Poetry Research Articles

Hedonist and Theologist Narratives in French Baroque Poetry and Spiritual Verses by the English Metaphysicals: Poetising Author’s Experience vs Sacralising Privy Feelings

In the poetic diversity of Western European Baroque, the worldview was dominated by the search for unity in the contradictions of existence, which almost always immersed the man in a theological context. This is especially evident in the works by the seventeenth-century English Metaphysicals, whose unique style is considered from the perspective of the European continental poetic tradition. At the same time, appealing to French Baroque poetry as a specific literary phenomenon compared to Donne’s school in England is determined by the historical and creative process that produces individual strategies of poetising an author`s experience vs sacralising privy feelings. The article discusses the originality of the means of poetic expression of worldview principles in French Baroque poetry and English metaphysical school, which are expressed in close connection with the author’s paradigms of hedonistic-religious vs spiritual vision of reality. These means are actualised at the image-plot and structural levels that determine the methodology based on conceptual approaches to comparative analysis with elements of hermeneutic, imagological, stylistic, and cultural-historical methods. The article emphasises that the profound considerations about the origins of the universe in love poems with hedonistic motives bring the works of the French authors (Théophile de Viau) closer to the verses of the English ones, who discuss serious issues of human existence, religion, world order, etc. (A. Marvell) even in love poems. The religious works of the French poets (d’Aubigné, de Sponde, La Ceppède) contrast with metaphysical ideas about the transcendent world (J. Donne, G. Herbert, F. Quarles, Н. Vaughan) precisely by interpreting the Baroque themes of the transience of earthly existence, imperfection of human being, that are represented defectively from the perspective of style. Metaphysical tension and emotional release of the most secret movements of the soul raise the spiritual verses to the level of contemplative poetry.

ФУНКЦИОНАЛЬНЫЕ ОСОБЕННОСТИ СКАЛЬДИЧЕСКИХ ЖАНРОВ

The article analyses the functional characteristics of the main genres of skaldic poetry: panegyric verse, memorial poems (erfidrápur), shield poems (skjaldardrápur), head-ransom verse (höfuðlausn), love poetry (mansöngr) and libellous poems (níð). Olga Freidenberg’s conception of the salvational and chthonic functions of the word is applied to the genres of skaldic poetry which are discussed in the paper. Skaldic libellous verse (níð), rooted in rune magic, is endowed with a chthonic function, whereas head-ransoms characterised by autonominative, equitemporal semantics, acquire a salvational role. The salvational role of head-ransoms (höfuðlausn) is ensured by the use of auto-referential semantics (when the speech act is directed not at the addressee but at the creator of the poem himself), of performative formulas and of a hyper-structuralised form – runhent meter with final rhyme overloaded with sound devices. The pragmatic function of love poems (mansöngr) is determined by their intended influence on the addressee: they serve to manipulate the addressee’s mentality and behaviour, ensuring the performance of a particular action (granting favour to a skald). Erfidrápur are endowed not only with a memorial function but also with a life-affirming role, conditioned by the idea of familial renewal and vitality. The function of skaldic shield poems (skjaldardrápur) is dissociated in the article from descriptive visual imagery of material objects. It is argued in the paper that shield poems function as thesauri of mythological kennings: their poetic form facilitates the process of memorising kennings, and their prose context provides explanations and motivates their usage. Ragnarsdrápa, which alludes to, rather than describes, mythological scenes of Þorr’s fishing for Jǫrmungandr, Hamðir and Sǫrli, taking revenge on Jǫrmunrekkr, and the never-ending battle between Heðin and Hǫgni, is not descriptive, or narrative, or intentionally communicative. The marginality of the communicative function of skaldic poetry is conditioned by violation of direct word-order, the use of parataxis, which obscures the syntactic structure of a stanza, of kennings with their informative deficiency, of inserted and interlaced clauses, breaking the semantic organisation of a half-stanza, and of increased significance of sound repetitions, which is characteristic of magic and ritual.

