Russian verse: Its metrics, versification systems, and prosody (Generative synopsis). In the article the general verse metre theory and its application to Russian verse is adressed, allowing us, thereby, to observe not the single details, but only the most general characteristics of verse. The treatment can be summarised in the five following points:1) the basis for the phenomenon of verse is its metrical code: the special feature of verse text is the presence of its (...) metre (this feature is common to every verse type, to the most regular verse, as well as to vers libre);2) the nature of verse metre is extralinguistic, there is no metre within a language, the latter can only induce certain limitations in choosing a metre;3) metre is an abstract chain of translational symmetry, the elementary period of which is called verse foot (i.e. firstly, verse feet are contained in every versification system, incl. syllabic verse and free verse, and, secondly, verse feet can not be defined in terms of natural language, e.g., as the combination of short and long or accented and unaccented syllables).4) in verse text, metre appears through the medium of natural language: verse metre is coded in terms of natural language; the nature of its codification is detennined by the versification system. Hence, every verse metre can be realised in different versification systems, e.g. iambus can occur in syllabic-accentual, syllabic-quantitative, and some other versification systems;5) verse prosody is a consequence of the influence of verse metre on the prosodies of language; the range of transformation of a language system by verse metre extends from the unification of the strength of verse accents in accentual verse to such artificial formations as the origination of long syllables in languages which lack phonological quantity. (shrink)

Russian verse: Its metrics, versification systems, and prosody (Generative synopsis). In the article the general verse metre theory and its application to Russian verse is adressed, allowing us, thereby, to observe not the single details, but only the most general characteristics of verse. The treatment can be summarised in the five following points:1) the basis for the phenomenon of verse is its metrical code: the special feature of verse text is the presence of its (...) metre (this feature is common to every verse type, to the most regular verse, as well as to vers libre);2) the nature of verse metre is extralinguistic, there is no metre within a language, the latter can only induce certain limitations in choosing a metre;3) metre is an abstract chain of translational symmetry, the elementary period of which is called verse foot (i.e. firstly, verse feet are contained in every versification system, incl. syllabic verse and free verse, and, secondly, verse feet can not be defined in terms of natural language, e.g., as the combination of short and long or accented and unaccented syllables).4) in verse text, metre appears through the medium of natural language: verse metre is coded in terms of natural language; the nature of its codification is detennined by the versification system. Hence, every verse metre can be realised in different versification systems, e.g. iambus can occur in syllabic-accentual, syllabic-quantitative, and some other versification systems;5) verse prosody is a consequence of the influence of verse metre on the prosodies of language; the range of transformation of a language system by verse metre extends from the unification of the strength of verse accents in accentual verse to such artificial formations as the origination of long syllables in languages which lack phonological quantity. (shrink)

“Scaldic verses,” said Gabriel Turville-Petre, “can tell us little about the history of England, but the history of England may give us confidence in the authenticity of some scaldic verses.” A similar skepticism was voiced by Alistair Campbell.

Verse is text which is divided into lines. In this paper I explore a psychological account of how verse is processed, and specifically the hypothesis that the text is processed line by line, such that each line is held as a whole sequence in the limited capacity of working memory. I will argue that because the line is processed in this way, certain low-level aesthetic effects are thereby produced, thus giving a partial explanation for why verse is (...) often a highly valued type of verbal behaviour. The general goal is to address the question of what literary form is, from a psychological perspective, and how the textual presence and psychological processing of form can contribute to particular aspects of the aesthetic experience of verse. (shrink)

Blank Verse é uma web série que retrata William Shakespeare e outras figuras históricas do período elisabetano reimaginados como estudantes e professores universitários nos dias atuais. Através de vídeos curtos e postagens em redes sociais, acompanhamos os personagens em suas jornadas como escritores iniciantes num contexto altamente mediado pela tecnologia. A mescla criativa de elementos históricos, biográficos e ficcionais provocaram as reflexões apresentadas neste artigo. A partir do pensamento de teóricos da literatura como Josefina Ludmer e Flora Süssekind; História, (...) como Pierre Nora e Hayden White; e Filosofia, tal qual Roland Barthes e Friedrich Nietzsche, este texto explora o desmantelamento das fronteiras entre verdade e ficção, real e virtual, todos eles produtos da mesma ferramenta: a linguagem.Palavras-chave: William Shakespeare. Literatura. História. Biografia. Ficção. (shrink)

