Poetic Allusions Research Articles

Termessos’taki Pamphyliarkhlar ve Pamphylia’daki Roma Valileri İçin Epigramlar. Öncelik ve Onurlar

The use of epigrams on stone during the Late Empire to honour important individuals, whether Roman officials or local benefactors, is a well-known phenomenon, although little explored to elucidate questions of political and institutional history, especially tricky due to the poetic nature of the material. In this field of study, the present work is focused on two epigrams from the Pisidian city of Termessos honouring Pamphyliarchs with the expressions ψῆφος Παμφύλων and γῆς κάρα Παμφύλων. After briefly reviewing the historical links of Termessos with Pamphylia, the main objective is to analyse these expressions as poetic allusions to the honorific title πρῶτος, used in the epigraphy of Asia Minor during the Roman period to designate individual primacy. The last section highlights similarities with two other epigrams from the cities of Perge and Attaleia in Pamphylia in honour of Roman governors, while discussing their identity and the title πιστή of the city of Side.

John Donne and English Puritanism, 1650–1700

ABSTRACT In recent decades, it has become clear that John Donne’s seventeenth-century readership is larger and more varied than was once believed. One audience that has not been given much scholarly attention, however, is English puritans on both sides of the Atlantic. This article brings to light several possible avenues for the transmission of Donne’s works to these readers and then identifies explicit references and poetic allusions to Donne by writers of these theological and ecclesiastical persuasions.

“The Magic Palimpsest” On the Signifi cance of L.N. Gumilev’s Poetry and Legacy

L.N. Gumilev belonged to the very small group of the children of the Silver Age in Russian culture, and the fi rst three decades of his own adult life (until the early 1960s) he particularly devoted to writing poetry. The literary heritage of L.N. Gumilev’s has been preserved only fragmentarily and does not refl ect the full range of his interests – neither in subject matter, nor in genres (the prosaic works have not been basically preserved). However, the extant works make it possible to establish a direct connection between the poetic work of L.N. Gumilev and the tradition of the Silver Age, from which he drew many images and plots. The greatest infl uence on Gumilev Jr. was exerted by the works of his father, N.S. Gumilev. Moreover, in the proper scientifi c heritage of L.N. Gumilev poetry also constitutes a separate layer: these are both poetic allusions and direct quotations of poems, including those of the Silver Age. Often in his scientifi c works L.N. Gumilev embarked on an intellectual game, which, despite the outward lightness of his language, hid second and even third layers of meanings from the mass reader, like the shadows of former texts in old parchment manuscripts (palimpsests). Thus, throughout his scholar and creative life L.N. Gumilev was accompanied by the proper ‘poetic image of the historian’. This is a kind of the alter ego of the author, and in unraveling it, it is important to understand that for Gumilev the presence of science in poetry and of poetry in science was quite organic.

Constructivist Referents in Oumar Farouk Sesay’s ‘The Song of the Women of My Land’

The purpose of the research was to examine the constructivist referents in Oumar Farouk Sesay’s poem ‘The Song of the Women of My Land’. This required an analysis and understanding of the referents (terms that clearly and indirectly refer to persons, things or events) and whether the referents were used in the poem to express grief by women. The research questions were as follows: a) Does the poet use referents that suggest the death of traditions that celebrate old women, song bards, and songs from the past more than any other word? b) Is the poet more likely to employ poetic allusions to indicate negative constructivism? and c) Is the poem’s use of prosodic features related to the message? This study used computational and content analysis methods, which incorporate a careful poetry-reading critical approach, to identify and calculate constructivist referents. The referents were then manually broad-coded to include whole lines and verses. The exact words, phrases, and sentences related to the topic were coded and their frequency was determined. These were calculated by counting the number of times a referent appeared. The themes were then selected and interpreted, with a focus on relating them to the poem’s constructivist viewpoint. Finally, the main prosodic elements of the poem, as well as the referents that create them, were established. The results show that most referents by African poets are used to emphasise that traditional culture is dying and that the referents romanticise the fleeting nature of beauty in poetry and the pacifying effects of rural pastimes.