KODIRANJE LJUBAVI U DJEČJOJ POEZIJI

Children’s poetry is oriented towards the child’s experience of the world, encompassing themes of play, nature, homeland, emotions, and others. It follows the emotional, interest, and cognitive development of the child, and themes and motifs in children’s poetry are incorporated differently depending on the age of the implicit readers, as observed in poetry with themes of love. Children’s love poetry includes various manifestations of love, from so-called partner love, through thematizing family emotions to love for friends, animals, homeland, etc. In the study, Luhmann’s communication concepts of love coding were applied to the selected corpus of Croatian children’s and adolescent love poetry that thematizes so-called partner love, and the models of love coding were observed as idealization, paradox, incommunicability, and romantic coding of love. The idealization model recognizes beauty and virtue as what attracts lovers, but it also extends to accepting imperfect aesthetic characteristics and flaws. The paradox as a communication model implies communication models that provoke contradiction by displaying emotions in unexpected and inappropriate ways or by diminishing the lover’s abilities and comparing love to illness. Lyrical subjects demonstrate the inability or avoidance of expressing emotions, which can lead to communication breakdown or its absence, and such a communication model is observed as a model of incommunicability. Codes of romantic love tend towards the privacy of lovers and encompass gestures and occasional verbalization. Different codes can intertwine and complement each other in individual poems.

Analyzing W.B. Yeats Selected Poetry Through Feminist Epistemology: A Reassessment

W.B. Yeats stands out as one of the most influential poets of the twentieth century. His symbolic poetry and his political and philosophical ideas are all prominently reflected in his work. During his lifetime, he was deeply influenced by a few remarkable women who made significant contributions to his poetic development and played a pivotal role in shaping his personality. Yeats's poems chosen for this study offer a profound insight into the predicament of women within various socio-cultural and economic contexts. This analysis will explore how Yeats projected female voices through multiple images and symbols in poems such as 'A Prayer for My Daughter,' 'Among School Children,' and 'Leda and the Swan.' While Maud Gonne is widely recognized as a central figure in Yeats's love poems, it's essential to acknowledge that she wasn't the sole woman who influenced the artist's evolution. Others, like Lady Gregory, Olivia Shakespeare, and George Hyde-Lees, the wife of W.B. Yeats, played significant roles in the later phase of his life, particularly in developing his philosophical treatise, "A Vision." In his final poems, Yeats attempted to convey his ultimate understanding of love, emphasizing its perfection in the unbroken relationship between the body and the mind. Works like 'Among School Children,' 'Leda and the Swan,' 'The Second Coming,' 'Sailing to Byzantium,' 'A Man Young and Old,' and many other universally acclaimed poems were inspired by his complex relationships with Maud Gonne and others.

Wordsworth's View of Nature Reflected in I Wandered Lonely as a Cloud

William Wordsworth, a great poet from the English Romantic era, is celebrated for his deep portrayals and evocative emotions of the natural world. The majority of his poems center around elements in nature, serving as the primary vehicle to convey his contemplation on the world. Thus, the crux of this research is examining Wordsworth’s viewpoint on nature, namely via a meticulous analysis of the poem I Wandered Lonely as a Cloud. The research demonstrates that Wordsworth depicts nature as a conscious and emotive being via the use of anthropomorphic methods, as shown in his portrayal of daffodils ‘dancing’ and ‘flashing’ in his poem. Anthropomorphic daffodils not only provide visual pleasure but are also a source of emotional and spiritual renewal. This understanding of nature not only helps readers understand the core idea underlying love poetry, but also has important consequences for considering the connection between humans and nature in modern civilisation. Wordsworth's poetry exemplify the enormous influence that nature has on human emotions, while underscoring its function as a comforting and inspiring source for the spirit.

Poeticizing Love: Reliving the Ethics and Aesthetics of Odia-English Love Poetry

Poeticizing Love: Reliving the Ethics and Aesthetics of Odia-English Love Poetry

一般論文] 우이동인(牛耳洞人) 이학인의 문학적 생애와 새로 발굴된 시집 『무궁화』에 대하여

Lee Hak-in was born in Taecheon in 1903 and continued his literary activities from 1923 to 1936. The newly discovered Lee Hak-in’s poetry Mugunghwa was first published in the first 24 years, but it seems likely to have been confiscated, so it could be said that the newly discovered Mugunghwa is a second edition.
 Poems contained in Mugunghwa, could be largely divided into two series. One of the poems is based on the historical sites and legends of the Joseon Dynasty. These poems reflect some of the nationalistic tendencies of him, but they focus on enumerating historical sites and describing historical facts and legends related to them. The other was poetry containing personal lyricism, including poems he called so-called love poetry. In these poems, Lee Hak-in showed his talent as a poet, but there were works that did not have enough poetic form.
 The poetry Mugunghwa was almost the only example published by a student in the early 1920s, and it is also meaningful as a dramatic example of how the literary passion of the young generation, who responded very actively and enthusiastically to the various literary systems that were being formed, produced some results.

