Mythological Poetry Research Articles

The Constitutive Science of Benedictine Literacy: The Archive of Þingeyrar Abbey in Iceland

The monastic archives of Iceland have rarely been made the subject of specific studies. This article is intended to survey the history of one such archive, belonging to the Benedictine Abbey of Þingeyrar in Northern Iceland, which was founded 1133 and dissolved 1551. Through its extraordinarily rich literary production this monastery left an indelible mark on the Northern-European cultural heritage. After the Reformation Þingeyrar Cloister remained a state-owned and ecclesiastical institution until modern times. Its archive, which is partly preserved to this day, is both the most extensive of its kind to survive in Iceland and uniquely remained in place for almost eight centuries, making it possibly the longest operated archive in the Nordic countries. The Icelanders may be better known for their sagas and mythological poetry, but their industrious literacy certainly extended to creating bureaucratic documents in accordance with the Roman tradition. French Benedictines were among the first in the world to turn the art of archival management into an academic discipline, and the Icelandic Professor Árni Magnússon (d. 1730), who is best known for his great collection of Old Icelandic manuscripts, was the first Nordic scholar to employ their methods effectively, which he used to investigate the Archive of Þingeyrar. Surveying the history of this Icelandic archive gives us insight into a constitutive science fundamental for our access to the past.

A Critical Companion to Old Norse Literary Genre

A Critical Companion to Old Norse Literary Genre

Изображение покровителей урожая в мифологической поэзии осетин (в помощь учителю осетинской словесности)

The article is devoted to the study of images of patrons of harvest and fertility in the mythological poetry of Ossetians. It pays great attention to the theoretical understanding of the concept under study, which is considered in the context of the mythological thinking of the ethnos. The relevance of the article is due to the insufficient elaboration of the problem being raised. In this study, for the first time, its comprehensive understanding is carried out, since until now only its individual aspects have been reflected. In the Ossetian mythological pantheon, the patrons of harvest and fertility among the Ossetians-Ironians are Wasilla, among the Ossetians–Digorians - Khuareldar and Borkhuarali. The patron saint of Wasilla has been deeply revered in Ossetia since ancient times. Shrines dedicated to this deity were built in many villages, sacred trees were planted, festivals were held, and rituals were performed. The celebration dedicated to Wasilla was popularly called “Chori bon” (“Harvest Festival”). In some settlements of Ossetia, Wasilla was endowed not only with the functions of the deity of harvest and fertility, but also the patron of various natural phenomena – lightning and thunder. In order to save the harvest from prolonged rains or, conversely, a long drought, as well as other weather disasters, a holiday was held in honor of Wasilla, accompanied by a variety of magical actions. Numerous songs extolling the patron saint of the harvest testify to the worship of the Ossetians of Wasilla. As noted above, the Ossetians-Digor patrons of the harvest are Khuareldar and Borkhuarali. The named patrons of the harvest in the mythological poetry of the Ossetians are endowed with almost the same features as Wasilla. In various folklore sources, Huareldar and Borhuarali often act as father and son. In the view of the ancestors of Ossetians, Huareldar and Borhuarali, like Wasilla, were powerful patrons close to the people. Hence, in mythological poetry, they are endowed with both the features of the celestials and the earthly man, they provide and help people in carrying out agricultural work: they act as ploughmen, then sowers, then guides, etc.

Analyzing Hellenistic Elements in Keats’s Poetry- with Special Reference to His Tales in Verse

This study incorporates elements of myths and feministic beauty in inter-contextual structure in John Keats' poetry. This research is majorly concerned with the use of ancient Greek mythology and the elements of feminine beauty in Keats' mythological poetry. The study investigates Keats's search for truthfulness and beauty, his identification of love for poetry and his creation of his poetic genius with special reference to feminine beauty in his poetic works. The research is descriptive and qualitative in nature the framework is established by reviewing related poems and previous literature. Thus the data is generated from two main sources, the primary source which includes the selected poetry of John Keats and the secondary source which includes reviews of previous literary work. The Textual Analysis Method of Research is followed as the theoretical framework of Hellenism that comprehends a certificate for the conclusion of research problems.

