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These love songs are, of course, Sufi poems, and a few odds and ends formed out of that same Source of all joy. They follow no formal rhyme or metre, except when they do, and have only the path of love as a common theme.
"At first listen, music is conspicuously absent from Somaliland's public soundscapes. The lingering effects of a war that devastated the artistic community and the increasing presence of Salafist groups, which see music as incompatible with Islamic principles, have muted musical practice. Nonetheless, as Christina Woolner undertook research in postwar peacebuilding in Somaliland's capital, Hargeysa, she continually heard snippets of songs. Many of these, she learned, were about love. In a time and region riddled with precarity, hees jacayl permits singers to "sing from the heart," a mode of voicing songs that Woolner calls envocalization, which allows the possibility of dareen-wadaang (feeling sharing). Despite their intense intimacy, that is, hees jacayl transcend the connection between the lover and the beloved, becoming also, perhaps paradoxically, an outward-facing, unifying force that powerfully draws together those "suffering" from love, poets, composers, singers, and listeners, in both private and public spaces. Taking us from 1950s recordings preserved on dusty cassettes to contemporary, often improvisatory performances in a scandalous venue where the author herself eventually performs, Woolner offers an understanding of love songs across time and space that opens new realms of possibility, for relating to others and for local reconciliation, which are otherwise closed off by overwhelming conditions of precarity"--
This handbook is a guide to the reading of elegiac, iambic, personal and public poetry of early Greece. Intended as a teaching manual or as an aid for advanced undergraduate and graduate students, it presents the major scholarly debates affecting the reading of these poetic texts, such as the effect of genre, the question of the poetic persona, or the impact of modern literary theory.
This is an exploratopn of rhythm and meter in the 19th-century German Lied, including songs for voice and piano by Fanny Hensel née Mendelssohn, Franz Schubert, Robert Schumann, Johannes Brahms, and Hugo Wolf. The Lied, as a genre, is characterised especially by the fusion of poetry and music.
On Biblical Poetry takes a fresh look at the nature of biblical Hebrew poetry beyond its currently best-known feature, parallelism. F.W. Dobbs-Allsopp argues that biblical poetry is in most respects just like any other verse tradition, and therefore biblical poems should be read and interpreted like other poems, using the same critical tools and with the same kinds of guiding assumptions in place. He offers a series of programmatic essays on major facets of biblical verse, each aspiring to alter currently regnant conceptualizations in the field and to show that attention to aspects of prosody--rhythm, lineation, and the like--allied with close reading can yield interesting, valuable, and even pleasurable interpretations. What distinguishes the verse of the Bible, says Dobbs-Allsopp, is its historicity and cultural specificity, those peculiar encrustations and encumbrances that typify all human artifacts. Both the literary and the historical, then, are in view throughout. The concluding essay elaborates a close reading of Psalm 133. This chapter enacts the final movement to the set of literary and historical arguments mounted throughout the volume--an example of the holistic staging which, Dobbs-Allsopp argues, is much needed in the field of Biblical Studies.
The work of ‘L.E.L.’ began to be published when she was only seventeen, and in her early twenties Landon had already achieved considerable renown. As a widely envied independent woman in London society, however, she was increasingly the subject of scandalous gossip. Eventually she married the governor of a colony in West Africa, and died under mysterious circumstances soon after arriving in Africa, aged thirty-six. Landon’s life contributed very largely to the nineteenth-century archetype of the poet as a breed apart, heroic but doomed. Her poetry, however, was until very recently largely forgotten; this is the first twentieth-century edition of her poems, which the editors describe as “cold and sentimental at the same time, flat and intense.” In addition to a broad selection of Landon’s poetry and prose, this volume also includes a wide variety of contextual materials and a comprehensive bibliography.
This ground-breaking study explores the structure and literary figures in the biblical Hebrew poetry of the Song of Songs. These figures include simile, metaphor, paronomasia, parallelism, sensory cluster, fertility language - flowers, spices, and plants as well as animals and images of wealth - and many other literary devices, delineated but not limited to how they also appear in classical literature as defined by Aristotle, Quintilian, and others. This biblical poetry is also compared to the Greek poetry of Sappho and Egyptian love poetry as well as to the Ramayana and the Kamasutra. The Song of Songs is discreetly yet firmly interpreted as erotic literature.