Manajemen Layanan Perpustakaan Madrasah dalam meningkatkan Minat Baca Peserta Didik di MTs Negeri 10 Jember

The purpose of writing this research is to describe the management of library services through mobile libraries at MTsN 10 Jember as strengthening students’ interest in reading, describing the management of madrasa libraries through planning, organizing, implementing, monitoring and evaluating processes. This research uses a descriptive qualitative approach with data collection instruments in the form of observation, interviews and documentation. The subjects of this research were students of MTsN 10 Jember, librarians from the Jember Archives and Library Service. The research results show that Madrasah Library Service Management is something that motivates students to write works entitled Love Poems for My Prophet and Longing for Family Heaven. Apart from the madrasa library, there are other benefits gained from using the mobile library, namely increasing students’ knowledge, insight and abilities, teachers taking an active role in accompanying students, teachers are happy to see students enthusiastic about reading.

Love, Be a Poem. The Rhetoric of Seduction in the Love Poetry of Vesna Parun

In the broadest sense, the paper is a discussion of Vesna Parun’s love poetry. The basic idea is that, on the one hand, it adheres to the romantic understanding of literature as a representation of the deepest personal feelings, universal truths, and essential values and, on the other hand, that it acts as a confirmation that the experience of love is fundamentally literary, and that literature is a form of unbridled love for linguistic seduction. For this reason, the author’s love poetry is not approached as a representation of her private life, love feelings, or relationships, but as a complex relationship between figurative language and a romanticized idea of love. In other words, it is interpreted as a discourse or rhetorical event that simultaneously constructs and deconstructs concepts such as authentic experience, sincere sensitivity, primordial love, or stable identity, and provides an opportunity to raise important ethical and political questions in the face of its ambivalence.

АШЫКТЫК ЫРЛАРЫНДАГЫ ПОРТРЕТТИК СҮРӨТТӨӨЛӨРДҮН ПОЭТИКАЛЫК МҮНӨЗҮ

There is no doubt that another large group of traditional Kyrgyz songs are songs about love. In different eras, the works of the masters of the word reflect the spirit of their time. The historical path traveled by the people has always had a lively response in the work of akyns, manaschi storytellers, critics and thinkers, reflecting their inner world.Love songs are also a genre that has spread to the masses and gained a lot of popularity. It can also be noted that over the years, the folk language has been formed as a classic example of both creativity. Love songs are created from the fullness of the inner experiences of the human soul, and it should be considered in conjunction with the historical, political and social life of the people. In their love poems, akyns (improvisers) skillfully employed a variety of 7-8 syllable models and paired phrases. Especially on their love poems, they often used portrait descriptions to express the beaty and character of women and successfully fulfilled poetic and artistic functions. Each of Barpy’s poems are dedicated to the theme of love, portrait images were aesthetically utilized within their limits.

The Image of the Woman in the Poetry of al-Sharīf al-Raḍī

Abstract From pre-Islamic times onwards, the themes of love and the beauty of women occupied a prominent place in Arabic poetry. This article seeks to describe the image of the woman in the poetry of the prominent Abbasid-era poet, al-Sharīf al-Raḍī. It begins with a discussion of love poetry in Arabic in general, from pre-Islamic times until the era of al-Raḍī in the 4th/10th century. Attention is given to the various techniques employed by poets to describe and praise the beloved as well as to the developments witnessed by this genre, especially during the Umayyad and early Abassid eras. Following a biographical sketch of al-Sharīf al-Raḍī, the article proceeds to discuss his relationship to women, in all its different manifestations, with particular attention to his Hijāziyyāt, poems of passion and longing. The article concludes with the opinions of both medieval and modern critics of al-Raḍī’s poetry. Al-Raḍī is seen as an accomplished poet who successfully combined the beauty of the nomadic world with the refinement of civilization.

