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The poetry of the archaic period that the Greeks called iambic is characterized by scornful criticism of friend and foe and by sexual license. The purpose of these poems is unclear, but they seem to have some connection with cult songs used in religious festivals--for example, those honoring Dionysus and Demeter. In this completely new Loeb Classical Library edition of early Greek iambic poetry, Douglas Gerber provides a faithful and fully annotated translation of the fragments that have come down to us.Archilochus expressed himself in colorful and vigorous language. Famous throughout antiquity for his winged barbs, he is often considered the archetypal poet of blame. Other major poets in this volume are Semonides, best known for a long misogynistic poem describing ten types of wives; and Hipponax, who was much admired by the poets of Hellenistic Alexandria, in part for his depictions of the licentious and seamy side of society.

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This book provides a new literary treatment of an often-overlooked collection of fragmentary poems from the third century B.C.E. Alexandrian poet Callimachus. Callimachus' Iambi form a collection of thirteen poems, which rework archaic Greek iambography and look forward to Roman satire and other genres, especially to such collections as Horace's Epodes. The poems are especially significant as examples of cultural memory since they are composed both as an act of commemorating earlier poetry and as a manipulation of traditional features of iambic poetry to refashion the iambic genre. This book fills a significant gap by providing the first complete translation of several of these fragmentary poems in English, along with line-by-line commentary, notes, and literary analysis.The structure of the book is thematic, with chapters focusing on such topics as poetic voice, fable, ethical criticism, and statuary. Each chapter consists of an introduction, text and selected critical apparatus, translation, and comprehensive thematic discussion. Acosta-Hughes focuses especially on Callimachus' manipulation of traditional features of archaic iambic poetry such as persona loquens, ethical and critical message, and eristic dialogue. He also includes a detailed analysis of the Alexandrian poet's artistic relationship with the earlier iambic poets Archilochus and Hipponax.Polyeideia will interest not only readers of Greek and Hellenistic poetry but also readers of Roman satire and invective verse, as well as those intrigued by the processes of memorializing and fashioning poetic culture.

This book provides a new literary treatment of an often-overlooked collection of fragmentary poems from the third century B.C.E. Alexandrian poet Callimachus. Callimachus' Iambi form a collection of thirteen poems, which rework archaic Greek iambography and look forward to Roman satire and other genres, especially to such collections as Horace's Epodes. The poems are especially significant as examples of cultural memory since they are composed both as an act of commemorating earlier poetry and as a manipulation of traditional features of iambic poetry to refashion the iambic genre. This book fills a significant gap by providing the first complete translation of several of these fragmentary poems in English, along with line-by-line commentary, notes, and literary analysis.The structure of the book is thematic, with chapters focusing on such topics as poetic voice, fable, ethical criticism, and statuary. Each chapter consists of an introduction, text and selected critical apparatus, translation, and comprehensive thematic discussion. Acosta-Hughes focuses especially on Callimachus' manipulation of traditional features of archaic iambic poetry such as persona loquens, ethical and critical message, and eristic dialogue. He also includes a detailed analysis of the Alexandrian poet's artistic relationship with the earlier iambic poets Archilochus and Hipponax.Polyeideia will interest not only readers of Greek and Hellenistic poetry but also readers of Roman satire and invective verse, as well as those intrigued by the processes of memorializing and fashioning poetic culture.

Hardcover. Rising to the challenge of rendering the poem's Latin hexameters by adopting English iambic ones, Len Krisak's Aeneid doubles down on the English poetic tradition by also featuring rhyme. In Krisak's hands, these devices provide not only a superb kind of music but the snap and power of an epic adventure that glories in what only formal poetry can do. Enhanced by an Introduction and an extensive set of notes by Christopher M. McDonough, this Aeneid works as story, voice, and verse.'Len Krisak not only boldly meets Virgil line-for-line, but in a hexameter that answers the original meter, all while hewing to straightforward English with a weather eye on the Latin.' - A.E. Stallings Rising to the challenge of rendering the poem's Latin hexameters by adopting English iambic ones, Len Krisak's Aeneid doubles down on the English poetic tradition by also featuring rhyme. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Shakespeare s sonnets are revered the world over for perfectly capturing the torments and joys of love requited or otherwise in just fourteen lines of iambic pentameter. This treasure of a book collects 29 of the bard s most romantic sonnets, each one lovingly illustrated by the talented Caitlin Keegan. Pretty and contemporary, the illustrations tastefully accentuate the depth of sentiment in each sonnet. A brilliant sun rises over the 17th Sonnet ( Shall I compare thee to a summer s day? ) and a graceful animal adorns the 19th Sonnet ( Devouring time, blunt thou the lion s paws ). Available just in time for Valentine s Day but appropriate for any spontaneous expression of love, this is an ideal, sophisticated gift for the legions of Shakespeare fans.

