Angela Leighton
- Published in print:
- 2003
- Published Online:
- January 2012
- ISBN:
- 9780197263037
- eISBN:
- 9780191734007
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263037.003.0010
- Subject:
- History, Cultural History
This lecture discusses form, which is a term that has multiform meanings and is contradictory. It looks at the sense of form found in the works of Sylvia Plath, Elizabeth Bishop, and Anne Stevenson. ...
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This lecture discusses form, which is a term that has multiform meanings and is contradictory. It looks at the sense of form found in the works of Sylvia Plath, Elizabeth Bishop, and Anne Stevenson. Form is not simply as a matter of formal technique, but as an object in a tradition that goes back to Victorian aestheticism's playful commodifications of its own formal pleasures. It states that the sense of elegy may be greater or lesser, depending on the poem.Less
This lecture discusses form, which is a term that has multiform meanings and is contradictory. It looks at the sense of form found in the works of Sylvia Plath, Elizabeth Bishop, and Anne Stevenson. Form is not simply as a matter of formal technique, but as an object in a tradition that goes back to Victorian aestheticism's playful commodifications of its own formal pleasures. It states that the sense of elegy may be greater or lesser, depending on the poem.
G. O. Hutchinson
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199279418
- eISBN:
- 9780191707322
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279418.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This piece was the first to relate the new book of Posidippus' epigrams to Latin poetry. It discusses the nature of the collection, which arranges epigrams in groups with titles. Connections with ...
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This piece was the first to relate the new book of Posidippus' epigrams to Latin poetry. It discusses the nature of the collection, which arranges epigrams in groups with titles. Connections with Latin poetry are investigated: specific allusions, thematic networks, problems of intertextuality with Hellenistic poetry. The relation of elegy to epigram is then discussed; Latin elegy uses its small relative both to separate itself from epic and to mark its own ambitions. Latin poets turn elegy into love-elegy, and then aspire to go further. The structure of Posidippus and the Fasti can be compared and contrasted.Less
This piece was the first to relate the new book of Posidippus' epigrams to Latin poetry. It discusses the nature of the collection, which arranges epigrams in groups with titles. Connections with Latin poetry are investigated: specific allusions, thematic networks, problems of intertextuality with Hellenistic poetry. The relation of elegy to epigram is then discussed; Latin elegy uses its small relative both to separate itself from epic and to mark its own ambitions. Latin poets turn elegy into love-elegy, and then aspire to go further. The structure of Posidippus and the Fasti can be compared and contrasted.
G. O. Hutchinson
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199279418
- eISBN:
- 9780191707322
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279418.003.0008
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The structure of Amores 3 has been obscured by the whole series Amores 1-3, and the relation to Ovid's coming works. The structure rests on genre. The frame (poems 1 and 15) shows the poet-narrator ...
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The structure of Amores 3 has been obscured by the whole series Amores 1-3, and the relation to Ovid's coming works. The structure rests on genre. The frame (poems 1 and 15) shows the poet-narrator making and keeping a decisive resolution, to leave love-elegy for tragedy; the frame has connotations of tragedy, especially of Medea. The inset (poems 2-14) presents the indecisive and imperfective world of love-elegy, from which the narrator will escape. The inset teases the reader, however, on ending and on love. It makes excursions into other genres, but subverts more than it reinforces generic hierarchy. The book is politically subversive on adultery, and pointedly avoids Roman patriotism. Intertextuality with other ‘last’ books highlights the force of its structure.Less
The structure of Amores 3 has been obscured by the whole series Amores 1-3, and the relation to Ovid's coming works. The structure rests on genre. The frame (poems 1 and 15) shows the poet-narrator making and keeping a decisive resolution, to leave love-elegy for tragedy; the frame has connotations of tragedy, especially of Medea. The inset (poems 2-14) presents the indecisive and imperfective world of love-elegy, from which the narrator will escape. The inset teases the reader, however, on ending and on love. It makes excursions into other genres, but subverts more than it reinforces generic hierarchy. The book is politically subversive on adultery, and pointedly avoids Roman patriotism. Intertextuality with other ‘last’ books highlights the force of its structure.
R. Scott Garner
- Published in print:
- 2010
- Published Online:
- May 2011
- ISBN:
- 9780199757923
- eISBN:
- 9780199895281
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199757923.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Though often assumed to be a product of traditional compositional practices comparable to those found in early Greek epic, archaic elegy has not previously been analyzed in similar detail with ...
