Style Of Poetry Research Articles

Seventeenth-century Poetry and the Baroque Space: George Herbert, John Donne and Elizabeth Bishop

Abstract This article examines Elizabeth Bishop’s relationship with the metaphysical poetry of George Herbert and John Donne demonstrating a baroque consciousness in Herbert’s and Donne’s poetry. This consciousness is found in Counter-Reformation artworks and popular reform texts, such as St. Ignatius Loyola’s The Spiritual Exercises, in conjunction with the seventeenth-century’s cosmological findings of the plurality of the universe. In responding to these poets’ works, this article introduces some of Bishop’s poems that exemplify the baroque style of poetry as a spatial form, exhibiting a plural expanse that can spatialize innumerable secular ideas in the manner of cosmic dimensions of motion. I argue that Bishop shares Herbert’s and Donne’s familiarity with St. Ignatius, demonstrating her reading of The Spiritual Exercises through her poem “The Weed.”

Kajian Historis: Corak Sastra Arab (Zaman Jahiliyah, Shadr Islam dan Umawiyah)

Abstract: This paper aims to examine the style of Arabic literature during the time of Jahiliyah, Shadr Islam (the beginning of Islam) and Umawiyah. The method used in this study is the analytical descriptive method, namely by describing how the form or pattern of Arabic literature during the time of Jahiliyah, Shadr Islam (the beginning of Islam) and Umawiyah. While the approach applied in this study is a historical approach, where researchers look for histories related to the style of Arabic literature during the Jahiliyah, Shadr Islam (the beginning of Islam) and Umawiyah. The results of this research are 1) in the Jahiliyah era, the style of Prose and Poetry in this era is almost the same, starting from the lafadznya which is clear and eloquent, has a deep meaning, rhymes. Prose at this time also consisted of Sermons, Testaments, Matsals, Hikmah, and Qissoh. 2) Shadr Islam In this age Prose and Poetry also developed, but Prose was much more developed than poetry. Especially in the Khutbah, this is because at this time the Khutbah is used to ignite the spirit of the warriors to fight to spread Islam. While poetry has not developed enough, this is because poets at this time are busy fighting and studying the Qur'an and hadith. So, in terms of meaning, imagination, lafadz, and language style do not achieve high dignity. Prose at this time included the Khutbah, Matsal, and Kitabah. 3) The Age of the Umayyad Dynasty, in this age Prose and Poetry are much developed rapidly compared to the previous two eras. This development was due to the emergence of political parties so that many sermons and poems developed to support their respective parties, and this became a source of income for poets. However, at this time poetry had begun to deviate from its original purpose of spreading Islam using good language, but after the establishment of the Umayyads they used the politics of violence and deceit which made it compulsory to buy oral poets. Prose at this time included the Khutbah, Rasail, and Kitabah which in terms of language imitated and decorated from the language style of the Qur'an which was smooth, clear, and had a deep meaning.

THE ROLE OF THE FORMULA COMPONENT IN THE ORGANIZATION OF STYLE AND GENRE OF ZHYRAU POETRY XV-XVIII CENTURIES

In this study, for the first time, the role of formula units in the organization of the style and genre of Kazakh zhyrau oral poetry of the XV–XVIII centuries is explored. The main goal of the paper is to study the poetic technique and formulary of zhyrau oral poetry, to identify and describe their connection with ancient historical and genetic sources: suggestion, magic and rhythmic incantations, as well as a description of their direct function – the organization of the style and genre of oral poetry. Formula-style units were studied for the first time on the material of the heroic poetry of zhyrau of the XV–XVIII centuries. For the first time in scholastic research, the Parry-Lord method of oral theory is also used, which attaches the most basic importance to formulas and poetic technique in the organization of the text.The historical-genetic and structural-semantic methods of studying the text were used, which made it possible to identify the patterns of emergence, development and functioning of the zhyrau art of the XV–XVIII centuries as traditional, but dominant, the types and functions of formulas and formula formations. The practical value of the paper lies in the further development of this method on the material of other carriers of the oral poetic culture of the Kazakh people, in writing the monograph ―Poetic Word in Myth, Rite and Ritual‖, dedicated to the oral poetic culture of the Kazakh people and prepared for publication within the Project of the Ministry of Education and Science of the Republic of Kazakhstan ―The study of the artistic-defining system, "formal stylistics" and grammar of zhyrau poetry of the XV–XVIII centuries. Frequency Dictionary‖ (under the Program of Grant Financing of Scientific and Technical Projects for 2021–2023 by the Ministry of Science and Higher Education of the Republic of Kazakhstan), [ИРН AP09261377].

