Internal Rhyme Research Articles

Functions of Exact and Homonymous Internal Rhymes in Georgian Medieval Panegyric Poetry

The text of the medieval Georgian panegyric poem “Tamariani” has come to us in the form of manuscripts of the 18th and 19th centuries. “Tamariani” mainly uses a poetic form, which is known in Georgian versification as “Chakhrukhauli”. “Chakhrukhauli” is a quatrain with twenty-syllable lines, the pre-caesural parts of which consist of two rhymed (often homonymous) syntagms. The lines also have an end rhyme. In Georgian literary criticism, until now, only evaluative points of view have been expressed regarding this work, and the functional nature of the formal techniques has been ignored. This article is an attempt to substantiate the hypothesis that the use of specific formal techniques – in particular, frequently repeated precaesural (including homonymous) rhymes in “Tamariani” – was due to the influence of Neoplatonic philosophy on the author. This hypothesis is also supported by the fact that Georgian researchers also noted the influence of Neoplatonic philosophy on “The Knight in the Panther’s Skin”, the author of which was Chakhrukhadze’s contemporary, the greatest Georgian poet Shota Rustaveli, although, unlike “Tamariani”, the influence of Neoplatonic philosophy was reflected on Rustaveli work’s content and philosophical concept, while in Chakhrukhadze’s poem the influence of Neoplatonism becomes clear upon a careful “reading” of the form of the work.

Sûdî’nin Bostan Şerhi’nde Nesir Dili

Sûdî is one of the representatives of 16th century Turkish classical prose literature. In his annotated work of Bostan he preferred quite a simple language, free from internal rhyme and compound words. He made his explanations short, using defining annotation style. As he pursued overall goal of language teaching, there are oft-repeated sentences of information in the work. His mastery over Persian language enabled Sûdî to meticulously work on the derivational and inflectional affixes. As the main part of speech necessary to understand a statement is the verb, there is quite a lot of information embedded in the work regarding the modality features of Persian verbs, whether they are transitive or intransitive, or whether they are affirmative or negative. There is information given as to in what sense phrases are used, which words pronouns refer to in the text, and how a pair of lines that conveys figures of speech should be inferred and understood. He severely criticized the authors who previously worked on Bostan due to their mistakes in their annotated works, their inadequate knowledge of Bostan, their sheer lack of comprehension of the sentences. It is obvious that he made use of Turkish, Persian and Arabic conjunctions, gerunds, participles and adverbials. There does not seem to be any particular use of artistic language in his prose. He produced a kind of prose a lot easier to understand than those used in his age. Key words: Sûdî, Annotated Work of Bostan, language of prose, sentence construction

Metrical Ambiguity

In most instances the meter of a Russian poem becomes clear virtually from the start, after a single line or perhaps just a few lines. However, there are also poems for which a simple metrical classification remains problematic even upon consideration of the entire work. In some cases, an abundance of internal rhyme leads to the appearance of a “shadow meter” that creates an alternative way to describe the meter over at least a portion of the poem. In others, it turns out to be possible to interpret an entire poem as belonging to any of two or more meters, often because the work does not precisely match the norms for any one type while bearing reasonably close resemblances to more than one metrical category. In this paper I examine several instances of metrical ambiguity in Russian verse and conclude that for such poems it is best not to employ a single metrical label but to offer a more detailed characterization that does justice to the work’s complexity.

