Historical Poems Research Articles

Simfonijska razmišljanja Blagoja Ivanovskog - povodom 100-godišnjice rođenja kompozitora (1921-1994)

The first works for symphony orchestra by Macedonian composers were written in the post-war period, from 1945 to 1957. During this period Macedonian composers introduced Western-European music models in Macedonian music culture. Several composers, among them Blagoja Ivanovski (1921-1994), are considered the pioneers of symphonism in contemporary Macedonian music. Among Ivanovski's contributions was the first symphonic poem Razmisluvanje (Reflection) written in 1954. This work will determine the creative manner in the works for symphony orchestra that follow: Symphony no. 1 Lesta (1957), Historical Poem (1958), Frescoes (1961), Tsar Samoil's Tragedy (Three symphonic poems) (1970), Vardar (1979) and Nerezi (1984). The paper presents the analysis of the form (symmetric structure), the orchestration (a tre) and the program (contents related to the national history and culture) of the symphonic poem Razmisluvanje. The paper is also concerned with the influence of Macedonian folk and traditional music in Ivanovski's compositions.

Апокалиптика революции и подвижничество в поэме Б. Л. Пастернака «Лейтенант Шмидт»

The paper investigates the structure and significance of a mythopoetic component in the poem “Lieutenant Schmidt” (1926–1927) by B. Pasternak, revealing that mythopoetics contributes to the expression of the author’s Christian views on the events of the Russian revolution of 1905–1907. It depicts the Sevastopol Uprising as a kind of repetition of the tragic history of capture of Kyiv by Mongols-Tatars in the 13th century, as well as the represents bloody realities of the Great French Revolution of the late 18th century, since these events resulted from the fact that society neglected the spiritual and moral foundations of its existence. According to the author the images, arising in the subtext, the images of the Church of the Tithes destroyed in 1240, the Declaration of the Rights of Man and of the Citizen (1789) and the October Manifesto (1905), not implemented in time, are the embodiments of such foundations. At the same time, the study emphasizes the significance of a philistine appearance of the “sleeping” fortress-city of Sevastopol. The author draws attention to the fact that the leitmotif of representing the spiritual sleep, lying and violence is the image of the rampant demonic force which eventually engulfed both warring parties. As she argues, there is, however, an antagonistic spiritual origin of this element in the poem — it is exactly in the image of Lieutenant Schmidt who embodies the idea of evangelical self-sacrifice in the era of violence and lack of spirituality. The paper analyzes the nature of internal conflict experienced by the hero, as well as the dynamics of the plot lines connected with him and highlights the role of biblical, historical and literary allusions. The author concludes that the work under study reveals characteristic features of a historical and mythological poem.

Tarih Düşürme Ustası Kandî ve Manzum Tarihleri

Tarih düşürme, ebced hesabı denilen ve Arap harflerinin her birine sayısal bir değer verilerek oluşturulan sistematikle tarihte meydana gelen önemli bir hadisenin kronolojik tespiti demektir. Elbette bu tespiti yapan bir şair olunca rakamları kullanmak yerine temel enstrümanı olan şiire başvurur. Tarihte ilk tespitinin XV. yüzyılda yapıldığı tarih düşürme geleneği, günümüzde de devam etmektedir. Klasik Türk edebiyatında tarih düşürme ustası olarak anılan birçok şair mevcuttur. Bursalı Haşimî, Seyyid Osman Surûrî ve Antepli Aynî bu türün en güzel örneklerini veren şairlerdendir. XVI. yüzyılda Osmanlı toplumunda yetişmiş olan Kandî de kaynakların tarih manzumelerini övdükleri müverrihlerin başında gelmektedir. XVI. yüzyıl tezkirecilerinin aracılığıyla haberdar olduğumuz Kandî’nin hayatı hakkında elimizde çok az bilgi vardır. Şiirleri ve tarihleriyle ilgili örnekler bugün şair tezkirelerinde ve şiir mecmualarında bulunmaktadır. Tezkirecilerin şair ile ilgili varmış oldukları ortak kanaat onun şiirlerinden ziyade tarih manzumeleriyle bilindiği ve şöhretini bu yolla elde ettiği yönündedir. Bundan dolayı Kandî için şair sıfatının yanı sıra müverrih ibaresi de sıkça kullanılır. Elbette Kandî dışında tarih düşüren çoğu şairin tarih manzumeleri ile ilgili akademik çalışmalar yapılmıştır. Ancak hakkında çalışma yapılan şairlerin bugün elimizde divanları ya da başka bir eserleri mevcutken Kandî’nin eserlerinden geriye kalmış kalıntıları başka kaynaklardan temin etmekteyiz. Bu çalışmada XVI. yüzyılda yazılan yedi adet tezkireden elde edilmiş kısıtlı bilgilerden hareketle Kandî’nin tarih manzumeleri ile ilgili bilgi verilmeye çalışılacaktır.

