Poetic Line Research Articles

Analyzing Asymmetric Prosody in Salim's Poetry: A Critical Examination of Words, Phrases, Poetic Lines and Punctuations

In this research, titled "Analyzing Asymmetric Prosody in Salim's Poetry: A Critical Examination of words, phrases, poetic lines and punctuations," we conduct a comprehensive and practical analysis to identify errors and asymmetric rhythmic prosody within Salim's poetry, focusing on the edition we have diligently worked on. Our study aims to explore potential solutions in accordance with established prosody criteria. Salim's body of work encompasses several books of poetry, with our research specifically delving into the most recent edition published in 2015 in Sulaimani by Mullah Abdulkarim Mudaris, Fatih Abdulkarim, and Mohammed Mullah Karim. We selected this edition due to its freshness and its incorporation of improvements from previous editions, making it a widely embraced reference among both writers and readers of Salim's poetry. Our research comprises four primary themes. Firstly, we analyze disruptions at the level of words and phrases. Secondly, we investigate instances of rhythmic disruptions resulting at the level of poetic hemistich. Thirdly, we explore disruptions caused at the level of poetic lines. Lastly, we analyze disruptions at the level of punctuations. In conclusion, our study offers valuable insights into the content of Salim's poetry by shedding light on its prosodic nuances and providing potential remedies for asymmetries.

Localization and pauses duration in Russian iambic tetrameter in the poetry of A. S. Pushkin

This article is a continuation of a study dedicated to the role of pauses in the prosodic structure of the Russian iambic tetrameter. New data on the localization and duration of the pauses in Alexander Pushkin’s “Eugene Onegin,” as voiced by three speakers, corroborate previously identified patterns in the organization of poetic lines at the prosodic level. Pauses of varying durations, occurring with different frequencies at various junctures, emphasize the depth of the varying degree of internal division within a line. The method of multidimensional classification revealed five groups of pause durations, ranging from ultra-short to super-long. It was found that within a line, ultra-short and short pauses predominate, while longer pauses tend to occur more towards the middle and less towards the beginning. The absence or brevity of pauses near the end of a line highlights a more prolonged inter-line pause. Individual pause strategies manifest in the observance or omission of inter-line pauses, their duration, the frequency of prosodic breaks within a line, and the frequency of using pauses of a particular duration group. High correlation coefficients indicate a consistent use of pauses among the three speakers.

The Image of the Small Homeland in the Lyrics of Modern Smolensk Poets

The article examines the question of the peculiarities of Smolensk poetry, in which one of the main motives is to show the image of the small homeland, the native Smolensk region. The main features of the Smolensk poetic school, highlighted by the famous Soviet critic, native of Smolensk Adrian Vladimirovich Makedonov back in 1960, are determined. The poetic work of one of the brightest modern poets of the Smolensk region – Yuri Vasilyevich Pashkov – is analyzed. Based on the opinion of Makedonov, it is proved that Pashkov belongs to the followers of the Smolensk poetic school, especially one of its founders, Nikolai Ivanovich Rylenkov.The activity of Pashkov is shown as the organizer of the famous literary association of the modern Smolensk region, which was named by the poet «Spring». Based on the example of the analysis of the poetic lines of some representatives of «Rodnik», a tendency to continue to show the image of the small homeland in modern Smolensk poetry is noted.

Metrical Formation and Rhyme in Taysīr Subūl's Aḥzān Ṣaḥrāwiyyah Collection: A Stylistic Study

This study focuses on the principal stylistic characteristics of metrical formation and rhyme in the poetry collection of Taysīr Subūl Aḥzān Ṣaḥrāwiyyah ‘Desert Sorrows’. It explores the impact of traditional Arabic metrical forms on articulating the poet's real-life and psychological experiences. The research also delves into the importance of rhyme in fostering a unified emotional flow, maintaining the continuity of events, and culminating the poet's conceptual thoughts. The study concludes that Subūl's selection of classical Arabic meters (Buhur) and their metrical variations significantly contribute to the freedom and fluidity of his expression, enriching the rhythmic and semantic depth of his poetry. The varied application of softened rhyme schemes emerges as a prominent stylistic feature, encouraging readers to ponder over the implications and meanings of his poetic lines.