Lilies on the Deathbed of Etaín and Other Poems by Oisín Breen

Reviewed by: Lilies on the Deathbed of Etaín and Other Poems by Oisín Breen Greg Brown OISÍN BREEN Lilies on the Deathbed of Etaín and Other Poems Tipperary, Ireland. Beir Bua Press. 2023. 54 pages. OISÍN BREEN'S Lilies on the Deathbed of Étain is a book of poetry woven together by threads of various longing. The first and title poem's titular character comes from Irish mythology: Étaín is an immortal who was forced into other forms in order to thwart her lovers over many lifetimes. Other poems in the collection are set in the contemporary, ordinary world, yet they too give visions of possibilities beyond mortal reach. Breen's précis admits his preference "towards the long-form and the experimental." Throughout the first two poems, "Lilies of the Deathbed of Étaín" and "The Love Song of Anna Rua," Breen plays with different styles of line and typography. Typically, Breen uses initial capitals to begin each left-justified line. The styles have a system, but not a rigid one: for example, in "Lilies" and in "The Love Song" are examples of lines centered and written in capital letters, but while the latter are exclamation or forte within the song, in the former poem these passages loom off the page like inscriptions on tombs. Here is the first example: "thus the levee skirls with white noise and elan / for here in the dark light, / where prohibition becomes licence / here there is death: / the one true vision of abundance." Other examples in "Lilies" are similarly epitaphic in tone, sometimes repeating and combining with prophetic flair. Some passages in "Lilies" seem to pattern after the long, phrasal-lines that run on much longer than the physical page is wide, marked only by initial capitals and the slight hanging indent, but curiously this cannot be said for all similar patterns. Some stanzas are more aptly described as having subordinate lines—lines that do not wrap at the right margin like prose but stand off the left margin and lack the line-starting capital letter. The subordinate lines are appositional to their main line, and within such passages are some of the most striking lines in the book, such as these lines that follow a list of Étaín's several forced incarnations: "For each of us it differs. / But our death will come in a single reckoning, / a blow that shakes us from navel to heart, / a furious meeting of synapses riffing out sketches / in a stop-start-stop algorithmic play, / All at once, / And not at once." These lines dramatically describe our most current understanding of the physical process of death, underscoring the contemporary relevance of Breen's poetry. Beyond the typography, the most skillful wordwork in these poems is harder to describe in the space of a review. Breen's rhythms, often enhanced with internal rhymes, make these poems extremely pleasing in sound. These poems need to be heard like the music they are. Though Irish myth features prominently in the work, Lilies on the Deathbed of Étain is more than a Yeatsian project. Neither is the legend used merely as costume. As Breen states in the foreword, some of the poems are as direct and contemporary as a description of watching seabirds hunt alongside a boat, and others, like "Six Months Bought with Dirt," are simply timeless in the sense that the struggles and joys captured are immortal, even if the generations that experience them are not. Breen's handling of the legend of Étaín is particularly suited for the contemporary world, awash as it is with more ways of living than any mortal person could ever experience. [End Page 84] Of course, it is not the range of experiences itself that has expanded so much as our knowledge of them, and this knowledge is both liberating and a source of dread. Recalling her change "to water, worm, and scarlet fly" and imagining "her second birth in her thousandth year," these poems soothe and magnify us who can only experience one life. Along this theme is "A Chiaroscuro of Hunger," my favorite poem of the collection. In it, a speaker recollects...