Poetic Allusion of J. Milton’s Poem “Paradise Lost” in Historical Discourse of W. Churchill

Literary allusion in historical discourse is considered as a means of enhancing the semantic and aestheticemotional content of the text. The results of studying the semantics of allusive units in the works of W. Churchill, taking into account the historical context of events are presented in the article. The results of a comparative analysis of three unidentified political allusions noted in D. Holly’s book “Churchill’s Literary Allusions” are discussed. The author of the publication emphasizes that when using the allusion as a unit of renomination, the context affects the creation of the allusive meaning. The variants of allusive meanings of the same lines of J. Milton’s poem “Paradise Lost” in three different historical contexts and different literary genres: in historical narration, in a public speech of a British politician and in military memoirs are analyzed in the article. The novelty of the study is seen primarily in the fact that the studied poetic allusions were not previously identified in the texts of W. Churchill. The value of the research results lies in its interdisciplinary nature, carried out at the intersection of linguistics, semantics, history and hermeneutics.

Tennyson Echoing Wordsworth, by Jayne Thomas

Reviewed by: Tennyson Echoing Wordsworth by Jayne Thomas Andrew Elfenbein (bio) Tennyson Echoing Wordsworth, by Jayne Thomas; pp. vi + 210. Edinburgh: Edinburgh University Press, 2019, $100.00. Scholars have often recognized William Wordsworth's importance for Alfred Tennyson. In Tennyson Echoing Wordsworth, Jayne Thomas addresses major issues in this relationship by focusing on familiar works: "The Lady of Shalott" (1832, 1842), "Ulysses" (1842), In Memoriam A. H. H. (1850), Maud (1855), and "Tithonus" (1860). Her general approach [End Page 295] balances Harold Bloom's antagonistic understanding of influence against Christopher Ricks's more cooperative understanding of poetic allusion. Chapter 1 examines the 1832 "The Lady of Shalott" and its 1842 revision to describe Tennyson's impatience with what Arthur Henry Hallam called the poetry of sensation and Tennyson's revision of Wordsworth's "Elegiac Stanzas" (1807) and "The Green Linnet" (1807), among others. In Thomas's view, Wordsworth enables Tennyson's "concerns between the demands of a poetry concerned purely with private experience and poetry that moves away from the self and engages with life, politics, and generalised humanity" (40). Wordsworth's "Ode: Intimations of Immortality from Recollections of Early Childhood" (1807) is perhaps the inevitable focus for a chapter on "Ulysses," stressing the lack in Tennyson's work of the compensations and recovery found in Wordsworth. In Memoriam A. H. H. may represent Tennyson at his most Wordsworthian, and Thomas argues that "echoes and allusions" in the poem "create a pattern of both independence from and dependence on Wordsworth, a desire for unity and filiation with the older poet, alongside a desire to re-engender and reinvent" (82). I found the chapter on Maud the least convincing, mostly because Tennyson's engagement with other authors in the poem seems so much more salient. "Tintern Abbey" (1798) (again, among others) is appropriately at the core of the discussion of "Tithonus," which "draws from the language of reflection" and "employs the language of sensation, thereby dissolving the arbitrary separation of the two forms of poetry" (166). Discussing influence in such poems, some of which are not obviously Wordsworthian, requires guidelines for understanding and evaluating it. As Thomas's title reveals, "echoing" is her core concept. Usually, for a piece of language to be the source of an echo, that language must be so distinctive as to have no other possible source. In the jargon of linguistics, such language is a low-frequency collocation, or a rare grouping of words. The echo of an earlier author in the work of a later author may appear at the level of just a single word. Yet the existence of the same word in two authors' works is not enough to prove an echo. Thomas claims that the Lady of Shalott's "glassy countenance" (24) echoes Wordsworth's "glassy sea" in his "Elegiac Stanzas" (25). Such a claim has to contend against other possible uses of "glassy" by Tennyson's precursors, such as Percy Bysshe Shelley's "glassy quiet" in Alastor (1816) (393), Lord Byron's "glassy gaze" in Parisina (1816) (334), or Felicia Hemans's frequent uses of the word glassy to describe bodies of water. Without acknowledging such competing possibilities or providing reasons for why a Wordsworth poem might be especially relevant to a given Tennyson poem, Thomas's treatment of echo sometimes feels murky. It also restricts her argument by hiding the broader intellectual and poetic stakes in Tennyson's originality: while he is indebted to so many other writers, he sounds like nobody else. The phrase "glassy countenance" is striking not because it revises Wordsworth but because it renovates a formulaic adjective by extending its reach. Before Tennyson, "glassy" described poetic bodies of water or, less often, the watery organ of the eyes. Tennyson unforgettably, and even creepily, extends what "glassy" and "countenance" might mean by turning the Lady's face into metaphoric glass, thereby stressing both its link to her magic mirror and its frozen fragility. I was also unsure that Thomas's opposition between Bloom's antagonistic theory of influence and Ricks's cooperative one worked successfully. Such an opposition is too likely to produce the conclusion that we see a little of both. A deeper engagement both [End...