A quantitative study on the effects of an interactive multimodal application to promote students' learning motivation and comprehension in studying Tang poetry.

Studying China's Tang poetry is a crucially integrated part of the language curriculum in primary schools because it is an important part of its cultural heritage and classical literature. However, due to the fact that Tang poetry is written in classical Chinese, which is quite different from modern Chinese Mandarin, and the complex categories of this poetry style, learning Tang poetry can be a challenging experience for many students. To address this problem, this study developed an interactive multimodal application based on the cognitive-affective theory of learning with media to learn Tang poetry in an interactive way. In order to assess the effectiveness of this method, a pretest-posttest control group experiment was conducted. The experiment included eighty third-grade students randomly and equally divided into experimental and control groups from an elementary school in Xinzheng, Henan Province, to test (1) whether the interactive multimodal application improves students' reading comprehension of Tang poetry and (2) whether the application enhances students' intrinsic and/or extrinsic motivation in learning Tang poetry. A multimodal interactive application was used by the experimental group to learn Tang poetry, while the control group used a traditional classroom method. According to the study's findings, it was found that students' intrinsic motivation and comprehension of Tang poetry improved through the use of the interactive multimodal application mode.

The Elusive Progress of Prosodical Study: Essays in Honor of Thomas Cable

The Elusive Progress of Prosodical Study: Essays in Honor of Thomas Cable

Artificial Intelligence Classification Model for Modern Chinese Poetry in Education

Various modern Chinese poetry styles have influenced the development of new Chinese poetry; therefore, the classification of poetry style is very important for understanding these poems and promoting education regarding new Chinese poetry. For poetry learners, due to a lack of experience, it is difficult to accurately judge the style of poetry, which makes it difficult for learners to understand poetry. For poetry researchers, classification of poetry styles in modern poetry is mainly carried out by experts, and there are some disputes between them, which leads to the incorrect and subjective classification of modern poetry. To solve these problems in the classification of modern Chinese poetry, the eXtreme Gradient Boosting (XGBoost) algorithm is used in this paper to build an automatic classification model of modern Chinese poetry, which can automatically and objectively classify poetry. First, modern Chinese poetry is divided into words, and stopwords are removed. Then, Doc2Vec is used to obtain the vector of each poem. The classification model for modern Chinese poetry was iteratively trained using XGBoost, and each iteration promotes the optimization of the next generation of the model until the automatic classification model of modern Chinese poetry is obtained, which is named Modern Chinese Poetry based on XGBoost (XGBoost-MCP). Finally, the XGBoost-MCP model built in this paper was used in experiments on real datasets and compared with Support Vector Machine (SVM), Deep Neural Network (DNN), and Decision Tree (DT) models. The experimental results show that the XGBoost-MCP model performs above 90% in all data evaluations, is obviously superior to the other three algorithms, and has high accuracy and objectivity. Applying this to education can help learners and researchers better understand and study poetry.