«Tannhauser» R. Wagner in the mainstream of the evolutionary ways of the German musical theater: mythopoetic and genre-style aspects

Purpose of the article is to reveal the poetic-intonational uniqueness of R. Wagner's opera «Tannhаuser» in the mainstream of the evolutionary, mythopoetic and genre-style specificity of the German musical theater of the 19th century. The methodology of the work is based on the intonational concept of music in the perspective of intonational-stylistic, etymological analysis, succession from B. Asafiev and his followers, and also on interdisciplinary and historical-culturological approaches. The latter allow us to identify the spiritual and semantic and style peculiarities of the musical theater of R. Wagner and distinguish it from the pan-European cultural area of the mid-19th century. The scientific novelty of the work is to broaden the understanding of the poetics of the musical theater of R. Wagner, in particular, the opera «Tannhаuser», which serves as one of the exemplary samples of the German opera of the period, and at the same time demonstrates a deep connection with the genre-style and mythological poetry of the culture of «the great German century» (Hugo von Hofmannsthal). Conclusions. The intonational-dramatic, spiritual and semantic characteristics of Wagner's «Tannhаuser» demonstrate the stylistic duality that is indicative of the German musical theater of the mid-19th century, based on the intersection of the romantic and Biedermeier traditions. The romantic quality of the «Tannhаuser» is also evident in the obvious parallels between the image of the protagonist (Minnesinger) and the contemporary (for the era of R. Wagner) artist, concerned with the search for the ideal; and in the accentuation of the idea of duality, revealed at the level of opposition between the real and the surreal. With the musical characteristic of the latter (the grotto of Venus), an innovative musical language is associated, based on a wide range of musical expressive means (chromatic, tonal instability, timbre richness, etc.). At the same time, the poetics of Wagner's «Tannhаuser» demonstrate the connection with the spiritual-style qualities of the German Biedermeier, revealed in the associations of the plot of the opera with the parable of the «prodigal son»; in a certain idealization of the characteristics of the real world, based on the typology of pastoral and traditions of church singing; in the spiritual concept of the image of Elizabeth, ascending to the sacred-mystery sources and their genre-typological characteristics.

Obscure Configurations of Desire

Seventeenth-century Spain produced an impressive amount of mythological poetry with virtually every lyrical genre and all poetic registers represented. In this poetic treasure house we find mythological canciones, sonnets and letrillas alongside minor poetic forms, and serious as well as burlesque versions of famous classical myths such as those of Apollo and Daphne, Narcissus, Ganymede, and Venus and Adonis. The present article takes off from the heuristic thesis that the baroque mythological corpus yields interesting insights into seventeenth-century patterns of thought regarding a series of issues that were at odds with contemporary ideology, but could be related to and explored through classical myth. One such issue was sexual desire, whose representation in literature the theologians at Trent had recently prohibited. The period's interrelation of myth and desire is eloquently documented in contemporary art, which explored the amorous adventures of the pagan gods to create a kind of erudite erotica. Similarly, mythological poetry, epic and drama exploited the stories about the loves of the gods related by ancient poets such as, notably, Ovid. However, one genre in particular cultivated the relation between myth and desire: the sonnet.

“… umso gefährlicher ist es, sie zu kennen“. Die kontroverse Aufnahme des Florentiner Renaissanceplatonismus im spanischen Humanismus (1486 – ca. 1530)

Florentine Renaissance Platonism represented syncretistic, eclectic philosophical thinking, which provided humanists a useful justification for their dedication to pagan philosophy and mythological poetry; furthermore it also challenged the authority of the Catholic Church. So far it is unknown how Florentine Platonism came to Spain and was received by the Spaniards, although it is presumed that it had a strong influence on Spanish Golden Age Poetry and Mystic. Towards the end of the 15th century, works of Marsilio Ficino and Giovanni Pico della Mirandola had already been circulated in Spain and were discussed amongst scholars. Humanist teaching at universities and Latin schools provided the environment for the diffusion of these texts. However, the influence of Neo-Platonist thinking did not happen without controversy. At the court of the Catholic Kings, humanists such as Pietro Martire d'Anghiera had to defend their Platonism against orthodox clerics. This controversy was not only about the implementation of mythological writings in the classroom by humanist teachers, but mainly about the authority of theology to interpret religious truth.

