Kind Of Poetry Research Articles

SELECTION CRITERIA OF ENGLISH AND UKRAINIAN POETRY FOR PRIMARY SCHOOL STUDENTS

The article is keen on answering the question: what should be the quality characteristics of the poetry offered for study in primary school, so that it could be easily perceived, so that it could be easy for children to remember, and so that it could be able to develop aesthetic tastes, a sense of rhythm, and rhymes.
 The article stresses that poetry is designed to evoke a sense of security, harmony, and detachment in a child, to awaken intuition, and to create a relaxed atmosphere conducive to learning, just like music. The author states that poetry is especially important in our time when today's children live in the age of digital technologies. They often lack live contacts, they are lonely and very sensitive, but at the same time, they are not fully aware of their emotions. Reading poetry for them becomes not only the development of skills, but also psychotherapy, and empathy training, when a common emotional and valuable space is created, and book characters turn into safe guides to a stable world. And if to take into account the fact that all our internal processes are related to rhythmization, and rhythm and rhyme affect even motor activity and a sense of security, then we can conclude the necessity of forming criteria of poetry for study in elementary school.
 The research states that the rhythms and melody of the poetic word return a person to the original state of harmony with himself and the surrounding world if it is a quality, genius poetry, but it can also distort the taste, bring disharmony to the state of mind of both an adult and a child - a child even more, since children are more sensitive to the effects of the external environment. Therefore, it is extremely important what kind of poetry we offer to the attention of an individual undergoing the process of formation.

Enhancing the ability to write poetry and creative thinking skills with rural nature-inspired contextual approach

<span lang="EN-US">There are still many students who face difficulty in expressing ideas for writing poetry, and not a few students are less motivated in writing literary works in the kind of poetry. The aim of this study was to analyze the effect of learning with a rural nature-inspired contextual approach on the ability to write poetry and creative thinking skills of elementary school students. Quasi-experimental study is used in this study with a non-equivalent pre-test post-test control group design. The research population was all fifth-grade students, totaling 231 students. The sample was taken by random sampling technique, totaling 44 students. Data were collected using a test technique. The test instruments were in the form of a description test and a five-scale non-test instrument. Both instruments have been analyzed for their feasibility quality by testing their validity and reliability. The data analysis technique used MANOVA with the help of SPSS. The results showed that the significance value of the MANOVA test results was 0.000 (<0.0). It means that there is a difference in both partial and simultaneous studies in writing poetry and students’ creative thinking skills who learn by applying a contextual approach inspired by rural nature. So, there is a positive effect of learning with a rural nature-inspired contextual approach on the ability to write poetry and creative thinking skills.</span>

Otters and Others: Ted Hughes to John Kinsella

Abstract Attitudes to animals and their relationship with the human have undergone significant changes over the last six decades, from the rise of the environmental movement to debates about genetic modification. Poetry has responded to these developments but also contributed to argument and activism. This essay aims to make sense of this history and its literary consequences by investigating the representation of otters in the work of a series of poets from Ted Hughes to John Kinsella. Shape-shifting, elusive, never entirely other, otters allow writers to negotiate the fluid boundary between animal and human and the value of what is wild. They enable explorations of sexuality, the attraction of animals as re-makers of human geography, and the risk to all life forms posed by pollution and nuclear contamination. By analysing a range of work from Britain and Ireland, with some attention to American and Australian contexts and the international rise of Bio Art, the discussion aims to clarify both how views of the natural have been reconfigured and how these shifts animate very different kinds of verse, from the formality of Seamus Heaney and Alice Oswald to the late modernism of Colin Simms and Maggie O’Sullivan.

Poetiska homeplaces: Reflektioner och samtal om muslimsk subjektivitet inom spoken word och poesi

The last decade saw a renaissance of the artform called spoken word poetry through several spoken word projects in the suburbs of Swedish cities. A group of women who have been prominent in using these platforms as a way to highlight their voices and stories are young Muslim women from primarily from socioeconomically disadvantaged suburbs. This article focuses on a few of these voices. Based on a multimodal methodology including interviews with poets and readings of their work, this article sets out to understand how the young women use their poetry to formulate their subjectivity and issues that that matter to them. The poets and spoken word artists can be seen as knotworkers who use various platforms and tools in order to share their stories and reflections. The study shows how spoken word platforms have played an important role in creating a space where young poets find creative homeplaces and craft their own positions as poets and the kind of poetry they want to engage in. Through personal experiences and stories, the poets bind together several societal issues such as antiblack racism, antimuslim racism, classism, and patriarchy. Muslim subjectivity is articulated through the use of language and certain religious definitions such as references to prayers. Poetry is also used as a way to create feminist archives of missing stories. This study also highlights how double consciousness is at work where the poets reflect on certain difficult topics and how they chose to engage with them through their writing.

