Rhyme Patterns Research Articles

Texts by Petrus Wilhelmi de Grudencz in the context of the late medieval ars poetriae

Since the discovery of Petrus Wilhelmi de Grudencz (1392–after 1452) by Jaromír Černy, Grudencz's life and work have become a subject of many studies, but until recently his strictly poetic oeuvre still awaited research. The aim of the present article is to interpret Petrus' texts in the context of medieval artes poetriae, handbooks combining elements of grammar, poetics and above all rhetorics, with which the composer could have become familiar as early as in his native Prussia, and was certainly exposed to them during his long studies in Kraków (1418–30). The handbooks used the most at the Kraków University at the time were Poetria nova by Geoffrey of Vinsauf and Laborintus by Eberhard of Bremen. In the then capital of Poland, or some time later in Vienna, Petrus could have come across De arte prosayca, metrica et rithmica by Jean de Garlande. In his work, Eberhard of Bremen offers a clear categorization of poetry into poesis metrica based on Classical poetic metres, poesis rithmica or rigmica based on rhyme and rhythm, and a less restricted form of sacred music, known as prosa. Among Petrus Wilhelmi’s 22 compositions (with an acrostic of his name) published by Jaromír Černy, and a dozen or so others identified during the last two decades only two – the composition Presulis eminenciam (I/1), which opens Černý’s edition, and canon (rotulum) Pneuma erumpnosi telluris rei – can be classified as rhythmicized prose from the perspective of the medieval ars poetriae. All the other compositions represent poesis rithmica, and none of them follows the rigours of Classical patterns. As for the works with the acrostic PETRVS, rhytmi compositi prevail, usually with the rhyme patterns abab or aab ccb. The relatively few departures from the rules of poetria can be interpreted as either products of the author's invention (the abab rhyme pattern in Probitate eminentem and the aaab cccda aeae pattern in Presulem ephebeatum) or as a result of some degree of carelessness on the part of either Petrus Wilhelmi himself or the copyist (irregular versification in Pergrata era, Pontifices ecclesiarum and Probitate eminentem). By contrast, in his longest work, titled Pontifices ecclesiarum, Petrus employs stylistic measures crucially advocated by Geoffrey of Vinsauf: ‘elaborate arrangement’ (ordo artificialis) and ‘difficult decorativeness’ (ornatus difficilis).

ANALYSIS OF FORMALISM IN THE POEM “AKU” BY CHAIRIL ANWAR

Chairil Anwar's poem "Aku" is a seminal work in Indonesian literature that demonstrates fundamentalshifts in modern poetic style. Chairil Anwar, one of the main poets of the '45 Generation, is recognizedfor his creative style and method. Formalism analysis offers a framework for studying how formalstructures and poetic approaches influence the meaning and aesthetics of poetry. This study willexamine features of formalism in the poem "Aku," with a focus on meter structure, rhythm, rhymepattern, and the use of figurative language. This study employs a qualitative approach and a textanalysis method. The basic data is the poem "Aku" text, which is examined using literary formalismtheory. Identifying the structure of meter and rhythm, evaluating rhyme patterns, and investigating theusage of metaphorical language are some of the analysis tools. Secondary data, such as literature andextra references, are employed to support the analysis and interpretation. The results of the analysisdemonstrate that the meter and rhythm structure in the poem "Aku" have a major impact on the reader'saesthetic experience and strengthen the message that Chairil Anwar wishes to communicate. The rhymepattern in this poem is vital for creating a harmonious impression and reinforcing the overall structure.The use of figurative language, such as metaphor and symbolism, enhances the poem's depth of meaningand emotional power. The formalism analysis of Chairil Anwar's poetry "Aku" illustrates how formaltechniques enhance the poem's beauty and emotional potency. The structure of meter, rhythm, andrhyme pattern, as well as the usage of metaphorical language, all contribute to the poem's content andaesthetic experience. The study's findings contribute to a better understanding of Chairil Anwar'scontribution to the creation of modern Indonesian poetry, as well as new insights into poetic approachesin Indonesian literature

Limericks for Myocardial Recovery and Regeneration.