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Though often assumed to be a product of traditional compositional practices comparable to those found in early Greek epic, archaic elegy has not previously been analyzed in similar detail with respect to such verse‐making techniques. This volume redresses some of this imbalance by exploring several issues related to the production of Greek elegiac poetry. By investigating elegy's metrical partitioning and its localizing patterns of repeated phraseology, This book makes clear that the oral‐formulaic processes lying at the heart of Homeric epic bear close resemblance to those that also originally made archaic elegy possible. Additionally, a close look at the most common metrical ‘anomaly’ in early elegy — epic correption — demonstrates that elegiac poets of the archaic period were not simply mimicking an earlier productive style but were actively engaging with such traditional techniques in order to produce and reproduce their own poems. Because correption exhibits several patterns of employment that depend upon the meshing and adapting of traditional phraseological units, it becomes clear that in elegy — just as in epic — this metrical phenomenon is inextricably entwined with traditional techniques of verse composition, and we therefore have strong evidence that elegiac poets of the archaic period were still making active use of these oral‐formulaic techniques. The implications of such findings are quite large, as they require a wholesale shift in our modern methods of inquiry into elegy for a wide range of concerns of meter, phraseology, and even intended meaning and overall aesthetics.Less
Though often assumed to be a product of traditional compositional practices comparable to those found in early Greek epic, archaic elegy has not previously been analyzed in similar detail with respect to such verse‐making techniques. This volume redresses some of this imbalance by exploring several issues related to the production of Greek elegiac poetry. By investigating elegy's metrical partitioning and its localizing patterns of repeated phraseology, This book makes clear that the oral‐formulaic processes lying at the heart of Homeric epic bear close resemblance to those that also originally made archaic elegy possible. Additionally, a close look at the most common metrical ‘anomaly’ in early elegy — epic correption — demonstrates that elegiac poets of the archaic period were not simply mimicking an earlier productive style but were actively engaging with such traditional techniques in order to produce and reproduce their own poems. Because correption exhibits several patterns of employment that depend upon the meshing and adapting of traditional phraseological units, it becomes clear that in elegy — just as in epic — this metrical phenomenon is inextricably entwined with traditional techniques of verse composition, and we therefore have strong evidence that elegiac poets of the archaic period were still making active use of these oral‐formulaic techniques. The implications of such findings are quite large, as they require a wholesale shift in our modern methods of inquiry into elegy for a wide range of concerns of meter, phraseology, and even intended meaning and overall aesthetics.
Ruth Rothaus Caston
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199925902
- eISBN:
- 9780199980475
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199925902.001.0001
- Subject:
- Classical Studies, Prose and Writers: Classical, Early, and Medieval, Ancient Greek, Roman, and Early Christian Philosophy
The passions were a topic of widespread interest in antiquity. This is a study on their role in Roman love elegy (1st c. BCE), a genre rife with passions and jealousy in particular. Jealousy does ...