Çincedeki Tarihî Şiirlerde Geçen Doğu Türkistan’ın Tarihî Yer Adları Üzerine

There are many poems recorded East Turkestan’s place names in Chinese history poems,. In this article, poems in which the historical place names of East Turkistan, such as “Tanridag”, “Altay”, “Küsen” and “Kroran” are mentioned in Chinese historical poems are discussed. By examining the place names of East Turkestan in the historical poems of China, as Uyghur historian Turgun Almas said, these place names are philological proof that the original inhabitants of the Cungar and Tarim basin are Uyghurs. If the people living in these regions were not Uyghurs, but the people who spoke in another language, then the names of these lakes, mountains, places and rivers would not be called “Tanritag”, “Altay”, “Küsen”, “Kroran” in Uyghur Turkish. The recording of the place names of East Turkistan in the historical poems of China is another philological advantage.

The Journey of Islamic Art Through Traditional and Contemporary Calligraphy Painting

Islamic Art is considered as historical art and it is famous all over the Islamic world. The Islamic calligraphy art started around the time of the revelation of al-Quran. Islamic calligraphy art was famous for adorning the interior and exterior aspects of mosques and some famous Islamic buildings. The aim of this article is to highlight and study the traditional and contemporary Islamic calligraphy painting by well-known calligraphers. Calligraphers have been inspired by the Arabic language and they are expressing this language as a kind of unique art through traditional and contemporary painting. Indeed, this paper will provide a brief history of calligraphy art. Islamic calligraphy painting is expressed in a variety of styles and there are also different modes of traditional Arabic styles of writing. Islamic Calligraphers appreciate this sacred and spiritual art and as they carried on their journey, they began to create their art by adding some inspirational verses of the Quran as well as some historical poems. The most noticeable visible feature related to Islamic calligraphy traditional and contemporary painting has to do with the complex and intricate compositions that involve the overlapping of words integrated into a unique method. Islamic calligraphy painting, through either a traditional or a contemporary method, expresses movement and dynamism through the calligraphic lines. The study reveals that the traditional and contemporary calligraphy paintings are considered as innovative art based on their unique traditional scripts, the intricate contemporary identity of the handwriting and the materials. Calligraphers expressed their artistry, and their ability and creativity by applying the sacred language to create a fabulous and unique tradition which is referred to as contemporary calligraphy painting.

Historical Verses in Farisi's work titled Ravza-i Alî

Matematikle dil estetiğinin harmanlandığı bir tür olan tarih manzumeleri, bilindiği gibi klasik edebiyat içerisinde hem sosyal hayatla bağlarının kuvvetli olması hem de sosyal hayatın bazı yönlerine ışık tutması bakımından önemli bir yere sahiptir. Birçok disiplinin ilgi alanına girebilecek özellikler taşıyan bu manzumeler, yazıldığı dönemin sanat ve estetik anlayışına dair ipuçları da barındırırlar. Şairlerin tarih düşürdüğü olaylardan biri de 1715’teki Mora’nın fethidir. Fârisî de hem bu fethin tarihini kaydetmek hem de Şehid Ali Paşa’yı övmek için Ravza-i Alî adlı eserini kaleme almış ve bu eserinde çok sayıda tarih manzumesine yer vermiştir. Edirneli Ispanakçı İsmail Paşa’nın oğlu olan Fârisî hakkında, kaynaklarda bilgi bulunmamaktadır. Fârisî’nin eserinden, babası ölene kadar onun yanında görev yaptığı ve İnebahtı, Temeşvar, Eflak ve Boğdan’da bulunduğu anlaşılmaktadır. Şimdilik bilinen tek eseri Ravza-i Alî’dir. Fârisî, eserinde yer alan 23 tarih manzumesiyle Şehid Ali Paşa’nın veziriazamlık yaptığı 1713-1716 yılları arasındaki olaylara ışık tutmuştur. Bu çalışmada önce Fârisî ve eseri hakkında bilgi verilmiş, ardından Ravza-i Alî’deki tarih manzumeleri ele alınmıştır. Bu tarih manzumeleri, şekil ve muhteva yönünden incelenmiş ve manzumelerin transkripsiyonlu metni okuyucuların istifadesine sunulmuştur.

