Rhyme Scheme Research Articles

Cleopatra

Reviewed by: Cleopatra Sonja Kleij CleopatraPresented by ZEP theaterproducties and AYA danstheater at Stadsschouwburg Utrecht. 09 27- 12 13, 2019. Choreographed and directed by Wies Bloemen and Peter Pluymaekers. Translated in rhyme by Brainpower. Adaptation by Peter Pluymaekers. Set and lighting by Erik van Raalte. Costumes by Isis Vaandrager. With Arend Brandligt (Antony), Melisa Diktas (Charmian/Ensemble), Michael de Haan (Enobarbus/Ensemble), Samir Hassan (Octavius/Mardian), Sterre Konijn (live music), Anne-May de Lijser (Octavia/Chorus/Ensemble), Isabelle Nelson (Iras/Ensemble), and Mehrnoush Rahmani (Cleopatra). When the lights went on in Stadsschouwburg Utrecht, the audience was presented with a long, thin, metal bridge-like construction, a circle of light, and three female dancers embodying the push and pull of waves through their movement. One of the dancers started to introduce the audience to the story of Cleopatra, the great Queen of Egypt who represents female strength and power. As Cleopatra herself appeared on the metal construction, it became clear that in this scene she sailed on the Nile, the river represented by the dancers. This opening immediately set the tone for this play: a physical and feminist retelling of Shakespeare's Antony and Cleopatra. Gender equality was the central theme in this production, which was brought about through the plot, the additional speeches, and the dancing. The plot stayed close to Shakespeare's original text. As education appeared to be one of the play's main functions (over half of the performances were intended for schools), it was understandable that the company retained the core narrative in deference to its target audience of high-school students. But, as the title Cleopatraalready signaled, the focus here was on the female protagonist. Cleopatra was no longer portrayed as the foreign, Orientalized woman whose seduction causes Antony's downfall. Instead, she was the Queen of a mighty nation, which was invaded by Rome as a consequence of Antony's incompetence, pride, and misogyny. In placing greater emphasis on the gendered treatment of Cleopatra, the focus seemed to shift away a little from race. For example, here they spoke of " haar hand" ("her hand") not "her white hand." But as in the original play, Cleopatra was inseparably linked to her country, referred to by others as "Egypt." The difference is that in this case the comparison was made more positively, her method of reigning being portrayed as praiseworthy and successful. The cast was also diverse. While Antony [End Page 267]was white (passing), both Cleopatra and Octavius were played by actors of color, thus making the violent confrontations less about racial difference and more about men infiltrating a female space. Making the men in the Queen's life the reason for the tragic ending further neutralized the threat of Cleopatra's sexuality that is present in the original play. Instead, her sexuality was portrayed as normal and natural. While the speech was somewhat cis-normative, the way the female narrator spoke about vaginas and the experience of having a female body further emphasized how these experiences are natural and beautiful, and how they can be powerful. Of course, performing Shakespeare in a different language comes with challenges, opportunities, and above all choices. For this production, several people were involved in the writing. Brainpower, a well-known Dutch rapper, was credited with the translation, Peter Pluymaekers with the adaptation, and Anne-May de Lijser with the new texts of the Chorus, most of which she also performed. The majority of the text took the form of rhymed spoken word poetry, which had the effect of emulating Shakespeare's rhyming language, but with a more modern touch. Nevertheless, to me the language seemed a little clumsy at times. The rhyming sometimes felt forced and the rhythm was not always followed. On the other hand, the newly added speeches worked very well. The female narrator took a similar role to the Chorus in Henry Vby addressing the audience directly and providing commentary. These speeches broke with the rhyme scheme and usual rhythm of the play, which drew further attention to her being not a participant but rather a commentator on the action. The Chorus's main function was to redirect the focus to Cleopatra...

La Belle Dame qui eust mercy & Le Dialogue d'amoureux et de sa dame: A Critical Edition and English Translation of Two Anonymous Late-Medieval French Amorous Debate Poems ed. by Joan Grenier-Winther

