program of literary modernization' (pp. 83–84). To Weiskott's credit, he admits elements that might reinforce narratives of modernization, such as the force of the Chaucerian 'metrical avant-garde' or the Faerie Queene's treatment of prophecy as atavistic and alliteration as mere 'prosodic dried spice' (p. 69). Chapters 6–8 surprisingly reconnect blank and alliterative verse through their classicizing 'avoidance of rhyme' (p. 106). The lack of real intersection in composition, however unsatisfying from a technical perspective, is a necessary concession and indeed part of the book's new metrical history. The mid-sixteenth-century Scottish court—hardly the gravitational centre of our nineteenth- and twentieth-century literary historiographies—is the exception that proves the non-intersection. That said, Weiskott's analysis of George Gascoigne's Steele Glas cleverly shows how poetry assessed and valued alliterative verse in ways absent from that author's foundational prosodic treatise Certayne Notes of Instruction. As in his first book (English Alliterative Verse: Poetic Tradition and Literary History (New York: Cambridge University Press, 2016)), Weiskott sharply reassesses what he calls the 'language–meter dialectic' and its 'epistemological feedback loops between meter and language' (p. 169). Once we see language and metre as two distinct and internally diverse systems, we can recognize how, for example, Piers Plowman 'devises exceptionally difficult choices between innovative metrical phonology and asystematic metrical patterns' (p. 125). We then achieve a sense of Langland's innovative skill in using macaronic verse to 'bring form to consciousness' by contrasting alliterative metrics with London's rhyming forms (p. 130). The [End Page 479] two central chapters, on Langland (7) and Chaucer (10), achieve the methodological goal of a stylistics without explicit prosody. Each of these chapters is followed by rather melancholic but useful tales of how verse style got misrecognized thanks to prosodic ideologies. Langland's alliterative verse, for example, was taken up in an exaggerated 'accentual paradigm' after the seventeenth-century canonization of blank verse. C. S. Lewis's strenuous periodization gives a fair picture of the 'post-enlightenment literary historiography' as well as the simplified and abstract modern scansions Weiskott wishes to revise (p. 145). A third section productively disarticulates two Chaucers: one the inventor of pentameter as an English outcrop of continental decasyllabics, yet influenced by a...

Türk Dili ve Edebiyatı formasyon öğrencilerinin liselerdeki Divan Edebiyatı derslerine yönelik görüşleri

Divan Edebiyatı, Türk edebiyatının temel yapı taşlarındandır. Ancak aradan geçen zaman ve değişen koşullarla birlikte yeni neslin, Divan Edebiyatı’na bakışı değişmiştir. Bu değişimin mesleğe yeni başlayacak Türk Dili ve Edebiyatı öğretmenlerine yansımasını ortaya koymak amacıyla bu çalışma yapılmıştır. Çalışmada 14 farklı üniversitenin Türk Dili ve Edebiyatı bölümlerinden mezun olmuş, 2022 bahar döneminde Gazi Üniversitesinden formasyon alan öğrencilerin liselerde Divan Edebiyatı konularının öğretimine yönelik görüşleri alınmıştır. Bu içerik doğrultusunda çalışmada nitel araştırmaya bağlı olarak olgu bilim deseni kullanılmış ve elde edilen veriler içerik analiziyle çözümlenmiştir. Verilere göre Divan Edebiyatı konularının öğretiminde üzerinde durulması gereken konuların şair, yazar ve nazım şekilleri konusu, dönemin sosyal ve tarihî yapısı ve Divan Edebiyatı’nın genel özellikleri olduğu ve bu dönemin temsilcileri olarak “Fuzûlî, Bâki, Nâbi, Nedim ve Nef’î” nin ön plana çıktığı belirlenmiştir. Çalışmanın bulgularına göre katılımcıların çoğunluğunun liselerdeki Türk Dili ve Edebiyatı dersleri konuları içinde “Cumhuriyet Dönemi” edebiyatını, diğer dönemlerden daha önemli gördükleri tespit edilmiştir. Çalışmanın sonunda MEB müfredatında 6 haftaya sıkıştırılan Divan Edebiyatı konularının dört yıla yayılarak 10 haftada, tarih dersi konularıyla paralel olarak verilmesi önerilmiştir.

