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One of the most eloquent poets of the Safavid period mentioned by the author of Latāef al-Khiāl is Āref Īgī/Ījī. The aim was to explain the necessity of identifying the attribution of three quatrains of Āref Ījī to Khiāli Isfahāni and explore the reasons of the falseness of Khiāli Isfahāni's attribution in Latāef al-Khiāl. The author of Latāef al-Khiāl mentions Āref Ījī Isfahāni and then mentions Khiāli Isfahāni. From the poems that the auther mentios we can conclude that by the name, he means Khiāli Bokhārāi/Heravi, a sunnet composer living in 15th century AH and a contemporary of Ologh Beyg. The author mentions eleven verses of the sunnets and three quatrains under the name of Khiāli Isfahāni, while this study showed that out of the 17 verses mentioned by the author, six verses (three quatrains) has been mentioned in other sources under the name of Hakim Āref. Relying on authentic sources, this study showed that in addition to the eleven verses which belong to Khiāli Bokhārāi and mistakenly attributed to Khiāli Isfahani, three quatrains of Āref Ījī is attributed to Khiāli Isfahāni in Latāef al-Khiāl. [ABSTRACT FROM AUTHOR]

One of the most eloquent poets of the Safavid period mentioned by the author of Latāef al-Khiāl is Āref Īgī/Ījī. The aim was to explain the necessity of identifying the attribution of three quatrains of Āref Ījī to Khiāli Isfahāni and explore the reasons of the falseness of Khiāli Isfahāni's attribution in Latāef al-Khiāl. The author of Latāef al-Khiāl mentions Āref Ījī Isfahāni and then mentions Khiāli Isfahāni. From the poems that the auther mentios we can conclude that by the name, he means Khiāli Bokhārāi/Heravi, a sunnet composer living in 15th century AH and a contemporary of Ologh Beyg. The author mentions eleven verses of the sunnets and three quatrains under the name of Khiāli Isfahāni, while this study showed that out of the 17 verses mentioned by the author, six verses (three quatrains) has been mentioned in other sources under the name of Hakim Āref. Relying on authentic sources, this study showed that in addition to the eleven verses which belong to Khiāli Bokhārāi and mistakenly attributed to Khiāli Isfahani, three quatrains of Āref Ījī is attributed to Khiāli Isfahāni in Latāef al-Khiāl. [ABSTRACT FROM AUTHOR]

The new Muslim Turkish states that emerged with Turks' entry into the Islamic field brought their culture to Islamic civilization. Turks reflected their own Islamic perceptions and lives onto the works they produced in the architectural, literary, cultural, and artistic fields. The reason why Persian poetry evolved and moved to a higher point during the Great Seljuk State was that the sultans and high-level bureaucrats were patrons of poems and poets. In the same period, the firing techniques used in tile art were further developed by the masters of the city of Kashan, and the tile products the city produced began to be called kāshī. In the 13th and 14th centuries, quatrains adorned these tiles, which were described as luxury consumer goods of the period. This article examines this period of time where poetry and tile work occurred hand in hand and the importance of the city of Kashan as a tile production center and presents the place and development of quatrains that began developing in the Great Seljuk period with regard to the sultans and society. The article then examines the poems found on various ceramic products belonging to the 13th and 14th centuries, presents their translations, and shares pictures of these tiles in order to identify the poets and form an opinion on the poetry and aesthetic tastes of period. [ABSTRACT FROM AUTHOR]

Copyright of Marmara University Journal of Turkology / Marmara Türkiyat Araştırmaları Dergisi is the property of Marmara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

John Gower is known for writing long. After composition of Vox clamantis, however, Gower simultaneously wrote short, mastering the art of the quatrain. This is the form of his very shortest authenticated poems. They form a set. All are in Latin. All employ internal rhyme. These jingling poems stand out from the slow, lugubrious music of the nearly rhymeless Vox clamantis. Gower turned the difficulties of the quatrain-length poem to advantage, composing a series of postage-stamp Latin poems that comment on the vastnesses of his life in poetry. From the archer poem "Ad mundum mitto," associated with Vox clamantis, to the prophetic Lancastrian encomium H. aquile pullus, in Gower's quatrains we find an art of literary asceticism that sorts oddly with the poet's current reputation for prolixity. [ABSTRACT FROM AUTHOR]