Reviewed by: La Belle Dame qui eust mercy & Le Dialogue d'amoureux et de sa dame: A Critical Edition and English Translation of Two Anonymous Late-Medieval French Amorous Debate Poems ed. by Joan Grenier-Winther Glynnis M. Cropp Grenier-Winther, Joan, ed., La Belle Dame qui eust mercy & Le Dialogue d'amoureux et de sa dame: A Critical Edition and English Translation of Two Anonymous Late-Medieval French Amorous Debate Poems ( MHRA Critical Texts, 60), Cambridge, MHRA, 2018; paperback; pp. lxxi, 99; R.R.P. £12.99, US $17.99, €14.99; ISBN 9781781882856. Alain Chartier's La Belle Dame sans mercy (1424) generated controversy and imitative works now called the Belle Dame cycle, from which Joan Grenier-Winther has edited two short debate poems, contained in the manuscript Paris, BnF, MS fr. 1131, fols 184r–189v and 195r–201r respectively. La Belle Dame qui eust mercy (378 lines) has already been edited, with English translation, by Joan E. McRae: Alain Chartier. The Quarrel of the Belle dame sans mercy (Routledge, 2004, pp. 20–21, 453–84), on the basis of Paris, BnF, MS fr. 20026. Attested in twenty fifteenth- and sixteenth-century manuscripts, three incunabula and early printed editions containing collections of works, it was more widely known than Le Dialogue (414 lines), which is found in only four manuscripts and three incunabula and early printed collections, and is edited here for the first time. In all the witnesses, the texts follow Chartier's poem and are single and separate from one another. Like the courtly partimen and jeu-parti, and Chartier's poem, both texts consist of alternating sequences, here of three stanzas, exchanged by an unhappy suitor and a courtly lady. In the first, surprisingly, the lady decides finally to relent and show favour, reversing the outcome of Chartier's debate. In the second, a merciless lady sternly dismisses the pleading lover, telling him to look elsewhere. In the introduction Grenier-Winther has set out material, stylistic, and thematic evidence supporting her claims, concerning the bipartite structure, authorship, and dating of the texts, based in part on those proposed by Arthur Piaget in 1894, which he subsequently did not pursue. The versification of both texts changes about midpoint, from eight- and ten-lined stanzas respectively to unusual thirteen-lined stanzas with a different rhyme scheme, which suggests that in each case two originally separate poems might have been combined. Accordingly, in this edition each text is divided into Poem 1 and Poem 2. Material evidence and the development of the argument in each text are considered. Although Poem 1 of both texts is a coherent entity and might stand alone, it is not so attested in manuscripts. Furthermore, as had Piaget, Grenier-Winther attributes Poem 1 in both instances to Oton de Granson (d. 1397), whose poetry she has edited. This attribution has, however, the disadvantage of situating the composition of Poem 1 of both texts [End Page 252] in the fourteenth century, before Chartier's La Belle Dame. There is insufficient evidence to determine authorship and dating of the two sets of treizains, which remain anonymous (pp. xix–xxxi). Despite Grenier-Winther's wish to attribute partial authorship to Oton de Granson, the edition's subtitle describes the texts as anonymous. A list of all witnesses, a full description of the base manuscript, shorter descriptions of other manuscripts and early printed editions, and their affinities are included (pp. xxxi–xlix). J. C. Laidlaw's system of identifying Chartier's manuscripts (The Poetical Works of Alain Chartier, Cambridge University Press, 1974) has been adopted, and supplements information on the order of poems in collections. Sections on titles, language, versification, stylistics, rhetorical elements, and a bibliography complete the long introduction. A few oversights occur: foliation of manuscript Qd should be '57r–63v' (p. xxxv); omission of a section number '§7' (p. xlvi); the date of Piaget's article on Oton de Granson should be '1890' (p. lxii). The text has been established according to sound principles and is complemented by copious variant readings (pp. 54–77), tables of rhymes (pp. 78–92), and a glossary (pp. 93–99). English translations on...