Kilka uwag o życiu i twórczości Jerzego Ręczyńskiego, autora poematu Dziewica Litwy Emilia Plater

The purpose of this study is a presentation of works of the Lithuanian nobleman Jerzy Reczynski (1805–1899), a soldier of the 1830–1831 Uprising and, after its suppression, an emigre. Reczynski lived, in turn, in France and Great Britain. Based on his published literary works, linguistic treatises, his memoirs from the time of the uprising as well as unpublished manuscripts and, above all, his comprehensive diary, his biography has been established, and an analysis of his whole oeuvre carried out. Special attention was paid to the manuscripts kept in the Polish Library in Paris: a journal entitled Życiopis and a historical poem devoted to Emilia Plater. The author of the article attempts at the analysis of the poem’s content and the establishment of its inspiration sources, that is those historical and literary texts that served as the source material for Reczynski.

Celâlî Rebellion in Nâbî Divan

Kendine has öğretici, öğüt verici, yol gösterici üslubu ile Nâbî, Divan şiirinin en önemli isimlerinden birisidir. İlk gençlik yıllarını Urfa’da geçiren şairdeki cevher, İstanbul’a geldikten kısa bir zaman sonra Musahip Mustafa Paşa tarafından fark edilmiş ve bu cevher devlet ricalinden hatta zaman zaman bizzat padişah tarafından taltif edilmiştir. Hayatının büyük bir kısmını İstanbul, Edirne, Halep gibi dönemin önemli şehirlerinde geçiren şair, 17. yüzyılda Osmanlı Devleti’nde yaşanan hadiselere yakından tanık olmuştur. Yazar ve şairliğinin yanında önemli bir düşünce adamı olan Nâbî, şahit olduğu meselelere duyarsız kalmamış, kendisi ve içinde bulunduğu toplum için dersler çıkarmıştır. Şairin hemen hemen bütün eserlerinde bu derslerden izler bulunur. Çalışmaya konu olan Nâbî’nin önemli eseri Divan’ı da, şairin şahit olduğu altı padişah döneminin adeta bir özeti gibidir. Şair, divanında yer alan tarih konulu kaside ve tarih manzumeleriyle döneminin tüm mühim hadiselerine ışık tutmaktadır. Çalışmanın konusunu ise bu tarih manzumelerinin ilki olan ve “Târîh Berây-ı Tedmîr-i Celâlî” başlığı taşıyan Celâlî isyanlarını konu edinen manzumedir. Şairin doğumundan yirmi yıl kadar önce gerçekleşmiş hadisenin divana konu olması dikkat çekicidir. Bu da isyanın tesirinin, şairin divanını tertip ettiği yıllarda hala devam ettiğini gösterir. Osmanlı Devleti için bu çok mühim hadisenin, idareye çok yakın bir Divan şairi tarafından nasıl anlaşıldığı değerlendirilmeye çalışılacaktır.

Between First, Second, and Third Worlds: Olzhas Suleimenov and Soviet Postcolonialism, 1961–1973

This article investigates the themes of global postwar decolonization, Soviet internationalism, and national identity in the works of the Russophone Kazakh poet Olzhas Suleimenov (b. 1936). Through an analysis of his early autobiographical and historical poems, which commemorate a variety of events ranging from the Second World War and the successes of the Soviet space program to Indian Independence and the American Civil Rights movement, I argue that Suleimenov’s synthesis of postcolonial writing and Soviet anticolonial discourse paved the way for a sophisticated critique of cultural imperialism that coincided with, and also contributed to, the birth of postcolonial literature worldwide.