October Notebook

October Notebook Daniel Poppick (bio) A folk song about counting.A folk song about imitating a police siren.A folk song containing the lyric, "I only love my bed and my mama, I'm sorry."A folk song containing the lyric, "The only tune that the fiddle would play was 'O, the Wind and the Rain.'" I travel to rural Ohio, where I've been invited to give a poetry reading at my alma mater."How do you write poetry that's true but that also isn't overly personal?" asks an undergraduate after the reading.I don't know how to respond. Were I a painter, I might say that art is an invented canvas full of real bullshit. But I am not a painter. parable of bloodlines After the poetry reading, I ate dinner with R., a beloved former religious studies professor. R. is one of the gentlest men I've ever known, possessed of a gentleness verging on genius–inquisitive [End Page 66] but never hectoring, polite but genuinely so–there exists a spiteful politeness in the Midwest–thoughtful but silly, grave but cheerful, meandering but focused. In the class I took with him in college, called "Meanings of Death," a survey of death and mourning rituals across world religions, one of the assignments was to write a eulogy for someone we loved who was still alive. To this day there is a bit of this assignment in every poem I write, premature nostalgia being something like my calling card.R. is now retired. He has many close friends in town but so far as I know has never married or had children. At dinner he gleefully described his retirement plans–writing a murder mystery set in a seminary, a story based on events that he witnessed as a young man that I would recount for you here if I remembered.Our dinner ended and we said our goodbyes, hugged, wished each other well. The night was open before me in my old stomping grounds where I too might have been inspired to write a murder mystery, if I could only witness one. But at present I am too old to hang out with the students and too young to pass the evening with the professors, who all go to bed early anyway. It was a beautiful fall night, the rest of which passed without incident. I slept poorly.I woke before dawn to catch a shuttle back to the airport in Columbus. A man about R.'s age pulled up in a sedan in the dark and introduced himself as D.I disliked D. immediately. He chatted with me in the car like a genial prison guard, in a tone that made no secret of the fact that he didn't care at all what I said in response. Conversation in this context was a kind of disinfectant spray against intimacy. He was unwilling to hazard the exquisite awkwardness of sitting with a stranger in silence, which I cherish, but also seemed unwilling to talk about anything that actually mattered to either of us. [End Page 67] He asked me what I "did," and when I told him that I was a poet, he asked me what sports I liked. I asked him what he "did," and he told me that he was a retired math teacher. He lived in a nearby community with his wife. I asked him how he had liked teaching at the local high school, and he told me that it "had a good reputation." At this point I was already completely exhausted, counting the seconds until I could get out of the car. The cornfields rolled out in the darkness like an infinite bruise."So what's your poetry about?" he said.At this point I should really have an answer to this question, but I do not. I gave him my stock answer: "Most of it doesn't rhyme." But then I remembered that there was a lot of internal rhyme in my recent work, and added, idiotically, "But recently a lot of it does."D. didn't care, of course–this contentless answer was exactly the kind of adventure...

Love Is Loud: How Diane Nash Led the Civil Rights Movement by Sandra Neil Wallace

Reviewed by: Love Is Loud: How Diane Nash Led the Civil Rights Movement by Sandra Neil Wallace Adam McConville Wallace, Sandra Neil Love Is Loud: How Diane Nash Led the Civil Rights Movement; illus. by Bryan Collier. Wiseman/Simon, 2023 [48p] Trade ed. ISBN 9781534451032 $18.99 E-book ed. ISBN 9781534451049 $10.99 Reviewed from digital galleys R Gr. 3-5 Born into a loving Black family on Chicago’s South Side in 1938, Diane Nash moved south to Tennessee for college and saw first-hand the effects of segregation in her grandmother’s home state. There she was inspired to nonviolent protest, leading sit-ins and marches to successfully integrate Nashville’s lunch counters by age twenty-one, and she quickly took on larger causes, coordinating Freedom Rides to Mississippi and organizing student protests, despite bombings, attacks, and her own arrest. Though Wallace notes Nash’s absence on the literal national stage during the 1963 March on Washington, she clearly conveys Nash’s impact in both the civil rights movement and, later, in protests of the Vietnam War. Masterful second-person describes Nash’s life, with stirring internal rhyme that makes the prose read like poetry, as capitalized key words hone in on her emotional state: “CONFIDENT, COMPASSIONATE. Before class in a church each day, you and a group of students pray and learn about change in a peaceful way.” Collier’s collage and watercolor art unfortunately doesn’t match the highs of the text; compositions largely lack depth, with muted shadows and blurred shading that leave faces and backgrounds flat. The text, fortunately, supports readers throughout, evidenced by the shifting second-person on the final spread as a group of children greets Nash [End Page 204] on a speaking tour of the United States. This would pair well with Weatherford’s recent biography of Bayard Rustin (Song for the Unsung, BCCB 11/22) for a look at lesser-known heroes in the civil rights movement. Back matter includes author and illustrator’s notes, a thorough timeline of Nash’s life, selected resources for further research, and quote sources. Copyright © 2022 The Board of Trustees of the University of Illinois

الصنعة البديعية عند أحمد شوقي: دراسة تحليلية بلاغية لقصيدة "غاندي بطل الهند"