Conceptual Foundations of Modern Mythology

The objective of the article is to analyze theoretical and applied myth studies, to establish the role of myth in the process of mythopoeia, to identify the artistic work’s mythopoetic peculiarities that combine imaginative and emotional thinking, subconscious achievements of general culture, auteur worldviews, mythological schemes, structures, motives, symbols, means of poetic speech, etc.Investigation of mythological structures in the poet's artistic worldview system is the key to deciphering the in-depth meanings of the author's myth-thinking. This includes both broader worldwide and more specific ethnic-national cultural achievements along with the individual worldview features, which are formed on rational experience and integrate both actual and imagined reality. All components of the mythic consciousness at the sensory level are most frequently implemented in the works of literature. The universe is explained through ancient ideas and beliefs reflecting ontological and axiological concepts at the mental-verbal level. The mythopoetic analysis of the artistic text allows a more profound understanding and interpretation of the author’s worldview. It deals with immersing into the dimension of poetic allusions, deciphering the implicit code of the poet’s speech, identification of objective and subjective reasons to appeal to ethnocultural sources.The results obtained can be practically employed in teaching such disciplines as: “Theory of Literature”, “History of Literature of the 20th Century”, “Mythological and Neo-Mythological Schools in Literary Science”, as well as in the development of manuals and textbooks, in the study of the mythopoetics of an artistic work.The scientific novelty of this work lies in an improved scientific approach to the interpreting paradigm ofmyth, archetype, archetypal image, and mythology. The said approach promotes analysis of the methods of implementing the myth in the art of the twentieth century, its impact on the formation of the artist's narrative, and transforming it into literature mythologism.

POETRY AND “POST-MABO LYSIS”

John Kinsella is an important literary witness to the acknowledgement of native title in Australia, and Indigenous rights more generally. His writings also bear witness to continuing forces of resistance to those rights in Australian society. This paper traces Kinsella’s engagement with the Mabo case, the 1992 legal decision that recognised native title as part of Australian law, and rejected the fiction that Australia was terra nullius at the time of British colonisation. Focusing on “Graphology: Canto 5” and other texts, it argues that Kinsella presents a sustained reflection on the implications and the limits of this decision, in law and in wider cultural understandings and practices, through poetic allusions, paratexts and personal commentary. His writing since the mid-1990s reveals an acute awareness of how imported concepts of property and law are concealed within Western poetic traditions such as pastoral. To counter the effects of this ideology, Kinsella interpolates and appropriates terms from the discourse of property law, juxtaposing them against other ways of understanding and living in the land. In several collections, but especially in Jam Tree Gully, he seeks to develop an ethically reflective account of ownership of land taken from others, critiquing the dominant idea of property and articulating an alternative way of living in the land based on co-existence. The rights of the dispossessed traditional owners are central to a new mode of “writing the land.”