Limericks are an easy, casual, and entertaining way to have fun with the English language. Creating them can be an engaging pastime to assist in memorizing important anatomic relationships necessary for being an interventional cardiologist or simply an intellectual exercise that provides respite after a hectic day in the cardiac catheterization laboratory, surgical suite, outpatient clinic, or intensive care unit. Interest in this form of poetry often dates back to when we, as children, were taught the simplistic rhyming pattern of a traditional limerick or learned one during adolescence. As we age, our limericks often became more humorous, personal, and bawdy. That evolution is the beauty of this poetic form. For this edition of Poet's Pen, we invited Dr. Marshall S. Flam, a noted dabbler in the limerick world, to pen "Limericks for Myocardial Recovery and Regeneration" to accompany the theme of this issue.

Studi Komparatif Rima dan Saja’ Dalam Stilistika

Rhyme and saj' (rhymed prose) are forms of literary beauty in Indonesian and Arabic literature often used in poetry, pantun, and syair. Although there have been several studies on aspects of rhyme and saj', there is still a need for research exploring the correlation between these two literary styles. This study aims to analyze the differences and similarities between rhyme and saj' using literature study methods and comparative analysis. The results reveal eight components that were examined: rhyme placement at the beginning, middle, and end of lines; use of rhyme in multi-word phrases; phonetic similarity in letters; similarity of vowels (harakat) in phonetics; variations in rhyme patterns; and word balance harmony. Of these eight components, similarities between rhyme and saj' were found in four aspects: rhyme placement in the middle and end of lines, use of rhyme in multi-word phrases, and phonetic similarity in letters. Differences lie in the other four components: rhyme placement at the beginning of lines, vowel similarity in phonetics, variations in rhyme patterns, and word balance harmony. This research contributes significantly to the understanding of literary disciplines, particularly regarding rhyme and saj'. These findings are expected to enrich insights into the uniqueness and similarities between Indonesian and Arabic literary traditions, as well as open opportunities for further comparative studies in linguistics and literature.

Analisis Stilistika dalam Lagu Jawa Widodari Karya Denny Caknan

The song Widodari is a song that uses the dangdut genre and is sung by Denny Caknan using the Javanese language. An interesting thing to study further is the use of diction, namely by looking at the style of language used. The purpose of this study was to analyze the diction contained in the lyrics of the song Denny Caknan. Stylistic studies are directed to discuss the content of literary works. In general, regulating stylistic studies includes diction or word choice (lexical choice), sentence structure, figure of speech, partnership, rhyme patterns, and dimensions used for authors or available in literary works. This study aims to analyze the use of diction and themes contained in Denny Caknan's Dangdut Song Lyrics. The method used is a qualitative descriptive method because the object is the text of the Song Lyrics. Data was taken from 1 album by random sampling and was considered representative. The theory used in this research is stylistic. The stylistic theory is used to see aesthetic beauty in song lyrics. The end of this research is the result of the data analysis presentation. The presentation of the results of the data analysis begins with the presentation of the diction on the data source contained in the lyrics of the song Denny Caknan. Then proceed with an explanation of the theme of the lyrics. The results of the research found are diction and themes in the Widodari song which was popularized by Denny Caknan.

Bahasa, Struktur Persajakan, dan Makna Moral dalam Syair Nasyid Karya Kiyai Hamzanwadi

Researchers analyzed five songs (from the word choice, rhyme patterns, and moral). This research refers to qualitative research, the research method that is based on the philosophy postpositivisme, used to examine the condition of natural objects, (as his opponent was an experiment) where the researcher is a key instrument, the data collection techniques of triangulation (combined), data analysis inductive / qualitative, and the results qualitative research emphasizes meaning rather than generalization. The five songs were obtained from a source book nasyid songs work works chaplain Tuan Guru Haji Muhammad Zainuddin Abdul Madjid. The nature of the world literature as an autonomous cause of literary works has the right to be analyzed regardless of social background that produced it. Data collected from the research field of tangible words and not a series of numbers, so that the form of analysis using a structured approach to qualitative descriptions into expanded text and deep. All the activities of this analysis is an analysis that considers the meaning behind the meaning of social facts found in the field as well as literature. Researchers found that synonymous words and berantonim, has a very high artistic value, style with high aesthetic value and not least for the benefit of the people who are full of moral message, especially for the people of Sasak and Indonesian Muslims in general.