Uzrit motifs of love and love longing in Bosniak and Serbian romanticists

Created in the 7th century, Uzrit love poetry or desert love poetry is inspired by love. It is named after the tribe to which poet Džemil (Ğamīl), one of the most famous love poets, belonged. In these poems, a lover spends his whole life in longing and absence, yearning for his beloved one. At the end of the 19th and the beginning of the 20th century, European romanticists sang and composed songs following, among others, Uzrit poets. Thus, Heinrich Heine sang the song Der Azra, writing down the Arab tradition of the Banu ʻUzra (Banū ʻUḏra) tribe that "for love lose their heads and die when they kiss". Hajne also influenced romanticists, such as Bašagić and Kostić. We can assume that Bašagić was directly influenced by the Arab love poetry of the desert because he knew the Arabic language, studied at university, and translated numerous poems from the Arabic language. However, when it comes to Kostić, the influence was indirect. A factor that should not be excluded from the research on the influence of Uzrit love, as a phenomenon, on romanticism, but also on the entire literature of the Balkan peoples, is folk poetry, which is filled with motifs from the East, and especially the Uzrit understanding of love. We witness the unavoidable influence of numerous folk songs, which later grew into songs sung with musical instruments, sevdalinkas, which the poets of the Balkans, regardless of national-confessional affiliation were exposed to. That folk lyric sang about exactly what Uzrit poetry sang about and it often drew its motifs from the Uzrit understanding of love. Keywords: comparative literature, Uzrit poetry, romanticism, Safvet-beg Bašagić, Laza Kostić

Intertextual Games - "My Name is Red" by Orhan Pamuk

My Name is Red by Orhan Pamuk is set in 16th-century Istanbul, but it has numerous narrative realities that link it to Iranian culture and significant works of classical Persian literature. My Name is Red includes numerous elements of the post-modernist novel and Persian classical literature; its characters enter Pamuk's novel in a post-modern “appearance.” As Umberto Eco notes, “Books always speak of other books, and every story tells a story that has already been told” (The Name of the Rose). Pamuk’s novel contains an extensive number of instances of intertextuality. Although the protagonists of Nizami Ganjavi’s love poem Khosrow and Shirin and Kara and Shekure of Pamuk’s novel appear to be completely different from one another, the narrators, including the protagonists, continually draw attention to their similarities. While the characters in Nizami’s poem are not central to the plot of Pamuk’s novel, they do play a significant role in it. Pamuk’s novel’s intertextuality elevates the discourse to the plane of worldview. With some familiarity with Eastern culture, the reader should be able to discern more than just the relationship between the two passages. Another allusion in My Name is Red is to the collective memory of modern Turkish society. Bakhtinian polyphony is a discourse between two (Persian and Turkish) and more cultures.

Nation-Building Through Imperial Images Fragility and Charisma of Emperor Meiji’s Public Persona

This article explores the complex construction of Emperor Meiji’s public image, from a calculated fragility that promoted national unity to the projection of modern imperial charisma. It examines the extensive Meiji period regime of censorship of imperial representations in various forms, such as portraits, photographs, statues, and currency. The fact that the Emperor was forbidden to compose love poetry and the highly selective publication of his poems during his lifetime likewise emphasises the state’s control over the imperial persona and paints a vivid picture of the multifaceted image-crafting efforts surrounding Emperor Meiji.

The Problematic Nature of Periodization and the Alleged Paradigm Shifts: Courtly Love Poetry (Minnesang), Petrarch’s Sonnets, Goethe’s Erotic Compositions, and Brecht’s Dreams of Love

The Problematic Nature of Periodization and the Alleged Paradigm Shifts: Courtly Love Poetry (Minnesang), Petrarch’s Sonnets, Goethe’s Erotic Compositions, and Brecht’s Dreams of Love

Minnesang trifft Pijjut und Midrasch

Abstract The essay examines the fourteenth-century Yiddish poem ›Yosef Ha-Tsadik‹ about Joseph and Potipharʼs wife. The poem, presented here in a new critical edition, is primarily based on Hebrew and Aramaic midrashic and liturgical sources but also incorporates elements derived from German courtly love poetry, mainly to express Potipharʼs wifeʼs advances toward Joseph. It can thus be read as a Jewish dialogue with Christian secular literary traditions. Drawing on a comparison with the Jewish pretexts – some of which are presented here for the first time in German translations – and a number of examples from Minnesang, the study analyzes the strategies of both participation in and (ironic) distancing from the Christian courtly discourse.