Khayyam’s quatrains have been translated into many languages ​​and have brought worldwide fame to this poet and a great honor for Iranian literature. Khayyam’s quatrains have been translated several times into Kurdish. One of the most successful translations is the translation of the famous Kurdish poet, writer and translator, Abdul Rahman Sharafkandi, nicknamed “Hejar”. While faithful to the structure and content of Khayyam’s poetry, this translation is a kind of free and conceptual translation. The translator tries to convey Khayyam’s view of the world inside and outside, his main message, and his poems’ general spirit to the Kurdish audience. He attempts to transmit the semantic and formal features of the original poem such as meter and form, tone and firmness of Khayyam’s speech, and its external and internal music in his translation. The present study critically analyzes this translation formally and semantically, adopting a descriptive-analytical method and relying on library and documentary data. It explores the translator’s method in translating Khayyam’s poetry. The results of the study indicated the following factors led to the translator’s success in his translation: the poet being a translator himself, his complete mastery of the source and target languages, his correct understanding of the content of the source text, and the intention of the original author, avoiding literal translation, choosing tone and words appropriately and recreating the internal and spiritual music of Khayyam’s poetry.

In this article, we aim to point out some important directions in revealing the structural and execution particularities of the Romanian urban popular romance, based on the comparative analysis of different interpreted versions of the romance “Pe lângă plopii fără soț..” (see English translation of the entire romance) performed by the artists Maria Bieșu, Mihai Munteanu, Gheorghe Sărac, Traian Uilecan, Maria Răducanu, Alexandru Arșinel. Therefore, we will make an analysis in terms of the musical-poetical content, highlighting the defining elements both of the interpretation and content, as well as revealing the relationship between the vocal part and the orchestral accompaniment.

Jafar Ramzi Ismailzadeh’s lyrical poems have been involved in research in the article. The poems were analyzed in general, and examples from the different poems were given. The creation of literary critic, scientist, translator, poet Jafar Ismailzade Balaamin, has a special place in Azerbaijani literature. Although literary critic, scientist Jafar Ramzi Ismailzadeh began his career at a young age, since 1935 (in hıs 30 years) as he has spent more than 22 years in prison and exile, until the 1960s it is difficult to learn more about his creativity. As the life, the creativity of Jafar Ramzi is rich and varied. Jafar Ramzi is the author of 12 books. One of these books is a monograph, two of them are tazkira, four poetry books («Poems», 1974; «I count days», 1982; “Sounds from the Heart”, 1986; «Delad Wishes», 1990); two dictionaries («Dictionary of Arabic and Persian words used in Azerbaijani classical literature», 1966; «Dictionary of Arabic and Persian words used in Azerbaijani classical literature», 1981); and four of them are books collected with humor and anecdotes from various peoples («Foreign humor», 1964; «The pomegranates of heaven», 1966; «Let’s laugh together», 1970; “The world peoples’s humorous”, 1976). Scientific innovation: the life, activity and creation of poet, translator Jafar Ramiz is researched for the fist time by researcher. Article is based on unike materials which attracted by the author. Importance of application: this research can be used in lectures, seminars at high education institutions and secondary schools.

These notes aim at offering a comparative study between two similar sonnets by Quevedo (numbers 2 and 3, Obra poética, ed. Blecua, 1969-1981, vol. 1, pp. 149-150). The analysis outlined here allows to observe, moving from the numerous common features which characterize the tercets, elements that indeed oppose the quatrains, radically resulting, thus, in a differentiation in the metaphoric statement of each poem. [ABSTRACT FROM AUTHOR]

In this article, I analyse the vehicles of humour in two short forms of Internet poetry that developed in the 2000s: the pirozhok (literary, a ‘stuffed bun’) and the poroshok (‘powder’). Poems of these genres are quatrains written in iambic tetrameter. Pirozhoks have no rhyme scheme, whereas, in poroshoks, the fourth line truncated to two syllables rhymes with the second line. The poroshok as a genre is a descendant of the pirozhok. Just as in jokes and several other genres, a punchline plays an important role in pirozhoks and poroshoks. In Russian, the punchline is termed puant, which is a borrowing from French (la pointe). The truncation of the final line in a poroshok puts it in a special position. The truncated line, independently or together with the third line, comprises the punchline of a poroshok. The punchline is practically mandatory and may be presented in greater detail inasmuch as it does not simply violate the reader’s expectations but enters into conflict with the beginning of the verse and forces the reader to reinterpret it. Reinterpretation manes that readers change their perception of the situation or carry out a ‘transformation’, that is, substitute the character or the entire situation. I identify common transformations, namely: thing → person, person → thing, person → animal, etc. Most frequent is the reciprocal transformation of men and cats. The transformation motif binds objects in the manner of a metaphor.