“A Flash of Consciousness in the Unconsciousness of Days”: Anna Akhmatova’s Prophetic Gift

This study focuses on From Sketches (1959), a little-known poem of Anna Akhmatova’s later work that has received no literary commentary. The fragment fits into some of the poet’s known poetic and prose predictions and is also correlated with the image of Cassandra that accompanied Akhmatova throughout her creative life. Referring to some of the poet’s memoirs and autobiographical prose, as well as to materials from the author’s notebooks, it is possible to discover some overlaps that indicate, on the one hand, the writer’s consistent strategy (from prediction to the terrible ability to draw upon misfortune), and, on the other hand, the integrity of the image of time / the end of time that is formed in Akhmatova’s notes: both in the work on variants of poetic lines, and in the secret writing of notebooks. At present, there are several versions of the poem, written at different times, some of which have a title and some of which do not, and are characterised by major and minor discrepancies. A comparative textual analysis of the poetic variations testifies to the poet’s search for increasingly powerful and precise means of describing the approach of an apocalyptic catastrophe. Despite the intonational similarity of The Running of Time, the ‘sketch’ in question appears never to have been incorporated by the poet as a separate stanza into a cycle or larger text. The study shows that the poem, highlighted by a poetic and prosaic context, reveals one of the key features of the poetics of the unfinished, typical of A. Akhmatova’s later artistic thinking. The dialogical nature and ‘semantic valence’ of Akhmatova’s poetry, and the emergence of new meanings, are stimulated by the ‘passage of time’ and are actualised when disasters and difficulties occur, each time helping to uncover the hidden visionary layers of Akhmatova’s poetry.

“Oh, You, That in Sorrow You Grunble Against God in Vain, Man!..” Functions of the Lomonosov Quote in N. V. Gogol’s Comedy “The Inspector General”

The attention of researchers has already been drawn to a quotation from “Ode Selected from Job” by M. V. Lomonosov, included in the replica of Khlestakov, flirting with Marya Antonovna. Yu. V. Mann identified its following functions: comedy due to the discrepancy between the topic of conversation and the content of the given poetic lines, as well as due to the situation that Khlestakov faced, as in a gymnasium exam; thought about the vicissitudes of human fate. Comparison of the content of this lyrical work, which was textbook-famous for the reader of the 19th century, with the Silent Scene, as well as with the later “Dénouement of the Inspector General”, also a Gogol text, allows us to take a fresh look at the role of the mentioned quotation. Synthesis of arts, allusiveness, rich symbolism of the Silent Scene, rich allegorical imagery of “Dénouement of the Inspector General” through associative connections with the spiritual ode of M. V. Lomonosov strengthen the eschatological and apocalyptic semantic plans of “The Inspector General”, emphasize the spiritual and moral issues, formulate their phased formulation and deepening. “Inspector General” in this aspect can be perceived not only as a satirical and socially accusatory work, but also — in the context of the later “Reflections on the Divine Liturgy” and “Selected Passages from Correspondence with Friends” — as a call to repentance and Christian renewal of life.

SOURCES AND ART OF THE PRAYER CHAPTERS IN "SABBA'I SAYYOR" AND "SADDI ISKANDARI" EPICS

In the article, the chapter of praise in “Sabba’i Sayyor” and “Saddi Iskandari” from the “Khamsa” epics, which occupies a special place in the works of Alisher Navoi, is analyzed ideologically and artistically. During the analysis, attention is paid to the sources of the thoughts presented in the verses, that is, the Holy Qur'an, Hadith Sharif, aspects related to the teachings of Sufism. The poetic lines of the epic are described in prose and analyzed. While analyzing the chapter of munojat, the formation of special traditions (traditional introductory chapters: basmala, munojat, na't) in the history of Uzbek literature is also discussed. The article also assesses the poet's artistic skills.

The Armenia archive. A Ramon Llull project

The Armenia Archive is the account of an unfinished inquiry. Centring on a reading of the Vita Coaetanea by the Majorcan philosopher, poet and mystic Ramon Llull (1232-1316), my aim in what follows is to perform a mode of thought at the crossroads between scientific treatise, autobiography, historical document and literary fiction. The archival model of The Armenia Archive refers to a compilation and a process of compiling in which historical, philosophical and poetic lines of inquiry cross one another in changing combinations. This article is the first instalment in a larger work in progress.