Римите в поезията на Константи Илдефонс Галчински (особености при превода на български език)

The article is devoted to the rhymes in the poetry of Polish author Konstanty Ildefons Gałczyński and the ways they have been translated into the Bulgarian language. First, distinguishing features of the poetic text and the concept of rhyme are discussed, after which basic characteristics of rhymes in Polish poetry are noted. An overview of Gałczyński’s translations into Bulgarian leads to the main focus of the paper which concerns translators’ difficulties in converting the original rhyming pairs into the target language. The analysis is based on three translations of one poem: “Rozmowa liryczna” (“Lyrical Dialogue”), made by two prominent translators, Parvan Stefanov and Dimitar Pantеleev between 1960 and 1984. The observations indicate that the Bulgarian versions of the poem modify the original rhyming patterns due to the specificity of each language, as well as the translators’ individual aesthetic preferences. Almost all rhyming lexical units in the Polish text are adjacent and feminine, while there is a significantly more frequent use of cross and masculine rhymes in the three Bulgarian versions. Also, the translators refuse to preserve several irregular rhymes. The article concludes that the approaches of Stefanov and Panteleev are related to general trends in translating rhymed poetry from Polish into Bulgarian. Among them, the increased presence of masculine rhymes, largely dictated by the analytic nature of the Bulgarian language, seems prominent.

Evaluating rhyme annotations for large corpora

Abstract Recent methods have been proposed to produce automatic rhyme annotators for large rhymed corpora. These methods, such as Baley (2022b) greatly reduce the cost of annotating rhymed material, allowing historical linguists to focus on the analysis of the rhyme patterns. However, evidence for the quality of those annotations has been anecdotal, consisting of a handful of individual poem case studies. This paper proposes to address the issue: first, we discuss previously proposed metrics that evaluate the quality of an annotator’s output against a ground-truth annotation (List, Hill, and Foster; 2019) and we propose an alternative metric that is better suited to the task. Then, sampling from Baley’s published annotated corpus and re-annotating it by hand, we use the sample to demonstrate the lacunae in the original approach and show how to fix them. Finally, the hand-annotated sample and source code are published as additional data, so that other researchers can compare the performance of their own annotators.

Analisis Melodi Dan Syair Pada Buku Ende. No. 512. “Didalani Jesus Tano Dohot Laut” Di HKBP Sisordak Resort Simamora

The aim of this research is to analyze the melody of the song and analyze the lyrics of the song Buku Ende Number 512. "Di Dalani Jesus Tano Dohot Laut" which includes motifs, phrases, melodies, scales, ambitus, melodic contours, harmony, rhythm, tempo, texture, language style, rhyme patterns, and meter patterns. This song is sung according to the church liturgy. This research uses qualitative research methods with research instruments of observation, interviews, literature and documentation. This research was carried out by collecting information through field research to obtain results that were processed to be certain. The results of this research reveal that the song Buku Ende Number 512. "Di Dalani Jesus Tano Dohot Laut" has a 2/4 time signature with a tempo of MM 90 moderate, with a basic tone of Es=DO, consisting of 34 bars. With the rhyme pattern a a a a, this song has a meter pattern of 12,12,12,11,12 which is called the long meter meter pattern. In terms of poetry, this song has 2 phrases, and 3 motifs (a, b, c, d) moving chords from I, V, IV.

Poetry Generation for Indonesian Pantun Using SeqGAN and GPT-2

Pantun is a traditional Malay poem consisting of four lines: two lines of deliverance and two lines of messages. Each ending-line word in pantun forms an ABAB rhyme pattern. In this work, we automatically generated Indonesian pantun by applying two existing generative models: Sequential GAN (SeqGAN) and Generative Pre-trained Transformer 2 (GPT-2). We also created a 13K Indonesian pantun dataset by collecting pantun from various sources. We evaluated how well each model produced pantun by its formedness. Measured by two aspects: structure and rhyme. GPT-2 performs better with a margin of 27.57% than SeqGAN in forming the structure and 22.79% better in making rhyming patterns.