Analisis Stilistika Pada Puisi “Maqomat Cinta” Karya Heri Isnaini

The study is intended to identify the use of figures of speech (majas), describing the words of heri isnaini's "love maqomat" poem. The source of data on this study is one of the poems of the heri isnaini poem called "light meditation," published in July 2017. This type of research involves qualitative methods. The theory used is that of sticism with the approach of sticism. The poem "maqomat of love" is analysed and discussed in a theological way to learn the implied meaning of the language heri isnaini through the application of style (majas), thus revealing the meaning of the poem "maqomat of love" clearly by the writer. This study of heri isnaini's maqomat love poem mentions that the language (majas) used is a form of retraction. The "reiteration" is a "pararism"; it is the "prescriptive" that describes something by repeating a word or a few words over and over again. A type of pararism applied to the poem "maqomat love" is anafora magician.

Love, Detachment & Hope in the poems of Nandini Sahu

A Song, Half & Half by Nandini Sahu is a collection of her love poems, published in the year 2022. The collection consists of more than sixty poems, each encapsulating an essential flavour of life. The book embodies a heart in solitude, that is accidentally shaken up by the sweet and sour turbulences of memory. A thoughtful poet is always indebted to its memory, one who cherishes nostalgia and uses imagination to weave the thread of past events with a needle of creativity to produce art. Nandini Sahu is one such poet, she is emotional and passionate in her poems, and honest towards her readers. Her love poems are a collage of chronicles that speaks volumes about her journey, full of success, struggles and epiphanies that shaped her personality and character. She is a chronicler who delves into the ocean of life, full of varied experiences and offers a scintillating bricolage to her readers. This paper sheds light on those poems by Nandini Sahu, that explore the themes of detachment, existentialism and absence of feeling. It also examines the idea of belief in fate and the importance of speaking the truth, when surrounded by hardships of life. This dichotomy of hope and despair fuels the poetry of Nandini Sahu, and encourages its readers to live life in the face of defeat.

Atmospheric Moon River

These two long poems address both embodied and encultured experiences of climate change in the Kelowna region of the Okanagan Valley and the Salmon Arm region of the Shuswap in the British Columbia southern interior. Both poems grapple with the fear of future-oriented thinking in a time of climate catastrophe while registering the long historical dimensions that inform that present fear.
 “Atmospheric Moon River” examines desire and beauty in the context of torrential rain and flooding that resulted in the deaths of several humans and many hundreds of farm animals. The poem updates old questions about the ethics of aesthetics when it comes to suffering in the present environmental context. The poem also draws a line from the first erotic love poem in English to the work of cultural theorists such as Michel Foucault and Judith Butler and “classic” Hollywood cinema. 
 “Sweet Air” links a story of personal illness and the loss of reproductive potential to the drama and climate anxiety of dramatically unseasonable weather. In “Sweet Air” the interlocutor of the poem has portions of her fallopian tubes removed to protect her from future illness resulting in the loss of an imagined future. That loss plays out against the backdrop of climate uncertainty and the resulting troubling of broader imagined futures. 

Samuel Taylor Coleridge – Inheritor of Unfulfilled Renown

Samuel Taylor Coleridge, “logician, metaphysician, bard, is one of the “inheritors of unfulfilled renown” in English literature. The history of Coleridge’s life is one of unexecuted designs, of air- castles and broken arcs. He described himself as a great “tomorrows.” The bulk of his poetry, and the best part of it, belong to his youth. Significance in the study of his attitude toward the sex. The story of Coleridge’s love affairs: Mary Evans, Sara Fricker Clate his wife, Sara Hutchinson, Miss. Nesbite, Miss. Brunton etc. Coleridge’s love poetry was inspired by Mary Evans and his wife. The defect of his love poetry was its want of passion. His love is evanescent and fleeting, and lacking in intensity. It’s dreamlike and quality tender, sentimental and languid, not passionate. There is no well- drawn feminine portrait in any of his poems. None of his characters is fully realized and individualized for us. In spite of the admiration for womanhood that his poetry illustrates everyone are from a far country. Keywords: poetry, love, Coleridge’s life, characters