Poetry is an important challenge for semiotics, and a special area of study for the Tartu-Moscow semiotic school, since the first volume of Sign Systems Studies was Juri Lotman’s monograph Lectures on Structural Poetics (1964). From then on the concept of poetry as one of the secondary modelling systems has evolved, since in relation to poetry, the primary modelling system is natural language. In this paper, the concept of semiotic system has been re-examined and the treatment of primary and secondary (...) semiotic systems has been significantly revised. A semiotic system can be characterized not only by its internal structure and other systems to which it is related, but also by the field upon what it is realized. The latter aspect has gained almost no attention in any treatment of semiotics; the execution of a sign is understood in the spirit of Saussure and Hjelmslev as a material realization of an abstract element (for instance, a chess piece knight can be realized with wood or plastic, but it can also remain purely virtual). At first, distinction is made between language and sign system. Every sign system consists of language and field. There are three different kinds of fields: 1) just a background – footprints on sand are a sign on the background of sand; 2) a material structured field (a football ground or a chess board in the game called Chapayev) and 3) an abstract structured field, which in its turn consists of other fields (for instance, the chess board which consists of 64 fields). Differently from a football ground, a chess board can be a purely virtual one on which virtual pieces are moved (for instance, in case of blindfold or correspondence chess). The field in its turn can be language and one language can use another language as its field. In this case we speak of primary and secondary sign systems. For instance, the prosodic system of language is a field for a verse metre, while the semantic system of language is a field for a narrative. (shrink)

Sāyaṇa-Mādhava closed his exposition of the Cārvāka philosophy in his Sarva-darśana-saṃgraha, Chap. 1 by quoting 11 and a half verses, the authorship of all of which was attributed to Bṛhaspati, the eponymous founder of materialism in India. One of these verses is presumably taken from the Viṣṇupurāṇa. However, it is not Bṛhaspati but some demons, deluded by a Jain and a Buddhist monk, who say this. Bṛhaspati does not appear at all in this Purāṇa. Variant versions of the same story (...) are found in other Purāṇas but Bṛhaspti is not invariably present in all of them. The origin of the story may be traced back to the Maitrāyaṇīya Upaniṣad. Although Bṛhaspati plays a leading part in that story, the background is quite different. By comparing all the versions found in the Purāṇas and the subject matter of the epigrams attributed to Bṛhaspati the paper proposes to show that the Viṣṇupurāṇa story has nothing to do with the materialists, whether the Pre-Cārvākas or the Cārvākas; the Jains and the Buddhists are the target of attack. Sāyaṇa-mādhava, by placing these satirical epigrams either in their original or in altered forms, and attributing them to Bṛhaspati, has mixed up the views of all sorts of nāstikas, particularly the Jains and the Buddhists, with the Cārvākas and thereby succeeded in deceiving several generations of readers and misleading even the best of scholars. (shrink)

I argue that philosophy was naturally conceived and written in verse, not prose, in the early years of philosophy, and that prose writing would be the exception not the norm. I argue that philosophers developed their ideas in verse and did not repackage ideas and thoughts first formulated in non-poetic genres, so there is no adaptation or modification involved in "putting it into poetry". This also means that the content and the form are interdependent, and the poetic details (...) are part of the message, and integral to understanding the philosophy. In both Parmenides and Empedocles there are interesting patterns of linearity and circularity in the composition which mimic and reinforce the message in the poem, which is a philosophical message about, respectively, linear journeys and cosmic cycles. (shrink)