Folk Elements in Tholkappiyam

Tholkappiyam is an ancient Tamil grammar text written by Tholkappiyar. In this text he gives an explanation that folk literary elements are a kind of poetry. Using this text, he explains that proverbs are nothing but a very old language used by people. The text gives a clear note about the four lands (Kurinji, Mullai, Mautham and Neithal), the name of their gods, about their worship and festivals. When looking at the omens in Tholkappiyam, the boy and girl goes to the village for love making and the friend of the girl appeals to the goddess and regrets the good and bad things that will happen to the lovers. The text also tells about the people’s belief of bringing out a silver umbrella and sword when king goes to war. They did this with a hope that everything will turn out to be good. The people of Tholkappiyar’s period followed these types of customs. The girls of his period were not allowed to travel abroad in ocean and they should not climb the flap. They followed many rituals and one among them is they sacrifice a person’s head to win the war. During and after the war they played a musical instrument called “Dudi”. Marriage took place in the presence of many elderly people and the bride was given to the groom’s family. The text tells the readers that what you speak should not hurt others.

The textual terrain: developments and directions in women's writing, 1500–1700

AbstractThis article assesses our much-expanded view of the texts produced by early modern women in Ireland, surveying what is available to present-day researchers and considering emerging methodologies for the analysis of early modern female voices. The range of genres with which we now know early modern women engaged owes much to feminist literary historians’ capacious approach to defining literature, expanding beyond traditionally elite genres (drama, poetry, fiction) to encompass writing in all its forms. Thus, the present corpus includes letters and petitions, life writing, devotional prose, legal depositions, as well as all kinds of verse and song, in multiple languages. Moreover, where the primary evidence in Ireland sometimes seems sparse, international perspectives have illuminated the currents of women's writing. Interpretative paradigms from other fields — book history and the history of reading, culinary and medical history, network analysis — are being applied to yield fresh insights about this material. The question of how early modern Ireland was experienced by women has been explored in studies that address such texts as articulations of subjectivity, in the light of the history of emotions. The wide range of situations and genres of women's writing in early modern Ireland is now firmly evident, inspiring a host of new approaches.

Ջիդի Մաջիայի չափազանց հարազատ ձայնը

There is a kind of poetry that seems like a ritual, with the writer’s sacred reverence for the word. It is this faith that guides the Chinese poet Jidi Majia in his book ‘My Voice’ (Yerevan Armav, 2017). The translator of the book is the poet Gagik Davtyan. Jidi Majia’s poems have a deep development, based on sincere feelings, and vertical-spatial artistic inclusions appear with rich thoughtful substrata. In the series entitled ‘The Yi Nationality’, the poet depicts the love for the country, the inner relationship between the thinker about the life of his people and his self, and life becomes a cyclical continuity. What is happening, started yesterday and will continue tomorrow. To understand this wholeness, one must often look at oneself from the side. A person becomes gifted because he is not alone, he is the bearer of the heritage of the people descended from the eagle, a link in a complete chain, so often the temporal present-past-future chain system ceases to exist in the eternal white space. Jidi Majia is a devotee of his homeland, bound by an inseparable sacred bond with his native land. He has reached the highest point of the country-motherland consciousness: you do not need to demand anything from the motherland, moreover, you have to give, dedicate yourself, be, and serve the motherland and no reason is needed for that. This is the highest and most spiritual perception of dedication, which the poet also conveys to the Armenian reader.

A Gadamerian-Hermeneutic Reflection on T. S. Eliot and W. B. Yeats’s Poetics

ABSTRACTThis article investigates the hermeneutical dimension of T. S. Eliot and W. B. Yeats’s poetics vis-à-vis H.-G. Gadamer’s philosophical hermeneutics. The study stems from a remarkable observation that Eliot and Yeats not only anticipate what Gadamer has systematically explained in his philosophical project, but they also present a new kind of poetry that can easily yield itself to a Gadamerian reading—one that is primarily based on the principle of hermeneutical situation and dialogue. The article strives for a critical study that focuses on the relevance of Gadamer’s hermeneutics to reading and interpreting the poetry of Eliot and Yeats, as well as uncovering the underlying kinship between their hermeneutic reflection on the nature of poetry, truth, history, and understanding. The analysis undertaken has yielded interesting results, bestowing Eliot and Yeats as poets-philosophers who are genuinely aware of what Gadamer has advanced in his philosophy. This hermeneutic consciousness ingrained in Eliot and Yeats’s thoughts is the main motive that drives them to experiment with tradition, myth, symbolism, and musicality, in order to provide the reader with dialogic poetry, which Gadamer himself highly admires for its ability to facilitate the disclosure of truth.