The Poetry Turn

This article attempts to conceptualize and encourage an already extant conceptual turn right now taking place in China studies: a turn toward poetry composition, in which transcultural critical scholars also compose their own original poetry. The reason for the phenomenon, the article argues, is the interimperial position of China scholars in English, forced to study texts from one imperial culture in the contexts of another. The article reads poems by Ni Zhange, Wang Pu, and Yang Xiaobin, among others, by using Laura Doyle's theorization of interimperiality as an often-gendered form of labor through which subjects negotiate the “everyday ethical challenge” of survival under multiple imperial structures. The construction and positioning of transimperial subjects in the creative work of China scholars resists forms of imperial power that serve to marginalize, erase, and invalidate the cross-cultural, experiential knowledge at the heart of China studies. By making scholarly betweenness legible and visible, the work of scholar-poets takes steps toward an interimperial style in both poetry and criticism, a meeting place in language that can accept in migration from many directions and build solidarity among diverse thinkers united by the needs of survival under empire.

Characteristics and Beauty of Modern Poetry by Ibn Zaidun

This study aims to analyze the characteristics and beauty of modern poetry by Ibn Zaidun, who was one of the leading poets in modern times in Andalusia during the reign of the Umayyads. This research is a library research with a qualitative descriptive research method. The data and data sources are words or sentences that are included in the poetry section of Ibn Zaidun's work. In this study, we will discuss in detail the characteristics and beauty of Ibn Zaidun's poetry. The results of this study indicate that Ibn Zaidun is a poet who writes a lot about love poetry (al-Ghazal), even though this poem still contains sub-themes such as praise (al-Madh). Of the several themes of this poem, Walladah is the one who inspired the writing of Ibn Zaidun's poems. The form of the beauty of poetry that will be studied is in terms of theme, emotion ('athifah), imagination (khayāl), style of language and poetry of poetry which includes the science of balaghah, 'arudl, and qawafi. It is from these studies that the beauty of the language of Ibn Zaidun's poetry will be seen, so that we can find out the form of the beauty of the famous poetry at that time.

Regional interactions in the Chan Buddhist literature between Sichuan and Zhejiang in the Northern and Southern Song periods—Centering on the phenomena of “Sichuan Monks as Laju” and “Zhejiang Monks as Xiaosa”

In the history of Chan Buddhism, a special phenomenon emerged during the Song dynasty, wherein many Chan monks from Sichuan traveled downstream to the middle and lower reaches of the Yangzi River. Particularly during the Southern Song, Sichuan monks who went to Zhejiang enjoyed preeminent social status and brought political influence, giving rise to a situation in which Sichuan monks and Zhejiang monks were labeled as laju (“indecorous”) and xiaosa (‘unconstrained’), respectively, in Chan literature. From the perspective of regional literary interactions, the “indecorous” Sichuan monks were chiefly presented as having a fondness for beauty, curiosity, comedy, and humor, with a deep understanding of the nature of knowledge and language, all of which had an important influence on Zhejiang monks. The “unconstrained” Zhejiang monks, on the other hand, were described as having a fondness for using the word qing (“clear, pure”) or a “clear” style in the Buddhist landscape theme poetry, which likewise had a profound influence on Sichuan monks after their arrival in Zhejiang. Therefore, it was in the Southern Song capital Hangzhou in Zhejiang, where a new stage was set for literary interactions between Sichuan and Zhejiang monks in the Northern and Southern Song periods.

Roth and the Poets

Beginning with a survey of the key poets in Philip Roth's personal library—there are over eighty—this essay considers the function, style, and value of poetry in his work. At many of the most intense moments in Roth's fiction, a poetic lyricism dominates, whether it is Mickey Sabbath at the Jersey shore or the final paragraph of The Human Stain (2000). From the start of his career, Roth found a place for poetry—whether in his earliest short stories or in his most successful fiction, notably Portnoy's Complaint (1969), Sabbath's Theater (1995), or American Pastoral (1997), although its function shifted from the explicit sexuality of "Leda and the Swan" in Portnoy's Complaint to the meditative pastoralism of Indian Hill camp in Nemesis (2010). Its presence constantly reflects Roth's literary grounding originating in his undergraduate and graduate readings supplemented by contact with poets at Chicago, the Iowa Writers' Workshop, Princeton, and Penn. Specific remarks on individual poems will reflect their use in individual novels with Donne, Milton, and Keats featured.