Origins of a New Poesy in Late Medieval Europe: Proto-Renaissance Rhymes by Giacomo da Lentini and the Dolce Stil Nuovo

The article reviews the historical and literary background of a new poesy that appeared to be an outcome of the accumulation and release of the new poets’ creative energy in late medieval Europe. We primarily deal with the poesy of the Sicilian school and the Dolce Stil Nuovo (‘sweet new style’). The interest of literary criticism in the historical and cultural background of influential literary phenomena, which have not lost their relevance, is defined by the need for reinterpreting them in new paradigms. The methods of cultural, historical, biographical, hermeneutic, and comparative analyses as well as the method of generalisation have been exploited for this research. The European poetic tradition has passed a long way in searching for new forms and means of the artistic representation of reality. The emergence of the Sicilian School on the Apennine Peninsula in the 13th century became the initial stage of the literary and linguistic history of the Old World. It marked the beginning of Italian poesy the development of the Dolce Stil Nuovo and was largely the forerunner of Dante’s and Petrarch’s poems, laying the foundations of the philosophy of lyric poetry. The Sicilians gave a powerful impetus to the further development of poetic theory, images, and themes, which would be pivotal in stilnovismo, as well as to the assimilation of many authors of the Renaissance in Europe. The appeal to certain themes and motives as well as their transformation highlighted the idea of Sicilian authors about poetry as a specific kind of philosophy. We emphasise that the time of origination and a highly cultured environment have caused the refinement of art forms and stylistic devices for revealing the conceptual content of such verses. Giacomo da Lentini reconceptualised the approaches to rhyming and poetising, and most importantly — to the psychological perception of reality and understanding of love in the metaphysical dimension. The ideological and aesthetic unity of the poets of the Dolce Stil Nuovo, who developed the innovations of da Lentini, made it possible to relate them with the writers of the early Renaissance. The article also focuses on the specifics of literary activity during the expansion of new European poetry leading to the invention of a sonnet as the poetic form that follows a particular rhyming pattern.

The Fixed Poetic Form vs the Musical Form: The Experience of Analyzing Madrigal Settings of Sestina Texts

The fixed poetic forms of Petrarch’s Canzoniere and the poetical works of the Petrarchist poets who imitated the great Italian master frequently served as texts for 16th century madrigals. In this connection, the author of the present article poses the question about the possible impact of the fixed poetic form on the form of the respective musical composition. A preliminary familiarization with madrigals composed on the texts of the sonnets, ballatas and sestinas (Italian: sestine) has shown that imitations of the poetic forms is the most discernible in those cases when the composer turns to the sestina to set it to music. The main material for analysis has been formed by the cyclic madrigals: Là ver l’aurora che sì dolce l’aura by Orlando di Lasso and Non fu mai cervo si veloce al corso, Sola angioletta starsi in trecie a l’ombra and Giovane donna sotto un verde lauro by Luca Marenzio, composed on the full texts of sestinas, as well as a few other similar works. The sestina consists of six stanzas each containing six lines, along with a conclusory stanza of three lines. The special rhyme pattern for the sestina, featuring six words defining the rhythms invariably repeated in the six main stanzas following the scheme, ABCDEF FAEBDC CFDABE, etc., generates the repetition of the end-word of the previous stanza in the beginning of the first line of the following stanza. As it is shown in the article, it is particularly this feature of the sestina that finds resonance with the form of the madrigal. The end of the previous section of a madrigal and the beginning of the following section have a connection established between them, which, as a rule, is achieved by means of repetitions. This concerns the melodic units and the characteristic details of sound, both the harmonic and the melodic varieties. Along with repetitions, a single harmonic construction is used, which begins at the conclusion of one section of a madrigal and concludes at the beginning of the following section.