This research is an instrumental investigation of a theory of rhythmical performance of poetry, originally propounded speculatively in author Reuven Tsur's A Perception-Oriented Theory of Metre (1977). "Iambic pentameter" means that there is a verse unit consisting of an unstressed and a stressed syllable (in this order), and that the verse line consists of five such units. In the first 165 verse lines of Paradise Lost, there are two such lines. The theory takes up one of the central issues in metrical studies: all criteria for metricality hitherto proposed have been violated by the greatest masters of musicality in English poetry. The question arises, how do we recognize two verse lines that are very different in their structures as instances of the same abstract pattern of, e.g., iambic pentameter, and how do we distinguish a metrical from an unmetrical line? One great difference between this theory of meter and others concerns the status of deviation. Most theoreticians deploy a battery of tools to make deviant stress patterns conform with metric pattern. Only when all attempts fail do they speak of "tension." When they succeed, they blur the distinction between, for example, Milton's and Pope's metrical styles. Or else, they have formulated different rules of metricality for Shakespeare and Milton. This theory assumes that when the versification patterns and linguistic patterns conflict, they can be accommodated in a pattern of "Rhythmical Performance" - namely, one in which the conflicting patterns are simultaneously perceptible. There are scales of mounting difficulties of mismatches, on which each poet (and each theorist) draws at different points the boundary of what is acceptable. Reuven Tsur's revised and expanded second edition (original publication, Peter Lang, 1986) is essential reading for all scholars and students involved in versification and Cognitive Poetics.

This is a wide-ranging, poetic analysis of the great English poetic line, iambic pentameter, as used by Chaucer, Sidney, Milton, and particularly by Shakespeare. George T. Wright offers a detailed survey of Shakespeare's brilliantly varied metrical keyboard and shows how it augments the expressiveness of his characters' stage language.

This is a wide-ranging, poetic analysis of the great English poetic line, iambic pentameter, as used by Chaucer, Sidney, Milton, and particularly by Shakespeare. George T. Wright offers a detailed survey of Shakespeare's brilliantly varied metrical keyboard and shows how it augments the expressiveness of his characters' stage language.

Blank verse—unrhymed iambic pentameter—is familiar to many as the form of Shakespeare’s plays and Milton’s Paradise Lost. Since its first use in English in the sixteenth century, it has provided poets with a powerful and versatile metrical line, enabling the creation of some of the most memorable poems of Wordsworth, Keats, Tennyson, Frost, Stevens, Wilbur, Nemerov, Hecht, and a host of others. A protean meter, blank verse lends itself to lyric, dramatic, narrative, and meditative modes; to epigram as well as to epic. Blank Verse is the first book since 1895 to offer a detailed study of the meter’s technical features and its history, as well as its many uses. Robert B. Shaw gives ample space and emphasis to the achievements of modern and postmodern poets working in the form, an area neglected until now by scholarship.With its compact but inclusive survey of more than four centuries of poetry, Blank Verse is filled with practical advice for poets of our own day who may wish to attempt the form or enhance their mastery of it. Enriched with numerous examples, Shaw’s discussions of verse technique are lively and accessible, inviting not only to apprentice poets but to all readers of poetry.Shaw’s approach should reassure those who find prosody intimidating, while encouraging specialists to think more broadly about how traditional poetic forms can be taught, learned, practiced, and appreciated in the twenty-first century. Besides filling a conspicuous gap in literary history, Blank Verse points the way ahead for poets interested in exploring blank verse and its multitude of uses.

Since the appearance of the first edition in 1971-72, Iambi et Elegi Graeci has been widely acknowledged as the standard critical edition of the early Greek iambic and elegiac poets. The work has now been thoroughly revised and brought up to date by the incorporation of the latest new material. In this second volume the major additions are the important new fragments of Simonides' elegies, some from a long narrative poem on the Battle of Plataea, others from personal poems of high literary interest and quality. There are also new fragments of the comic poem Margites attributed to Homer, and of Tyrtaeus. A supplementary word index has been added to take account of the changes and additions in the two volumes since the first edition.

This edition provides a full and representative selection of all early Greek lyric (omitting Pindar, who requires his own volume), elegiac and iambic poetry. First published in 1967 in the 'red Macmillan' series, it was reprinted by BCP in 1982 with addenda to the bibliography and an appendix reproducing a text of three substantial 'new' papyrus fragments by Archilochus, Stesichorus and Alcaeus. The extensive commentary gives assistance with matters of dialect and language, Homeric and Hesiodic comparisons, interpretation, content and metre. The book serves as an introduction to the poetics of the Greek archaic period - from the mid-seventh to the early fifth century BC - the 'bridge' between Homeric epic and Attic tragedy.

