Search Results (9)

Amidst Hölderlin’s many well-known odes, elegies, and hymns, it is perhaps not surprising that Hölderlin’s occasional poem “To my Venerable Grandmother. On her 72nd Birthday” (Meiner verehrungswürdigen Grosmutter. Zu ihrem 72sten Geburtstag) has been translated into English only once and in an obscure self-published edition. Yet the poem is rich in Hölderlin’s distinctive diction and syntax, it reveals much about Hölderlin’s aspirations for himself, and it contains one of his deepest sets of reflections on Christ. Still, the poem is often overlooked. But once one reflects on its content, with its multiple attempts to name Christ, including his friendship to the earth and his knowing no strangers, one can readily see why Pope Francis elevated this poem as one of his favorite literary works. This publication presents the first accessible translation of the poem (I), after which I offer some commentary on its form, individual lines, and the translation (II). I then turn to the period of his writing the poem (III). I conclude with a few additional thoughts on Hölderlin and religion (IV). Full article

In American Hybrid (2009), Cole Swenson describes hybrid poetics as a reconciliation between the two dominant poetic traditions of the 20th century, which might be called lyric and experimental (xx–xxi). More recently, however, “hybrid” refers to any work blurring boundaries between poetry and other genres. This is most notable in the ever-increasing interest in the lyric essay but also in the constant revision of contemporary elegy as anti-elegy. In Poetry of Mourning, Jahan Ramazani defines anti-elegy in terms of its refusal of consolation and instead its seeking of more melancholic mourning. Subsequently, as noted by Bardazzi, Binetti, and Culler, “Elegy remains a poetic genre and yet, it has also developed a ‘mode of discourse’ that moves beyond its literary borders and finds its expressions in entangled intra-actions between the most diverse range of elegiac objects”. In the early 21st century, hybrid elegy represents the collision of two major changes in American culture: the changing nature of American death rituals and the increasingly intermedial literary landscape. Drawing on examples from Nox by Anne Carson and Ghost Of by Diane Khoi Nguyen, an elegiac version of the hyper-personalized American death ritual is inscribed in assemblages of images and text on the page. When read as a personalized American death ritual, the hybrid elegy materializes its own tradition and poetics, which are expressed in the poetic constraints of assemblage and recognizable in their reliance on elegiac repetition. Full article

This article discusses how the affinitive elements in 2 Samuel 1, 3, and 4 can be well-understood using type-scene concepts based on the concept of family resemblance and prototype theory. Applying the “type-scene” concept flexibly enables various arrangements of similar motifs and scenes, or even their absence, in the three murder stories, conveying associated messages. The repetitive motifs and scenes employed are the key characters “going out and coming back”; a background of death; killing a Saulide; mourning; judging or executing the killer; a “blood” curse; and elegy. The successive stylistic variations and modifications in conversation, narration, and elegy, in terms of motif alternations and changes in order, imply that, while David refrains from taking advantage and defends the Saulides’ honor, he treats Saul, Abner, and Ishbosheth differently according to their high and low political values. The increasingly fast pace of the narratives’ logical flow—variously determined by the length of conversation (in both dialogue and soliloquy), mourning, lamentation, and their changes in order and even their absence—indicates that, as the Saulide demise becomes gradually fatal, the narrator’s focus on their remaining members diminishes. Consequently, the establishment of David’s kingship based on his innocence is intensified. Full article