Christina Rossetti's Sing-Song: Three Illustrators, Three Readings of Image and Text

Christina Rossetti's Sing-Song:Three Illustrators, Three Readings of Image and Text Isobel Armstrong (bio) How does one think about an illustrated poem? Does the illustration belong to the poem or the poem to the illustration? The etymological derivation of "illustration" is from Latin illustrare—il + lustrare—to shed light, to illuminate, to light up. The sense of illustration as a text plus drawing did not emerge until the mid-seventeenth century, according to the Oxford English Dictionary. The meaning of illustration is strangely equivocal: logically the text is prior to its illustration—it gives instructions to the artist—but secondary in the illustration's capacity to light up the prior text. The image is the thing we see first, the primary exponent of meaning. It makes immediate visual claims on the reader—certainly in the case of Christina Rossetti's Sing-Song—almost before the text is absorbed. The illustration appears to throw light on the poem, but the poem also "explains" the illustration; and yet it may well be an explanation that is limited, posthumously as it were, by the illustration itself. Each exercises a limit on the other. Lorraine Janzen Kooistra, the pioneering scholar of Rossetti illustration, has found a fertile language for this relation: she writes of Sing-Song's illustrations as "composites," texts with a "reciprocal" relation to each other, in dialogue, dialogical.1 I want to pursue this reciprocity by asking a further question: What does an illustration illustrate? There is no simple deictic relation between image and text. The animate world of the nursery rhyme, where animals and plants abut on the human world and where language plays with the acoustics of pun, riddle, nonsense, and the rhythms of the body, making use of nonsemantic sound and prosodic patterns of rhyme and assonance outside representation, can hardly be "translated" into the visual. Constance Hassett writes eloquently of the phonemic "delirium," for instance, of the fifth poem in Sing-Song, its "Kookoorookoo!" and "Kikirikee! kikirikee!"2 It is a world where the sensory and somatic qualities of words are ends in themselves. What sort of interrelation can there be between sheer sound and image? That is the problem for all [End Page 547] images claiming to represent language. For Jacques Rancière the image, is always problematical because the image is intrinsically cleft into two elements when it claims mimetic correspondence. While it can stand in for likeness to an original by lines and brush strokes, it is not what it images. Thus its double nature as resemblance and dissemblance means an oscillation between likeness and alterity. But language, too, is subject to this same coupling and uncoupling oscillation: signifiers are arbitrarily linked to the sound-signified, and yet they possess a "blinding" visibility for us, fused with what we think they represent, the sayable and the visible under the same rubric.3 So if language and images come together, if images claim to represent writing, a text, rather than objects in the world, that relation is bound to be complex. Some of these questions can be addressed because Sing-Song acquired not one but three illustrators—Christina Rossetti, Arthur Hughes, and Alice Boyd—and the play between them helps to show what an illustration can be. Or rather, it discloses three quite different forms of illustration, three Victorian modes of approaching image and text. Each one changes the poem in subtle ways. I call these emblematic, narratorial, and performative modes of illustration. Christina Rossetti's Sing-Song was published in 1872, with illustrations by Arthur Hughes brought into being by the facsimile wood engravings of the Dalziel Brothers.4 Rossetti herself illustrated her fair copy manuscript of Sing-Song with small figures placed above the text—she called these her "scratches."5 This makes the "meaning" of the book's illustrations complex enough, particularly as we might properly think of the Dalziel firm's unknown wood engravers, who turned a drawing into a print and were wholly responsible for mediating its end product, as more than proxy illustrators. These have recently been characterized, indeed, as "ghost writers," their critical functions recognized as an essential element of print illustration.6 I bracket the...

The Eve of St. Agnes ve dvou novějších českých překladech

The contrastive analysis of two modern Czech translations of John Keats’s The Eve of St. Agnes by Jiřina Hauková (1961) and Hana Žantovská (1977) shows differences on three levels: the translators’ refashioning of the Spenserian stanza, different preferences in rendering Keats’s imagery, and different levels of deliberate archaizing in lexical choices and syntax, especially in direct speeches. Žantovská’s version is more euphonious with a higher percentage of full rhymes and, with a rhyming scheme of ababcdcdd and a final alexandrine line, keeps closer to the original rhythmical and rhyming pattern. It also keeps closer to the original in preserving the highly stylized nature of most direct speeches in the poem. Hauková’s earlier version relies more on imperfect rhyming or assonance and departs more radically from the Spenserian scheme, with a rhyming pattern of ababcdcdc, and a frequent lack of a clear caesura in the last line. It also tends to make the direct speeches less ornate and, even outside direct a dress, resorts less frequently to highly formal, poeticized or archaic lexical choices or syntax. Žantovská’s rendering of Keats’s imagery shows preference for precision and logical consistency while the poetic effects in Hauková’s version depend more often on combining seemingly disparate images and notions.