Karakteristik Mazmur Rajani

This study is entitled Characteristic of Psalm Rajani. This research will look for the characteristics of the Royal Psalms in the Book of Psalms. The research method used is qualitative not experimental. With the following steps, first by analyzing the passage according to its elements, second by knowing the style of poetry in Hebrew poetry, third trying to express the beauty of the language of poetry well, fourth trying to explain the meaning of Hebrew verse. So it is hoped that with this method can be formulated the characteristics of the Royal Psalms. So the three important things in the Royal Psalm are, firstly this psalm reflects the unique relationship between God and the king, secondly the holy king is the mediator of Divine blessing. All three charismatic kings ruled by divine gift. Even the kings of Israel received their dominion with God's approval like a royal coronation.

Language Style Approach to Teaching Poetry in ESL Classroom

The purpose of this study is to describe the method of using language style in poetry learning in the EFL classroom. Some of the methods used are focusing on the word choice, sentence structure, and figurative language of the selected poem. This research uses descriptive qualitative method. Data collection techniques are observation and documentation with conversation observation technique and writing technique. This study was conducted on 5th semester students majoring English education program at State University of Surabaya.The data of this research is a collection of poetry by Robert Frost. The data analysis technique uses the Miles and Huberman interactive model, namely, data reduction, data presentation, and verification. The results of this study found that the effective approach of teaching language style in poetry begins with a discussion of vocabulary in poetry, going on to a review of sentence structure and coherence, and finally continuing on to rhetoric and figurative language.Through this method of instruction, information is gradually transferred to students, who gain a better understanding of how to interpret poetry.

The Style of Parallelism in Malay Poetry

This study explores the various patterns and meanings of parallelism in Malay poetry. For this purpose, this study has selected one of the famous poets in Malaysia, A. Latiff Mohidin, who is found to be very consistent in the usage of various patterns of parallelism in his works. He is more well known for his individualism and visualism styles. This study will examine his famous work titled The Mekong River, which was first published in 1974. The patterns of parallelism were analyzed from the grammatical aspects, namely phonological parallelism, morphological parallelism and syntactic parallelism. The results showed that the poet has used a very rigid parallelism technique by regulating sounds, words and sentence structure. The poet has also incorporated the parallelism and repetition aspects in his work. The parallelism element was found in all positions, namely at the beginning, middle and end of lines. In terms of meaning, Latiff is more likely to use antithetic and synthetic parallelism. The results of this study contribute to the style of Latiff Mohidin in particular and the Malay style of poetry in general.

The Change and Difference of the Prosody

Prosody in Tamil has changed and developed from time to time. Prosody itself helps in the creation of traditional poems. Apart from creating traditional poems, prosody is also a tool for knowing the structure and meaning of songs composed on the basis of a tradition dating back to ancient times. It is prosody that lays down the rules for the style of the verse, which treats the subject matter of the book with sound and appearance. If the ideas expressed are in the style of a poem, then the prose has no use for the reciter. That is why, compared to prose, the style of the poem becomes superior. Since all our ancient texts are composed in the style of poetry, the practice of prosody is essential for our fullest experience of them. Tolkappiya poetry is an uncommon component of understanding the structure of ancient Tamil poetry. The former praised the prosodic features and developed them from time to time. The Tholkappiyar was also well-versed in the prosodic system that existed before him. He praises the creators of prosody that existed before him as 'Yaappari Pulavar (Poets who know Prosody)'. Tolkappiyam is the first book we have today to expound the Prosody. After Tholkappiyam, books such as Kakkaipaadiniyam, Avinayam, Yaapparungalam, Yaapparungalakaarikai, Veerachozhiyam, Muthuveeriyam, Palkaayam, etc., have appeared to describe prosody. It is natural that from time to time the emergence of new types of prosody and changes in old prosodic types occur. Therefore, the prosody explained by other poets’ texts differs in some respects from the grammatical trend of Tholkappiyar. This article is based on how Tolkappiyar's opinion about prosodic parts in the grammar of prosody has been changed or different in the prosodic texts that appeared after him.