Film Chronicle

Film Chronicle Jefferson Hunter (bio) Film Chronicle: Gold Diggers of 1935, directed by Busby Berkeley (Warner Home Video, 2006) The Band Wagon, directed by Vincente Minnelli (Warner Home Video, 2005) Invitation to the Dance, directed by Gene Kelly (MGM, 2011) Ballet, directed by Frederick Wiseman (Zipporah, 1995, and Kanopy streaming service) The Red Shoes, directed by Michael Powell and Emeric Pressburger (Criterion Collection, 2010) Pride and Prejudice, directed by Robert Z. Leonard (Warner Home Video, 2006) Pride & Prejudice, directed by Joe Wright (Universal Pictures Home Entertainment, 2006) Pride and Prejudice, directed by Simon Langton (BBC, 2019) They Shoot Horses, Don't They?, directed by Sidney Pollack (Kino Lorber, 2017). Sir John Davies's poem "Orchestra, or A Poem of Dancing," published in 1596, pays the definitive Renaissance tribute to Terpsichore. A representative excerpt: Loe this is Dauncings true nobilitie.Dauncing, the child of Musick and of Love,Dauncing it selfe, both love and harmony,Where all agree, and all in order move;Dauncing, the Art that all Arts doe approve:The faire Caracter of the worlds consent,The heav'ns true figure, and th' earth's ornament. On the page, Davies's iambic pentameter and ababbcc rhyme scheme—constituting the seven-line rhyme royal stanza invented by Chaucer—create a pattern not unlike the multiplied interweavings, symmetries, movements, and counter-movements timed to a rhythmic pulse which are formed by dancers on a stage or ballroom floor. "Orchestra" describes a harmonious order and simultaneously imitates it, thus giving double pleasure. Meanwhile Davies's claim for dancing as "the Art that all Arts doe approve" seems bold but persuasive, at least in the case of an art the poet was three or four centuries too early to know, the art of the cinema. Throughout its history film has approved the art of dancing by celebrating it onscreen, its exhilaration and orderliness, its commingling of love and harmony. Of course there are other modes of dancing—extreme, disorderly, possibly violent—and film has paid due attention to them (see, among many [End Page 126] other examples, the stylized gang rumbles danced to Leonard Bernstein's music in the film of West Side Story), but in this Chronicle, I will concentrate on the kind of performance which Davies's poem admires. Phrases of his like "th' earth's ornament" and "all in order move" immediately suggest the ornamentally patterned and elaborately synchronized choreography of American musical films from the 1930s and 1940s, above all the choreography of Busby Berkeley. The son of a silent-film actress, Berkeley began his career as a dance director on Broadway, then in Hollywood came to prominence when he staged the production numbers of Warner Brothers extravaganzas like Roman Scandals, 42nd Street, Footlight Parade, and the multi-film Gold Diggers series (today it would be called a mega-franchise). All of these are lightly plotted movies, showcases for performance, in which the likes of James Cagney or Dick Powell fall in love with the likes of Ruby Keeler, Joan Blondell, or Ginger Rogers, in the process doing a lot of singing and dancing, sometimes on a reasonable facsimile of a theater stage but more often in production numbers that may begin theatrically but soon depart into the boundary-less and sumptuously lighted space of pure cinema. For sheer flag-waving, synchronized, exuberantly costumed, no-expensespared choreography, Berkeley has never been equaled—at least until the era of televised Olympic opening ceremonies, which in their grand displays of massed forces dancing in unison and forming elaborate symmetrical patterns have become the Berkeley films' only real successors. Aficionados will have their favorites among Berkeley's dance numbers, say the "42nd Street" finale in the film of that name; or "By a Waterfall" in Footlight Parade, its chorus girls diving in a human cascade into a pool where they subsequently perform water ballet; or the at first quasi-documentary, then grandly patriotic "Remember My Forgotten Man" at the conclusion of Gold Diggers of 1933. My own favorite would be "Lullaby of Broadway," from Gold Diggers of 1935, a film which Berkeley directed as well as choreographed. Gold Diggers of 1935 offered Depression-era audiences well-dressed swank to admire...

«КАЗКАР» ЯК ТИП «ЕМОТИВНОГО-Я» ІДЕНТИЧНОСТІ ДИТЯЧОГО ПОЕТА

The proposed research considers the constructed essence of the identity of the English-language children’s poet, in particular the principle of emotive construction. The article aims to find out the components of “emotive-I” of the identity of such a contemporary British children’s poet as Julia Donaldson, whose poetic works are popular around the world. This paper examines the concepts “identity” and “identity of the children’s poet”, and pays attention to the proposed scientific investigations on the mechanisms of identity construction. The next step is the representation of a methodology for distinguishing the components of “emotive-I” of the identity of the children’s poet, comprising the theory of “self-concept”, a psychobiological model of the emotive event that is the basis of the approach to the distinguishing the semantic models of emotional expression. Based on the analysis of the interviews with Julia Donaldson and poetic texts (the total amount is 20 poetic tales and stories), created from 1993 till 2017, the principle of the emotive construction of the identity of the children’s poet is interpreted, in particular the components of “emotive-I” of the author’s identity are constituted. The article identifies the cognitive, affective, and behavioural components that allow to determine the “fabler” as the type of “emotive-I” of Julia Donaldson’s identity. In the process of the research, Julia Donaldson’s rhyming tales and stories have been analyzed using the following scheme: the fairy tale’s type, the age of readers, the rhyme scheme, the story line and compositional scheme, the system of the characters, the chronotope, the correlation of the title, three-dimensionality and the other features of the tale, the linguistic and stylistic features of the verbalization of the “fabler” as a type of “emotive-I” of Julia Donaldson’s identity, the representation of the other types of “emotive-I” of the identity of the children’s poet. The article provides an example of the analysis of Julia Donaldson’s rhyming tale “What The Ladybird Heard” concerning the actualization of such a kind of “emotive-I” of the identity of the children’s poet as the “fabler”. The method of the linguistic descriptions has revealed the linguistic and stylistic features that allow to distinguish the other types of “emotive-I”. Thus, in the rhyming tale “What The Ladybird Heard”, “optimist”, “joker”, and “humourist” are actualized as the types of “emotive-I” of the identity of the children’s poet. The research concludes with the representation of the quantitative correlation of the types of “emotive-I” of the identity of Julia Donaldson in the children’s poetic discourse, and describing the opportunities for further investigation of the identity of the children’s poet.