JARWA DHOSOK: WAYS OF CREATING, THEMES, AND FUNCTIONS

This paper deals with a Javanese traditional formula widely known as “jarwa dhosok”. By this formula and motivated by various intentions, Javanese people used to conform wittily the literal meaning of Javanese words with the creative meaning resulted from extension or modification of their consisting syllables. By using a number of data collected from website and added with ones I had found during my 40 year stay in Yogyakarta, I focuse my attention on the approaches of creation, semantic domains, and communicative functions by structural, contextual, and interpretative methods. Mostly “jarwa dhosoks” are created by treating the words to be defined as acronyms with final syllabic rhyming pattern, some of them are done with initial and combination of initial and final syllables. Jarwa dhasa created by various kinds of sound changes are much fewer in number. The practises of creating “jarwa dhosok” are used to fulfill various kinds of pragmatic function, mainly emotive, connative, poetic, jocular, and metalinguistic function, etc. Even though most of words to be defined in “jarwa dhosoks” are created to be semantically conformed with the intentions, many of them might be difficult to comprehend by outsiders or unfully pledged speakers without comprehensive understanding of the Javanese cultural practices in its broadest sense.

Co-operative actions in Chinese freestyle rap battles: a case ofIron Mic

AbstractRap battles are a growing phenomenon in China, but few studies have examined their interactional structure, especially from a multimodal perspective. In this paper, I conducted a microethnographic analysis of the sequential and simultaneous co-operation in Chinese rap battles from the national finals ofIron Mic. Results showed that in sequential co-operation, rappers accumulated the pre-existing end rhymes and created situated rhyming patterns in different rounds of battle performances, which helped them to outflow their opponents. Rappers also transformatively adapted lyrics and bodily movements from their opponents, demonstrating their ability to improvise and their superior lyricism over others. Moreover, battle emcees simultaneously used hand gestures to rebut their opponents’ accusations or show respect to the rap community. The study demonstrates that co-operative action is a viable theory to account for the interactional structure in rap battles and potentially other similar genres, highlighting the importance of a multimodal approach to social interactions.

The Lord’s Goodbye / Bertilak’s Ghazal and Antigone Regina

With The Lord’s Goodbye / Bertilak’s Ghazal, I wanted to give myself the challenge of incorporating the Arthurian legend into the Medieval Persian ghazal form. The ghazal’s stylistic characteristics are incredibly fascinating and unique compared to traditional Western forms, especially the rhyming patterns. I realised I also found this stylistic distinctiveness in Medieval poems, notably ‘Sir Gawain and the Green Knight’, with its unique alliterative form. This poem draws similarities between the themes generally explored in a ghazal (abandonment, love, and religious imagery) and the story of Sir Gawain. I created a deliberate ambiguity between the two female characters, respectively described as her and Her (the capitalisation reinforcing the religious aspects of the Virgin Mary, who has a major role in the poem). The erotic connotations of Gawain’s relationship with Bertilak also helped with adapting the ghazal to the Arthurian genre. Through this poem, I hope to illustrate the malleability of the myth; a modern Arthurian retelling could deal with queer themes and interpretations, for example, or explore its influence outside of the Western psyche from a non-European perspective. I wrote Antigone Regina to experiment with the triolet form and to expand on the father-daughter relationship in Sophocles’ Oedipus at Colonus. My favourite aspect of this form is the opportunity to make the same line take different meanings through the poem. The line ‘Oedipus’ grave and weeping blood’ plays on the word ‘grave’, hence the comma that appears in the last line. I also wanted to draw on the relationship that various retellings of the myth placed between humans and gods, as well as the role of ancestry and inheritance – not as a curse, but a fundamental part of human experience on both the individual and the societal level. Although this poem does not explicitly deal with the Arthurian story, it therefore still speaks of the role of poems as important reinterpretations of a myth.

