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In this paper I examine Dracontius’ distinctiveness from other Latin and Greek poets writing epithalamia. He is not just another author of original wedding songs but surprises in many ways and can be found unusual even exploring a genre that did not have one well-defined model. To prove his unconventionality and uniqueness I firstly give a detailed analysis of both wedding songs by Dracontius I demonstrate the poet’s dependence upon earlier literature, explain the metaphors he used and discuss his reinterpretations of different themes introduced already by the poets before him. Then I add all my conclusions concerning Dracontius’ originality in comparison with his predecessors.
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The paper examines the motifs from ceremonial lyric oral poetry which influenced the poetic forming of Kulenović’s long poems Stojanka majka Knežopoljka and Na pravi put sam ti, majko, izišo. Ceremonial lyric poetry follows the life cycles of the man (birth, marriage and death) and contains an abundance of characteristic motifs. Many are present in Kulenović’s long poems, where they emphasize lyric substance of the long poems, regardless of their general lyric-narrative character.
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Skender Kulenović, by creating the poem Stojanka majka Knežopoljka,in fact created a poem about eternal sorrow and at the same time a specific alogism of life and death. If heroism was, since the ancient times, understood as devotion to an idea and sacrificing for it, the question arises whether the sorrow of woman in turmoil of war loses or wins a battle according to understanding of heroism. If it wins it, is it due to the fact that the woman is carrier of regeneration or the pain of woman is stronger than heroism in quantitative sense of the word, as being beyond comparison. The elements of tužbalica together with anacreontic segments dealing with day-to-day man’s existence together in a poem constitute an exquisite apotheosis to life and the woman as a regenerator of same. It is these elements, recognizable since the earliest traces of literary creation, that put S. Kulenović among timeless writers, beyond any classification.
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Az itt közölt bizánci epigrammák közül Ióannés Geómetrésé még antik formát utánoz, Michaél Psellos versei viszont a legtöbbet használt bizánci versformában íródtak, vagyis az azonos szótagszámú, tizenkét vagy tizenöt szótagból álló metrikus sort használják, a dódekasyllabost, illetve a versus politicust; mindkét sor jambikus lejtésű, a harmadik és az utolsó előtti szótag szinte mindig rövid, s – görögben – a sor utolsó szava másodéles.
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budući 1 budući 2 trčeći lara lara lara rastana kod lare nedjelja tijelo u tami epitaf iznenadni mobitelski poziv borisu
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Poremećeni narativ: Alzheimer Gubitnici Grafiti, adrenalin Novi kupaći kostim Kafka, psihičke bolesti Nulta točka je hladna (druga verzija) Imaginarne institucije
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