The embellishment elements are the most important in achieving internal rhyme in Arabic poems because the value of poetry is based on the impact it has on the minds of readers and listeners through its musical structure. As a result, this study focuses on Ahmed Shawqi's poem "Gandhi Hero of India," with the objective of revealing the rhythmic and semantic functions of each of the rhetorical styles jinās, ṭibāq, tawāzī al tarkībī, and Taqsīm. This study adopted the analytical method, which analyzes the poetic verses according to the science of Badīʿ. The importance of the study is reflected in the fact that it sheds light on the extent to which the poet invests these literary devices in displaying images and emotions consistent with the nature of the text. The study concluded that the poet used al jinās al nāqiṣ in its most prominent patterns, the ṭibāq in its linguistic and contextual forms, and he also distributed the two words of these two literary styles between the two halves of the poetic verse, which strengthens the poem rhythmically and semantically. It also concluded that the complete and partial grammatical parallelism on the vertical and horizontal levels provided the poem with a distinct rhythm and semantic richness, in addition to the phenomenon of al Taqsīm al ʿaḍūḍī which played a role in moving the internal rhyme that drew readers' attention to the text's content.

Федор Иванов как автор трактата «О познании антихристовой прелести»: pro et contra

This study analyzes the work “On the Knowledge of Antichrist Prelest (Delusion)” that has been attributed to Fedor Ivanov so far. Fedor Ivanov was the ideologist of the Old Believers, condemned at the Moscow Cathedral in the 1666–1667 years and executed in Pustozersk in 1682 together with Archpriest Avvakum, priest Lazar, and monk Epiphanius. A twofold argument is offered that the text in question does not correspond either to Fyodor Ivanov’s manner of constructing the statement or to his understanding of the theological topics. The approach applied is based on phenomenological philosophy and philological hermeneutics. The main linguistic methods are description, comparison and contrast, and contextual analysis. First, a text fragment with an internal rhyme was selected and compared with other documents of Fedor Ivanov in terms of internal rhyme. The arithmetic mean of the number of components “from comma to comma” in the text analyzed has been revealed not to be characteristic of the writing style of the Old Believers’ ideologue. Second, the interpretation of the Antichrist in the text concerned was compared with that in the “Epistle to All Orthodox about Antichrist.” A discrepancy was revealed that cannot result from the author’s changing the target setting. Finally, a conclusion is made that the essay “On the Knowledge of Antichrist Prelest” was not created by Fedor Ivanov.

Falling Stories: Cinematic Naturalism and Disability in Frank Norris’ and Stephen Crane's City Sketches

Falling Stories: Cinematic Naturalism and Disability in Frank Norris’ and Stephen Crane's City Sketches

INTERNAL RHYME AS A SOUND EXPRESSIVENESS MEANS IN THE LANGUAGE OF GERMAN POETRY

Purpose. This article is devoted to the consideration of the linguistic essence of internal rhyme, as well as the analysis of rhyme terms depending on their number and location within one or different verse segments and their functioning in the poetic texts of German Romantics. Scientific originality of the research lies in the common interest of modern linguistics in the study of the means of sound organization and expression of poetic speech, as well as the lack of study on this subject.
 Method or methodology of the work. The basis of the research is formed by the continuous sampling method in the selection of practical material as well as the method of descriptive linguo-stylistic analysis.
 Results. In the course of the study, it was found that the main variety of intra-rhyme consonances are two-membered rhyme pairs of one-verse – mixed continuous and discontinuous) and different-verse (symmetrical). Internal rhyme is a characteristic feature of poetic texts. It serves to increase the rhyme coefficient, expands the sonority of the verse and is a means of sound influence, giving the verse emotionality and musicality.
 Practical implications. The results of the research can be used in the classes “Stylistics of the German language”, “Stylistic analysis of a literary text”, in seminars on the study of sound features of the language of German poetry.