Design and Development of Computational Tools for Analyzing Elements of Hindi Poetry

Poetry writing is a qualitative subject and so is its analysis. Mapping of these poetic elements onto a scale of real number is a lacking necessity. Albeit, Hindi literary heritage, being so huge and glorified, there is remarkably very few computational works done exploring the underlying structures. Out of which most of them is to detect a particular metre rather than a generalized approach. The state-of-art metadata generator fails to provide any measures of underlying structural elements of poetry. There is no automated system that generates rhyming pattern hidden in a poem for Hindi language or a system to detect and estimate the extent of figure of speech in a given text of any language. In this article, to extract and evaluate elements of poetry, three efficient tools, namely Text2Matra, RPaGen and FoSCal, have been designed and developed. The Text2Matra tool provides the numeral scansion for any Hindi input text, which can serve as basis for copious analytical and detection work. RPaGen detects the poem type of any input poem and outputs its rhyming pattern. FoSCal gives a quantitative representation of detected figures of speech in any input text, using the scoring scheme formulated using fuzzy approach and weighted analysis. These tools may find their utility in various fields such as education, literary criticism, philology, authorship-attribution, etc. There have been various computational activities done in the field of poetry analysis over the various languages across the world. However, quantifying the extent of Figure of Speech in poetic compositions, in any language, is entirely a novel approach. Mapping the aesthetic properties of a subjective idea (like poetry) onto a numeral scale, to the best of our knowledge, is first of its kind for Hindi language.

Talking to the Holy Spirit and Growling with the Bears

In this article I explore the construction of singing child characters in Isaac Watts’ Divine and Moral Songs for Children (1715) and Christopher Smart’s Hymns for the Amusement of Children (1771). The first part focusses on the nature of the lyrical persona within the lexical fields »voice and vocal sound« and »religion« and also looks at the possible addressees. The second part examines stylistic, phonetic, and formal elements, and explores their role in constructing the ›singing I.‹ To show the potential of Watts’ »Against Quarrelling and Fighting« to function as an invitation to playfully adopt behaviour opposed to Christian norms, the article examines a performance of Let Dogs Delight to Bark and Bite, a chorale by Matthew J. Zimnoch, whose text is taken from Watts’ hymn. Combining approaches from research on children’s poetry with ones from the interface of children’s literature and hymnody, the article also integrates a digitally supported close reading. The hymn texts were inputted into f4analyse, a software used in text linguistics and the social sciences, which allows for the assignment of categories, such as positive self-connotation of the ›singing I‹ or rhyme patterns. In conclusion, the article evaluates the potential of such a digitally supported research methodology for future research at the intersection of children’s literature and digital humanities.

French translations of “Eugene Onegin”: on the conveyance of stylistic patterns

This research is dedicated to the topic of multivariate translations. Leaning on the text corpus that contains 16 French translations of A. S. Pushkin's novel “Eugene Onegin”, analysis is conducted on the peculiarities of conveying certain characteristic stylistic patterns in French texts alongside other stylistic techniques of the original, as well as changes in translations depending on the poetic form chosen by the translator. The selected extensive material trace traces the evolution of translators’ approach towards the stylistics of Pushkin's text over time. The article focuses on the chapters III and VIII of the novel. Comparative analysis demonstrates the dependence of the stylistic aspect of translation on the poetic form chosen by the translator. Prose translations provide more accurate stylistic equivalents than translations of the verses. Poetry translations are divided into two groups: 1) accurate compliance with the of Onegin’s verse; 2) departure from the rhyme pattern of the original. The frequency of transmitting stylistic techniques of the original in both groups does not demonstrated significant systematic differences. The author determines the consistencies in conveying certain stylistic patterns in various French translations. Periphrases, comparisons, inversions, and metaphors most of the time receive stylistically accurate equivalents in all translations; while metonymy and polysyndeton with conjunction “and” do not. The scientific novelty lies in examination of the text corpus that contains virtually all existing full translations of the novel “Eugene Onegin”.