The voice of the dead king Chindasuinth: poetry,politics, and the discourse of penance in Visigothic Spain

Around ad 653, Eugenius II, bishop of Toledo, composed a first‐person poetic epitaph for the deceased Visigothic king Chindasuinth (r. 642–53) in which the monarch is made to speak with self‐deprecating candour. This paper offers a reassessment of the poem's language and rhetorical strategy by situating it within contemporary discourses surrounding royal admonition and penance. Rather than interpreting Eugenius's composition as an act of defamation, as the majority of critics have done, it reads the poem as a dignifying literary expression of atonement. This reading corresponds with other specimens of Eugenius's poetry and evidence from a developing literary culture at Chindasuinth's court.     

Nikos Gatsos' Amorgos,topography and the poetics of modernism

Abstract

Nikos Gatsos' Amorgos is approached here as a polyphonic poem that synthesizes elements of the Greek literary tradition into an intertextual palimpsest of fragments, in the vein of the modernist 'long poem'. The surrealist poet maintains a fine balance between tradition and radical innovation, shaping Amorgos as a place where poetry is created as an interaction of opposing tendencies. The topical character of the poem is underscored by its title: the sea-and-land imagery evokes the island as a literary topos of seclusion and self-sufficiency that lends its characteristics to the composition itself: a 'compendium' of poetic writing and avant-garde aesthetics.     

Writing on the edge: the poet,the printer,and the colonial frontier in Ercilla’s La Araucana (1569–1590)

It took Alonso de Ercilla (1533–1594) thirty years to finish La Araucana, a first-person narrative epic poem about the brutal war of Arauco, in southern Chile, and one of the most canonical texts of colonial Latin America. By focusing on a crucial episode of Ercilla's eyewitness account, this essay revisits a number of scholarly discussions that have been central for our understanding of the text. First, it takes into consideration previous scholarship overlooked by specialists, as well as hitherto unstudied copies of the poem, in order to offer a thorough reevaluation of the textual and editorial history of the poem. Moreover, it explores the frontier as a chronotope and as a locus of enunciation for colonial epic, a space that is also crucial for Ercilla's carefully crafted authorial persona. Finally, it interrogates the ways in which the discursive representations of colonial frontier spaces were mediated by the material practices of early modern book production, arguing for a more fruitful relation between ecdotics and poetics, between material bibliography and theories of authorship and textuality in our approaches to colonial texts.     

Maurofilia y maurofobia en el Libro del conde de Castilla

The Poema de Fernán González (or Libro del conde de Castilla) is not a crusade song, nor is it an epic poem or a historical account commemorating the foundation of San Pedro de Arlanza Monastery. It is rather a hybrid text that employs all the literary and historical resources available around the middle of the thirteenth century to an educated poet who was intent on transmitting to future generations the memory of the Count who made possible the independence of Castile. All episodes in the poem point to Castile's unique place in history, describing through the protagonist's bellicose deeds its hegemonic ascendency as the most important kingdom of the Iberian peninsula. Its destiny is determined by the hero's combative character against all enemies, whether Christians or Moors, and more specifically by confronting the powerful kings of neighboring states León and Navarre.     

Virgilian Imitation in Johannes Pratensis’ Latin Pastoral Daphnis (Copenhagen 1563)

The Latin pastoral Daphnis by the Dane Johannes Pratensis (known today as a close friend of the astronomer Tycho Brahe) was published in Copenhagen in 1563 for the wedding of the Danish hymn writer Hans Thomesen. This article analyses its use of references to Virgil's Eclogues. The overall composition of the poem is modelled on Virgil's 8, eclogue. But the references to that poem are fused with references to the Bucolica (1560) of the Danish poet Erasmus Laetus.     

La prose metrique de l'ancienne historiographie romaine

In this attempt at an overall interpretation of Hadrian's poem (Büchner fr. 3) the author discusses the meaning of vagula and blandida in 1. 1 and puts a comma after vagula. He assesses in particular the two most disputed lines of the poem, 3 and 4, taking quae as an exclamation and adding some reasons for combining loca with pallidula rigida nudula. As to the marked use of diminutives ‐ 5 in as many lines ‐ the author sees no reason for giving them a uniform emotional meaning, but argues for grouping them into three categories according to the semantic value of the primitive involved. He discusses also how to read 1. 5 syntactically. In the last part of the study the aim is to show in what particular sense the poem can be reasonably taken as a product of the emperor's pen on his very deathbed.     

Preliminary remarks on George Seferis' visual poetics

Abstract

This article makes some preliminary remarks on Seferis' photography, focusing mainly on its poetics as an act of seeing. The main intention is to highlight the direct relationship between Seferis' visual sensibility and his poetry. The article primarily discusses some technical features of Seferis' photography. It then examines his photography as a visual diary and draws attention to those cases where it is obvious that photographs hide behind specific poems. Finally, the article discusses the differences between photography and poetry regarding their relation to time. In this context, the poem 'M? τov τρóπo τov Γ.Σ.', which makes explicit reference to photography, is examined.     