• An image-based Chinese poetry generation network. • Poetry theme and style control module aims to meet the theme and style requirements of poem. • Constructed a theme-based Chinese classical poetry dataset. The automatic generation of poems from images is a classic task in natural language processing. Recently, it has gained tremendous research interest due to the help of neural sequence-to-sequence networks. The current methods are not qualified to generate poems under the joint control of the theme and style conditions, while these two key factors are critical to the quality of Chinese poetry. This paper proposes an image-based Chinese poem generation network (ICPGN), which can obtain the holistic content and sentiments in images and transform them into theme and style representations. A poem theme and style control module (PTSC) is designed to ensure that the generated poems meet the theme and style requirements simultaneously. A new dataset CQC2020 is constructed for training and testing of the proposed network and other related methods. Extensive manual and machine experiment results demonstrate the effectiveness and competitiveness of the proposed method. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Quatrain is one of the most popular forms of Persian folk poetry. In the early literary works and in different regions in Iran, various names are used to refer to Quatrain: Fahlavi, Tarāne, Hājiyāni, Qaribi, Faryād, Šarve and so forth. The question is if these different names correspond to different genres with distinct characteristics, or they are merely different names that all belong to one autonomous genre, based on the generic and literary criteria. To answer this question, the structure and content of approximately five thousand three hundred Persian Quatrains were studied, including Čārbeiti, Seytak, Šarve, Ferāqi, Faryād, Falaki, Kallegi, Hazāragy, Hoseinā, Najmā, and Šarbe. The results show that, based on the generic and literary criteria, all of the above-mentioned have the same structural and content features and should be classified under the Quatrain genre. [ABSTRACT FROM AUTHOR]

The main purpose of this article is to shed light on the particularly obscure 17th strophe of "Les Collines", the important poem by Apollinaire which was originally published in Calligrammes (1918). How should the meaning of «...un talisman \ Mort et plus subtil que la vie» be interpreted? The hypothesis of an allusion to Christian religion has been proposed (Schleifenbaum, 1972). While such conjecture cannot be completely excluded, other probative arguments based on the specific context of the poem and, more generally, on Apollinaire's aesthetics suggest that the allusion rather concerns the rhymeless strophic form adopted for "Les Collines" mainly as a "calligrammatic" image: it is the strophic form imitating the quintil d'octosyllabes which is so relevant in the poet's work. This is further demonstrated and confirmed by the fact that Apollinaire calls "talisman" a quatrain sent to him in 1915 by his "marraine". [ABSTRACT FROM AUTHOR]

Формально-статистический, сравнительно-исторический. Научная новизна. В статье впервые проанализированы все сохранившиеся до нашего времени поэтические произведения Ф. Прокоповича на уровне строфики и рифмовки. Выводы. Автор существенно разнообразил строфику украинского силлабического стиха. Кроме дистихов с женской рифмой, поэт обратился к форме терцета на одну рифму, катрена с перекрестной рифмовкой, строф на шесть, семь и восемь строк. Одной из разновидностей восьмистишия стала октава с классической для силлабического варианта этой строфы схеме рифмовки. Таким образом, Ф. Прокопович начертил перспективы для дальнейшего развития украинского силлабического стиха.Methods of research: formal, which is often based on the use of statistics, quantitative material processing, comparative and historical. Scientific novelty. For the first time systematic representation of the main features of the stanza and rhyming by Pheophan Procopovych's poetry. Con- clusions. The idea of monotony or even the primitiveness of the syllabic poem of the sixteenth and eighteenth centuries has been long established in Ukrainian literary criticism. First of all, such superficial judgments concerned stanzas and rhymes of the Ukrain- ian syllabic, which was treated as a form with a double-edged structure and a constant pair of female rhymes. Preceding analysis showed that in the first half of the eight- eenth century Ph. Prokopoviyh had substantially diversified the stanza of the Ukrainian syllabic verse. In addition to traditional and two-storied strophic compounds that are widely used in syllabic poetry, the poet also referred to the form of a terzetto for one rhyme with the AAA rhyme scheme ("Behind the pock-marked Grave"), in several texts - to the form of a catenary with cross- rhyming of ABAB ("The crying of shepherds in protracted grief" etc.), as well as stanzas for six (AABCCB), seven (AABBCCB) and eight (AbAbCCХx) rows. In addition, an octave with a classi- cal version of this stanza, with a metric structure and a rhythmic pattern has become one of the variants. There is also one text with an unequal structure, consisting of distiches, terzetto and quat- rains in the poet's work. In one of the texts ("Secular song") there are regular internal rhymes in the idle rows. The most widespread size of the Ukrainian syllabic – the 13 -syllable verse – is realized exclusively in the two-verse strophic form. At the same time, the second most commonly used "book" size is the 11 syllabic, on the contrary, is presented in various stanza form: distiches, quatrains with cross rhymes ABAB and octaves. The ditches, cross-rhymes quatrains, five-verse and seven-verse were found in strophic syllabic.