Проблема традиції та новацій жіночої поезії середньовічного Китаю: на прикладі поетичного циклу “Ши про десять розлучень” (“十離詩”) Сюе Тао (薛濤, 768–832)

The article presents the first Ukrainian translation as well as a detailed historical and literary analysis of the cycle Ten partings (“十離詩”) written by Xue Tao (薛濤, 768–832), one of the “Four Greatest Female Shi Poets of the Tang Dynasty” (“唐代四大女詩人”). This cycle can be dated back to 789 or 809. It consists of ten quatrains, one of which is written as “ancient style poetry” gutishi (古體詩) while others are written as “modern style poetry” jintishi (近體詩). A detailed analysis of the cycle has shown that the nine jintishi are not only written according to the strict rules of versification, but also have some identical elements: the balance between a level tone ping (平) and an oblique tone ze (仄), the number of rhymes (韻), compositional structure, etc. The fourth poem “Parrot leaves the cage” (“鸚鵡離籠”) stands out in the cycle. It is not only written in different style (gutishi), but can also be seen as an example of the creation of a new poetic image. Thanks to “Fu on the Parrot” (“鸚鵡賦”) by Mi Heng (禰衡, 173–198) the image of a caged parrot is traditionally considered as a symbol of a gifted man or a poet whose talents lead to the loss of his freedom. But Xue Tao completely reinterprets this image by giving it a new connotation: now the caged parrot is a symbol of a lonely woman imprisoned in the luxurious inner chamber like a bird in a cage. Moreover, this image is ambivalent: it can be interpreted as a caged bird in the inner chamber to entertain a woman as well as a metaphor for a woman herself, who spends almost all her time there as in a cage. The very new interpretation of the parrot was highly appreciated by both contemporaries and successors of Xue Tao: they repeatedly borrowed and used this image not only in shi, but also in the other genres of poetry.

SPEAKING MANNER IN THE WORDS OF MINSTRELS

Temelinde saygı ve nezaket olan adabımuaşeret kaideleri; oturmaktan, kalkmaktan tutun da misafir ağırlama, taziyeye gitme, asansöre binme, telefonla konuşma gibi hayatın günlük akışı içerisindeki pek çok durumda insanlardan beklenilen davranış kalıplarını içermektedir. Bu kaidelerden biri de konuşmaya dair olanıdır. Konuşma adabı en önemli görgü kurallarından biridir. Zira insanlar arasındaki iletişim daha çok konuşma vasıtası ile sağlanmaktadır. Bu nedenle neyi, nerede, nasıl ve ne kadar konuşacağını bilmek sağlıklı bir iletişim açısından oldukça gereklidir. Bundan dolayı toplumumuz, genç nesillerine informel yollardan diğer adabımuaşeret kaidelerini öğrettiği gibi konuşma adabını da öğretmeye çalışmaktadır. İşte âşıkların da bu informel süreçte konuşma adabını öğretme açısından sorumluluk yüklendikleri görülmektedir. Nitel araştırma yöntemlerinden doküman analizinin kullanıldığı bu çalışmada elde edilen veriler betimsel analize tabi tutularak tasnif edilmiştir. Öğreticilik niteliği güçlü olan âşık tarzı şiir geleneği bu açıdan okunduğunda âşıkların konuşma adabını az, yerinde ve düşünerek konuşmak, edepli konuşmak, boş konuşmamak, sözü uzatmamak, dedikodu yapmamak, kendini övmemek gibi başlıklarda tasnif edilecek şekilde ele aldıkları ve bu eğitim sürecine katkıda bulundukları görülmektedir.