Chinese Narrotologies

Chinese Narrotologies

"Grift-runor, skrifne 1769"

“Sepulchral Runes, Written in 1769” A Defamatory and Blasphemous Epitaph by Brynolph Hallborg The seventeenth and eighteenth centuries are the golden age of the poetic epitaph in Sweden and Europe. Most epitaphs were shaped in accordance with the principle of decorum, i.e., they were written to praise the dead and to comfort the bereaved. But there were also poems that sought to instead find faults with the deceased, sometimes even to insult their memory. A form of funeral poetry that was not uncommon during the seventeenth and eighteenth centuries, although not hitherto studied in Sweden, consisted of defamatory, parodic, burlesque, and wickedly humorous verse. This kind of poetry is highly diverse in character, spanning a wide range of moods, from mildly derisive to extremely demeaning poems, with everything from good-natured jocular and comical pieces to coarse, malicious, acutely ironic, and crudely sarcastic texts. An original and highly defamatory epitaph in lapidary style, “Grift-Runor” (Sepulchral Runes), was composed by Brynolph Hallborg (1736–1792). Hallborg’s well-documented preoccupation, or even obsession, with death, along with his interest in parody, sarcasm, and blasphemy, make him a rarity in Swedish literature. At the time, Hallborg’s poem attracted attention and was commented on by Thomas Thorild. The poem can be regarded as an extreme example of a larger eighteenth-century process: the relaxation of the principle of decorum.

ECOLOGICAL CONSCIOUSNESS POETRY: A STUDY OF GARY SYNDER'S POETRY

Ecological consciousness poetry is considered as a modern literary movement, it has its roots in the west side of the world originated in the United States of America on the second half of 20th century. The concept of nature was the major theme in the Romantic era. On the other hand, eco-writers have their consideration of nature. This research highlighting on one of the most important parts in this movement which is "ecopoetry" by explaining its implications of nature in Gary Snyder's poetry, who is one of the pioneers of beat generation. The first section of the research concerns with Gary Snyder's early life and highlights on his most significant perspectives. The second one is a kind of a critical part, which concerns with eco-critical approach, its roots, concept, and a list of a critical questions which asks by its critics. The third section is the most important one in my opinion, which is the implication of ecological consciousness poetry in Gary Snyder's poems and how he reads this kind of poetry. And last but not least, a conclusion which sums up my perspectives and readings to the ecocriticism in general, and Gary Snyder's poetry in special.
 
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On the Vicissitudes of Handel’s Operatic Time: A Meditation

The two standard components of opera seria, recitative and aria, are conventionally understood as portraying two contrasting modes of dramatic discourse: action and contemplation. Alternating between the two, operatic plot and character unfold. Recitative is relied upon to move the action along in a business-like manner, while the emotional content of the drama is entrusted to aria. My interest here is in exploring the ways this dichotomy influences the sense of the passing of time in the operas—the ways in which shifts between one mode of expression and the other affect our perception of time’s progress. Roughly corresponding to speech and thought, action and contemplation are signaled by two different kinds of poetry, open-ended versi sciolti and self-contained rhymed stanzas, which conventionally inspire contrasting musical treatment. The narrative pace of action requires the flexibility of a continuous, neutral, transparent music. Reflective introspection, on the other hand, finds a more natural vehicle in music that is more sustained, formal, and self-contained, music that can develop an idea, and come to a conclusion. Whereas recitative music unfolds along with the text, at the same rate the words are spoken, aria music is regulated not by natural or verisimilar textual syntax but by its own musical laws of form and coherence. Indeed, aria text can be rendered insignificant by its subservience to those musical laws. In an aria setting, text is usually repeated—often many times—fragmented by melismas, taken apart line by line and possibly never reassembled. Treated in this way, a text can lose its semantic as well as syntactic meaning; repetition and fragmentation can reduce it to virtual incoherence. Words are thus severed from their narrative significance, as the music-dominated aria runs counter to the narrative line, cutting across and disrupting its progress.