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The passions were a topic of widespread interest in antiquity. This is a study on their role in Roman love elegy (1st c. BCE), a genre rife with passions and jealousy in particular. Jealousy does appear in a number of earlier genres, but never with the centrality and importance it has in elegy. This book offers an exceptional opportunity to investigate the ancient representation of jealousy in its Roman context, as well as its significance for Roman love elegy itself. The narrators portray themselves as poets and as experts of love, championing a view of love that stands in marked contrast to the criticisms that Stoic and Epicurean philosophers had raised. Elegy provides rich evidence of the genesis and development of erotic jealousy: we find suspicions and rumors of infidelity, obsessive attention to visual clues, and accusations and confrontations with the beloved. The Roman elegists depict the susceptibility and reactions to jealousy along gendered lines, with an asymmetric representation of skepticism and belief, violence and restraint. But jealousy has ramifications well beyond the erotic affair. Underlying jealousy are fears about fides or trust and the vulnerability of human relations. These are prominent in love relationships, of course, but the term has broader application in the Roman world, and the poetic narrator often extends his fears about trust into many other dimensions of life, including friendship, religion, and politics. The infidelity rampant in the love affair indicates a more general breakdown of trust in other human relations. All of these features have implications for the genre itself. Many of the distinctive elements of Roman elegy—its first-person narration, obsessive recordkeeping, and role-playing—can be seen to derive from the thematic concern with jealousy. As such, jealousy provides a new way of understanding the distinctive features of Roman love elegy.Less
The passions were a topic of widespread interest in antiquity. This is a study on their role in Roman love elegy (1st c. BCE), a genre rife with passions and jealousy in particular. Jealousy does appear in a number of earlier genres, but never with the centrality and importance it has in elegy. This book offers an exceptional opportunity to investigate the ancient representation of jealousy in its Roman context, as well as its significance for Roman love elegy itself. The narrators portray themselves as poets and as experts of love, championing a view of love that stands in marked contrast to the criticisms that Stoic and Epicurean philosophers had raised. Elegy provides rich evidence of the genesis and development of erotic jealousy: we find suspicions and rumors of infidelity, obsessive attention to visual clues, and accusations and confrontations with the beloved. The Roman elegists depict the susceptibility and reactions to jealousy along gendered lines, with an asymmetric representation of skepticism and belief, violence and restraint. But jealousy has ramifications well beyond the erotic affair. Underlying jealousy are fears about fides or trust and the vulnerability of human relations. These are prominent in love relationships, of course, but the term has broader application in the Roman world, and the poetic narrator often extends his fears about trust into many other dimensions of life, including friendship, religion, and politics. The infidelity rampant in the love affair indicates a more general breakdown of trust in other human relations. All of these features have implications for the genre itself. Many of the distinctive elements of Roman elegy—its first-person narration, obsessive recordkeeping, and role-playing—can be seen to derive from the thematic concern with jealousy. As such, jealousy provides a new way of understanding the distinctive features of Roman love elegy.
Jonathan Usher
- Published in print:
- 2007
- Published Online:
- January 2012
- ISBN:
- 9780197264133
- eISBN:
- 9780191734649
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197264133.003.0005
- Subject:
- Literature, 16th-century and Renaissance Literature
This chapter examines the concept of the solitary Petrarch and suggests that Petrarch's theory of secular fame and the various stages of death, fame, time, and eternity are already present in nuce in ...
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This chapter examines the concept of the solitary Petrarch and suggests that Petrarch's theory of secular fame and the various stages of death, fame, time, and eternity are already present in nuce in the early Latin elegy on his mother's death. It highlights the influence of Dante's Inferno in Petrarch's development of an iterative mortality/vitality related to memory early in his career and on his Metrica on the death of his mother.Less
This chapter examines the concept of the solitary Petrarch and suggests that Petrarch's theory of secular fame and the various stages of death, fame, time, and eternity are already present in nuce in the early Latin elegy on his mother's death. It highlights the influence of Dante's Inferno in Petrarch's development of an iterative mortality/vitality related to memory early in his career and on his Metrica on the death of his mother.
Catherine Robson
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691119366
- eISBN:
- 9781400845156
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691119366.003.0004
- Subject:
- Literature, Criticism/Theory
This chapter addresses some of the later psychological dimensions inherent within adolescents' and adults' internalization of a poem. It sets Thomas Gray's “Elegy Written in a Country Churchyard” ...
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This chapter addresses some of the later psychological dimensions inherent within adolescents' and adults' internalization of a poem. It sets Thomas Gray's “Elegy Written in a Country Churchyard” within a very specific institutional and emotional history, directing attention to the mingled pain and pleasure that can exist within the possession of a cultural object. This chapter considers how the highest-achieving elementary-school pupils might have felt when they read and recited a work that dubs the poor both unlettered and mute. Further, it speculates about the ability of the memorized poem to stay within those individuals for the remainder of their days, and to act as a constant reminder of the educational and social processes that moved them out of one class and into another—an elevation the eighteenth-century poem deems impossible.Less
This chapter addresses some of the later psychological dimensions inherent within adolescents' and adults' internalization of a poem. It sets Thomas Gray's “Elegy Written in a Country Churchyard” within a very specific institutional and emotional history, directing attention to the mingled pain and pleasure that can exist within the possession of a cultural object. This chapter considers how the highest-achieving elementary-school pupils might have felt when they read and recited a work that dubs the poor both unlettered and mute. Further, it speculates about the ability of the memorized poem to stay within those individuals for the remainder of their days, and to act as a constant reminder of the educational and social processes that moved them out of one class and into another—an elevation the eighteenth-century poem deems impossible.