Sonet, cykl sonetowy i wieniec sonetów w poezji polskiej i europejskiej

This paper is devoted to the history of a sonnet and bigger collections built of sonnets, a sonnet cycle and a wreath of sonnets, i.e. a specific cyclic work of a particular internal structure based on repeating verses within the whole. Also, a formal diversity of the sonnet form has been presented. The basic variants of the genre include: Italian and French sonnets, as well as an English sonnet in its several forms. Moreover, the rhyme schemes, which are the indicators of those variations, have been analysed, as well as metric patterns most often used in the sonnet. Another issue discussed in the paper is the sound structure in sonnets, i.e. orchestration, especially vocal harmony. Names of poets, who mostly contributed to the codification of the sonnet as a genre and popularizing this form in international literature, have been mentioned. All the ideas are illustrated with examples from the works written by the most distinguished Polish and European poets.

Not a footprint to be seen: isolation in the interplay between words, music and image in two Dutch-language dubbed versions of ‘Let it go’

ABSTRACTAnimated musical films, such as Disney’s Frozen, have long been immensely popular among the globe; however, the investigation of the songs of such films in a dubbing context constitutes a relatively new area of research. This paper compares the theme of isolation in one song from Frozen, ‘Let it go’, in the two Dutch-language dubbed versions released in, respectively, the Netherlands and Belgium. The triangle of aspects, an analytical model for animated musical films, is used to analyse the musical, visual, and verbal codes of ‘Let it go’ and categorise differences between the TTs and the ST. This model combines qualitative and quantitative data to compare different-language versions of songs from animated musical films. The analysis finds that the TT-NL is most similar to the ST concerning musical aspects such as rhyme scheme and rhythm, and expresses the theme of isolation most strongly through the connection between the lyrics and the music. The TT-BE is most similar concerning verbal aspects, such as semantic meaning and style, and expresses isolation most strongly through metaphor and symbolism. It is hoped that this exploration of the research field of animated musical film song dubbing stimulates further research into the genre.

تخامس البردہ للبوصیری دراسۃ تعارفیۃ

“Arabic literature is repellent with arts. Takhmees being a major art, carries substantial significance. Takhmees is a kind of poetry in which the poet adds three lines on the verse of another poet. He follows the same rhyme and prefix scheme. The Art of Takhmees started in the era of ignorance in the Islamic period and later in the eras of ummied and Abbasid dynasties, work on the art of Takhmees reached on its climax in the 6th century. There were many poets who had command in Takhmees. A major literary piece of the field of Takhmees is Qasida Burdah of Imam Buseeri. Many poets took successful attempts for the composition of its Takhmees. The major names include Abdullah Al-Rumi, Abdul Samad Al-fume, Shahabuddin Al-Mansuri, Shamsuddin, Ahmad Raza Al-nahwi, Sadaqat Ullah Al-qahri, Shaban Al-Ansari and Ahmad bin Al-Eyashi. This article shed light on the meaning, growth of this art and work of some famous poets who wrote Thkmees o of AL- qasida Al- burda.”