Grammatical Archaisms in the New Latin Poetry of Ukraine of the Early Modern Period: the Invariance of Forms and Functions

The article examines the use of grammatical archaisms in the New Latin poetic text based on the historical poem by Simon Pekalid De bello Ostrogiano (Krakow, 1600). It consistently reflects one of the most important properties of poetic speech – the implementation of phonetic-grammatical and lexical-word-formation capabilities of the language system and it clearly shows the dynamic nature of language elements at all levels of Latin. It is determined that the main factors that influenced the adoption of grammatical archaisms were the metric requirements and stylistic canons of the ancient epic. Due to the functions performed in the poetic sphere, the early modern Latin, which owes a flexible language system with a grammatical basis preserved from classical Latin, was characterised by significant variability of the language structure due to the presence of elements of different origin. Belonging to the passive vocabulary of the language, in most cases archaic vocabulary was stylistically marked and it often passed into the category of traditionally poetic. The tradition of the epic genre and the stylistic differentiation of various variants of speech suggested the presence in the epic text of a certain number of archaic morphological forms, as a result of which the stylistic differentiation of inflections-doublets arose in Latin, one of which was archaic. The functioning of archaic forms in the New Latin poetic text has a dual character: as a linguistic unit, archaisms occupy a special place within synchronous relations, but as a stylistic unit they are decoded according to the second, i.e. earlier system of literary language. The use of multi-temporal morphological forms is associated with their poetic function in the language, which has gradually produced certain stylistic norms in the use of grammatical forms over the centuries.

Berdakh's “Shejire work” is a best historical poem about the origin of Karakalpak nation

Berdakh's “Shejire work” is a best historical poem about the origin of Karakalpak nation

Ohionim of the Mother of God in poetic discourse of Taras Shevchenko

The object of the proposed article is the Christian ohionim of the Mother of God in the poetic discourse of Taras Shevchenko. This proper name, together with the propriatives God, the Lord, forms the core of the sacredness of the studied texts. An indepth analysis of the “Kobzar” gives grounds to claim that its author was a deeply religious man who knew the Scriptures well and used it creatively in artistic practice. Evidence of this are the historical and philosophical poems “Mary” and “Neophytes”, in which biblical and secular motifs are organically intertwined, which is directly reflected in the level of verbalization (active use of Old Slavonic, God’s names, biblical expressions). On the basis of the theantropocentric approach, the peculiarities of the existence of the ohionim of the Mother of God in the texts of different genres are clarified. Up to the aim, a paradigmatic approach is used: all the names of the Mother of Jesus Christ recorded in the discourse are embedded in a nominative paradigm, each component of which (Mary, Mother, Mother of God, Mother Mary, Virgin, Immaculate, Queen of Heaven, Ever-immaculate, Good, All-Good, All-Holy, worthy, pure in wives, blessed in wives, great in wives mourning joy, holy power of all saints, our world unseen, my most glorious paradise, our beauty, world green, fragrant green lily) is characterized in terms of its semantic content and semantic specification, established correlations between them. A comparative analysis based on the semasiological procedure of the lexical resource that is part of the appellation and at the same time exists as a propriative unit was done. Special attention is paid to the connecting capabilities of the described ohionim, its ability to appear in the subjective, object, attributive function and thus to identify the features of semantic-syntactic valence. Episodes from the earthly and heavenly life of Mother Mary are clearly based on the valence pattern. The lexical-semantic compatibility of the theonym of the Mother of God with attributive modifiers in the form of agreed and uncoordinated definitions is comprehensively interpreted, their constitutive possibilities are clarified. It is proved that sacredness is one of the immanent features of Taras Shevchenko’s poetic idiostyle. Keywords: ohionim of the Mother of God, nominative paradigm, poetic discourse of Taras Shevchenko, syntagmatic resource, semantics.