R. O. A. M. Lyne
S. J. Harrison (ed.)
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199203963
- eISBN:
- 9780191708237
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203963.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book collects the papers of Oliver Lyne, and was conceived by a group of his former pupils and colleagues as a memorial to Oliver. To make it the more accessible, effective, and compact, it was ...
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This book collects the papers of Oliver Lyne, and was conceived by a group of his former pupils and colleagues as a memorial to Oliver. To make it the more accessible, effective, and compact, it was eventually decided to omit papers which were particularly short or technical, or which had been superseded through Oliver's later work or changes of view. Oliver's output may be grouped into three periods: the first (A) from the beginning to the publication of The Latin Love Poets (1980); the second (B) from 1983 to the publication of Horace: Behind the Public Poetry (1995); the third (C) the papers that followed. The papers (like the books) present a striking concentration on the most well-known period of Latin poetry, from c.60 BC to c.20 AD, and show particular concern with the relation of personal and public poetry. Period A is chiefly preoccupied with personal poetry, which is conceived as reflecting actual personality and opinions. Period B deals with poetry which seems to present a public and Augustan stance. This stance, however, is undermined; undermining indeed (with its more devious congeners) forms perhaps the central concern in Lyne's analysis of poetry. The return to avowedly or professedly personal poetry in period C now gives more emphasis to its literary forms and structures, and to intertextuality.Less
This book collects the papers of Oliver Lyne, and was conceived by a group of his former pupils and colleagues as a memorial to Oliver. To make it the more accessible, effective, and compact, it was eventually decided to omit papers which were particularly short or technical, or which had been superseded through Oliver's later work or changes of view. Oliver's output may be grouped into three periods: the first (A) from the beginning to the publication of The Latin Love Poets (1980); the second (B) from 1983 to the publication of Horace: Behind the Public Poetry (1995); the third (C) the papers that followed. The papers (like the books) present a striking concentration on the most well-known period of Latin poetry, from c.60 BC to c.20 AD, and show particular concern with the relation of personal and public poetry. Period A is chiefly preoccupied with personal poetry, which is conceived as reflecting actual personality and opinions. Period B deals with poetry which seems to present a public and Augustan stance. This stance, however, is undermined; undermining indeed (with its more devious congeners) forms perhaps the central concern in Lyne's analysis of poetry. The return to avowedly or professedly personal poetry in period C now gives more emphasis to its literary forms and structures, and to intertextuality.
Fred Parker
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199288076
- eISBN:
- 9780191713439
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199288076.003.0011
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
The historical self-consciousness of modernity that emerged in the 18th century gave rise to an association of the classic with a valuable simplicity whose mediation or transmission had become ...
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The historical self-consciousness of modernity that emerged in the 18th century gave rise to an association of the classic with a valuable simplicity whose mediation or transmission had become specially problematic. ‘Augustan’ stances, accommodating the play of difference (Horace, Pope, Johnson), are contrasted with desires for a more immediate realizations of such simplicity, often via pastoral (Fénelon, Collins, Cowper), and with the sense of radical loss or absence to which those desires could lead (Wordsworth, Gray's Elegy). The comparable response of Eliot to Dante suggests the perennial centrality of this topic to the project of classicism.Less
The historical self-consciousness of modernity that emerged in the 18th century gave rise to an association of the classic with a valuable simplicity whose mediation or transmission had become specially problematic. ‘Augustan’ stances, accommodating the play of difference (Horace, Pope, Johnson), are contrasted with desires for a more immediate realizations of such simplicity, often via pastoral (Fénelon, Collins, Cowper), and with the sense of radical loss or absence to which those desires could lead (Wordsworth, Gray's Elegy). The comparable response of Eliot to Dante suggests the perennial centrality of this topic to the project of classicism.
G. O. Hutchinson
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199279418
- eISBN:
- 9780191707322
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279418.003.0005
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Greek papyri, especially of epigrams, are used to show the connections and problems of the Catullan corpus. It is argued that a three-book collected edition does not fit the ancient material: poems ...