The Symbol of Orpheus in the Sturm und Drang Period

The handling of gender in the Old French Roman de Silence has caused considerable scholarly conflict because the poem simultaneously endorses two competing and mutually irreconcilable gender ideologies. Asserting that gender is essential and its boundaries inviolate—even as its eponymous heroine freely crosses gender boundaries to become supremely successful in male roles—the poem creates a radically unstable conception of gender that has implications not only for its portrayal of social gender roles but also for its use of gendered language. The heroine's name, Silence, becomes emblematic of language's inability to fully represent its subject, as neither Latin nor the vernacular proves adequate to the task of depicting an ambiguously or multiply gendered character. Gendered language and gendered behavior emerge as mutually dependent sources of paradox that point to the limitations of both language and narrative.     

Improvisation and Hybrid Genres: Reading Childe Harold’s Pilgrimage

ABSTRACT

In the first section I ask two questions: what sort of a poem is Childe Harold’s Pilgrimage, and what is the immediate experience of reading it in sequence? These two questions are the practical equivalents of the main terms of my title. I try to answer them by reconstructing a first reading of the poem in the light of my own experience and the imagined one of the first readers of the poem. I suggest that two terms—accretion and elimination—are helpful here and that, in some ways, the structure and sequential experiencing of the poem resemble the structures of extended nineteenth-century musical forms. In the second section, I reverse perspective and take a position at the end of the poem. From such a point, it is easier to find what the poem has included and eliminated and this, in turn, suggests the kind of poem that it is. In the third section I tackle the terms “improvisation” and “hybrid genres” directly, link them with my earlier arguments, and engage with some theorists, especially Bakhtin. In particular, I argue against the view that Childe Harold’s Pilgrimage dissolves genre but argue that genres are nevertheless “open categories.” My conclusion is less definite. I confess to difficulties that still bother me.     

Some Reflections on the Poetic I in Vergil's Georgics

In this article, I shall reflect upon the relationship between the didactic speaker in Vergil's Georgics and the images of the poet associated with it. In my view, the first person voice in the poem is employed in different contexts and situations that influence its appearances and have the effect of creating associations between the textual ‘‘I” and the real poet. The didactic first person speaker or instance is a formal structure belonging to the text. But it easily seems to be merged with the historical author behind the text as well.     

‘Come Buy,Come Buy’: Christina Rossetti's ‘Goblin Market’ and the Cries of London

Placing Christina Rossetti's ‘Goblin Market’ (1862) within the rich context of children's London guidebooks establishes a literary tradition in which readers are counseled to be wise urban consumers. During this period of rapid industrialization, exotic foods appeared on English tables amid public fears about food adulteration. Rossetti's poem and contemporary guidebooks transmit the anxiety surrounding food selection and consumption. From Aunt Busy-Bee's New London Cries (1852) to Aunt Louisa's London Alphabet (1872), London is depicted as an urban sounding board for commercial opportunities and moral choices. Removed from agrarian sites of production, urban readers are urged to select food according to the moral character of the vendor. In Rossetti's famous poem, Lizzie's and Laura's choices are immediately relevant to readers who hearkened to similar cries shouted daily in their neighborhoods. Rossetti herself would have heard them growing up in London, and these traditional cries bear semantic and metaphoric similarities to the goblins' cries. Apart from serving as inspirations for Rossetti's work, guides to the cries are also important documents in their own right, part of the corpus of near-forgotten work penned for children to amuse them in their idle hours as well as to instruct them in proper practices of commercial enterprise and moral consumption. The child reader is invited to know London and to absorb lessons by piecing together the letters and sounds of the metropolis.     

LIVING IN A TIME OF MADNESS: LAST DAYS OF JAVA'S LAST PROPHETIC POET

Shortly before his death in December 1873, the renowned Javanese court poet R. Ng. Ronggawarsita composed a short work of social criticism and Islamic ethics that is among the most celebrated of Javanese literary texts. Serat Kalatidha (The Time of Darkness) reflects upon the avenues that remain open to the ethical subject in what Ronggawarsita calls the “time of madness,” the time of darkness and error that marked his dismal present in high colonial Java. Most celebrated as a prophecy, the poem is, in part, a critical reworking of an early nineteenth‐century prophetic reflection on the Javanese past. My article explores the troubled context in which the author wrote this twelve‐stanza (108‐line) poem and how its text forms both a critical commentary on the state of the poet's current‐day society and a pensive reflection on the ethical imperatives of Islam. In the course of this exploration, I reveal how Ronggawarsita's poem forms a prophecy, not as a foretelling of an already determined future, but rather as a work that moves along prophetic time to provoke in his readers a productive intimacy with both pasts and futures.     