Hayakal al-Nur (Temples of light) in Poetry Alfya al-Hikmat al-Elayia ala Mazhab al-Eshraghieen

Extended abstract Introduction In this poem of one thousand couplets (alfīya) which was composed in the eighteenth century, the treatise The Temples of Light has been poetized. There is a separate commentary on the treatise which shall be introduced in a moment. In the present work, Alfiya has been edited and published alone. An introductory discussion of Alfiya and the commentary The author of the treatise is a person named Hassan al-Kurdi who has described himself as the “versifier” (nāẓim) and Suhrawardi as “the author”. In his commentary on The Temples of Light, he has used the commentary by Jalal al-Din Davani (d. 1502 AD) on The Temples of Light and the one by Qutb al-Din Shirazi (d.1311 AD) on The Philosophy of Illumination. He has also used several philosophical works to supplement his content. He names Suhrawardi as “Abu al-Faraj Muhammad Suhrawardi”. In some of his couplets the author has referred to Quranic verses and used their themes in his poetry. This Alfiya is subsumed under pedagogical poetry, where the form of poetry is utilized to facilitate learning and memorization of various types of knowledge. In Arabic, this kind of poetry is more in the metre rajaz, which is why it is called arjūza. The first couplet of Alfīya is as follows: Yā ḥayyu yā qayyūm yā dha-l-qūdra / Ayyid wa-thabbitni bi-nūr al-ḥikma The treatise is the second book in which one of Suharawardi’s work is poetized. Prior to that, in the fourteenth century, Imad al-Din Arabshahi Yazdi had versified Suharawardi’s The Lovers’s Companion (Munis al-Ushshaq). Composition’s date As it can be inferred from the introduction to the script, Hassan al-Kurdi lived in Damascus, and he had been writing his commentary from the first day of Ramadan until the Day of Arafa (the ninth day of the month dhi-l-hajja according to the Islamic calendar), i.e. in about one hundred days. At the end of his commentary, he has equated, under the abjad system, the date of finishing his work (1170 AH/ 1756 AD) with the word “ghasqī”. The stamp of Ottoman Sultan Selim III’s Royal Library has been put on the margin of Alfiya and its commentary. On the author In biographical dictionaries, there are different people named Hassan al-Kurdi, but none of them could definitely be said to be the author of the treatise; hence no available information about him. A description of the copies The unique copy of Alfiya numbered 2486 and the commentary script numbered 2515 are housed in Turkey’s Suleymaniyī Library. There are some lacunas in Alfiya, but checked against the couplets in the commentary, finally the number of Alfiya’s couplets is exactly 1000, and the couplets are completely diacriticized. The text of the commentary is mixed with verses of Alfiya, and it has no diacritical marks. From the commentator’s introduction, it can be inferred that Alfiya and the commentary were written by the same person. Scripting is in naskh style and very legible. There are lacunas and errors in both Alfiya and the commentary, which have been corrected on the margins. Research method Because of the uniqueness of the script of Alfia, in editing this treatise the method of editing based upon the original copy was employed. Those verses that have repeated themselves as a result of being mixed with the text of the commentary have been used as the second copy, and the differences are reported in the footnotes. Conclusion Publication of the work can make a contribution to research on Suhrawardi and the history of Islamic philosophy and its impacts.

Fann al-Jinas wa Saja fi mandhumah al-faraid al-Bahiyah fi al-Qawaid al-Fiqhiyyah li Sayyid Abi Bakar al-Ahdaly al-Yamany as-Syafii (Dirasah Tahliliyah Baalaghiyah)