Artistic reception of baroque images in historical poems of Dmytro Pavlychko

Artistic reception of baroque images in historical poems of Dmytro Pavlychko

Сибирь в поэтическом воображении русского модернизма: живые и ожившие картины Марины Цветаевой

The article is devoted to the experience of poetic visionarism and ekphrastic description in the narrative poem “Siberia” by Marina Tsvetaeva. Tsvetaeva’s poem is a text with a double status. On the one hand, this is a completed historical poem dedicated to the early history of Siberia and the Russian Empire (16 th – 17 th centuries). On the other hand, the poem is part of a large historical epic (“Poem of the Tsar’s Family”) dedicated to the collapse of the empire and the tragic fate of its rulers. The primary sources for Tsvetaeva’s poetic visionary work are the works of Siberian historians (K. Golodnikov, P. Slovtsov, I. Fisher and others), as well as the literary texts of her contemporaries (M. Voloshin). Marina Tsvetaeva has never been to Siberia, there were no meaningful encounters with Siberians in her personal biography, however her contribution to the Siberian text of Russian modernism can be considered as significant. The article explores the sources of several “living pictures” (poetic historical sketches of the morals of pre-Petrine Russia). In particular, the paper deals with the history of the Pokrovsko-Turin Monastery in Tsvetaeva’s poetic reflection. The historical sketch is significantly deepened by the appearance of the “Siberian elder” Grigory Rasputin within the 17 th century history. This figure, while still alive, was mythologized simultaneously on an hagiographic and a demonological basis. Tsvetaeva presents this exotic figure as a cultural revenge of pre-Petrine Rus. In such a historiosophical construction, an important role is played by the Siberian origins of Rasputin. Against the background of various “living pictures” of Tsvetaeva’s poem, one “revived” picture stands out. This is an ekphrastic image of “Menshikov in Berezovo”, referring both to V. Surikov’s painting and to M. Kuzmin’s famous poem “December freezes in a pink sky...”. Tsvetaeva’s image of Menshikov clearly takes on palimpsest features. A similar phenomenon (a multilayered work as a factor in the liberation of author’s consciousness from empirical reality) was examined by Yu. V. Shatin.

Czasy Ottona I z perspektywy Hroswity z Gandersheim

<p>Kiedy mówi się o Hroswicie, kanoniczce z Gandersheim, jako o pisarce, na ogół myśli się o jej sześciu utworach dramatycznych, które stanowią niewątpliwie szczyt jej umiejętności twórczych. Zdecydowanie mniej znane są jej poematy historyczne, zwłaszcza Gesta Ottonis, których dotyczy niniejszy artykuł. Bohaterem dzieła jest Otton I Wielki (912–973), który tron królewski objął w 936 roku (od 962 roku – cesarski). Hroswita żyła i tworzyła przede wszystkim w czasach jego panowania. W historii władca ten zapisał się jako polityk i strateg, a jego rządy zdominowały stosunki z Kościołem. Należy także zwrócić uwagę, że Otton I wykorzystał instytucje religijne, co znacznie umocniło jego władzę. To współdziałanie Kościoła i królestwa/cesarstwa zauważalne jest także w Gesta Ottonis Hroswity. Kanoniczka stworzyła jedną z pierwszych biografii władcy, co świadczy o fascynacji, jaką wywierali Otton I i jego przodkowie na współczesnych. W tysiąc pięćset siedemnastu heksametrach leońskich Hroswita zawarła obraz idealnego władcy, postępującego na wzór biblijnego Dawida, który otrzymał siłę od Boga do walki z wrogiem. W porządku chronologicznym przedstawiła dzieje Ottona I, a także wspomniała jego ojca. Pragnęła stworzyć coś nowego, co jednocześnie odwoływałoby się do antycznych wzorców gatunkowych. W tekście Hroswity wyraźnie zaznaczyła się tendencja do poddawania wiedzy o przeszłości nieustającym przekształceniom w taki sposób, by umieć postępować w teraźniejszości, a także w przyszłości.</p>

Üjiçeli Şeyh Muhammed’in Türbesi’nde Bulunan Tarih Manzumesinin Türkçeye Aktarımı