INTEGRATION OF CHARACTER VALUES IN THE RAIN PHENOMENON BY SCIENCE AND Al-QURAN

One of the goals of Indonesian National Education is to develop the potential of students to become human beings who believe and are devoted to God Almighty. These goals can be formed through character education by inserting religious values in learning. One of them is in learning science which is integrated with the holy verses of the Koran. Science is a subject in school that discusses the phenomenon of rain. This research is a library research. The data collected in this study consisted of primary data obtained from the holy book of the Koran and secondary data in the form of data obtained from research articles. The data collected in this study were analyzed into information. The data in the study are in the form of verses from the Koran that discuss the phenomenon of rain which is studied for scientific evidence, so that the relationship between science and the Koran can be seen. Through this integration between science and the Koran, character values can be learned from the rain event. Based on the results of the study, it was found that rain is a hydrological cycle. Water on earth evaporates and rises to the atmosphere in the form of water vapor which then condenses at a certain height to form clouds. These clouds will move because of the wind so that they collect in one place and eventually condense into rain in the form of liquid, snow, or ice crystals which eventually fall back to earth. Rainwater that falls to the earth provides many benefits for the survival of humans, plants, and animals. The character values that can be learned from the rain event include acknowledging the oneness and majesty of God, being grateful for favors, and praying for goodness every time it rains to get blessings.

SUCCESSION OF ABAI AND AKHMET BAITURSYNOV

The article deals with the problem of continuity in the works of Abai and Akhmet Baitursynov. They were united by the depth of thought and knowledge, the idea of ​​caring for their people and the moral improvement of their contemporaries. Akhmet Baitursynov is the first Abai scholar whose article with deep meaning about Abai was published in 1913. Akhmet Baitursynov was the first to recognize Abai as the main, the first Kazakh poet. According to him, Abai is a poet who raised the dignity of Kazakh verse, giving him an honorable place in the world of poetry. Abai's poems contained depth of thought, criticality, and knowledge. Abai is a poet-innovator who perfected the form of Kazakh verse. And as Akhmet Baitursynov wrote, Abai is a poet-thinker who has learned the essence of everything he wrote about. Akhmet Baitursynov, who so deeply knew and highly appreciated Abai, himself rose to the level of Abai the mentor, Abai the thinker, like Abai of his time, and he himself became a moral teacher of his nation, an extraordinary personality of the Kazaks. This is one of the moments of the relationship between Akhmet Baitursynov and Abai. The relationship between Akhmet Baitursynov and Abai is reflected in the content of their works, the unity and commonality of thoughts and ideas. First of all, both poets sharply exposed and criticized negative, unhealthy human qualities in their poems. They wrote and promoted the noble, virtuous qualities of a person. The goal of both poets is to awaken and enlighten the consciousness of the people, writing morality in their poems and fables. Space and time, the existing socio-political system and the prevailing environment combined the creative searches of the two poets. The poems "Segiz ayak", "Zhigan-tergen" are the pinnacle of the unity of spirituality and purpose, the artistic denouement of the two poets. The article gives such judgments about the continuity of the two poets.