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Greek papyri, especially of epigrams, are used to show the connections and problems of the Catullan corpus. It is argued that a three-book collected edition does not fit the ancient material: poems 61-4 were issued separately; a (1-60) and c (65-116) are the somewhat distorted remains of two simultaneous books, which are to be read together and compared. c falls into two parts (c1 65-68b, c2 69-116) which are themselves to be contrasted, and which between them display Catullus matching the range of Callimachus' elegy. c2, c1, and a are seen to exploit differently the concern of epigram with physical objects. In c2 the objects are parts of the body; this helps c2 create a distinctive world.Less
Greek papyri, especially of epigrams, are used to show the connections and problems of the Catullan corpus. It is argued that a three-book collected edition does not fit the ancient material: poems 61-4 were issued separately; a (1-60) and c (65-116) are the somewhat distorted remains of two simultaneous books, which are to be read together and compared. c falls into two parts (c1 65-68b, c2 69-116) which are themselves to be contrasted, and which between them display Catullus matching the range of Callimachus' elegy. c2, c1, and a are seen to exploit differently the concern of epigram with physical objects. In c2 the objects are parts of the body; this helps c2 create a distinctive world.
Ruth Rothaus Caston
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199925902
- eISBN:
- 9780199980475
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199925902.003.0007
- Subject:
- Classical Studies, Prose and Writers: Classical, Early, and Medieval, Ancient Greek, Roman, and Early Christian Philosophy
The conclusion suggests that many of the features characteristic of jealousy are actually responsible for some of the more distinctive elements of Roman elegy itself. Jealousy is not merely the ...
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The conclusion suggests that many of the features characteristic of jealousy are actually responsible for some of the more distinctive elements of Roman elegy itself. Jealousy is not merely the subject matter of elegy: it creates and structures elegy’s various generic features. Jealousy thus provides a much more satisfying explanation for the specific character of Roman elegy than the various theories about its origins that have typically been put forward.Less
The conclusion suggests that many of the features characteristic of jealousy are actually responsible for some of the more distinctive elements of Roman elegy itself. Jealousy is not merely the subject matter of elegy: it creates and structures elegy’s various generic features. Jealousy thus provides a much more satisfying explanation for the specific character of Roman elegy than the various theories about its origins that have typically been put forward.
Arnold Krupat
- Published in print:
- 2012
- Published Online:
- August 2016
- ISBN:
- 9780801451386
- eISBN:
- 9780801465857
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801451386.001.0001
- Subject:
- Society and Culture, Native American Studies
The word “elegy” comes from the Ancient Greek elogos, meaning a mournful poem or song, in particular a song of grief in response to loss. Because mourning and memorialization are so deeply embedded ...
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The word “elegy” comes from the Ancient Greek elogos, meaning a mournful poem or song, in particular a song of grief in response to loss. Because mourning and memorialization are so deeply embedded in the human condition, all human societies have developed means for lamenting the dead, and, this book surveys the traditions of Native American elegiac expression over several centuries. The book covers a variety of oral performances of loss and renewal, including the Condolence Rites of the Iroquois and the memorial ceremony of the Tlingit people known as koo'eex, examining as well a number of Ghost Dance songs, which have been reinterpreted in culturally specific ways by many different tribal nations. The book treats elegiac “farewell” speeches of the eighteenth and nineteenth centuries in considerable detail, and comments on retrospective autobiographies by Black Hawk and Black Elk. Among contemporary Native writers, it looks at elegiac work by Linda Hogan, N. Scott Momaday, Gerald Vizenor, Sherman Alexie, Maurice Kenny, and Ralph Salisbury, among others. Despite differences of language and culture, the book finds that death and loss are consistently felt by Native Americans both personally and socially: someone who had contributed to the People's well-being was now gone. Native American elegiac expression offered mourners consolation so that they might overcome their grief and renew their will to sustain communal life.Less
The word “elegy” comes from the Ancient Greek elogos, meaning a mournful poem or song, in particular a song of grief in response to loss. Because mourning and memorialization are so deeply embedded in the human condition, all human societies have developed means for lamenting the dead, and, this book surveys the traditions of Native American elegiac expression over several centuries. The book covers a variety of oral performances of loss and renewal, including the Condolence Rites of the Iroquois and the memorial ceremony of the Tlingit people known as koo'eex, examining as well a number of Ghost Dance songs, which have been reinterpreted in culturally specific ways by many different tribal nations. The book treats elegiac “farewell” speeches of the eighteenth and nineteenth centuries in considerable detail, and comments on retrospective autobiographies by Black Hawk and Black Elk. Among contemporary Native writers, it looks at elegiac work by Linda Hogan, N. Scott Momaday, Gerald Vizenor, Sherman Alexie, Maurice Kenny, and Ralph Salisbury, among others. Despite differences of language and culture, the book finds that death and loss are consistently felt by Native Americans both personally and socially: someone who had contributed to the People's well-being was now gone. Native American elegiac expression offered mourners consolation so that they might overcome their grief and renew their will to sustain communal life.