Nadzam is mazdzumat ilmiyah which is patterned speech that contains knowledge and normative. Changing the nadzam aims to make easier for someone to understand the knowledge and information that will be delivered. Nadzam is a literature which has high artistic value, there are beautifying elements. One of the nadzam which there are elemenys that make it beautiful is nadzamal-faraid al-bahiyah fi al-Qawaid al-Fiqhiyah creation by Sayyid Abi Bakar al-Ahdali Al-Yamani As-Syafii, that is muhassinat lafdziyah and muhassinat maknawiyah. The purpose of this research is : 1) to know the various kinds of jinas that found in the nadzam “Al-Faraid Al-Bahiyah fi Al-Qawaid Al-Fiqhiyah” creation by Sayyid Abi Bakar al-Ahdali Al-Yamani As-Syafii; and 2) to know the various kinds of poetry contained in the nadzam “Al-Faraid Al-Bahiyah fi Al-Qawaid Al-Fiqhiyah” creation by Sayyid Abi Bakar al-Ahdali Al-Yamani As-Syafii. This research is a type of qualitative descriptive research. In collecting data, researchers used reading and writing techniques. And for data analysis technique used by researchers in this research is by reducing data, presenting data, and conclusions. The result of this reseach are: 1) the various kinds of jinas contained in the nadzam “Al-Faraid Al-Bahiyah fi Al-Qawaid Al-Fiqhiyah” creation by Sayyid Abi Bakar al-Ahdali Al-Yamani As-Syafii is just jinas ghairu tam, there are: jinas mudhari is on 15 stanzas, jinas lahiq is on 17 stanzas, jinas marduf is on 11 stanzas, jinas mukattaf is on 7 stanzas, jinas muzayyal is on 27 stanzas, jinas muharraf is on 3 stanzas, jinas maqlub ba’du is on 1 stanzas. And in the nadzam there is also mulahhaq bi al-jinas that is isytiqaq is on 41 stanzas and syibhul isytiqaq is on 2 stanzas; and 2) various kinds of sajak which are contained in the nadzam “Al-Faraid Al-Bahiyah fi Al-Qawaid Al-Fiqhiyah” creation by Sayyid Abi Bakar al-Ahdali Al-Yamani As-Syafii is saja’ murassa’ is on 5 stanzas, saja’ mutawazi is on 129 stanzas and saja’ mutharraf is on 290 stanzas.

Poetry and Journalism Revisited: Toward an Affective Dimension of Journalism Culture

Abstract This article seeks to reconcile disparate conceptions of thinking and feeling in journalism by foregrounding an affective dimension of news epistemology through the example of journalistic poetry. Drawing from Archibald MacLeish’s classic 20th-century lecture linking knowledge and the imagination, and locating Postema and Deuze’s continuum of journalism and the arts within Hanitzsch’s broader framework of journalism culture, I explore the generative spectrum in which certain kinds of journalism are best performed as poetry, and certain kinds of poetry are simply affective journalism by another name. The argument draws on historical, cultural, and literary scholarship to define the relationship between poetry and journalism, review historical uses of poetry in newspapers, show how poetry developed as a boundary object that “objective” news has defined itself against, and present four mini-case studies of poetry doing journalistic work in the 21st century.

ECOLOGICAL CONSCIOUSNESS POETRY: A STUDY OF GARY SYNDER'S POETRY

Ecological consciousness poetry is considered as a modern literary movement, it has its roots in the west side of the world originated in the United States of America on the second half of 20th century. The concept of nature was the major theme in the Romantic era. On the other hand, eco-writers have their consideration of nature. This research highlighting on one of the most important parts in this movement which is "ecopoetry" by explaining its implications of nature in Gary Snyder's poetry, who is one of the pioneers of beat generation. The first section of the research concerns with Gary Snyder's early life and highlights on his most significant perspectives. The second one is a kind of a critical part, which concerns with eco-critical approach, its roots, concept, and a list of a critical questions which asks by its critics. The third section is the most important one in my opinion, which is the implication of ecological consciousness poetry in Gary Snyder's poems and how he reads this kind of poetry. And last but not least, a conclusion which sums up my perspectives and readings to the ecocriticism in general, and Gary Snyder's poetry in special.
 
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“The fair draught of Óðinn”

Abstract Icelandic poets in the 16th and 17th century had great interest in formal features such as rhyme, kennings, and periphrasis. Rímur poets made use of Eddic diction and imagery but the use of kennings was not limited to rímur; it can also be found in other kinds of poetry. Baroque delight in periphrasis and metrical complexity ensured a favorable reception for the renewed interest in dróttkvætt measure, with its aurally intriguing rhymes and complex kennings. The paper discusses the use of kennings and the connection between kennings, riddles and metaphors and also between kennings and Eddic and classical myths.