TYPES AND FUNCTIONS OF SOUND WRITING IN LYRICAL POEMS BY RAINER MARIA RILKE

The article deals with the types and functions of sound in the lyrical poetry of Rainer Maria Rilke. The features of his poetry, dedication to the art of sounding words are emphasized. It is noted that the types of sound writing and its functions are important for linguistics in Rilke's poetry. The definition of sound writing as a poetic means is given, the difference between the concepts of Lautmalerei and Klangmalerei is clarified. The attention is focused on the fact that Rilke's poetry is characterized by the purity of rhyme, except for unevenly stressed rhymes, which combine a strong ending (with the main emphasis on the last syllable) with a weak one (when the last syllable forms a suffix or another part of the phrase containing only a secondary emphasis). Various criteria by which types of sound writing can be distinguished are outlined. It is noted that according to the criterion of a repeating element in Rilke's poetry, the most important types of sound are presented: assonance, alliteration, internal rhyme and paronomasia. The aesthetic and iconic function of a poetic work is considered. The analysis of the iconic function highlights its three subtypes: suggestive, onomatopoeic and sound semantic. The term "function" is used in the sense of "task". Each of the functions is investigated in the article and illustrated with examples of Rilke's poems. It is found out that the figures of sound in Rilke's poems are characterized by placement in the initial syllable, but can have other positions in the word; vowel length is not taken into account; vowel equivalence is atypical for alliteration; metathesis and uneven consonance are not excluded; both convergence and divergence of phonetic figures occur within the poem, stanza and in the whole text; phonetic figures are tied to syntactic structures. It is emphasized that the creative and effective sound description in the poetry of Rainer Maria Rilke is a significant contribution to the euphony of the text and the expression of its content. As a result, it is proved that Rilke is rightly called the king of sound in poetry

Авторская модальность и способы ее репрезентации в поэтическом дискурсе (на материале стихотворения американского поэта Э.А. По «Ворон»)

The article is devoted to scrutinizing the ways of manifesting the author’s modality in the poetic discourse as exemplified by E.A. Poe’s poem «The Raven». The relevance of the study is determined by the anthropocentric perspective of modern linguistics, which focuses on the problem of the implementation of «a person within a language». Being one of the most relevant objects for research, literary discourse is regarded in terms of identifying the specifics of the idiolect and idiostyle of a creative linguistic personality. In this respect, the author’s modality, based on the implementation of modal and evaluative meanings in the text, is verbalized by means of semantic dominants of the author’s individual worldview. The article is aimed at studying multi-level linguistic means of representing the category of author’s modality in the poetic discourse of a narrative poem. A complex set of methods has been applied in the course of the study, including those of linguapoetic, component, stylistic analyses as well as certain elements of the structural and semantic, communicative and pragmatic, and interpretative approaches. It has been found that the specific features of E.A. Poe’s idiostyle are manifested within the framework of the author’s modality, while the modal dominants of the author’s idiolect can be spotted based on the analysis of the author’s choice of modal means. The study has also revealed that textual (author’s) modality is implemented on all the levels of poetic text organization. Alliteration and assonance, the internal rhyme and the rhymes at the end of the lines being the phonetic means of textual modality; lexical means of verbalizing the author’s modality are represented by the frequently used emotionally colored verbs, adjectives and adverbs (including those with negative connotations), as well as verbs with voluntative semantics, alongside with a very limited use of explicit grammatical means (e.g., the imperative). Syntactic means of the author’s modality are characterized by the use of a variety of syntactic repetitions. The author’s subjective worldview is explicated by the frequent use of the first person singular pronoun within the modal sphere of E.A. Poe’s poem “The Raven”.