ПРИЕМ ПОВТОРА В АЛТАЙСКИХ ГЕРОИЧЕСКИХ СКАЗАНИЯХ

Altai heroic tales are unique monuments of the people’s epic heritage. They act as a cultural code that preserved the originality of the ethnic worldview, traditions of the people, as well as the peculiarities of their poetic language. At the same time, the Altai epic has much in common and peculiar in comparison with the epics of other Turkic-speaking peoples. The study of the epic style originality is special interest for folkloristics. The relevance of this study is determined by the insufficient study of style features of the Altai people’s heroic tales. The scholarly novelty of the work consists in the fact that it is the first to study the types of repetition as one of the stylistic phenomena of the Altai epic. The purpose of this research is to study repetition as a stylistic phenomenon of folk poetics. The sources for the study were the heroic tales published in the series “Altai Bogatyrs”. An important criterion for selecting sources for the study was the observation of this phenomenon in authentic texts, where the features of the narrator’s living language are preserved to a greater extent. The study is based on the analysis of Altai heroic tales from different narrators and other folklore sources. The descriptive method, methods of comparison and generalization were also used in the work. As a result of the study, the types of repetitions found in the Altai epic were identified and described; their main functions were defined. It is established that repetition in folklore text is an important and multidimensional phenomenon. In heroic tales it is manifested at different levels. Repetitions of individual words and word combinations, phrases and whole episodes are distinguished. According to the frequency of use, there are twofold, threefold and more repetitions. Repetitions occur within a line, at the beginning, end or at the junction of poetic lines, forming such stylistic figures as anaphora, epiphora and epanaphora. Each type of repetition fulfills a certain function in the text. The study has shown that the functioning of repetitions in heroic tales differs in the activity of their use by narrators.

Scribbled in the Stars: Milton, Keats, Mallarmé

ABSTRACT This essay presents three case studies from a modern European poetic lineage, three poetic generations that attended to stars and constellations in the wake of modern cosmological systems within which the stars themselves seemed to turn away from the poets and towards the astronomers. The essay charts a sequence that reaches across literary periods as traditionally conceived, but in each instance the same specifically modern question about poetry’s place and meaning recurs. It is a question that the figure of the star—with its singular history as both a poetic and scientific object—both crystallizes and refracts: who is the poet and what is poetry in a universe of empirical knowledge? In what follows, we consider how a pre-Romantic poet, John Milton, a Romantic poet, John Keats, and finally a post-Romantic poet, Stéphane Mallarmé, each grappled with the new sciences’ displacement of poetry’s pretensions to speak for and with the stars, reordering the creative imagination’s relation to the heavens.

Концепт «Жалость» в поэтическом языке Иосифа Бродского

The paper is to analyze the reflection of the concept ‘pity’ in a poetic heritage of Joseph Brodsky. The study reveals that the poet, when depicting one of the most valuable for him moral concepts of “pity”, uses related verbal lexemes “to regret”, “to regret” as representative predicates, as well as the noun pity, derived from them, as the name of the concept in different years of his work. It is shown that the nominal lexeme “pity” is included in poetic lines colored with a positive connotation (in connection with phenomena that are not subject to man: death, star, glory) and a negative one (applicable to the idea of freedom or the natural time of the year). Some other moral values were found to be the content of the act of pity in poetic lines of J. Brodsky, in which the lyrical subject of pity must show care and treat himself with care, must protect and spare himself, and not anyone else (which is usually noted by researchers). The examples show how, in order to reach special expressiveness of poetic lines and to stress the meaning of 'pity', the poet uses repetitions of various kinds: verbal predicates, the object of pity, or circumstances of time and degree. The results obtained may be of interest to the literary scholars studying the work of Joseph Brodsky and find the use in compiling the poet's dictionary.

Covid Looming between Poetic Lines, behind Ambulance Windows and in the Margins of Screens

This article analyses a selection of poems written during the 2020 pandemic and which all look at the Covid from a distance: the virus is represented (and circulated) by passing ambulances whose swiftness and opaque windows block all visual access to the suffering patient that lies inside. In these poems, the ambulance is therefore much more than a mere emergency vehicle: it tends to become a “vehicle” in the metaphorization of vulnerable existence as an urgent race. In other poems, the virus is evoked, glimpsed at, on a TV or phone screen, within the limits of the transiently shiny rectangles. In both situations, the presence of the virus is hence merely evoked or only metonymically suggested, and yet it is blaring, for it is everywhere in everyone’s mind. A selection of poems by various poets – Simon Armitage, Deborah Harvey, Keith Hutson, Greg Rappleye, Jacqueline Saphra, Alan Shapiro and David Tait – hence reveals how spectators of passing ambulances or of news feeds turn out to be at once drawn and deterred, their eyes both allured and frustrated. Standing safely at a politically imposed distance, these unusual spectators of unusual performances, imagine, fear, hope or despair, in any case somehow empathise.Poets here studied have managed to spectacularize an impossible spectacle—to embrace the imposed distance and seize the ambiguous tensions there at stake.