The article discusses the Spanish source of Oliver Goldsmith's 1759 poem "On a Beautiful Youth Struck Blind With Lightning," particularly his two quatrains. Also cited are an analysis by editor Roger Lonsdale of Goldsmith's poetry in which he found that a version of the quatrain appeared in a 1760 issue of the "British Magazine," as well as the studies by Peter Cunningham, Austin Dobson, and Arthur Friedman on Goldsmith's work.

Jonathan Nauman makes a fine job of demonstrating how Herbert sought to express the operation of divine grace in poetry by integrating meaning and form. I take issue, however, with his argument that Vaughan's reliance upon imitatio prevented him from sustaining a similarly creative prosody in his own work. He devised original ways of matching form with content not only in simple quatrains and complex stanzas, but also in irregular organic structures that reflected the turbulent spiritual experiences that distinguish his poetry from the calmer narrative art of Herbert. [ABSTRACT FROM AUTHOR]

The local and indigenous ceremonies in Sistan region shows the rich and old culture of this region. Following the rural culture, people of this region have used poetry and songs sufficiently for maintaining and reviving the mourning ceremonies. Ardah-mourning or reading quatrain is a deeply sad and mournful song in the mourning ceremonies of Sistan. This study employs library study as well as some interviews with the informants to investigate Ardah-mourning and its uses in the mourning ceremonies of Sistan. The history, the performants, the performance, and the time and place show that people of Sistan use their own dialect for this cultural practice. Compared with other types, this practice takes the lyrics and the music as basic aspects of the ancient ethnic groups within Iran. moreover, the study analyzes the Sistani quatrains, its tone, rhythm, form, language, content, and literary features. It is general claimed that the songs and lyrics are devices to soothe the sadness among the people in Sistan. [ABSTRACT FROM AUTHOR]

The article offers work of W.H. Auden, an English-American poet is presented. It highlights that Auden's memorability is about the sonic elements of verse experimented with other forms in poems like "They," crafting more complicated stanzas to figure contemporary concerns about freedom and order while rejecting the memorability of oratorical style and mnemonic structure; and his repeated returns to literary-historical amnesia in poems like "The Horatians."

Journeys of Daniel Naborowski to France (between 1605-1608), except for the tour of diplomatic duty on behalf of Janusz Radziwiłł, were also an occasion for coming into contact with poets from the court of Henry IV. One of the popular literary movements of that time was moral poetry also called moral tetrastichs (established by Guy de Pibrac). Among the members of this current were Pierre Matthieu and Claude Guichard, aulic poets and historians. The aim of this article is to show resemblances and parallels between writings of the above mentioned poets and poems by Daniel Naborowski (Impresa: Calando poggiando, The Brevity of Life) and pieces ascribed to him (On this, Secular Alternation). [ABSTRACT FROM AUTHOR]

Pushkin's novel in verse Eugene Onegin (1833) has been considered not just the work of the period of Pushkin's best and greatest lyrical output, but the starting-point of the classic nineteenth-century Russian novel. As this article strongly insists, the novel evokes the so-called 'Russianness,' which reminds us of what has typically been known as Russian or the Russian soul, as well as Russian types of emotional response reflected in the literary figure. The most important question this article addresses is the idea of Russianness encoded into the heroine, Tatyana, in particular. More concretely speaking, it is our main concern to investigate Tatyana's identity as expressed through the motif of the Russian soul and its relationship with the structural uniqueness of the novel. The purpose of the present study then is to explore the extent to which this structural peculiarity is found throughout the text as well as how this question is associated with the characterization of the heroine, Tatyana. Fundamentally, the relationship between the text's structural peculiarity and the character's identity, in terms of thematic composition, will be at the center of our arguments. [ABSTRACT FROM AUTHOR]