El protagonista, la narración y el modelo de género en la novela “Pushkin” de Y. N. Tynyanov

The article considers the novel “Pushkin” as a story of a Poet’s formation through the language structure bat not as a personal biography of an artist. Peculiarity of the hero determines the narrative structure and has certain life-giving features. Yu.Tynyanov declares significance of a creative personality both at genre and style levels, a personality who provides art self-sufficiency. The novel “Pushkin” is an essential part of mythological poetry which emerged in Russian literature in 1920-30s and devoted to an Artist formation.

Die zweite Reise des Odysseus in Lukians Verae Historiae

Abstract As is well known, Lucian’s masterpiece Verae Historiae can be read as a travesty of Homer’s Odyssey. The present paper argues that with his fantastic voyage Lucian reacts not just to the Odyssey itself but also to the recent interpretation of the Odyssey by the Middle Platonic and Neopythagorean philosopher Numenios of Apameia. Lucian’s purpose, therefore, in writing the Verae Historiae was presumably to give back to Odysseus some of the resilience that interpretations like that of Numenios had taken away from him, and in general to set mythological poetry free once again from the constraints the philosophers had laid on it.

Transforming the Homeric Models: Quintus' Battle among the Gods in the Posthomerica

Quintus' Posthomerica in fourteen books covers events from the Trojan saga that take place between the funeral of Hector, which marks the end of the Iliad, and the homeward journey of the victorious Greeks after the sack of Troy. Various hints in the text help us place the epic within the Roman Empire but do not allow much scope for further speculation on a more specific date. Relative chronology with other hexameter poets in the Roman period sets the composition of the Posthomerica in the third century, which saw a floruit of mythological poetry. For material shared between Quintus' Posthomerica and Oppian's Halieutica, which is placed between 177 and 180 CE, it is generally agreed that Quintus is drawing on Oppian, and the end of the second century is thus a plausible terminus post quern for the Posthomerica. Key to establishing a terminus ante quern for this epic is Triphiodorus' epyllion on the Sack of Troy, which is now dated to the late third century: scholarly opinion is divided about the direction of the borrowing between the two poets, but if Triphiodorus is drawing on Quintus, which seems to be more likely, then the Posthomerica can be placed before the end of the third century.

Myth in Valery Bryusov's Verse: Restoring the Missing Links with J.-M. de Heredia and Gustave Moreau

Myth, presented here as the ultimate vessel for the eternal essence of poetry, is a key to Bryusov’s verse, with its outstanding cross-cultural versatility, tendency for dramatic plots and visionary plasticity. For an in-depth understanding of Bryusov’s mythological poetry, it is illuminating to consider it in the context of the poet’s French models. Much has been written about Bryusov’s connection to major French Symbolists such as Mallarme, Verlaine and Rimbaud; yet two fi gures that constitute maybe equally vital links between the Russian poet and French Symbolism have been largely overlooked or underestimated hitherto: Jose-Maria de Heredia (1842–1905), a key exponent of the Parnassian poetic school, and Gustave Moreau (1826–1898), often recognized as a pioneer in the Symbolist use of myth in painting. Moreau’s art was deeply inspirational for Heredia’s sonnet collection Les Trophees (1893), which went on to infl uence Bryusov in his adaptation of the French Symbolist aesthetic to Russian poetry. Bryusov knew the primary mythological material extremely well, especially classical mythologies. Yet the poetic transformation of myth in his art was greatly indebted to the French artists, who were among the fi rst to contribute to the fi n de siecle resurgence of myth. I shall argue that a consideration of Bryusov’s mythological verse in the light of selected works by Heredia and Moreau enables us to reconcile two apparently incompatible tendencies in the Russian poet’s work: on