This paper presents a pilot study in the "epidemiological" program for cultural research put forward by Dan Sperber. Theory is offered to argue that verse form is so disabling that its worldwide distribution must be explained by functions other than the broad communicative, or ideological, power traditionally attributed to it. The theoretical case is confirmed by numerical data showing that in matched texts of English prose and verse the latter contain words of a lower mean length (measured in (...) syllables). Candidate hypotheses for the epidemiology of verse are offered, including design for mnemonic properties, the registration of differences in verbal intelligence, the presentation of gestures of commitment, and the introduction of levels of quasi-randomness that lead to an impression of semantic richness and the illusion of profound and powerful communication. (shrink)

The Madhyamaka Buddhist philosopher Nāgārjuna (2nd c. CE) is best known for his works on emptiness in which he advances a program for the relinquishing of all philosophical views (_dṛṣṭi_) in light of the impossibility of establishing the true existence of any kind of entity. At the same time, he is famous also for his theory of two truths, according to which conventional or transactional language is both a legitimate and a necessary factor on the path to the ultimate abandonment (...) of views. Although more than 100 works are ascribed to Nāgārjuna in the Tibetan canon, none is specifically dedicated to an exploration of conventional or transactional truth. So it is of great interest to find that two eighth-century Madhyamaka thinkers, Śāntarakṣita and Kamalaśīla, have in their writings preserved and commented on six verses from a treatise they ascribe to Nāgārjuna entitled _Establishing the Transactional_ (_Tha snyad grub pa = *Vyavahārasiddhi_). The present article provides a translation of the six verses from the Tibetan (the Sanskrit of all these writings is lost) along with a translation for the first time in English of Śāntarakṣita’s commentary and Kamalaśīla’s subcommentary upon the verses. The multi-part translation is framed by a consideration of the nature and role of philosophical views in relation to Nāgārjuna’s other writings, based on a reading of these few tantalizing verses from an apparently lost text, the commentaries of Śāntarakṣita and Kamalaśīla, and the theories of contemporary Madhyamaka scholars. (shrink)

The elegy flared into existence, commanded the cultural stage for several decades, then went extinct. This book accounts for the swift rise and sudden decline of a genre whose life span was incredibly brief relative to its impact. Examining every major poet from Catullus to Ovid, Subjecting Verses presents the first comprehensive history of Latin erotic elegy since Georg Luck's. Paul Allen Miller harmoniously weds close readings of the poetry with insights from theoreticians as diverse as Jameson, Foucault, Lacan, and (...) Zizek. In welcome contrast to previous, thematic studies of elegy--efforts that have become bogged down in determining whether particular themes and poets were pro- or anti-Augustan--Miller offers a new, "symptomatic" history. He asks two obvious but rarely posed questions: what historical conditions were necessary to produce elegy, and what provoked its decline? Ultimately, he argues that elegiac poetry arose from a fundamental split in the nature of subjectivity that occurred in the late first century--a split symptomatic of the historical changes taking place at the time. Subjecting Verses is a major interpretive feat whose influence will reach across classics and literary studies. Linking the rise of elegy with changes in how Romans imagined themselves within a rapidly changing society, it offers a new model of literary theory that neither reduces the poems to a reflection of their context nor examines them in a vacuum. (shrink)

An exploration of Rudolf Steiner's recommendation that class teachers create verses for their pupils to be inserted into their annual school reports.

Medical educators recognize the value of reflection for medical students and the role creative writing can play in fostering this. However, direct creative writing tasks can be challenging for many students, particularly those with limited experience in the arts and humanities. An alternative strategy is to utilize an indirect approach, engaging students with structured tasks that obliquely encourage reflection. This paper reports one such approach. We refer to this approach as in-verse reflection, playing on both the structure of the (...) writing and its novel approach to reflection. Students were invited to write, in verse-like structures, about their personal and clinical experiences as medical students. Thematic analysis of their creative outputs and reactions identified four principal themes: the challenges of life as a medical student, the emotional demands of the medical course, a sense of connectedness and solidarity with fellow students, and a sense of marginality within the hospital system. Students generally found the tasks highly engaging and conducive to reflection, producing texts representing significant insights into their experiences as medical students. The reported method offers a relatively simple, structured, and guided approach to reflective writing, adding to the repertoire of methods available to educators in the medical humanities. (shrink)