This paper discusses two typical Greek traditions of envisaging punishments for wrongdoings: one is the religious idea of inherited responsibility, and the other is the invention and evolution of the notion of hell. The former idea, sometimes summarized by authorities such as Gustave Glotz, Eric Dodds, and Hugh Lloyd-Jones under the terms inherited guilt, ancestral fault, and responsabilité héréditaire, is one of the major themes running through the writings of authors of both the Archaic and Classical periods, and is found in genres such as elegy, historiography, oratory, and prominently tragedy. As a core idea of Greek literature, it suggests that the descendants of wrongdoers are punished not for their own sins but for those of their ancestors. With the exclusion of ideas of a punishing hell, an afterlife, and the transmigration of souls, the doctrine of inherited responsibility has its own necessity for sustaining belief in the efficacy of divine punishment, given the common human experience that evil generally escapes punishment. Solon is the first Greek author to make such a statement explicitly. The latter tradition has a much longer history, which runs from Homer to Plato. Nonetheless, the descriptions of hell from Homer onwards do not remain consistent and uniform. Its evolution with the gradual incorporation of religious ideas such as afterlife punishment and transmigration of souls witnesses the need for a much more self-sufficient interpretation of cosmic justice than the notion of inherited responsibility. One interesting fact about the two traditions is that both have coexisted in the same period of time in the testimony of contemporary authors and even in the same author, notably Herodotus and Plato. Nonetheless, “with the growing emancipation of the individual from the old family solidarity”, the former idea has to give way to the latter. And in turn, the notion of inherited responsibility that gradually becomes unacceptable prompts the maturation of hell by the introduction of new elements from eschatological movements. This paper is divided into five parts. The first part serves as an introduction. The second part discusses the Homeric depiction of the Hades, which represents an early Greek understanding of the life of the dead. The third part is devoted to a detailed analysis of Solon’s notion of inherited responsibility and the various factors that contribute to its final explicit articulation. The fourth part focuses on the Orphic ideas of afterlife trial and transmigration of souls and their introduction into what we may call Platonic hell culminant in antiquity, which aims to offer a more self-contained system of justice and punishment. The fifth part is a conclusion. Full article

Vegetables are considered high value crops based on their growing areas and productivity, even if they are affected by a variety of insect pests throughout the whole growing season. Leaf miner is an immature of an insect that lives inside and consumes the leaf tissues of vegetable plants. Adult females of leaf miner puncture the leaf with their ovipositor, forming tube pattern, and feed on the punctured parts. Host plants survey of leaf miner in Multan (Pakistan) area was conducted. Twenty host plants were found in 2017, whereas twenty-four host plants were found infested with Liriomyza spp. (Diptera) in 2022 i.e., watermelon (24% infestation), long melon (75%), pumpkin (71%), round gourd (67%), snake melon (70%), bitter gourd (50%), long gourd (89%), bottle gourd (93%), pointed gourd (80%), snap gourd (86%), ridge gourd (83%), cucumber (98%), mung bean (98%), eggplant (60%), Petunia alba (88%), Zinnia elegies (30%), cotton (10%), okra (5%), berseem (7%), tomato (89%), Pea (52%) and Canola (28%). No infestation of leaf miners was observed on potato, chilies, and sweet potatoes. Color attraction results in 2017 and 2022 showed that there was maximum attraction of tomato leaf miner towards yellow sticky cards as compared to blue sticky cards. Varietal preference of tomato crop showed that Baby red variety was the most preferred by leaf miner (Liriomyza spp.), and comparatively Sehar was the least preferred variety. Field efficacy of four different insecticides against leaf miner were also tested. Insecticidal effects attributed as percent reduction of leaf miner infestation that showed the highest reduction values were observed after 7 DOA for Spinetoram (76.98%), whereas Bifenthrin (57%). Deltaphos (43 %) was the least toxic insecticide against Liriomyza spp. Integrated approaches are recommended to manage vegetable leaf miner like application of yellow sticky traps, discouraging preferred host plants, application of insecticides with novel modes of actions like spintoram and spinosad for effective management. Full article