Robert Garnier et le thème de l’immortalité de l’âme: l’invention poétique du chant choral aux vers 1323–1377 de La Troade

This article examines French-language sources used by Garnier in his rewriting of Seneca’s celebrated choral ode (Troades 371–402) situated at the mid-point of his own 1579 Troade. In the tragic universe of the escapees from Troy, in which the dramatic poet multiplies episodes of terror and of murderous crime, the choir’s message introduces a quiet promise of redemption amidst darkness and ceaseless violence. This sombre context reflects the atmosphere, not only of the final days of Priam’s city, but also of the Civil War in France during the reign of the last Valois king. In a dramatic context in which violent horrors mount unabated, the poet’s very language in the central choral ode gives valuable and subtle indications of the action’s ultimate meaning as it deploys itself before the eyes of the astonished spectators in the guise of a spectacle of ever-increasing, inhuman cruelty. Our analysis shows that the “Christian Platonism” often cited by critics of Garnier, following Lebegue, when they explain these verses, is constructed (and limited) by poetic allusion, in the author’s choice of vocabulary. In reality, the clarity of this purportedly philosophical ode is nuanced by a poetic vocabulary that reflects, above all, the author’s continued allegiance to, and dependence upon, the poetic language source forged by the Pleiade generation.

A study on the language consciousness in Oh, Kyu―won's early poetological poetry -Focused on the poetic allusions of Kim chun-soo's poems

A study on the language consciousness in Oh, Kyu―won's early poetological poetry -Focused on the poetic allusions of Kim chun-soo's poems

A Tide of Merit

Abstract Stressing the importance of 5th–6th-century copper-plate charters connected to the Viṣṇukuṇḍin dynasty for the history of Buddhism in Āndhradeśa, this article demonstrates that, contrary to earlier scholarly assumptions, and despite the paucity of archeological evidence for Buddhist activity at that time, Buddhist lineages still benefitted from lavish donations by ruling families. This study consists of three parts: the first explores the representation of two Viṣṇukuṇḍin rulers as Buddhist kings, and shows how their portraits and their aspirations are permeated by the ideology of the Bodhisattvayāna. The second part examines one of the main recipients of royal donations, the Sthā̆vira/Theriya lineage of the Tāmraparṇīyas, already known from inscriptions issued under the previous Ikṣvāku dynasty. The analysis of these earlier records from Nagarjunakonda in light of little-studied copper plates shows that the Tāmraparṇīyas had a strong institutional presence in Āndhradeśa from the mid-3rd to the late 6th century. The lineage’s connections with Laṅkā and with other Theriya centres along the Bay of Bengal are delineated through a close examination of the terminology used in the inscriptions under scrutiny, in light of co-eval records, and especially of Pāli Vinaya literature and historical narratives. The last part of this article focuses on a poetic allusion to the episode of the Buddha’s victory over Māra included in the opening stanza of a grant issued by king Pr̥thivīśrīmūla. The evidence suggests that this record connects for the first time the water poured by Śākyamuni in his previous lives as a Bodhisattva with a flood that drove away Māra’s army from the seat of Awakening, a motif that grew—like a tide—and spread across Southeast Asia.

Место и время первой встречи А. Пушкина с Т. Лариной (к истории зарождения Музы Поэта)

Место и время первой встречи А. Пушкина с Т. Лариной (к истории зарождения Музы Поэта)

Constructing filmic intersubjectivity through haptic visuality and poetic language in Sally Potter’s Yes (2004)

This article analyses Sally Potter’s use of cinematic techniques (haptic visuality) and literary resources (poetic language, theatrical strategies and intertextual allusions) in Yes (2004) as a means to explore female subjectivity and the empowering potential of intersubjectivity in the cinematic medium. The analysis offers a feminist reading of subjectivity as a narrative and spectatorial construct. Kaja Silverman’s psychoanalytical semiotics, Vivian Sobchack’s feminist phenomenological take on cinematic experience and Julia Kristeva’s sujet en procès and revolutionary poetic language provide the theoretical background for a close reading of Sally Potter’s film distinguished by a knowing, transmedial reaffirmation of third-wave, intersectional feminist theory, as well as modernist literary intertexts, particularly James Joyce’s Ulysses.

The Cracks Are Where the Light Comes in

The sensitivity of psychotherapists in understanding others is connected to a deep capacity for both intimacy and vulnerability. The three papers by Lauren Levine, Deborah Dowd, and Sharon Ziv Beiman present clinical experiences with women patients that touch deep areas of openness for patient and analyst alike. Through their generous and evocative material, and the invitation of a male discussant, all parties are drawn into a powerful sense of mutual vulnerability. Painful mis-attunements occur and are courageously addressed by the writers. The discussion uses the poetic allusion, to the cracks in everything, as the necessary basis for the light of analytic relatedness and love to come into being.