Romantic, po st- Revolutionary French historiography can be described as "ancient verses on new ideas." The "new history" of this period, with its antiquarian nature, shared more with its predecessors than its practitioners acknowledged. Historical and legal scholars of the Restoration belonged to a long intellectual tradition of a shared hermeneutical "community of interpretation," based on common origins, though not necessarily goals. A belief in the historical grounding of knowledge and judgment united Restoration historians and legal scholars to their predecessors. (...) Debate over the origin of private property, the central human right advanced in the Napoleonic Code, united the two sorts of scholars, who examined the origins of the right of private property in the context of the history of laws, both Germanic and Roman. The establishment of private property proves to rest on the logic of feudalism, ironically overthrown in the Revolution while providing continuity in historiography before and after. (shrink)

Whatever we choose to call Beckett’s series of disjunctive and repetitive paragraphs , Ill Seen Ill Said surely has little in common with the short story or the novella. Yet this is how the editors of the New Yorker, where Beckett’s piece first appeared in English in 1981, evidently thought of it, for like all New Yorker short stories, it is punctuated by cartoons and, what is even more ironic, by a “real” poem, Harold Brodkey’s “Sea Noise” . Notice that (...) the reader immediately knows—or is supposed to know—that Brodkey is a poet and Beckett a fiction writer, not only because “Sea Noise” is designated a poem in the issue’s table of contents, but also because its placement on the page, framed by white space, distinguishes it from Ill Seen Ill Said, which is printed in standard New Yorker columns. Yet if we examine the sound structure of Brodkey’s poem, we find that the rhythm of recurrence is, if anything, less prominent here than in the Beckett “prose.” The four stanzas are of irregular line length ; the stress count ranges from one to five ; rhyme occurs only once, at the end of the poem ; and alliteration and assonance are not marked. Unless we assume that poetry is defined by the sheer decision of its maker to lineate the text, or unless we want to call “Sea Noise” a poem because it is built around a single extended metaphor , there is no rationale for the classification the New Yorker has implicitly adopted.4The meaning of this classification is worth pondering, for it represents, in microcosm, the orthodoxy of every major literature textbook and literary history as well as of most classrooms in the United States and Britain, which that Beckett is a writer who, like the young Joyce or the young Faulkner, wrote in his dim youth some negligible, clotted lyric poems but whose real work belongs to drama and fiction. As such, we don’t teach Beckett in our poetry courses or include him in discussions of contemporary poetry and poetics. The index of any major book on the subject—say, Robert Pinsky’s The Situation of Poetry—will bear this out. And yet the irony is that contemporary poets are increasingly using forms that cannot be properly understood without the example of Beckett’s astonishing “lyrics of fiction”—to use Ryby Cohn’s apt term5—or, as I shall call them, his “associative monologues.” Perhaps, then, it is time to rethink our current procedures of canon making. In what follows, I shall use Ill Seen Ill Said as an example.4. Contemporary prosodists, perhaps because they must account for the difficult case of free verse, generally do equate verse—and hence implicitly the poem—with lineation. For example, Charles O. Hartman, in his recent Free Verse: An Essay in Prosody , observes that, difficult as it is to define the word “poetry” “rigorously and permanently,” verse can be distinguished from prose quite readily:Verse is language in lines. This distinguishes it from prose…. This is not really a satisfying distinction, as it stands, but it is the only one that works absolutely. The fact that we can tell verse from prose on sight, with very few errors…indicates that the basic perceptual difference must be very simple. Only lineation fits the requirements. [P.11]But, as I have just shown in the case of Beckett and Brodkey, what looks like verse may sound like prose and vice versa. The “basic perceptual difference” between the two is surely not as simple as Hartman suggests. I discuss this question from a somewhat different angle in “The Linear Fallacy,” Georgia Review 35 : 855-69.5. See Ruby Cohn, Back to Beckett , chap. 5, “Lyrics of Fiction.”. (shrink)

The article introduces the results of a semantic analysis of Uku Masing’s (1909–1985) early poetry (1926–1943). The metres analyzed are syllabic-accentual trochaic tetrameter, trochaic pentameter, iambic pentameter and dactylic, logaoedic and polymetric hexameters. In each text the textual communicative perspective as well as motifs and tropes of each verse line were examined. The semantic differences and colourings of the metres are most evident in the way of expression, in the viewpoint.