Sull’origine della poesia romanza: ipotesi andalusa e mediolatina alla luce del rapporto fra rima e melodia

Abstract Within the long-standing, and yet still lively debate over the origin of Romance poetry in general, and of regular rhyme in particular, one key element appears to have been often overlooked: music. Although it is very well known that Troubadour lyric poems were meant to be sung, their melodic form has so far indisputably been considered to be independent from the formal structure of the texts. However, a radical reconsideration of this common belief, based on a brand-new approach that takes orality into account, leads to the opposite conclusion that regular rhyme schemes, at their origins, were indeed closely related to the musical form of the songs. Linking rhymes to music may therefore represent a potentially decisive argument in the quest for the origin of Romance lyric poetry. For, even if rhymes and rhyme schemes may be found in many different and independent literary traditions, their structural relation to musical form is by far much rarer, hence offering a much more specific hint about the origin of Vernacular lyric forms, which are based on regular rhyme schemes. Tracing this metrical-musical technique back to its roots, may validate once and for all one of the two main theories competing around the origin of Vernacular lyric poetry, namely the Medieval Latin and the Andalusian Arabic theory.

Gone: Satirical Poems: New & Selected by Stephen Oliver

Reviewed by: Gone: Satirical Poems: New & Selected by Stephen Oliver Stephen Conlon Satirical and elegiac Stephen Oliver. Gone: Satirical Poems: New & Selected. Canberra: Greywacke Press, 2016. Illustrated by Matt Ottley. A$18.95 ISBN 978-0-473-36004-7 My first encounter with Stephen Oliver was to see and hear him reading his poems at the Sandringham Hotel at the then-grungy [End Page 184] lower end of King Street, Newtown in the late 1980s. It was a Saturday afternoon, on a stage usually occupied by bands, and he was in his element as he engaged with the punters, giving as good as he received from them. This was no "Poets in the Park" gig, no audience of "peers" politely responding to one of their own. He, along with Vicki Viidikas, was reading to what most of the then poets around town in Sydney may have disparagingly referred to as swine before which their pearls were not to be spread. They were both relishing the incongruous situation as they were reading their work to a hostile or at least an unappreciative audience. Several decades later, reading Oliver's Gone: Satirical Poems: New & Selected, I realize how grotesque this "half forgotten, half remembered" (to use his image from the title poem of Oliver's combination of some of his old and new voices) past I share with the poet in that hotel may have been. Oliver is willing to immerse himself in the low as well as the high, and fittingly so for a poet with a taste for the grotesque. Satire, at least the kind that Oliver writes, could not be written any other way. There is nothing precious or prissy about the language of the poems. Again, from "Gone": Time accumulates like dust on a mat—old gas works by the tavern block the view,a popular spot for the post-pub screw;but in the end we grew quite sick of that. The images cut in many ways—the highs and lows of cultural cross-currents. Oliver's command of this code-switching technique is one of the secrets to the metamorphic power of these satires to bring the past back to life while also charting the ways that past has passed away. The poet's voice must be big enough to hold all of these times, places, people in it, as it reaches for those shocking cadences that only great art may achieve. Matt Ottley, the Australian award-winning children's book illustrator, adds even more depth to the resonances of orality in the poems with his black-and-white drawings. Ottley's dark visions in Gone give a complementary and sardonic response to many of the pieces. Satire itself may be a dead art, though in the current political climate, the announcement of such a death may be premature. Oliver's poems keep this voice alive, as he dialogues with Larkin, Auden, Byron, and Horace from the distant past and with Baxter and more contemporary poets in the present. The channels are there, in the prosody of the satires: the rollicking rhythms of ballads, the rhyme royal from Chaucer's Troilus and Criseyde appropriate for a poem in which his breaks with his own poetic influences are partly embodied in the rhyme scheme's allusion to the originator of that scheme. The notes at the end of the volume in a mock-academic tone demonstrate Oliver's knowledge of the forms he uses. Oliver's voices, as I recall them over the decades, are the same voices heard through a different amplifier in these satirical poems. In Montaigne's words about how he hears his own voice and wants his son's to be "a speech succulent and sinewy, brief and compressed, not so much dainty and well-combed as vehement and brusque," Oliver's tones could come from sixteenth-century provincial France as much as from Wellington, Dunedin, or Sydney. Montaigne would have recognized his voice as kindred. The reader of Oliver's satires needs to be well versed in the traditions of satire, the grotesque, parody, modern, classical, and ancient poetry, as well as the concrete details of the two worlds of New Zealand...