Poezja ósmej antologii cesarskiej "Shinkokin wakashū" w sztukach teatru nō pt. "Kamo" i "Teika" autorstwa Komparu Zenchiku

It is undeniable that nō theater, a form of art that emerged in medieval Japan at the end of the 13th c., is a genre of drama embodying the performing arts. It is thus non-existent if it is only on a piece of paper. Despite this, written texts are the absolute basis for all nō dramas, since in noh there is little room for changing an original text which has been constructed in accordance with established composition principles and filled with religious symbolism and references to many earlier Japanese literary works. Numerous versions of extant nō manuscripts contain a great amount of allusions to the classical Japanese poetry genre waka . It is believed that as Zeami Motokiyo (1363?-1443?), one of the most well-known and respected nō playwrights and actors, was fond of the poetic style of the first imperial collection Kokin wakashū , as his son-in-law and successor, Komparu Zenchiku (1405-ok. 1470), was keen on the poetry of the eighth imperial collection Shinkokin wakashū . However, an analysis of poetic allusions in two noh plays by Zenchiku – Kamo and Teika – indicates that it might have been rather a poetic style of an early medieval poet Fujiwara Teika (1162-1241), one of the compilers of Shinkokinshū , that had perhaps been an object of fascination and inspiration for Komparu Zenchiku.

Katsushika Hokusai and a Poetics of Nostalgia

This article addresses the activation of aesthetics through the examination of an acute sensitivity to melancholy and time permeating the literary and pictorial arts of Japan. In medieval court circles, this sensitivity was activated through a pervasive sense of aware, a poignant reflection on the pathos of things. This sensibility became the motivating force for court verse, and through this medium, for the mature projects of the ukiyo-e ‘floating world picture’ artist Katsushika Hokusai. Hokusai reached back to aware sensibilities, subjects and conventions in celebrations of the poetic that sustained cultural memories resonating classical lyric and pastoral themes. This paper examines how this elegiac sensibility activated Hokusai’s preoccupations with poetic allusion in his late representations of scholar-poets and the unfinished series of Hyakunin isshu uba-ga etoki, ‘One hundred poems, by one hundred poets, explained by the nurse’. It examines four works to explain how their synthesis of the visual and poetic could sustain aware themes and tropes over time to maintain a distinctive sense of this aesthetic sensibility in Japan.

HOMERIC CONCERNS: A METAPOETIC READING OF LUCRETIUS,DE RERUM NATURA2.1–19

Suave, mari magno turbantibus aequora ventise terra magnum alterius spectare laborem;non quia vexari quemquamst iucunda voluptas,sed quibus ipse malis careas quia cernere suave est.suave etiam belli certamina magna tueri 5per campos instructa tua sine parte pericli.sed nil dulcius est, bene quam munita tenereedita doctrina sapientum templa serena,despicere unde queas alios passimque videreerrare atque viam palantis quaerere vitae, 10certare ingenio, contendere nobilitate,noctes atque dies niti praestante laboread summas emergere opes rerumque potiri.o miseras hominum mentes, o pectora caeca!qualibus in tenebris vitae quantisque periclis 15degitur hoc aevi quodcumquest! nonne viderenil aliud sibi naturam latrare, nisi utquicorpore seiunctus dolor absit, mensque fruaturiucundo sensu cura semota metuque?(Lucr. 2.1–19)It is pleasant, when the winds stir up the waters on the great sea,to watch the great struggle of another from land;not because it is a great pleasure that anyone be troubled,but because it is pleasant to observe the troubles you yourself lack.It is also pleasant to watch the great contests of war 5spread out over the plains without taking any part in the danger.But nothing is more pleasing than to hold lofty yet calm templesthat are well defended by the teachings of wise men,from which you can look down and see others everywherego astray and wander while seeking the path of their life, 10competing in wits and contending over their nobility;throughout nights and days they strive with outstanding labourto come out at the peak of riches and have power over everything.O wretched minds of men, O blind hearts!In what shadows of life and in how many dangers 15is this bit of life, whatever it may be, being spent by you! Do you not seethat nature barks for nothing other than this – thatgrief be separated from the body and far away, and that the mind enjoypleasant feelings cut off from anxiety and fear?Epicurus' advice to his young friend Pythocles to ‘flee all education, raising up the top sail’ (παιδείαν δὲ πᾶσαν, μακάριε, ϕεῦγε τἀκάτιον ἀράμενος, Diog.Laert. 10.6 = Epicurus fr. 163 Us.) contains an allusion to Circe's advice to Odysseus inOdyssey12.37–58. For much of the Greek (and Roman) world, education was based on the Homeric epics, and thus Epicurus' statement represents a complicated position towards Homer in particular and poetry in general. Epicurean philosophy rejects poetry because it is misleading about the gods and the nature of the soul, but Epicurus and his followers, most notably Philodemus and Lucretius, engage in poetic allusion and even the composition of poetry. Much work has been done on allusions to poetry in all three writers, but I hope here to bring out a heretofore unnoticed poetic allusion at the start ofDe rerum naturaBook 2, in which Lucretius makes a programmatic statement about not only his philosophy, but also his poetry and its place in the poetic tradition.