Abstract Recent interest in oral poetic traditions has centred on the possibility of applying cognitive linguistic categories in order to shed light on the nature of poetic improvisation across a range of cultures and historical periods (Boas, 2016). Frames, or topics or scenes, can be seen to be associated with particular scripts, consisting at least partly of formulaic language, which facilitates the process of poetic creation in real time. This paper focuses on the ayyu , a short improvised oral poetic genre common among the Jbala people of northern Morocco. In the first section, I examine the habitual repertoire of two singers, and show how they indeed associate particular frames (love, pilgrimage, etc.) with certain organizational sequences and formulaic phrases that are also found in the context of these frames in the wider corpus of Jebli poetry. In the second part, I focus on the klam , or utterances, inserted in the middle or placed in the end of ayyus that are always ignored in dictated or published versions of these poems. Klam does not strictly belong within the four-line verse, but is consistently delivered during its performance. These utterances seem to have an important role in live performances, operating as a confirmation to the audience that they have picked up the right frame from the rather sketchy information in the quatrain, and from the use of particular formulaic expressions. Interestingly, although the singers generally use the predictable last line, occasionally they come up with a different option, perhaps with a view to surprising their audience or provoking a response. Highlights • In oral poetry frames, or topics or scenes, can be seen to be associated with particular scripts, consisting at least partly of formulaic language. • This research is based on a living tradition (material collected in 2018). • I examine the habitual repertoire of two singers from the Jbala region (northern Morocco), and show how they associate particular frames with certain organizational sequences and formulaic phrases. • I analyse klam , or utterances, inserted in the middle or placed in the end of ayyus, that are ignored in dictated or published versions of these poems. However, they seem to have an important role. • This study has implications for our understanding of the evidence concerning the oral genres of the past. [ABSTRACT FROM AUTHOR]

It is said that the first Persian mystical poems must have been composed before the fifth century. This matter can be traced via a number of signs extant in the old texts. Though the original form of such poems have not been recorded in the books, one of the great poets of Samanid and Qaznavi periods who has a special share in circulating mystical notions in poetry is Abu Said Abulkheir. There are a few verses of the mystical poems ascribed to him in the late manuscripts whose analysis can give us an image of how and when some Shiite notions gained currency in Persian quatrains. Analyzing the quatrains ascribed to Abu Said, this research aims to explore their status and, while answering the probable questions, the entrance of such notions into mysticism is also recognized.

In “Das Belebende,” the last of his “Pindar‐Fragmente,” Friedrich Hölderlin retraces a scene of genesis without generation, in an unheard of combination of verse and prose, which may initially appear to be written in German, but which, upon closer examination, shows itself to be composed in multiple languages at once. Throughout his text, the limits of a national language, as well as nature, as they may conventionally be understood, are broken through, revealing instead a force of language that belongs to none, but opens new possibilities for the articulation of life, one of the most prevalent topoi of Romantic poetics and science. Against the sedimentation of sense that one might call “semantics,” drawing upon the etymological derivation of the word from “σῆμα,” or “burial mound,” the course that “Das Belebende” cuts through an originally pathless earth opens insights into the life that may be at stake in writing per se. [ABSTRACT FROM AUTHOR]

Ogam is a writing system invented for the Irish language and originally used as a monument script in inscriptions on stone in Ireland and western Britain between the fifth (or late fourth) and the seventh centuries. Even though it was no longer used as a means of communication after the eighth century, it became an emblem of linguistic and cultural identity for medieval and early modern Irish scholars and poets because of its distinctive form, structure and letter names. The paper describes the characteristics of ogam as a script system and traces its place in medieval learned traditions about the origin and status of the Irish language and its alphabet, its use as a terminological tool for descriptions of Irish grammar and phonology, and its contribution to the construction of cultural memory and identity. [ABSTRACT FROM AUTHOR]

The article provides information on the book "A Story" which is a set of seventy nine sonnets of the 16th century consisting of fourteen free stanza divided into two quatrains and tercets. Topics include difference in various sonnet of different centuries, origin of the sonnets and the concept of connotation in poetry writing.