R.O.A.M. Lyne
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199203963
- eISBN:
- 9780191708237
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203963.003.0002
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This paper gives a close reading of this poem of Propertius, with detailed analysis of the text and its language, concentrating on the psychology of the lover.
This paper gives a close reading of this poem of Propertius, with detailed analysis of the text and its language, concentrating on the psychology of the lover.
S.J. Harrison
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199203581
- eISBN:
- 9780191708176
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203581.003.0004
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Horace's Epodes both incorporate and react against their archaic model Archilochus, and also interact significantly with other contemporary genres (Vergil's Eclogues and love-elegy). The second half ...
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Horace's Epodes both incorporate and react against their archaic model Archilochus, and also interact significantly with other contemporary genres (Vergil's Eclogues and love-elegy). The second half of the book shows especially generic uncertainty; an interesting and rich generic mixture results.Less
Horace's Epodes both incorporate and react against their archaic model Archilochus, and also interact significantly with other contemporary genres (Vergil's Eclogues and love-elegy). The second half of the book shows especially generic uncertainty; an interesting and rich generic mixture results.
S.J. Harrison
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199203581
- eISBN:
- 9780191708176
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203581.003.0007
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
The Aeneid is not just the culmination of all ancient epic traditions, but also exploits generic complexity to enrich its texture. Apart from the obvious but still underrated interface with tragedy, ...
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The Aeneid is not just the culmination of all ancient epic traditions, but also exploits generic complexity to enrich its texture. Apart from the obvious but still underrated interface with tragedy, e.g., in the Dido-episode, there are encounters with many other non-epic styles (e.g., pastoral, didactic, elegy). As in the Odes, a classic and inimitable text is formed by generic enrichment.Less
The Aeneid is not just the culmination of all ancient epic traditions, but also exploits generic complexity to enrich its texture. Apart from the obvious but still underrated interface with tragedy, e.g., in the Dido-episode, there are encounters with many other non-epic styles (e.g., pastoral, didactic, elegy). As in the Odes, a classic and inimitable text is formed by generic enrichment.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0077
- Subject:
- Music, History, Western
This chapter describes in detail the heroic elegy and the triumphal epilogue. The first section consists of a long melody given to the trombone, accompanied by a persistent syncopated figure on the ...
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This chapter describes in detail the heroic elegy and the triumphal epilogue. The first section consists of a long melody given to the trombone, accompanied by a persistent syncopated figure on the strings. This melody is further developed by the horns, and the section ends with a long-drawn cadence founded on the last bar of the melody. The chapter also states that the theme of the middle section is given to the violins, divided into four parts, and repeated by the trumpets playing softly. After further development, the syncopated figure returns fortissimo, and the first section is repeated in shortened form. In addition, the chapter further discusses that the coda is founded on the middle section, while the drum continues the syncopated figure of the opening.Less
This chapter describes in detail the heroic elegy and the triumphal epilogue. The first section consists of a long melody given to the trombone, accompanied by a persistent syncopated figure on the strings. This melody is further developed by the horns, and the section ends with a long-drawn cadence founded on the last bar of the melody. The chapter also states that the theme of the middle section is given to the violins, divided into four parts, and repeated by the trumpets playing softly. After further development, the syncopated figure returns fortissimo, and the first section is repeated in shortened form. In addition, the chapter further discusses that the coda is founded on the middle section, while the drum continues the syncopated figure of the opening.
R.O.A.M. Lyne
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199203963
- eISBN:
- 9780191708237
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203963.003.0019
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This paper provides a running commentary on the poems normally attributed to Sulpicia in [Tibullus] III, focusing on book-structure and gender as well as elegiac conventions.
This paper provides a running commentary on the poems normally attributed to Sulpicia in [Tibullus] III, focusing on book-structure and gender as well as elegiac conventions.