Little Armageddon by Gregory Fraser

Reviewed by: Little Armageddon by Gregory Fraser Kathryn Pratt Russell (bio) little armageddon Gregory Fraser Triquarterly Books/Northwestern University Press https://nupress.northwestern.edu/9780810143104/little-armageddon/ 79 pages; Print, $17.00 Of Greg Fraser's third collection, Designed for Flight, published in 2014, poet Richard Howard wrote, "What astonishes the reader is that the poems are not confident or even hopeful, but correct, obviously true." Now, with his most recent book, Little Armageddon, Fraser continues his clear-eyed gazing into the tiny and tremendous abysses of modern American life. This collection is a significant achievement that portrays the poetic speaker's experience of the comedy and the burden of midlife, sandwiched between generations. What makes Little Armageddon singular is Fraser's mastery of poetic form and his incorporation of both complex thought and nuanced feeling into his poetic meditations. The contemporary poetry scene (largely centered in academia) has a horror of sentimentality. This aversion has resulted in the small-press publication of many poems that are lyrical or intellectual at the expense of feeling. On the other hand, popular and spoken-word poetry have filled the resulting cultural hole with a churning mass of emotional melodrama for more mainstream readers. Fraser's collection transcends the incompleteness of both literary scenes. The truthfulness of the poems is achieved by the employment of a consistent, present-day speaker who ranges over past and present experiences with authority and compassion. Other than the rare venture into a dramatic [End Page 119] persona in the first part of the book, Fraser's voice is that of a father in middle age who empathizes both with his children's innocence and with the weary wisdom of his parents and in-laws. The first section (there are three) could quite fairly be described as "vast." The poems in this part range from poems of mystical (if comic) vision, like "Lucky Gnarl," to poems touching upon how one should live ("My Idea of Heaven") and self-judgment ("Little Armageddon"), to the ominous voicing of a conquering people's drive to dominate the weak in "Like Angels." The opening poem, "Business," is a study in the interweaving and balancing of opposite concepts to achieve an enlarged view of a man's life in the city, when this man not only works but also thinks: A man hands me his business card, and asks for mine.How should I know my business? The worldis my business, and the world is none of my business. In the hands of a lesser writer, this play on words might constitute the entire message of the poem, and be teased out and elaborated ad nauseam. Fraser's speaker, though, surges on to pile oppositions on top of this first one, questioning his own personal responsibility to take up a profession, in the fullest sense. And by the end of the poem, he does. The most formally fascinating poem here, "Nothing but a Few Bare Trees," employs both internal rhymes and end rhymes in an organic, nontraditional form to hypnotize the reader into seeing as the residents of the city neighborhood see: across acres of ice,something about their fixtureunder a hard white sky, caught and held the eye. Still, they werenothing but a few bare trees—nothing,nonetheless, a few of us at first, then more whose houses lined the south end'ssmoother shore, came to take for masts. As this first part of the book ends with an almost Yeatsian vision of a manger crèche, a forlorn, pregnant figure appears, in a foreshadowing of the explosion of childhood in the second section. [End Page 120] This next part of Fraser's collection features a speaker brought down from his intellectual and spiritual heights by the demands of fatherhood. The changing diction and mood of the first poem, "Hide and Seek," emphasize his inner fall: My kids humped under the bedspread lookLike a meal inside a python. SometimesI wish my kids werea meal inside a python. Fatherhood, I sometimes think,is a python that swallowed me whole. Then I remember my wifeis the python. The lumpy, misshapen lines here evoke hard-to-digest...

Encounters at the Mound in Old Norse Literature: Dialogues between Landscape and Narrative

Encounters at the Mound in Old Norse Literature: Dialogues between Landscape and Narrative

Why Poetics, Then?