Женские образы в романе Ю. Н. Шесталова «Откровения Крылатого Пастора»

the article is a part of the complex of studies of the system of artistic images. The work implements a gender approach to understanding the image in the novel by Yu. N. Shestalov “The Revelations of the Winged Pastor”. Objective: to identify the peculiarities of creation of women’s characters and reveal the ways of their representation in the novel. Research materials: the novel by Yu. N. Shestalov “The Revelations of the Winged Pastor”. Results and novelty of the research: For the first time, a gender approach is applied to the figurative system of Yu. Shestalov’s novel “Revelations of the Winged Pastor”. The result of the research is the identification and description of the features of the created women’s characters in the novel “The Revelations of the Winged Pastor” by Yu. N. Shestalov. This makes it possible to determine the role of each of them in the imagery system of the work. The mythological images of a woman presented in the work in poems and in prose are the first Woman-mother, woman-perpetrator (“The Golden Woman”), the guardian of wisdom Sorni-Naj (“The Golden Goddess”) and realistic women’s images (the images of a mother, a wife, a beloved, a multifaceted WomanMuse). The outline drawn by poetic lines is more emotional and colorful; in the epic part of the book it is more complicated and detailed. The women’s image in the Mansi novel is complemented by a reference to A. Blok’s “The Stranger” and Dante’s Beatrice. The mythological and biographical are combined in the women’s artistic images created by the author

On the Nature of Poetry, Parallelism, and Methods: A Response to Ernst Wendland

This article is a response to Ernst Wendland’s article—also in this issue of Journal of Translation—which interacts with my cognitive approach to biblical Hebrew poetry, especially my recent monograph, Unparalleled Poetry (2023). In this article, I set my work within the broader context of biblical poetry studies and explain how it draws from literary and cognitive research to provide a robust framework for the concept of the poetic line—a contribution to not only biblical studies, but also broader poetry studies. The poetic line gets to the heart of the nature of poetry: the line is central to not just poetic structure (up to the level of the whole poem), but also poetry’s potential for rhythm and effects and construction of meaning. My view of the centrality of the line affects how I address various issues related to parallelism. I close by discussing the role and limits of method in regard to both poetic lineation and reading of poems.

Духовные стихи в рукописных поминальных тетрадях (традиция русско-коми-пермяцкого пограничья)

Folk religious poetry is quite often included in the sphere of funeral and memorial rites. Singers of spiritual verses often write them down in special “memorial” notebooks, which they use during performances. There is a controversial issue that has not yet been resolved. Do written collections existing in different territories display such a noticeable originality that would allow us to assert the presence of special local or regional manuscript traditions? In this article, the author characterizes memorial notebooks that arose in the Middle Urals, in the zone of active Russian-KomiPermyak contacts, where Russian-Yurlinians and Kochev KomiPermyaks live. A collection of 29 manuscripts serves as our material, of which 5 are analyzed in detail. The specificity of memorial notebooks is manifested in a typical set of spiritual poems, accompanying genres, choice of titles, acceptable forms of writing (with or without division into poetic lines), etc. Most of these handwritten notebooks include not only spiritual verses, but also prayers, essentially becoming “vernacular prayer books”. Typical poem titles include a mention of genre; indicate a place in the ritual; name the main characters; repeat the first line or its keyword. In Komi-Permyak notebooks, more often than in Russian ones, the traditional set of poems is expanded by including new verses. The “horizontal” organization of the text here becomes one of two conventional ways of writing spiritual verses. Elements of the written form acquire additional content, they become conventional and are reproduced within the community.

Рецензия на книгу: Словарь языка русской поэзии ХХ века. Том IX. Книга 2: Уж – Цезарь / Сост.: Л. Л. Шестакова (отв. ред.), А. С. Кулева (ред.), А. В. Гик. – М.: Издательский Дом ЯСК, 2022. – 536 с. – (Studia philologica)

Consideration is given to the main features of the lexicographic project developed at the Vinogradov Institute of the Russian Language of the Russian Academy of Sciences. It is the second book of the ninth volume of the Dictionary of the language of Russian poetry (20th century). The 2290 entries present the poetic lines from the sources of the Dictionary, the works of ten outstanding poets of the Silver Age: I. Annensky, A. Akhmatova, A. Blok, S. Yesenin, M. Kuzmin, O. Mandelstam, V. Mayakovsky, B. Pasternak, V. Khlebnikov, and M. Tsvetaeva. The review briefly describes the purpose, structure, and content of the Dictionary. Moreover, it delineates the frequency of individual lexemes, exemplifies instances of metaphorization, and establishes correlations with experiences in constructing the composite dictionaries. Dictionary entries provide insights into the history, frequency, and morphology of lyric phraseology in poetry, along with stylistic marks and information on word production and rhyming. The conclusion is made that the Dictionary demonstrates the variety and expressiveness of the language of poetry and the “artistic memory” of its words, enriching the reader’s aesthetic horizons.