This essay revisits the relationship between philosophy and poetry. It argues that a crucial term, ‘verse’, is often missing from discussion of that relationship. The broader term, ‘poetry’, is so difficult to define that it offers insufficient specific resistance to large philosophical schemas. The question is explored here through an analysis of the prosodic microstructures in John Wilkinson's The Speaking Twins. I conclude that Wilkinson's poem is an instance of ‘unfree verse’ and that the poem's verse technique (...) is also the site of its historical truth-content. (shrink)

After having been for some while the butt of conservative critics, verse transpositions in Propertius have, mainly thanks to the work of G. P. Goold, again become respectable among scholars. In his edition of Catullus, Tibullus, and Propertius J. J. Scaliger , the great archeget of the method, had subjected the other great elegist of Propertius’ generation to the same treatment,2 and in fact one of Scaliger's transpositions is supported by external evidence: 1.5.71–6 belong after 6.32; this is confirmed (...) by Ovid's imitation in Trist. 2.447ff. Trist. 2. 459–60 echo Tib. 1.6.31f. and 5.73 . That Ovid should have brought together in one distich verses from two different Tibullian poems may not seem wholly impossible, but much less likely than that the lines in Tibullus were also consecutive, in particular because the distich immediately preceding 459f. clearly refers to the situation of Tib. 1.6. (shrink)

In 130 ce, Hadrian and Sabina traveled to Egyptian Thebes. Inscriptions on the Memnon colossus document the royal visit, including fifty-four lines of Greek verse by Julia Balbilla, an elite Roman woman of Syrian heritage. The poet's style and dialect have been compared to those of Sappho, although the poems' meter and content are quite different from those of her archaic predecessor. This paper explores Balbilla's Memnon inscriptions and their social context. Balbilla's archaic forms and obscure mythological variants showcase (...) her erudition and allegiance to a Greek past, but while many of the Memnon inscriptions allude to Homer, Balbilla aligns herself closely with Sappho as a literary model. The main question raised here is what it means for Julia Balbilla to imitate Sappho while simultaneously honoring her royal patrons in the public context of dedicatory inscriptions. (shrink)

This essay considers some problems in philosophical approaches to poetry. Philosophers’ accounts of what poetry is are often ill informed. They tend to select, as essential, features that can also characterize prose works: conspicuous metaphoricity, imagination, fictionality, and so on. This essay considers instead a humbler term: verse. It argues that the constraints on language implied by composing in verse are not only a handicap but can also be an engine for thinking. Even philosophy has sometimes been thought (...) in verse, rather than thought first in prose and versified later. This argument is explored through a brief consideration of Alexander Pope's Essay on Man. The essay concludes by questioning a further way of distinguishing between poetry and philosophy, Peter Lamarque's claim that paraphrasability is essential to philosophy but fatal to poetry. (shrink)

Horace begins his second book of satires by picturing himself caught between the extremes of two sets of critics, one group claiming that his poetry is too aggressive, the other that it is insipid and lacklustre. The charges are extreme and contradictory, so there is no way he can adjust his work to please one group without further antagonizing the other: the more straightforward he becomes in his criticisms, the more bitter and ‘lawless ’ he will seem to group A. (...) Further subtlety and indirectness will only draw further criticism from group B. He takes his problem to Trebatius, Rome's leading legal expert, expecting an easy solution, only to be told what his question made clear from the start: that the safest way to write satire in Rome is ‘not at all’: quiescas. His question, as far as Trebatius is concerned, is irresolvable and best left unexplored. (shrink)