In Praise of the Intercessor: Mawāhib al-Nāfiʿ fī Madāʾiḥ al-Shāfiʿ by Amadu Bamba Mbacké (1853–1927)

In Praise of the Intercessor is an effort to capture in English verse an echo of the original meaning, rhythm, and tenor of a panegyric written by one of West Africa’s most famous Sufi shaykhs, Amadu Bamba. The founder of the Muridiyya wrote literally hundreds of distinct works in Arabic verse, but the piece translated here is one of his most widely recited poems, and the translation notes here expound upon the significance of some his poetic allusions for Murids. The introduction offers reflections on the role of praise poetry in Islamic scholarly culture, as well as the challenges and immense rewards in translating such works in fresh ways.

The Debate on Asceticism as a Permanent Choice of Life: Some Late Clues from "Mahākāvyas"

The present paper is focused on a couple of apparently contradictory Buddhacarita (Bcar) passages. On the one hand, there is the attribution of the pre-classical pattern of constituting kings in the sacrificial arena, implying a cyclical exchange between asceticism and warrior sovereignty, to Buddha’s father and his ancestors, who possibly ignore the varṇāśrama system. On the other, King Śuddhodana himself wishes that his son would not choose asceticism as a permanent way of life, i.e., that he adheres to the ordered succession of āśramas, in accordance with the brahmanical inclusivistic varṇāśrama system. The interpretation proposed here consists in assuming a specific Aśvaghoṣa intellectual reading of the potential relation between Buddhist and brahmanic dharma, based on a shared past, denoted by the expression sūkṣma dharma. The poetic allusion to this epic expression might have denoted an uncertain common dharma path which was to be overpassed by both parts, respectively by means of the true Buddhist dharma, and through the brahmanical śrauta reform. The two questioned verses are assumed to be a further fragment of the history of the brahmanic-Buddhist debate dating back to the Itihāsa and Mahākāvya age reconstructed by Hiltebeitel over these last ten years.

'A Use in Measured Language': Poetic Allusion and the Victorian Culture of Death

This essay discusses the circulation through Victorian culture of two fragmentary quotations from poems that represent the female corpse, Byron's ‘The Giaour’ and Thomas Hood's ‘The Death Bed’. It traces the often unacknowledged appearances of these lines in an array of non-poetic contexts such as newspaper articles and advertisements, and novels such as Gaskell's Mary Barton and Stoker's Dracula, querying whether they function as quotations or allusions. By reading their textual afterlives through Lacan's theory of the Thing, the essay identifies these poetic fragments as reassuringly familiar cultural artefacts that were used to shield the living from the terrifying absence opened up by the death of the other, and suggests that this approach offers a way to understand popular and sentimental artistic responses to death that do not sit easily within Freudian paradigms of mourning.