Off with the Pixies: The Fey Folk of the Long Poems and Catullan Disclosure

2006 ◽  
Vol 13 ◽  
pp. 23
Author(s):  
Marguerite Johnson
Keyword(s):  
Long Poems

Smolensk Proper Names in A.T. Tvardovsky’s Poems

2020 ◽  
pp. 54-62
Author(s):  
Inna A. Koroleva ◽  
Keyword(s):  
Proper Names ◽  
Personal Characteristics ◽  
Entire Body ◽  
Literary Works ◽  
Thematic Content ◽  
Home Town ◽  
Birthday Anniversary ◽  
Long Poems ◽  
First Time

This article is dedicated to the 110th birthday anniversary of a great Russian poet, native of Smolensk, one of the founders of the Smolensk Poetic School Aleksandr Tvardovsky (1910–1971). It examines how Smolensk motifs and Tvardovsky’s love for his home town are reflected in his works at the onomastic level. Smolensk-onyms reflected in long poems are analysed here, the focus being on anthroponyms and toponyms naming the characters and indicating the locations associated with Smolensk region. A close connection between the choice of proper names and Tvardovsky’s biography is established. An attempt is made to demonstrate how, using onomastic units introduced by the author into the storyline of his artistic text, the general principles of autobiography and chronotopy are realized, which have been noted earlier in critiques of Tvardovsky’s literary works. The onomastic component of the poems is analysed thoroughly and comprehensively, which helps us to decode the conceptual chain writer – name – text – reader and identify the author’s attitude to the characters and the ideological and thematic content of the works, as well as some of the author’s personal characteristics, tastes and passions. At the onomastic level, the thesis about the role of Smolensk motifs in Tvardovsky’s literary works is once more substantiated. A review is presented of onomastic studies analysing proper names of different categories in Tvardovsky’s poems (mainly conducted by the representatives of the Voronezh Onomastic School and the author of this article). It should be noted that Smolensk proper names in the entire body of Tvardovsky’s poetry are analysed for the first time.

Rhyming

2020 ◽  
pp. 110-143
Author(s):  
Daniel Sawyer
Keyword(s):  
Case Studies ◽  
Middle English ◽  
Building Blocks ◽  
Quantitative Survey ◽  
English Verse ◽  
Long Poems

This chapter investigates manuscript evidence for readers’ attention to one particular aspect of form, rhyme. The chapter begins by examining occasions when scribes copied Middle English verse in unusual layouts with atypical lineation, because such occasions drove scribes to punctuate the structures of poems more explicitly. The resulting punctuation reveals that scribes often read, and expected other readers to read, cycles of rhyme, not individual lines, as the basic building-blocks of rhyming verse. The chapter then turns to the evidence of rhyme braces. Manuscript case-studies show that readers were usually adept and accurate when adding rhyme braces, but did not always choose to represent the actual rhyme. Their decisions reveal an aesthetic interest in balanced and unbalanced structures in rhyme, which helps to explain the effects and pleasures offered by some unbalanced stanza forms of the period, such as rhyme royal. A systematic quantitative survey of the braces in long poems written in couplets then shows how much care and labour was spent representing rhyme accurately even in copies of poems which modern scholarship has tended to regard as essentially utilitarian texts. Readers had, it is suggested, a strong formalist interest in rhyme in all kinds of rhyming verse. The evidence also demonstrates that different readers could pursue different kinds of formalism, and that poets did not always see eye to eye with the readers who eventually absorbed and transmitted poetry.

Long Poems: Thalaba, Madoc, Kehama, Roderick

Southey ◽  
2016 ◽  
pp. 159-170
Author(s):  
Kenneth Curry
Keyword(s):  
Long Poems

Bialik, Hayim Nahman (H. N.) (1873–1934)

2018 ◽  
Author(s):  
Miryam Segal
Keyword(s):  
Twentieth Century ◽  
Folk Song ◽  
Turn Of The Century ◽  
Hebrew Poetry ◽  
Textual Tradition ◽  
Literary Revival ◽  
Modern Hebrew ◽  
Song Lyrics ◽  
Long Poems ◽  
Hebrew Culture

Hayim Nahman Bialik was one of the most influential and widely-read Hebrew poets of the twentieth century. He revitalized modern Hebrew poetry with his romantic tropes, intense introspection, allusive irony and modernist treatment of language. Together with Shaul Tchernichovsky, his peer in the literary revival of the turn of the century, Bialik re-invented the sound of Hebrew poetry by introducing accentual-syllabic meter to Hebrew. Bialik was born into a religious and very poor family, and engaged with the Jewish textual tradition even after leaving behind, first, his Hasidic upbringing, and then the more rationalist and intellectual but ultimately unsatisfying world of the famous Volozhin yeshiva. Bialik spent the better part of three very productive decades in Odessa, the capital of the literary revival in which he was received as a young literary talent, then as national poet and one of the foremost Hebrew writers. He wrote lyric poetry, long poems, poems in the form of folk-song lyrics, children’s poetry and essay, and was an important figure in Hebrew publishing, with a particular interest in preserving the ‘Jewish Bookcase’ of classic works for secular Hebrew culture.

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