A colleague's murder embroils Charles Bradshaw in literary mystery as a poem written in iambic pentameter provides a clue to a series of mysterious deaths, a poet-thief stalks the Bentley Hotel, and he poses as a poet to find the culprit harrassing a pompous literary critic

Horace (65-8 bc) was one of the greatest poets of the Golden or Augustan age of Latin literature, a master of precision and irony who brilliantly transformed early Greek iambic and lyric poetry into sophisticated Latin verse of outstanding beauty. Offering allusive and exquisitely crafted insights into the brief joys of the present and the uncertain nature of the future, his Odes and Epodes explore such diverse themes as the virtues of pastoral life, the joys of wine, friendship and love, and the poet's personal anguish following Brutus' defeat at the battle of Phillipi. Ranging from subtle and tender hymns to the gods to bawdy celebrations of human passions, they remain among the most influential of all poems, inspiring poets from the Roman era to the European Renaissance, the Enlightenment and beyond.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Elegy and iambus are major forms of Greek literature which are crucial to understanding the Archaic and early Classical periods in particular. This edition gathers work by ten poets: two iambic (Semonides and Hipponax), six elegiac (Callinus, Tyrtaeus, Mimnermus, Theognis, Xenophanes, Simonides), and two writing in both forms (Archilochus and Solon). It explores a representative sample of each poet's surviving work, while also highlighting their variety, and provides an up-to-date commentary on major pieces, including recent discoveries such as Simonides' Plataea elegy and Archilochus' Telephus elegy. The wide-ranging Introduction discusses such issues as poet and persona, contexts of performance, and various cultural themes (expansion and contact with foreign cultures, social and political revolution, sexuality and gender, rationalism) as well as language, style, metre, and textual transmission. The volume will be of interest to upper-level undergraduate and graduate students, as well as to scholars of early Greek literature and cultural history.

This is a wide-ranging, poetic analysis of the great English poetic line, iambic pentameter, as used by Chaucer, Sidney, Milton, and particularly by Shakespeare. George T. Wright offers a detailed survey of Shakespeare's brilliantly varied metrical keyboard and shows how it augments the expressiveness of his characters' stage language.

"Tom Simone's translation is simply superb. Of all the translations with which I am familiar, this is the one that is the most faithful to what's there in the Italian: no frills, no poetic sallies, no choosing a word because it brings the line closer to iambic pentameter—just unadulterated Dante with good old Anglo-Saxon words and in highly readable prose." —Peter Kalkavage, St. John's University

?ho Will Help Jack Off the Horse??is the first of five books that make up Reach Around Books--Season Two. ?.and of course the whimsical poetic meter known as iambic tetrameter is no more capable of exclusive ownership than the air we all breathe.?/em> --Bimisi, to Theodor Seuss Geisl It is entirely possible to wake up in the morning with no intention of learning anything at all, but learning something substantial, nonetheless. It was a typical Wednesday afternoon at their favorite dive bar. Bimisi and Sumguyen were sparring, via a spirited match of online trivia, with patrons of a similar dive bar in another part of the world.a part of the world where it most likely was not still Wednesday afternoon.The final question.at least the last question they heard before scrambling for a pen and paper to get to work on their first parody was this:Madonna, Michael Jackson and _____ are the only 3 artists who have had a top 40 hit in 4 different decades.ANSWER: Weird Al YankovicThe five books included in the Reach Around Books Season Two Box Set include: Who Will Help Jack Off the Horse Brendas Beave Plays a Round Jiggle Wiggle Tickle Pickle Lucy Lickalotopus Goes Down South Peter Pitched a Tent Through the timeless power of double entendre, Reach Around Books will have the reader in tears of laughter while to any juvenile listener they are completely innocent. If you are offended by humor, dont buy our books. If your kid is offended by our books, that implies they understand terms only found in the Urban Dictionary.You failed as a parent long before Reach Around Books came into your life.--Toodles!

Elegy and iambus are major forms of Greek literature which are crucial to understanding the Archaic and early Classical periods in particular. This edition gathers work by ten poets: two iambic (Semonides and Hipponax), six elegiac (Callinus, Tyrtaeus, Mimnermus, Theognis, Xenophanes, Simonides), and two writing in both forms (Archilochus and Solon). It explores a representative sample of each poet's surviving work, while also highlighting their variety, and provides an up-to-date commentary on major pieces, including recent discoveries such as Simonides' Plataea elegy and Archilochus' Telephus elegy. The wide-ranging Introduction discusses such issues as poet and persona, contexts of performance, and various cultural themes (expansion and contact with foreign cultures, social and political revolution, sexuality and gender, rationalism) as well as language, style, metre, and textual transmission. The volume will be of interest to upper-level undergraduate and graduate students, as well as to scholars of early Greek literature and cultural history.

Elegy and iambus are major forms of Greek literature which are crucial to understanding the Archaic and early Classical periods in particular. This edition gathers work by ten poets: two iambic (Semonides and Hipponax), six elegiac (Callinus, Tyrtaeus, Mimnermus, Theognis, Xenophanes, Simonides), and two writing in both forms (Archilochus and Solon). It explores a representative sample of each poet's surviving work, while also highlighting their variety, and provides an up-to-date commentary on major pieces, including recent discoveries such as Simonides' Plataea elegy and Archilochus' Telephus elegy. The wide-ranging Introduction discusses such issues as poet and persona, contexts of performance, and various cultural themes (expansion and contact with foreign cultures, social and political revolution, sexuality and gender, rationalism) as well as language, style, metre, and textual transmission. The volume will be of interest to upper-level undergraduate and graduate students, as well as to scholars of early Greek literature and cultural history.