Of “You” and “Thou,” Lips and Pilgrims in the Translation of Romeo and Juliet’s “Shared Sonnet”: A Hands-On Perspective

Abstract It is not a recent discovery in the field of language history that the address pronouns thou and you were not, in Shakespeare’s time, used indiscriminately. If the speaker did have a choice between the two forms, that choice was by no means random, idiosyncratic or arbitrary, but always dictated by the social, relational or attitudinal context of a speech act. Nonetheless, all 20th-century Romanian translations of Romeo and Juliet (and of other Shakespearean plays) – from Haralamb Leca’s rather loose rendering (1907) to Ștefan-Octavian Iosif’s and to Virgil Teodorescu’s more refined versions (1940 and 1984, respectively) – seem to ignore the difference in associative meaning between the two forms, which is sometimes essential for a correct assessment of the relationships between characters. The latest Romanian translation of the play, which we have jointly submitted for publication within the Shakespeare for the Third Millennium project (William Shakespeare. Opere XIII, 2018) acknowledges the importance of the various associative meanings that the two pronouns carry and strives to restore these meanings to the text, though not without difficulty, given the rather restrictive form of the original, i.e. iambic pentameters, often with strict rhyme schemes. Thus, focusing on the well-known “shared sonnet” as one of the most relevant instances of pronoun alternation in the play, our paper discusses the uses of you and thou in Early Modern English and sets out to assess how much is lost in 20th-century translations, to show how our own translation restores the associative meanings of the two pronominal forms and finally to exemplify how we managed to overcome translation difficulties entailed by the metrical and stylistic demands of the text.

El burlador de Sevilla

El burlador de Sevilla

The madness of translating Mallarmé

ABSTRACTMallarmé’s “Sonnet en –yx” offers a unique challenge to the translator. Developed through various versions between 1868 and 1887, it is built round an ultra-rich and ultra-rare rhyme-scheme, which remains largely unchanged over twenty years of gestation. The sonnet includes from the start one invented word, “ptyx”, to complete the octave’s quadruple rhyme scheme. Is it madness to try to reproduce this highly determined pattern in a different language? This paper responds to the question by exploring in the final version of the poem aspects of language that, counter to expectation, enable the creation of formal and semantic equivalence. The translator’s strategy is thus to translate the same into the same as well as into the different, to mitigate nonsense through a certain correspondence. In this it follows Mallarmé’s own strategy in transforming the first version of the sonnet into the second as a kind of the translatory process.

The "Annabel Lee" Blues: Re-Reading Edgar Allan Poe's Rhythm and Rhyme Scheme

The "Annabel Lee" Blues: Re-Reading Edgar Allan Poe's Rhythm and Rhyme Scheme

Переосмысление текста и мотив превращения в малом жанре интернет-поэзии («порошок»)

In this article, I analyse the vehicles of humour in two short forms of Internet poetry that developed in the 2000s: the pirozhok (literary, a ‘stuffed bun’) and the poroshok (‘powder’). Poems of these genres are quatrains written in iambic tetrameter. Pirozhoks have no rhyme scheme, whereas, in poroshoks, the fourth line truncated to two syllables rhymes with the second line. The poroshok as a genre is a descendant of the pirozhok. Just as in jokes and several other genres, a punchline plays an important role in pirozhoks and poroshoks. In Russian, the punchline is termed puant, which is a borrowing from French (la pointe). The truncation of the final line in a poroshok puts it in a special position. The truncated line, independently or together with the third line, comprises the punchline of a poroshok. The punchline is practically mandatory and may be presented in greater detail inasmuch as it does not simply violate the reader’s expectations but enters into conflict with the beginning of the verse and forces the reader to reinterpret it. Reinterpretation manes that readers change their perception of the situation or carry out a ‘transformation’, that is, substitute the character or the entire situation. I identify common transformations, namely: thing → person, person → thing, person → animal, etc. Most frequent is the reciprocal transformation of men and cats. The transformation motif binds objects in the manner of a metaphor.

Intra-line and inter-individual variation in Sardinian arrepentina

Abstract S’arrepentina is a genre of extemporary poetry performed by semi-professional poets, both at informal gatherings and in public contests in south-central Sardinia. The name arrepentina refers both to the genre/performance in its entirety, and to the set of metrical forms and rhyme schemes used during the performance. Lines occur in non-strophic (stichic) form, and are made up of halflines linked by a complex system of rhymes. Unlike similar metrical forms, s’arrepentina is not performed in a “free rhythm” singing style. Typically, poets improvise their verses accompanied by an accordion, which provides a steady pulse. In this study, we investigate variation in nine arrepentinas and we aim to determine the degree of rhythmical variability in each halfline by measuring it against the underlying meter provided by the musical accompaniment. From the analysis, it emerges that the rhythmical variants are concentrated at specific positions, and their distribution suggests an asymmetry between the two halflines. Some inter-individual variation among the poets also appears in their preference for one type of variant over others.

