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1 A XIX. század költői (Les poètes du 19e siècle) est un poème programmatique de Petőfi, dans lequel il esquisse sa vision d’un monde meilleur qui sera le fruit
Summary
Adonis presents a special case of Romans' wide interest in Eastern religions during the Augustan age: he was brought to Rome by poets, and for this reason his ‘existence’ in Latin culture was exclusively literary. His worship never had the same importance as in Hellenistic Egypt, but the pathos of this figure, and his story of love and death aroused the interest of the elegiac poets, in particular, who used his exemplum to illustrate certain τόποι of their genre and to emphasize the originality of their poetry. Through the analysis of his treatment in Propertius and in Ovid a series of reflections on elegy's nature and sense can be reconstructed in an interesting dialogue between the two poets.
reviennent de façon récurrente dans les vers des poètes, au point de constituer un véritable topos, soumis à variations. J’ai évoqué ce procédé descriptif à l’occasion de recherches centrées sur d’autres questions, 3 mais le moment est venu d’y consacrer une
What makes a good poet according to Someśvaradeva?
Poetic merit, demerit and the ethics of poetry in the Surathotsava and the Kīrtikaumudī
In 13th-century Gujarat, the court of the Caulukya emperors in Aṇahilavāḍa-Pāṭan offered patronage and employment to a highly learned group of individuals. These men also wrote poetry and drama in their spare time — for their amusement, as a mark of culture and to comment upon the events of their times. Within this group, Someśvaradeva, royal chaplain to the Caulukya monarch Bhīma II and his Vāghela successors Lavaṇaprasāda and Vīradhavala, was renowned for having written a composition in only one and a half hours. He offers us in his writings a wealth of historical information on his political circumstances, along with subtle reflections on the ethics of poetry. Who is a good poet? Who is a bad poet? Is a good poet a virtuous individual (sajjana)? Is a bad poet a rogue (durjana)? Who are the models of poetic propriety? Such are some of Someśvaradeva’s concerns. These frequently satirical commentaries on standards of poetry and the ideal poetic disposition appear in the preambles to his two epic poems, the Surathotsava 1.30–64 and the Kīrtikaumudī 1.7–46. Despite their sophistication, they have hardly interested most scholars working on these texts. The article analyses these passages in detail for the first time, and examines the ethics that Someśvaradeva, and the poets of his company, felt underlay the art of poetry.
The paper shows on the example of Vājīd, a poet once popular but neglected in colonial and nationalist historiography, that rich treasures of Indian literature still await unearthing and philological work. The extraordinary popularity of Vājīd (fl. 1600) in Hindi before the advent of western modernism is shown by the high number of manuscripts containing his works and by the fact that he was considered to be the best exponent of the poetic form arilla. Hardly anything of his more than hundred and twenty works is published today and he is scarcely mentioned in modern literary histories. The paper examines early sectarian and secular sources on Vājīd’s life, compares them with Vājīd’s poetry and with early manuscript material, follows up his modern reception and presents the range of this poet’s works.
A survey of Vergil’s uses of the word umbra and comparisons with its uses in other Roman poets reveals that Vergil was the first poet to deploy umbra, previously neutral or negative in connotation, with positive associations, and that he may have been the first to coin it as meaning ‘ghost’. Unlike many other poets, Vergil exploits the multivalent potential of umbra, requiring readers to interpret his usage. The fact that all of Vergil’s varied uses of umbra appear in the Culex suggests that it was written by an astute follower who was perceptive to the poet’s nuanced usage of the term.
, I would like to add another aspect to the interpretation of the religious meaning of this letter and poem. The imitatio Christi , that is suggested by the text to its addressee, Bishop Syagrius, is also applied to Saint Symphorianus and the poet
Dun Karm, the national poet of Malta
A lyrical interpretation of life and citizenship
In this interview in April 2003, the world famous Peruvian writer Mario Vargas Llosa speaks about his life and some of his novels with a special focus on the last one, El Paraiso en la otra esquina 'The Paradise on the other corner'. Llosa also talks about current issues, such as the political situation in Iraq, the European Union, and Cuba.