Makna Kekuasaan Ilahi Kajian Tafsir Surat al-Mulk 1

Abstract: Everything that has happened on earth and in the universe is evidence of God's power, so among the problems of faith in God is belief in God's power in His power and will that everything depends, God is omniscient, God is omniscient, God is omnipotent, has absolute power. perfect, this has been stated in the Qur'an in which it explains the greatness of Allah's creation, both theoretically, cause and effect. This study highlights aspects of the meaning of the Koran in the interpretation of Surat al-Mulk about the kingdom of God, the nature of God's power, this research was conducted using a descriptive-analysis-based literature study of the text in the form of verses of the Koran, so that the book itself is used as a source of information. primary. The research results obtained are as follows: First; The format of the interpretation of al-Mulk's letter, both in the dzohir text and behind the meaning, in this interpretation leads to the I'tiqadi interpretation style. Second; Operationalization and logical reasoning on the implications of understanding the nature of God's power and kingdom

Problematika Iddah Wanita Hamil di Luar Nikah

There are many aspects that need to be studied to see and understand in detail, including thestudy of the opinions of ulama ‘and KHI in addressing the problematic marriage of pregnantwomen out of wedlock. In this study, researchers sought to examine these two perspectivesby looking at the underlying factors of the contovercial marriage of pregnant women out ofwedlock in Indonesia.This is very urgent because the differences in legal consequences contained in KHI andperceptions of ulama ‘, which are actually manifestations of Islamic law are very visible. Asin Article 53 KHI which tends to open wide the possibility for people who are not responsiblefor adultery, coupled with the legal consequences contained in KHI for adulterers is very lightcompared to the had law applied in some Islamic countries.To simplify this research, the compilers use a type of library research (library rescarch), whosedata sources are extracted from written materials in the form of legal texts, both in the formof verses of the Qur’an, the books of hadith, rules of Islamic law and other written sources that are relevant to the subject matter of the marriage of pregnant women out of wedlock.The nature of this research is descriptive-analysis-comparative research. Because this studybesides describing the marriage of pregnant women in the study of fiqh science descriptively,also compared the opinions of ulama ‘and KHI regarding the status of iddah for pregnantwomen out of wedlock.From the perceptions of ulama ‘and KHI, then the conclusion arises that there are differencesof opinion between the two. For the Mālikī the marriage of pregnant women out of wedlockis divided into the marriage of pregnant women due to adultery with men who impregnate(biologically) and / or with other men (non-biological). Whereas KHI is more general and doesnot differentiate with whom the woman will marry. Apart from that, the child is pregnant.Pregnant women out of wedlock may be married by someone who impregnates her or bysomeone else who is not impregnating her, because there is no real prohibition from the Koranor Hadith. And the legal status of a legal marriage contract while fulfilling the pillars and themarriage conditions that have been determined by Islamic law, in addition there is also anelement of benefit.

A Collection of Poems The Rivers, Seas, and Us by Morsidi M.H: The Story about Life

Poetry has become a popular choice among Bruneian writers. As a result, many of those who received the Southeast Asian Writers' Awards came from the genre of poetry. Most recently, in 2021, Morsidi M.H was announced as the recipient of the award for his book, Kumpulan Sajak Sungai, Laut and Kita, which was published in 2021. This book contains 57 poems and is divided into four themes, namely Pulse and the Journey of Life (20 poems) , Homeland (7 poems), Nature and the Meaning of Life (12 poems), and Introspection and the Reality of Life (18 poems). In accordance with the contents and title, this collection of poetry presents life in line with time that is always moving forward. It works on the poet's imagination, wisdom, and emotions to produce the poems. In the Pulse and Journey of Life section alone, there is a connection between one poem and another. This attracts attention to be used as research with the objective to study and interpret all the events that the poet went through during the passage of time recorded in the form of verses of his poems. A close reading of the poems in the Pulse and Journey of Life section is not enough. Therefore, it is coupled with an expressive approach to achieve the objective of this study more effectively. The findings of this research showed that these poems share the meaning of life, which is a journey that is not considered too easy to go through, especially when confronted with many faces of human nature. This journey of life is passed along with the passage of time, and it is finally realized that there is no best way to follow this journey of life except with faith and the guidance of Islamic teachings.