“Ceci n’est pas un fragment”: Identity,Intertextuality and Fictionality in Sappho’s “Brothers Poem”

In this article, Sappho’s Brothers Poem is re-evaluated and analysed from various perspectives that have not been addressed sufficiently in scholarship so far. First, some questions of principle regarding the role of the brothers and the Sapphic speaker are discussed. Secondly, the poem’s communicative situation is examined, and different options for the identification of the person addressed as “you” are considered. Thirdly, it is demonstrated how the poem establishes an intertextual dialogue with the Homeric Odyssey on various levels, and how this dialogue affects the general understanding of the poem. Finally, the commonly held view that the five transmitted stanzas do not represent the entire poem is challenged. The article concludes with some wider considerations about some of the most common assumptions regarding the nature and the fragmentary state of the Brothers Poem.     

The Poeta Saxo at Paderborn: episcopal authority and Carolingian rule in late ninth‐century Saxony

This paper argues that the Poeta Saxo's epic poem about Charlemagne was composed at the bishopric of Paderborn as part of a wider literary programme that included both the Translatio sancti Liborii and the Vita sancti Liborii. Near the close of the ninth century, when Paderborn's renown and resources were at their lowest ebb, these three works articulated an image of episcopal authority, touted the pre‐eminence of Paderborn, and made a bid for royal patronage.     

‘The Island Blazed’: A Blinding Light and Tiepolo's Hound

This essay is primarily a study of Derek Walcott's Tiepolo's Hound as an affirmation of Caribbean, tropical, blinding light through an engagement with the life and work of Camille Pissarro. Conceived as such, the poem, I argue, proposes an “adamic” vision and imagination attuned with “Time” rather than “History” (the concepts are Walcott's), as well as an intensification of sensory-perception beyond vision. In order to better appreciate the historical and contextual relevance of Tiepolo's Hound, the essay provides first a general introduction to: (1) a nuanced understanding of light and its “otherness” emerging from modern physics; (2) some of the ways in which western capitalism and Cartesian perspectivism, as a hegemonic aesthetic and philosophical tradition in the West, have attempted to capture and control light and its “otherness;” and (3) the blinding quality of light in the tropical context, which repositions light as a force against any and all exploitative capitalist desires.     

Trying to Make Sense of Catullus 67

This reading is based on the assumption that the first five lines deal with the following three members of a Veronese family: (I) the younger Balbus (nato 5 identified by viro 1 and Caecilius 9), (II) his father, the older Balbus (parenti at 1 and senex at 4), and (III) the wife of Balbus the younger seen as the main target of the poem (the marita of 6 and, paradoxically, the virgo of 19); the assumption is that virgo is a reference to the sexual incapacity of a former husband from her time in Brixia. Badian's conjecture pacta (6) is defended, and two conjectures are proposed: incestus for illius (23) and quaerendu’ vir unde (27).     

Concepts of Necessity in Voltaire's Poème sur le Désastre de Lisbonne

The eleventh-century Chanson de Sainte Foy is a paradigmatic example of early Romance textuality. Composed in southwestern France and intimately tied to the saint's cult centered around the abbey at Conques, an important site on the French pilgrimage road to Santiago, the almost 600-line poem is among the earliest examples of an extended narrative poem in Romance. Nonetheless, the place of composition and the language of the text remain a controversy. Most editors and linguistic studies of the text have identified its language with the French department of the Aude, specifically around the vicinity of Narbonne, thus rejecting a more southerly Catalan locus of composition. While widely recognizing the poem's cultural matter, this article argues for a stronger Catalan presence in the language of the poem. Specifically, the author examines forms of the so-called Pyrenean definite article derived from Latin IPSE in light of contemporary dialect features of the Catalan of the Eastern Pyrenees.     

The date of Marvell’s Hortus

A post-Restoration dating of Marvell’s poem The Garden and its Latin companion piece “Hortus” to around 1668 has been generally accepted in recent criticism, despite some counter-arguments from those who defend the traditional dating to Marvell’s period at Nun Appleton (1650–2). None of these analyses, however, have attempted to date the Latin rather than the English poem. This article offers a new dating of “Hortus” to around 1654, during Marvell’s time at Eton as tutor to John Dutton. The argument is based on a series of parallels and allusions to Latin poetry either dating from, or demonstrably particularly fashionable in, the period between 1646 and 1654, as well as close attention to the political resonance and contemporary understanding of the poem’s classical sources. As such, it is also a case study in the dating of neo-Latin verse, of which many thousands of examples survive from seventeenth-century England.     

The Turkish Oedipus: National Self and Stereotype in the Work of a 1960s Greek Cartoonist 1

This article analyzes a particular type of radical political discourse in Greece—namely the articulation of stereotypes of Greek-ness and Turkish-ness in the work of Mendis Bostantzoglu, a Greek satirist and cartoonist. The author examines a poem and a sketch published in the 1960s, in which stereotypes of Greek-ness and Turkish-ness are presented and mocked. Relating their production to their specific historical context and current academic discussions in Greece on nationalism and Otherness, the author argues that the ways in which ethnic stereotypes of “self” and “other” are used to discuss political issues have more to tell about internal Greek issues (such as a critique of the government and its policies) than about Greece's foreign affairs. Such analyses, it is further argued, also lead to a greater appreciation of the complex and implicit sets of meanings negotiated by the stereotypes themselves.