Why Poetics, Then? Daniel T. O’Hara (bio) I fell in love with “Dream Song 324, An Elegy for W.C.W., the lovely man” when I got to it in John Berryman’s modern epic The Dream Songs (1997, 2014) for the first time the other day. Henry in Ireland to Bill underground: aRest well, who worked so hard, who made a good sound aconstantly, for so many years: byour high-jinks delighted the continents & our ears: byou had so many girls your life was a triumph cand you loved your one wife. cAt dawn you rose & wrote—the books poured forth—dyou delivered infinite babies, in one great birth—dand your generosity eto juniors made you deeply loved, deeply: eif envy was a Henry trademark, he would envy you, fespecially the being through. fToo many journeys lie for him ahead, gtoo many galleys & page-proofs to be read, ghe would like to lie down hin your sweet silence, to whom was not denied ithe mysterious late excellence which is the crown hof our trials & our last bride. i The poem, whose rhyming intricacy is marked above, is titled an elegy, uses this episodic sequence’s nominal hero, Henry, sparingly, only twice in fact by name, and gives him, without the usual irony, the attributes of his author-narrator (exhaustion from overwork, for sure and most likely, also from depression and another hospital stay for alcoholism and abuse of his meds). Henry, however, is unaccompanied here by the minstrel figure, haunting [End Page 182] the many earlier poems, who tosses the nickname Mr. Bones back and forth with Henry and who, in blackface (as often Henry comments he is), usually evokes the straight man/comedian pair in minstrelsy that deflates every would-be sublime effect to the status of a pratfall and/or slurry travesty. Nor does the poem use smart-alecky diction, except, perhaps, when initially, with a tonal tenderness, he refers to William Carlos Williams’s finished life of poetic achievement as “high-jinks.” Merriam-Webster defines “high jinks” as “boisterous or rambunctious carryings-on: carefree antics or horseplay.” If there was any travesty in Williams’s life/work, it was for this elegy a sweet-natured travesty of good old American innocence, offered in its most innocent-seeming spirit: “you had so many girls your life was a triumph / and you loved your one wife.” Today, such high jinks—Berryman’s and Williams’s alike—would not be well taken. But given the period of the poem, early to late sixties (Williams died in 1963, and this elegy first appeared in the National Book Award–winning 1968 volume of dream songs, His Toy, His Dream, His Rest), a good reader should not be anachronistic. The seventeenth-century Scottish origin of the word suggests less a toxic masculinity than a sense of the agile and swift swerving responses to the chances of life. A dice game while drinking, the high jinks of the players depend on the throw of the dice allotting a certain amount of time to complete a task while drinking and before the time of the next round. Failure to perform here means a round without a deep drink. And we must remember that all these men, of whatever class, were also members of a clan and wore kilts. So, I find “high jinks” a rather perfect epithet, especially given both Williams’s and Berryman’s embrace of contingency, real and creative, along with a stiff drink, certainly for Berryman’s reputation, mostly all day every day. Similarly, the interleaving of this poem’s rhyme scheme, using internal rhymes and end rhymes, as well as changing the end rhyme scheme in the end, suggests that each of these three six-line stanzas, whatever else they allude to, also allude to the second part, the volta, the swift turn, concluding the Petrarchan or Miltonic sonnet, rather than the more mechanical and often weak tag couplet concluding the Shakespearean brand. Berryman’s dream song is a new poetical type, the infinitely antithetical lyric making up an epic sequence like...

The Witch in the Closet: Disney's Frozen as Adaptation and Its Potential for Queer and Feminist Readings

The Witch in the Closet: Disney's <i>Frozen</i> as Adaptation and Its Potential for Queer and Feminist Readings

Gower’s Quatrains: Language, Rhyme, Occasion

ABSTRACT John Gower is known for writing long. After composition of Vox clamantis, however, Gower simultaneously wrote short, mastering the art of the quatrain. This is the form of his very shortest authenticated poems. They form a set. All are in Latin. All employ internal rhyme. These jingling poems stand out from the slow, lugubrious music of the nearly rhymeless Vox clamantis. Gower turned the difficulties of the quatrain-length poem to advantage, composing a series of postage-stamp Latin poems that comment on the vastnesses of his life in poetry. From the archer poem “Ad mundum mitto,” associated with Vox clamantis, to the prophetic Lancastrian encomium H. aquile pullus, in Gower’s quatrains we find an art of literary asceticism that sorts oddly with the poet’s current reputation for prolixity.