Right/ Left Explaining the form of the “Bait” and Its Relation to the Pre-Islamic Poetic Consciousness from Neuro-Aesthetic Perspective

With the exception of Ḥāzim al-Qarṭājanni, no scholar was able to interpret the form of the Arabic poetic verse (al-Bait) which consists of two symmetrical parts (al-Ṣadr wal-‘Ajuz). Based on the Aristotle’s idea of imitation, Al-Qarṭājanni explained al-Bait as an imitating mental image of the Arab tent. Though this is brilliant, it is still an inadequate interpretation. This paper attempts to introduce a new explanation by combining the phenomenological method with Neuroaesthetics via adapting some of its results to focus on the creative process itself. The paper, through theoretical and applied analyzes, reached a main conclusion that the form of Arabic verse is an allegorical image of the poetic consciousness which produced it, and an outcome of its metaphorical thinking represented by the interrelating of the function of the left hemisphere of the brain (thinking) and the function of the right hemisphere (imagination), which correspond to al-Ṣadr wal-‘Ajuz respectively.

The Erotics of Materialism: Lucretius and Early Modern Poetics

The focus of Jessie Hock’s book is the impact exerted on early modern French and English poetry by Lucretius’s great Epicurean verse treatise, De rerum natura. What makes Hock’s book stand out is its commitment to reading Lucretius’s poetic afterlife in terms less of the notorious boost he gave materialist thought than of his contribution to the sixteenth- and seventeenth-century renewal of poetic forms. For as Hock elegantly demonstrates, scholars, in dwelling on the natural-philosophical content of Lucretian materialism, and thus on the bracing moral and cosmological challenge it put to the traditions of Platonized Christian orthodoxy, overlook how crucial Lucretius was for non- and even anti-Epicurean poets representing a wide range of ethical, social, and political attitudes. Indeed, the key to assessing what De rerum natura meant for early modern letters is to start from the premise that—at least until, in England, Restoration poets like the libertine John Wilmot, Earl of Rochester, to whom Hock devotes her trenchant conclusion—most poets who responded to its charms were emphatically not materialists. They were, rather, Christians of an often revanchist kind.Chapters 1 and 2, for example, take up the French Pléiade poets Pierre de Ronsard and Rémy Belleau, notable not only for their verse but also (especially in Ronsard’s case) for their fiercely ultra-Catholic stance during France’s religious civil wars. Similarly, in chapter 4 Hock examines Lucretius’s presence in the work of the Puritan Lucy Hutchinson, who not only translated De rerum natura in her youth but exhibited Lucretius’s influence in her later, pious verse long after condemning her youthful “dalliance” with his atomist doctrines. To be sure, as Hock reports, the two passages in Lucretius that attracted the deepest attention throughout the early modern era were book 1’s invocation of Venus, whose libidinal energy drives the poem even in its most technical and didactic stretches, and book 4’s remarkable analysis of the erotic power of images as attested by the phenomenon of wet dreams, in which adolescent males spontaneously ejaculate under the influence of the airy nothings of sexual fantasy. But though Lucretius himself exploits the power of passages like these to drive home what he takes to be the material foundations of nature, knowledge, and our own characters as sentient and so embodied beings, his early modern successors happily put him to uses entirely their own—and, as often as not, as in Hutchinson, John Donne (chap. 3), or Margaret Cavendish (chap. 5), to uses inimical to the antireligious thrust of Lucretius’s views.The point takes special prominence, for me, in Hock’s discussions of Ronsard and Donne. Ronsard is of course best known for his amours, the collections of love sonnets to Hélène, Marie, and Cassandre that span his poetic career. What, borrowing from the poet and essayist Lisa Robertson, Hock calls the “supple snare” (6) that entangled Ronsard in Lucretian verse was accordingly, at one level, the erotic theme announced in De rerum natura’s introductory invocation of Venus and the self-deluding violence of sexual passion. However, at a deeper level, what Ronsard found in Lucretius was an alternative to Petrarch: a form of verse more firmly grounded in the active experience of love because it paid homage to love’s inhabitance of the living human body. Lucretian atomism and, above all, the Epicurean theory of perception as the intromissive communication of simulacra—the infinitesimally thin films of atoms that objects emit through the air to imprint the visual, aural, or tactile images of those objects on the organs of sense—taught Ronsard the role images play not only as a formal means to poetic ends but as vivid enactments of the way poetry, too, ensnares its readers through the media of image, figure, and voice. As reactionary as Ronsard’s religious and political positions may have been, Lucretius gave him a new, unmistakably modern language that paid tribute to the intimate physicality of frankly sexual desire. For Donne, meanwhile, as also for Hutchinson and Cavendish, De rerum natura supplied a reservoir of conceits that enabled him to craft novel literary experiences in such a way as to thread the needle between Lucretius’s reductive yet inescapably seductive materialist account of human thought and feeling and Donne’s own ongoing idealist commitment to human spirituality. Though Hock does not mention it, Lucretian atomism works in tandem with the religious as well as erogeno-poetic lessons Donne drew from what one of his most famous love poems calls “love’s alchemy.” Lucretius’s simulacra in particular thus modeled how, in the alembic of faith as well as sex, matter sublimates to form the stuff of purified spirit it seems to eliminate.The Erotics of Materialism, accordingly, makes an original and important contribution to our understanding both of early modern European poetry and of its place in the broader assimilation of the materialist insights De rerum natura inspired.