The topic of this article is the 11-verse historical poemin the Tomb of Sheikh Mohammed of Užice located in the town of Rožaje within the borders of the Republic of Montenegro. Literary work, one of the most striking signs of Ottoman civilization, disappeared in the course of time. Those which have survived to the present day are very valuable documents of history.One of these is undoubtedly the historical poemfoundin the Tomb of Sheikh Muhammadof Užiceand related to the construction of the tomb in the town of Rožaje located in the middle of the Balkans. This piece of work has literary and historical importance and is preserved inside the tomb. Chronogram is an art used to determine the date of an eventthrough Abjad calculation. Although historical poems maintain individual aspects in the poetry forms of classical literature, they are the types that have the strongest ties with social life and remarkably cast light upon the various aspects of social life.The method of this study was determined as reading, writing in original and transcription and evaluating the text of the historical poem in the tomb located in Rožaje. The historical text, which was the topic of the study, was identified and photographed at its locality. Then, after the processes of reading and deciphering, the text was presented in this format for the first time.

Introduction: visions of Britain

ABSTRACTThis introductory essay situates Poly-Olbion (1612, 1622), Michael Drayton’s vast chorographical and historical poem of England and Wales, in terms of its development as a poetic project, its structural choices, and its reception by early readers. It sets the tension in the text between the local and the national against the backdrop of a more fundamental seventeenth-century shift from national to regional description. By exploring the text’s depiction of the ancient Picts, it also considers some of the difficulties that Drayton might have faced, had he managed to extend his poem north to Scotland.

“Unhitching the Oxcart of Delhi”: a Mughal-Period Hindi account of Political Insurgency

AbstractThis article is part of a larger effort to broaden the source-base for understanding Mughal-period India by engaging with the Hindi literary archive. I analyze the vignettes of Aurangzeb and other Mughal figures that are available in Lāl Kavi's Chatraprakāś (Light of Chatrasal, c. 1710), a Brajbhasha (classical Hindi) historical poem commissioned by the Bundela ruler Chatrasal (1649–1731). Written shortly after Aurangzeb's death, the Chatraprakāś is in part a retrospective on Aurangzeb's reign. It is also a valuable source of regional history that gives voice to how the Mughal Empire was perceived from a local court that went in and out of political favour. In places, Lāl Kavi engages in trenchant political critique, expressing the court's strong disillusionment with the Mughal manṣabdārī system as well as more local grievances. While by no means the dominant tone of the work, there are occasional hints of the court's outrage at Mughal offenses against what Lal Kavi explicitly terms “Hindu dharma.” Parsing the Chatraprakāś as both poetry and history, I probe the text's complex perspectives on Mughal rule.

Lydgate and the Surplus of History

This essay considers three historical poems by John Lydgate. I argue that, in his Siege of Thebes, Troy Book, and Fall of Princes, Lydgate uses poetic form to write about history in the negative. Rather than try to represent history in form, that is, he draws his reader's attention to the matter of history that his forms exclude. By attending to the way that Lydgate invokes this leftover quantity of historical matter, which he terms the "surplus," I cast light both on Lydgate's own theory of form and the theories of form found in his Lancastrian contemporaries.

Anacronismo e discurso da solidariedade humana: Borges em (sobre) Poema conjetural

Em 4 de julho de 1943, Jorge Luis Borges publica Poema conjetural, texto que segue a consciência de Francisco Narciso de Laprida, personagem histórico da independência argentina, no momento de sua morte. O poema contém uma crítica política que, no entanto, está instalada nas sutilezas da simetria de datas (o golpe militar de 1943 deu-se em 4 de junho) e do uso de um anacronismo na conjectura de Laprida, o termo sudamericano. O presente artigo observa como Borges retomou, em conferência e entrevistas, seu Poema conjetural para agregar comentários que destacam o anacronismo e a crítica política nele sugerida. Defendemos a ideia de que estes textos envelopantes revelam o desejo do autor de assinalar em seu poema a presença de um pathos, um discurso da solidariedade humana direcionada ao sul-americano. É na presença da ambivalência do discurso em (sobre) Poema conjetural que o anacronismo poema histórico/poema contemporâneo alcança potência máxima.