Book reviews

Books reviewed:Hildegard Adam, Das Zollwesen im fränkischen Reich und das spätkarolingische Wirtschaftsleben.Antti Arjava, Women and Law in Late Antiquity.George Broderick, Placenames of the Isle of Man, Volume Three, Sheading of Ayre (Kirk Andreas, Kirk Bride and Kirk Christ Lezayre).Sandra Bruni (ed), Alcuino: De Orthographia.Ursula Dronke (ed), The Poetic Edda, Volume II: Mythological Poetry.Rosamond Faith, The English Peasantry and the Growth of Lordship.Scott Gwara (ed), Anglo‐Saxon Conversations: The Colloquies of Ælfric Bata.John Hines (ed), The Anglo‐Saxons from the Migration Period to the Eighth Century. An Ethnographic Perspective.Eric John, Reassessing Anglo‐Saxon England.A. Nørgård Jørgensen and Birthe L. Clausen, Military Aspects of Scandianavian Society in a European Perspective, AD 1–1300. PNM Studies in Archaeology and History, no. 2.Vivien Law, Grammar and Grammarians in the Early Middle Ages.Brian Murdoch, The Germanic Hero: Politics and Pragmatism in Early Medieval Poetry.Richard North, Heathen Gods in Old English Literature.Cassandra Potts, Monastic Revival and Regional Identity in Early Normandy.Przemyslaw Urbanczyk (ed), Origins of Central Europe.Jonathan M. Wooding, Communications and Commerce along the Western Sealanes AD 400–800K.R. Dark (ed), External Contacts and the Economy of Late Roman and Post‐Roman Britain.

Latin Literature from Seneca to Juvenal: A Critical Study

List of authors and emperors Introduction Conceptions of genre: Criticisms in prose, 'lower' poetry Genre and philosophy, history, and high poetry Wit Extravagance Structure and cohesion The gods in mythological poetry The gods in prose and in Lucan Death in prose Death in high poetry Bibliography General index Index of passages discussed.

Yoga and theRg Veda: An Interpretation of theKeśinHymn (RV 10, 136)

The mystical experiences of theṛṣis, the spiritual giants of the early Vedic times, led to the creation of the Vedic hymns and eventually to the formation of the whole elaborate structure of the Vedic religion, as upheld by the Indian priesthood. But there were obviously others who pursued mystical experiences without themselves engaging, like the ancientṛṣis, in attempts to transmit their experiences through mythological poetry and religious leadership. They adopted mystical ecstasy as their way of life. Mysticism as a conscious way of life is, in India, called Yoga. Being outside the trend of Vedic mythological creativity and the Brāhmanic religious orthodoxy, the Yogis of Vedic times left little evidence of their existence, practices and achievements. And such evidence as has survived in the Vedas is scanty and indirect.

Valhall and Helgafell: syncretistic traits of the Old Norse religion

The religion of the Viking age, the pre-Christian faith, presents itself as a syncretism, It is quite peculiarly evident from the tradition surrounding the origin of the gods in Åsgard. The gods behind the palisade of this mythological dwelling place were of two kinds, the result of an exchange of hostages after war between the æsir and the vanir. From the flock of vanir came the two fertility-gods: Njgrbr and Freyr to dwell in Åsgard and be accepted there on equal terms with the other gods around the "allfather", Othin. This quite remarkable information, concerning the syncretism of the eddic religion, is generally interpreted as a historic reminiscence of a contrast between a fertility religion, and a more aristocratic and warlike religion attached to the cult of Othin. The fertility religion then is often conceived of as old traits belonging to the indigenous population of Scandinavia, while the Othin-cult as something which was introduced by the same innovations that brought the Indo-European boat-axe people to our part of the world. We know the result of the process that created the heathen religion which reigned in our countries at the time Christianity was introduced here, but we are highly bewildered when faced with the task of describing the syncretistic process itself, and the religions that were a part of it. This is true despite our abundant material of mythological poetry, legends and 13th century information. This too, despite our extremely favorable situation of being in possession of the exiting amount of theoforic place-names.

The Influence of Thomas Watson on Elizabethan Ovidian Poetry

The phrase ‘Ovidian poetry’ or sometimes ‘mythological poetry’ is commonly used to denote a group of English poems written in the manner of Ovid during the 1590s and thereafter. Most importandy the group includes Lodge's Glaucus and Scilla (1589), Marlowe's Hero and Leander (1593), Shakespeare's Venus and Adonis (1593), T. H.'s Œnone and Paris (1594), Drayton's Endimion and Phoebe (1595), Thomas Edwards’ Cephalus and Procris and Narcissus (1595). All the poems recast, or rather amplify, myths from Ovid and other classical writers; all treat a love story, usually with that precious combination of sensuality and sentiment for which Ovid is famous; all are highly ornate, employing rhetorically worked up love arguments, rich descriptions of clothing, buildings, tapestries, and the like, and minor embellishing myths like that of Neptune trying to embrace Leander in Marlowe's poem.