Tracing poetry of protest in India: Dalit, Muslim and feminist perspectives

Poetry has always been one of the most critical and vivid form of expression available to humankind, and this paper seeks to trace and explore the origin, history, diversity, and methodology of the various kinds of poetry which was used to register protest or dissent against authority figures in India, particularly through the lens of the Dalit community, Indian Muslims and Indian feminists. The research aims to trace the similarities and differences in the way each of these communities began to use the creative medium of poetry to lodge their disagreements with the regimes, social order, or socio-political norms at various junctures of India’s history, from the colonial past to a thriving democracy, while also exploring the contrast between relatively older instances to the concurrent times. Eminent poets whose works have had a lasting impact on the social and political movements of their communities have found a place in the article as well, with snippets of their work showcasing the glimpse of the politics of their poetry. The paper also attempts to gauge the intersectional aspects of the literary work of these three communities, and find gaps and holes in places which have not been researched to a satisfactory degree. The paper concludes with remarks on the changes and latest trends observed by these communities with regards to their poetry and their protests.

Translating Form over Lexis: A Study through Select Odia Poetry in English Translation

Translation is a productive e xercise born out of linguistic activity. It not only shares the knowledge system of one literary narrative with the target language readers but also fulfils the pedagogical requirements. In fact, translation of the poetic form is caught in the perennial dilemma of transferring the sense, form, mode, and content. A kind of poetry that manifests its lyricism, formal beauty by relying on native imagery or a certain sentiment poses the biggest challenge before the translator in the sense that unless its very mood is captured in the target language, the essence would be lost. Utilitarian prose does not run this risk since the transfer of idea becomes its prime aim. So the translator of the poetic domain categorically develops a formal sche ma by retaining rhyme, metre or other such devices of the source language thereby guiding the readers to the original text. The present paper is an attempt to explore the nature of translation in terms of poetry, specially written for consumption by the common mass. The data for the same is drawn from Odia poetry in English translation. The main focus of the paper will be on: i. The importance of translating the form while balancing the originality of work and in recreating a piece that evokes the same response and sense. ii. Comparing portions of the poetic text in translation and ascertaining a valid space for this conceptual and philosophical essence.

ПОЕТИКА ПОЕМИ ОРІЄНЦІЯ “COMMONITORIUM”

Poetry is a kind of discourse distinct from ordinary, everyday speech; it is an institution, a kind of speech that a society has marked as special, with special rules applying to its production and reception. Didactic poetry is a kind of poetry that it aims to instruct (Toohey, 2013: 2). In didactic poetry the reader is invited to consider not just the message and the brilliant language of its exposition, but what lies behind the message, the human values and the vision which the poem embodies. The article analyzes the work of Orientius “Commonitorium” and his role as an innovative writer of Latin didactic poetry as well as his position in the landscape of late antique literature of the 5th century AD. The aim of the article is to show to what extent the defining characteristics of the genre can be found in Orientius’ poem “Commonitorium” and to trace the permutations of these features throughout the text. A full range of issues, which scholarship on Orientius has hitherto neglected, will be studied: the “poetics” of the work, that is the poetic selfawareness expressed in the poem, as well as techniques of composition, rhetorical argumentation, strategies of persuasion and narration, intertextual allusions, relationship with contemporary works and other aspects. Scientific novelty. Whereas Latin poetry flourished under the reign of Augustus (27 BC – 14 AD) and the first century AD, only few poetic works survived which were produced in the later second and third century AD. After a long period of silence, Latin poetry had its comeback in late antiquity when in the 4th century AD various writers started composing poetic genres again. Instead of Rome, other locations became important breeding grounds for the production of literature, especially Gaul, where writers such as Ausonius, Paulinus of Nola, Sulpicius Severus, Sidonius Apollinaris and others were active. Whereas the genres composed by late antique writers were more or less the same as in Classical literature, most of their works differ in content and meaning (Gasparov, 1982: 2; Johnson, 2000: 335–337). Late antique writers were deeply familiar with their Classical literary predecessors, but due to the influence of Christian religion, the character of Latin literature produced in late antiquity also differs significantly from the works which were written by pagan writers in the preceding centuries. This article discusses the work of a poet who has been rarely studied so far. Orientius, whom the majority of scholars now identify with the homonymous bishop of Augusta Ausciorum (modern Auch, France) in Southern Gaul, is an important representative of didactic poetry and his work constitutes an important example in the history of the genre. His didactic poem with the title “Commonitorium”, in elegiacs was probably written around 430 AD. In conclusion, the “Commonitorium” presents itself as a serious poem concerned with issues of paramount importance to humanity. The question of what exactly the “Commonitorium” endeavours to teach is indeed of major importance for understanding the work. It claims to be truly universal work, encompassing everything that exists. Within two books, Orientius reveals to his readers/students the way to reach salvation, both gives us specific, concrete information and tells us how we should live our lives, how we should relate to our fellow human beings and to God.