Sylvie by Jean Reidy

Reviewed by: Sylvie by Jean Reidy Kara Forde Reidy, Jean Sylvie; illus. by Lucy Ruth Cummins. Atheneum, 2022 [40p] Trade ed. ISBN 9781534463486 $18.99 E-book ed. ISBN 9781534463493 $10.99 Reviewed from digital galleys R 3-6 yrs Sylvie the spider lives among the shadows of a building's fire escape because she knows that "not everyone appreciates a spider who calls attention to herself." While hidden, Sylvie builds her home by collecting inanimate companions in the form of discarded items—a bottle cap, an acorn, a red gummy bear, and a small flower. Longingly, she also surveys "her people"—the young residents living on each floor of the building—including a painter, a proper little lady with a teapot, a planner, and a girl with an exceptionally brave tortoise. When Sylvie notices a listlessness in the kids' characteristic activities, her heart wonders if they're missing something [End Page 259] more, perhaps something eight-legged? Young readers will enjoy meeting a new small-but-mighty (and spidery) protagonist in this welcome return to the world of Truman (BCCB 9/19), featuring a cameo from the tortoise himself. Laced with lovely alliteration and internal rhyme, the text introduces young listeners to the whimsy of language at storytime. The art alternates between closeups of blushprone Sylvie and expansive views of the whole building, emphasizing the contrast between Sylvie's perspective and that of the human world. The narrative here isn't quite on par with its predecessor, but Sylvie's bubbly effervescence shows readers that it is well worth the courage it takes to be seen. Copyright © 2022 The Board of Trustees of the University of Illinois

«Перегородок тонкоребрость»: пространственная модель «Жизни Арсеньева»

The article examines the artistic space of Ivan Bunin’s novel “The Life of Arsenyev”. Stated that it is constructed according to the laws of lyrical poetics, which therefore determines the lyrical transformations of space, the through volumes of almost all loci, their dynamic intersections, reflections, multiplications, commutual substitutions. Lyrical spatial transformations are traced through specific examples of the novel. Particular attention is paid to toponyms, with reflections on why the text, rich in toponyms, lacks the key names of the nameless provincial town, native to Lika and Arsenyev, and the unnamed Little Russian town where Arsenyev takes Lika. Another theme of Bunin’s lyrical spatial poetics are the veiled changes from one locus description towards another one. Everything significant in the novel, including loci and narrative nodes, not sporadically; it is multiple and varies. For example, Arsenyev travels southwards three times, moving each time in the same direction, visiting the same places, which are described each time in a new way. The versatile space model repeats the laws of a verse with its plenteousness of vocalic alliterations, rhymes, internal rhymes, and multiple structural correlations. In much the same way that in a verse a sound and an intonation theme is recognized in its different variations, the descriptions of the same loci and situations in lyrical prose vary, vaguely repeated. The variations give obscure features to the described landscapes and events, constantly adding to them more and more shades of meaning.

Стихотворная книга Сергея Алымова «Киоск нежности» и ее художественное оформление

The research is devoted to the book of poems by Sergei Alymov “Kiosk of Tenderness”, which was published in Harbin in 1920 and was of high quality. We focus on the structure and decoration of the poems’ book “Kiosk of Tenderness”. We also consider in detail individual texts in order to identify features that are characteristic of Sergei Alymov’s poetics. The analysis of the composition of the poetic book showed that such features of avant-garde poetics as a tendency to internal rhymes, the use of occasionalisms, rich sound writing, and paronymic attraction can be traced already in the titles of the book’s sections. We trace the influence of futurism, symbolism, acmeism (in particular, V. Mayakovsky, I. Severyanin, N. Gumilyov, A. Blok) on the poetics of Sergey Alymov. Exploring Alymov’s individual texts, we also talk about their rhythmic features, in particular, we dwell on the appearance of caesura and peonic rhythm in the poems of the Harbin poet. All this allows us to say that Alymov’s poetry was not only imitative, since he mastered the subtle nuances of poetic technique, but also reveals Sergei Alymov as an outstanding poet. “Kiosk of Tenderness” has a complex compositional structure, poems included in various cycles are closely interconnected both thematically and similar techniques that the poet uses. Poems that remain separate are also associated with other texts with common motives, a constant repetition of erotic themes and associations, the appearance of references to various cultural phenomena, authors and their works, and the saturation of texts with colors. The coloristry of the book is complemented by the artistic design – the cover by Nikolai Gushchin, an artist who left a big mark on the art of Russian emigration. Part of the work we devoted to the study of the meaning of the figure of the artist, whose painting has become a kind of addition to the poetic world of Sergei Alymov. Here we largely rely on the memories of N. Gushchin of our teacher, Yury Nikolaevich Chumakov. We also attract other studies and memories of Gushchin, who left a big mark on the art of Russian emigration, but was almost forgotten after returning to the USSR.