‘Bidding and forbidding’: Morality, Prosody, and The Wreck of the Deutschland

Abstract This essay considers the unsettling prosody of The Wreck of the Deutschland (composed 1875–6), Gerard Manley Hopkins’s long poem in sprung rhythm, through the lens of his implicit and explicit claims about the moral and theological operations of poetic form. Connecting Hopkins’s account of poetry’s forceful ‘bidding’ to his later assertions about God’s ‘bidding and forbidding’, the essay’s first section argues that the affective texture of Hopkins’s verse undertakes a kind of moral and theological self-examination, registering the implicit violence and volatility of The Wreck’s theodicy. Taking stock of Hopkins’s reading of William Wordsworth, moreover—and developing this, in its second section, through some of Hopkins’s philosophical writings as a young man—it goes on to explore how the sounds and rhythms of poetry might intimate the complexities of moral and religious belief. The essay is committed, indeed, to understanding the sensate qualities of verse form as a medium for serious thinking, implicated as they can be with the proper intensities and uncertainties of our spiritual lives. At stake in The Wreck’s prosody, it claims, is less a kind of sure-footed belief than what Hopkins described as the ‘shock’ or ‘tremble’ of reading Wordsworth’s ‘Ode: Intimations of Immortality’ (1807): the undecidable sense of ‘having seen something, whatever that really was’.

Balinese Calonarang in Performance

Balinese <i>Calonarang</i> in Performance

Peran Ayah Dalam Pendidikan Anak Perspektif Al-Qur’an (Telaah Tafsir Ibnu Katsîr dan Al-Mishbâẖ)

This study aims to analyze the morals of fathers in educating children in the perspective of the Qur'an by studying Ibn Katsr's interpretation and al-Mishbâẖ's interpretation. This study uses a library research method using primary data of Ibnu Katsr's interpretation and al-Mishbâẖ's interpretation, secondary data in the form of pre-existing sources such as other supporting books related to the object being studied. The main steps of data analysis in this study begin with an inventory of the text in the form of verses, examine the text, look at the historical verses and look at the hadiths. Furthermore, it is interpreted objectively and described descriptively and then drawn some deductive conclusions. The results of this study indicate that the morals of fathers in educating children in the perspective of the Qur'an with the interpretation of Ibn Katsr and the interpretation of al-Mishbâẖ are wills, love for children with the call yâ bunayya (O my son), grateful, not burdensome to children and prospective in-laws, and pray.