Edward Holberton
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199544585
- eISBN:
- 9780191719981
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199544585.003.0008
- Subject:
- Literature, 17th-century and Restoration Literature
This chapter reads elegies for Cromwell against the disintegration of the Protectorate and the staging of an elaborate, anachronistic, state funeral. It surveys the broadside elegies that appeared ...
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This chapter reads elegies for Cromwell against the disintegration of the Protectorate and the staging of an elaborate, anachronistic, state funeral. It surveys the broadside elegies that appeared soon after Cromwell's death, which prematurely interpreted the organization of a quasi-royal heraldic funeral as a return to traditional dynastic order and values. Only a broadside by Waller questions the stability of the first Protector's cultural legacy. As army unrest developed, later elegies by Marvell, Sprat, and Dryden find that the funeral pageantry fails to provide a coherent focus for their disappointment, fears, and hopes for renewal. In various ways these works distance themselves from the spectacle and its intimations of traditional orders re-established. They probe the hyperbole and scripted rites of mourning in search of Cromwell's real cultural legacy: the institutional foundations on which a new Protectorate can be built and the limitations that it must negotiate.Less
This chapter reads elegies for Cromwell against the disintegration of the Protectorate and the staging of an elaborate, anachronistic, state funeral. It surveys the broadside elegies that appeared soon after Cromwell's death, which prematurely interpreted the organization of a quasi-royal heraldic funeral as a return to traditional dynastic order and values. Only a broadside by Waller questions the stability of the first Protector's cultural legacy. As army unrest developed, later elegies by Marvell, Sprat, and Dryden find that the funeral pageantry fails to provide a coherent focus for their disappointment, fears, and hopes for renewal. In various ways these works distance themselves from the spectacle and its intimations of traditional orders re-established. They probe the hyperbole and scripted rites of mourning in search of Cromwell's real cultural legacy: the institutional foundations on which a new Protectorate can be built and the limitations that it must negotiate.
Murray Pittock
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199232796
- eISBN:
- 9780191716409
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199232796.003.0002
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter argues that Allan Ramsay's work on creating a synthetic Scots language in his writing and in inflecting high cultural genres for use in new ways provided the basis for a distinctive ...
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This chapter argues that Allan Ramsay's work on creating a synthetic Scots language in his writing and in inflecting high cultural genres for use in new ways provided the basis for a distinctive Scottish poetry, which articulated the experience of post-Union Scotland in a manner at once accessible to a wider British market and possessed of clandestine codes which were more easily understood by his Scottish readers. It examines some of the key forms of Scottish poetry and some of Ramsay's most important work.Less
This chapter argues that Allan Ramsay's work on creating a synthetic Scots language in his writing and in inflecting high cultural genres for use in new ways provided the basis for a distinctive Scottish poetry, which articulated the experience of post-Union Scotland in a manner at once accessible to a wider British market and possessed of clandestine codes which were more easily understood by his Scottish readers. It examines some of the key forms of Scottish poetry and some of Ramsay's most important work.
Wendy Lesser
- Published in print:
- 2002
- Published Online:
- March 2012
- ISBN:
- 9780520222212
- eISBN:
- 9780520928619
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520222212.003.0031
- Subject:
- History, American History: 20th Century
This chapter presents an elegy for Mario Savio. It discusses Savio's lack of interest in publishing for fear of losing the copyright. The chapter also describes how he gave political speech the ...
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This chapter presents an elegy for Mario Savio. It discusses Savio's lack of interest in publishing for fear of losing the copyright. The chapter also describes how he gave political speech the weight and subtlety of literature. It argues that Savio's speeches cannot be captured in print because his voice, accent, and pitch were physically part of the meaning of his words. It expresses the author's feeling of a great loss on Savio's death as if the last surviving member of a rare and beautiful species has disappeared from the earth.Less
This chapter presents an elegy for Mario Savio. It discusses Savio's lack of interest in publishing for fear of losing the copyright. The chapter also describes how he gave political speech the weight and subtlety of literature. It argues that Savio's speeches cannot be captured in print because his voice, accent, and pitch were physically part of the meaning of his words. It expresses the author's feeling of a great loss on Savio's death as if the last surviving member of a rare and beautiful species has disappeared from the earth.
