901 resultados para Latin poetry.
Resumo:
This article demonstrates how early Pre-Raphaelite poetry worked according to the principle that art should be modelled on science theorised by the Pre-Raphaelites in their early essays. As the main theorists (rather than practitioners) of Pre-Raphaelite art, F. G. Stephens and William Michael Rossetti defined the Pre-Raphaelite project in terms of observation, investigation, experiment, the “adherence to fact” and the “search after truth”. In the hands of the early Pre-Raphaelite poets, and particularly Rossetti himself, poetry too becomes a mode of scientific enquiry into the natural world, the nature of observation, human psychology and medical practice.
Resumo:
Throughout the corpus of Latin love elegy, the imaginary tombs envisaged by the elegists for their own personae and for other inhabitants of their poetic world display a striking tendency to take on the characteristic attributes and personalities of those interred within. The final resting-place of Propertius, for instance, that self-proclaimed acolyte of Callimachean miniaturism and exclusivity, is to be sequestered from the degrading attentions of the passing populace (Prop. 3.16.25–30) and crowned with the poet's laurel (2.13.33–4). What remains of his meagre form will rest in a ‘tiny little urn’ (paruula testa, 2.13.32) beneath a monument declaring the lover's slavery to a single passion (2.13.35–6), and the grave is to be attended, or so he hopes, by the object of that passion herself (3.16.23–4), or occasionally (though he is not so confident of this) by his patron Maecenas (2.1.71–8). Likewise the memorial designed by Ovid for Corinna's pet parrot - an imitatrix ales endowed with the most distinctive foibles of the elegiac tradition - in Amores 2.6, comprising a burial mound pro corpore magnus (2.6.59) topped with a tombstone described as exiguus (‘tiny’, 2.6.60; cf. Prop. 2.1.72, 2.13.33), exhibits an elegiac emphasis worthy of the parrot's human counterparts among Ovid's poetic predecessors.