Satirical and elegiac

Reviewed by: Gone: Satirical Poems: New & Selected by Stephen Oliver Stephen Conlon Satirical and elegiac Stephen Oliver. Gone: Satirical Poems: New & Selected. Canberra: Greywacke Press, 2016. Illustrated by Matt Ottley. A$18.95 ISBN 978-0-473-36004-7 My first encounter with Stephen Oliver was to see and hear him reading his poems at the Sandringham Hotel at the then-grungy [End Page 184] lower end of King Street, Newtown in the late 1980s. It was a Saturday afternoon, on a stage usually occupied by bands, and he was in his element as he engaged with the punters, giving as good as he received from them. This was no "Poets in the Park" gig, no audience of "peers" politely responding to one of their own. He, along with Vicki Viidikas, was reading to what most of the then poets around town in Sydney may have disparagingly referred to as swine before which their pearls were not to be spread. They were both relishing the incongruous situation as they were reading their work to a hostile or at least an unappreciative audience. Several decades later, reading Oliver's Gone: Satirical Poems: New & Selected, I realize how grotesque this "half forgotten, half remembered" (to use his image from the title poem of Oliver's combination of some of his old and new voices) past I share with the poet in that hotel may have been. Oliver is willing to immerse himself in the low as well as the high, and fittingly so for a poet with a taste for the grotesque. Satire, at least the kind that Oliver writes, could not be written any other way. There is nothing precious or prissy about the language of the poems. Again, from "Gone": Time accumulates like dust on a mat—old gas works by the tavern block the view,a popular spot for the post-pub screw;but in the end we grew quite sick of that. The images cut in many ways—the highs and lows of cultural cross-currents. Oliver's command of this code-switching technique is one of the secrets to the metamorphic power of these satires to bring the past back to life while also charting the ways that past has passed away. The poet's voice must be big enough to hold all of these times, places, people in it, as it reaches for those shocking cadences that only great art may achieve. Matt Ottley, the Australian award-winning children's book illustrator, adds even more depth to the resonances of orality in the poems with his black-and-white drawings. Ottley's dark visions in Gone give a complementary and sardonic response to many of the pieces. Satire itself may be a dead art, though in the current political climate, the announcement of such a death may be premature. Oliver's poems keep this voice alive, as he dialogues with Larkin, Auden, Byron, and Horace from the distant past and with Baxter and more contemporary poets in the present. The channels are there, in the prosody of the satires: the rollicking rhythms of ballads, the rhyme royal from Chaucer's Troilus and Criseyde appropriate for a poem in which his breaks with his own poetic influences are partly embodied in the rhyme scheme's allusion to the originator of that scheme. The notes at the end of the volume in a mock-academic tone demonstrate Oliver's knowledge of the forms he uses. Oliver's voices, as I recall them over the decades, are the same voices heard through a different amplifier in these satirical poems. In Montaigne's words about how he hears his own voice and wants his son's to be "a speech succulent and sinewy, brief and compressed, not so much dainty and well-combed as vehement and brusque," Oliver's tones could come from sixteenth-century provincial France as much as from Wellington, Dunedin, or Sydney. Montaigne would have recognized his voice as kindred. The reader of Oliver's satires needs to be well versed in the traditions of satire, the grotesque, parody, modern, classical, and ancient poetry, as well as the concrete details of the two worlds of New Zealand...