The literary representation of China’s great rivers has repeatedly been transformed by changes in religious belief and ritual. In the Book of Songs, rivers figure primarily as political boundaries and figures of separation. Though they may already play a role in religious rites, their geographical identity is paramount. However, in the “Nine Songs” of the Elegies of Chu, they appear in a new guise as sites of divine encounter and shamanistic flight. Their treatment in later works may be regarded as a peculiar synthesis of these two traditions. Once the Four Waterways were designated as the object of state ritual in the Western Han, their divine status was widely accepted, along with explicitly political ramifications. For instance, the god of the Yellow River was honored as a participant in flood control and imperial governance writ large. Meanwhile, the tradition of the epideictic fu also celebrates the awesome scale of China’s waterways, reaching a culmination not long after the fall of the Han in Guo Pu’s (286–324) “Rhapsody on the Yangzi River”. However, it is noteworthy how often the fu tradition eschews material description of rivers in favor of celebrating their numinous powers and divine inhabitants. Because of this turn towards the divine in the medieval literary tradition, it is no accident that one of the most prominent subjects of fluvial verse in the Tang is not body of water at all but rather the Sky River, or Milky Way. Full article

Gaelic-speaking emigrants brought with them a massive body of oral tradition, including a rich and varied corpus of song–poetry, and many of the emigrants were themselves highly skilled song-makers. Elegies were a particularly prominent genre that formed a crucially important aspect of the sizeable amount of panegyric verse for members of the Gaelic aristocracy, which is a tradition dating back to the Middle Ages. This contribution will demonstrate that elegies retained a prominent place in the Gaelic tradition in the new world Gaelic communities established in many parts of Canada and in particular in eastern Nova Scotia. In many respects, the tradition is a conservative one: there are strong elements of continuity. One important difference is the subjects for whom elegies were composed: in the new world context, praise for clan chiefs and other members of the traditional Gaelic aristocracy were no longer of relevance, although a small number were composed primarily out of a sense of personal obligation for patronage shown in the Old Country. Instead—and as was increasingly happening in the nineteenth century in Scotland, as well—the deaths of new community leaders, including clergy, and other prominent Gaels were recorded in verse. The large number of songs composed to mark the deaths of community members is also important—particularly young people lost at sea and in other tragic circumstances, occasionally in military service, and so forth. In these song–poems, we see local poets playing a role assumed by song-makers throughout Gaelic-speaking Scotland and Ireland: that of spokespeople for the community as a whole. Full article

The legacy of Sir Philip Sidney, the distinguished Elizabethan courtier-poet, was the subject of numerous claims to memorialization. On 17 October 1586 Sidney died in battle at Arnhem in the United Netherlands. Less than a week later, his corpse was transported to Flushing, of which Sidney had been Governor, and in the following year Sidney’s body was “interr’d in stately Pauls”, as recorded by Anne Dudley Bradstreet—the first known poet of the British North American colonies. While Bradstreet is omitted from most early modern and contemporary literary accounts of Sidney’s legacy, this article demonstrates that Bradstreet’s commemoration of Sidney from across the Atlantic presents new insights into his afterlife and the female poet’s formulations of early modern nationhood. Bradstreet’s first formal poem, “An Elegie upon that Honorable and renowned Knight, Sir Philip Sidney” (comp. 1637–8), was a tribute to Sidney as well as to her own Anglo-American literary heritage and England’s rolls. Bradstreet exhibits her complex relationship to Sidney along the same lines that she reconceives her English identity. A comparison of the two published seventeenth-century editions of Bradstreet’s elegiac poem (1650, 1678) shows how she translates descent and lineage from kinship (and kingship) into poetic creation. In the process, Bradstreet takes her place not only as a “semi-Sidney”, as Josuah Sylvester characterized Sidney’s descendants, but also as a Sidneian Muse—in America. Full article

Gaelic laments played an integral role in the deathways of the Highland Scots of Nova Scotia. These often passionate outpourings of grief served as lasting obituaries for the dead and epitomized the richness and vigour of the Gaelic language. As sincere emotional responses, they gave a poetic and performative dimension to the deaths of clergy and other noted community members, as well as beloved relatives and victims of sudden, unexpected deaths, such as drowning and even murder. A casual scan of Gaelic printed sources from newspapers and anthologies will immediately impress the reader with the prolific number of extant elegies. It is therefore necessary to confine the scope of this article to the earliest examples in Nova Scotia, focusing primarily on the creations of the better known, established poets. Several works by less familiar bards have also been included in this study. Full article