The Representation of Socio-cultural Aspects in Atta Shad’s Poem “Shepank/Shepherd” and “Dil Greet O Shap Naret/ Heart Weeps and Night Moans”

Shad was a poet, critic, playwright, researcher and an intellectual. In beginning he wrote poetry in Urdu and later in the Balochi language. Shad is considered the architect of modern symbolic Balochi poetry. He was inspired by the tutelage of Faiz Ahmed Faiz but soon felt the need to evolve his own style of poetry. His marvelous style gave him a prominent place in the literary quarters. His poetries are whole which cover all the aspects of Baloch Society. Hence, his poetries not only delight the readers but represent the socio-culture, economic life and many social problems of everyday life. Therefore, this paper is an attempt to demonstrate Atta’s art in the portrayal of socio-cultural approach through his poems, “Shepank/Shepherd” and “Dil Greet O Shap Naret/ Heart weeps and night moans”.The nature of the research is qualitative and researcher used textual analysis for the present study. However, the findings exhibit that Atta Shad as a whole discussed the social life of human being. His needs, wishes, deprivations, love and adventure of the homeland and even the sexual needs of the human being are discussed. And further, he also discussed the discrimination of the society based on the socio-cultural and economic aspects in the society.

Panjali Sabatham: Prosodic Features and Poetic Style

Bharathiyar was the one who created Tamil so that the honey-like Tamil music could spread all over the world. He made many innovations with his songs to remove the distance between people and Tamil poetry. He composed poems following tradition in traditional forms like song and poetry. He introduced innovation into traditional forms of poetry and gave rise to modern poetry. Panjali Sabadham is a unique record among Bharathiyar's songs. This book is full of simple Tamil, subtlety and emotions. The Panjali Sabatham consists of two parts. This book contains four hundred and twelve songs in five chapters namely Sulchicharukam (Duryodhana's trickery Chapter), Chuthattacharukam (Gambling Chapter), Adimaicharukam (Slavery Chapter), Thukilurithal charukam (Draupadi in the assembly Chapter), and Sapadhacharukam (Imprecation Chapter). Bharathiyar's poems have all been explored from a prosodical perspective. However, the Panjali Sabatham is not known to have been explored with specific focus on prosodic features. Therefore, the article researches Panjali Sabadham based on previous studies explaining the prosodic features and the verse Style based on Tolkaapiyam construction under the title “Panchali Sabatham: Prosodic features and Verse Style.” This book is made up of poetry that are Sindhu (slightly shorter than average), Kattalai Kalippa, Nilai Mandila Aasiriyum, Arusir (a four-bar song consisting of six words), Ezhusir (seven words and four bars), and Ensir Vridham (a four-bar song consisting of eight words). Among them the references made in previous studies are also reviewed. The way poetic style of the characters of Ammai (not based on the original word), Thonmai (prose is mixed with ancient subject matter), Thol (finer terms), Virunthu (Novel, Modern Poetry), Iyaibu (the consonants from 'jna' to 'na' as the last syllable), Pulan (understand the meaning without examining), and Izhaibu (adverbial verbs from related words), added strongly as the poet is highlighted. Although Tolkappiyam has mentioned 34 elements, considering the theme of Panchali Sabatham, considering the incompatibility of elements such as munnam (Intention), kaikol (Virtuous life), thinai (Location), porul vahai (Theme), etc., only numerical patterns which are considered as internal patterns are taken as the data for the study.

Kevin L. Schwartz. Remapping Persian Literary History, 1700–1900

Kevin L. Schwartz. <i>Remapping Persian Literary History, 1700–1900</i>

The poem “Idhhar Amwaj” by Al-Nabi, A Linguistic Study

Nabi is one of the greatest Turkish poets in the poetry of Nudhum. He was born ın Urfa in 1642 and died ‘n Istanbul in 1712. He is one of the Divan poets and is famous for this style of poetry. Nab’ has vast imaginations in the field of Turkish poetry, for this pen used to write profusely. Most of his poems were based on the principle of poetry for the people. His poetry was in the shape of a rhyming couplets. Nabi was also capable of popular proverbs and aphorisms. He is the one who established a poetic style for himself along with his contemporaries, that is the style of poetry of Nudhum.