Центральные образы и мотивы поздних стихотворений Геннадия Шпаликова (статья первая)

The material of the late poems by G. Shpalikov, one of the prominent representatives of poetry during the Khrushchev Thaw era, is singled out and examined in terms of the sphere of key images and motifs in the poet’s artistic world, which are encoded by the ontological-tragic situation of the lyrical subject in the enclosed chronotope of society. The central motifs of Shpalikov’s work during this period have been identified: motifs of loneliness, rootlessness, abandonment, vulnerability, farewell, hopelessness, and suicide. The semantic structure of the artistic world of the late (and not only late) poems is marked by a ternary model of “nature — human — civilization/society.” The movement of the “plot” in most late poems is determined by the internal catastrophic change in the psychological state of the lyrical subject, seeking voluntary departure from life, which is reflected in the expressive, emotionally evaluative, and reduced lexicon, the tightness of poetic lines, and tense syntax.

Stylistic Analysis of Laxmi Prasad Devkota's Poem 'The Lunatic'

This study is based on a stylistic analysis of the poem 'The Lunatic' by a great modern poet of Nepal, Laxmi Prasad Devkota. This analysis focuses on the foregrounding, metaphors, graphological, phonological, morphological, and semantic levels to explore and analyze what the poet wants to convey by describing his own experiences, showing the complex relationship between the poet and people living in the society that is going through social transformation. Stylistic techniques and methods are tactfully used to unfold the hidden feelings and experiences of the poet's life. Keeping in view stylistics is the study of different devices employed in language that give literary style and beauty to any writing; this article aims to explore and reveal hidden realities of poetic lines used in the poem 'The Lunatic'. This analysis helps us understand the poetic expression that can beautifully provide the picture of social transformation through the conflict between the poet and society. The stylistic devices used in this poem are the setting of the poem, along with the figures of speech. This study examines how the changing social context affects the poet's feelings and thoughts when composing poetry. Furthermore, the article explores how figurative speech enhances the impact of poetry on the readers' thinking.

The Image of the Hero Between Al-Mutanabi’s Saifiat and Abu Firas Al-Hamdani’s Romiat: A Comparative Study

Objectives: The study seeks to highlight the image of the hero in al-Mutanabi’s Saifiat and Abu Firas al-Hamdani’s Romiat; whether the hero is the caliph or the poet who acquires a heroic rank by virtue of being attached to the caliph, Sayf al-Dawla. Hence, the study traces the similarities and differences between al-Mutanabi’s hero and al-Hamdani’s hero.
 Methods: The study is basically descriptive, and it relies on textual analysis. It tackles sixty-eight poetic lines which reflect the image of the hero that was prominent in the era under discussion.
 Results: As Saifiat and Romiat make clear, the study shows that the two poets realized the importance of getting close to the ruler’s court and making their poetry at the service of praising the caliph. By so doing, the poets think of themselves as heroes due to their attachment to the caliph (the central hero). That is, the poets acquire heroic qualities as a result of being surrounded by heroism and heroic deeds. Hence, being connected to the caliph has the double merit of fulfilling the dream of becoming a hero and pleasing the caliph, satisfying both the self and the other.
 Conclusion: The study reveals that al-Mutanabi and al-Hamdani depict the hero as a knight of war whom people admire for raising their aspirations and giving them strength. Moreover, The hero is recognized as a peacekeeping knight, valued not just for martial prowess but also for fostering peace and prosperity, earning distinction in society.

The semantics of colors in Arabic and English poetry: A comparative study of Al-Mutanabbi’s poems and Shakespeare’s sonnets

The study aimed at interpreting the concept of color across cultures with reference to Arabic and English. It investigated the semantic denotation of colors by the type of emotions conveyed in the poems of Al-Mutanabbi and the sonnets of Shakespeare with respect to the symbolic meaning. The study focused on the lines in which color appeared in a symbolic sense. The poetic evidence for color existence in the poems were collected. The study followed the descriptive-analytical approach to investigate and clarify the aspects of the significance of colors and their denotations. The study revealed that studying the semantic denotation of colors could be a confusing subject even within the one culture, as some colors had different associations in different occasions. The two poets sometimes used the same color to convey different meanings, and sometimes more than one color were used in the same poetic line or verse to reflect the inner-self of the poets. Color denotations were determined according to personal or public intuition and culture but there were no clear-cut linguistic universals for the symbolic use of colors. The study recommended that more studies should be conducted on the denotation of colors to reach a semantic universal concept.