On Vojislav Ilić: A Note from the Translators

On Vojislav Ilić:A Note from the Translators Ian Kennedy and Pavle Pavlović Our Motivation The works of Vojislav Ilić are important because he is one of the first modern Serbian poets. However, Ilić's works are little-known in English. Therefore, we commissioned ourselves to prepare a translation of his iconic poem. Our Approach We had to make decisions on which features in the original had to be carried through in our translation. As always, some adaptations had to be made. These were: 1. The adaptation of the Serbian versification system to the English one—of the Serbian syllabic to the English accentuate-syllabic pattern. 2. The adaptation to English of Vojislav Ilić's complex syntax and his invoking inversion of the normal order of Serbian words, for the sake of emphasis or to satisfy his metrical plan. 3. The use of duplicated verbs (neigh-neigh, snort-snort) to conjure up an authentic impression of the horse's speedy movement. In the original version, it is the appropriate choice of verbs and adjectives (hrže, grabi) that give that impression. The use of duplicated verbs is a poetic license that he used to satisfy his metrical plan. In the following commentary, we make our list of translation priorities explicit and reveal our workflow. The Translators' Conundrums In translating poetry, it is almost always necessary to create the poem from scratch. This is because an original poet may have exercised his poetic license and made compromises [End Page 235] to pure prose in order to get the poem to scan and rhyme. As translators, we were faced with the usual conundrums as to what was important to the reader in the original, and what was not. Xuelai Qiu reveals three translations of the same Chinese poem.1 The results differ dramatically because of the differing (unspecified) priority lists of the translators, which have to be speculated upon by inspecting the products: the translated poems. We admit immediately that other translators will disagree with our list of priorities, and therefore those translators will come up with dramatically different translations. So, we will diverge and list our priorities upfront. Our priorities to ensure fidelity and authenticity were: 1. The translated poem must rhyme. (The actual rhyme scheme we used could be different from the original.) 2. The translated poem must have rhythm. (The actual rhythm scheme we used could be different.) • Any padding used by the original author to effect proper scansion may safely be omitted. • Any contraction used by the original author to effect proper scansion may safely be restored. • Any transpositions used by the original author to effect proper scansion may safely be restored. 3. The poem must have reason. By this we mean that the accepted or implied intended purpose of the original must be carried through into the translation, and the original payload must be delivered in the translation. 4. Literary devices such as alliteration will not be introduced into the translation unless they occurred naturally. 5. The general genre (in this case, a lyric poem) must be carried through. Anachronisms and neologisms must be avoided. 6. Any secret agendas of the original poet will not be speculated upon, and the original poem will be read at face value. Many poets are regarded as mystic because they made choices which were completely arbitrary, so imaginary reasons should not be sought. Does it matter what color the dog was? Does it matter if it is a dog and not a cat? Let's not debate whether a cat or a dog better represents faithfulness. 7. As we have no record of the process of creation of the original poem nor access to the intermediate versions, we have no knowledge of what the original [End Page 236] poet would have liked to include but had to discard, perhaps because the poet could not find a rhyme for a good line. So, we refrain from guessing what was most important to the original writer, as it is not visible in the product, his poem. Our Workflow Furthermore, we reveal our workflow. We soon realized that the task of going directly from the original to a translation was impossible with our skills...

PHONOLOGICAL LEVEL IN ALLAMA IQBAL’S POEM “THE BIRD’S COMPLAINT”: A STYLISTIC ANALYSIS

Allama Iqbal is one of some poet who declares himself as a fighter toward social arouse and problem in his country. Through his poet, he created a spirit to restrain against injustice in his country. This study aimed to analyze one of Allama Iqbal poet in the term of a phonological level. The theory used is a stylistic approach. It found that the poet used alliteration, assonance, consonance, rhyme scheme, and onomatopoeia as the phonological devices in stylistics. The phonological devices in the poem are used to create a good rhyme or musical in order to make the poem more beautiful when it is read loudly. Consonance is the most phonological devices applied in the poem, and the sound /n/ is the most consonance sound found in the poem. The assonance is in the second place with the sound /ə/ and /ɪ/ as the most assonance sound used in the poem. The alliteration found is sound /n/ and /s/ as the most alliteration sound found in the poem. In the rhyme scheme, the poem almost has the monotonous rhyme because almost all of the stanzas have the rhyme ‘aa,' but it also contains the rhyme ‘ab.'

Counterhegemonic Discourse in Tengku Amir Hamzah’s Poem Mabuk

The research aims to implement the theory of Counterhegemonic discourse with two points of discussion: the Dutch Colonial’s Social Exclusivism and Reintroducing Indonesian Cultural Identity in Mabuk, a lyric poem written by Tengku Amir Hamzah during the Dutch colonialization of Indonesia (Dutch East Indies). The poem consists of both traditional Malay rhyming scheme and modern Indonesian language structure that embody Tengku Amir Hamzah’s emotional response, as well as his romantic expressions towards the state of a drunken person in metaphorical nuance with the points of inciting nationalism. The study was conducted by means of descriptive qualitative method utilizing critical discourse analysis (CDA) method with the support of deconstruction theory and phenomenological approach. The result shows that Mabuk is a Counterhegemonic poem revealing the standing of the Dutch during the colonialization era and the fading of cultural identity which is to be restored in order to get harmony in national existence.

The Time-Transcending Poetry of Edgar Allan Poe: An Explanation of the Mechanics of His Poetic Speech

The Time-Transcending Poetry of Edgar Allan Poe: An Explanation of the Mechanics of His Poetic Speech