Although Alfred Tennyson's 1850 elegy, In Memoriam, has long been regarded for the quality of its grief and its doubt, the deepened sense of struggle and doubt produced by his allusions to Horace in both the matter and the meter of the poem have not been considered. Attending to both syntactical/tonal allusions and metrical allusions to Horace's Odes in In Memoriam, I will examine Horace's role in creating meaning in Tennyson's poem. Drawing on various critics and Tennyson's own works, I argue that Tennyson was uncommonly familiar with Horace's Odes and Horatian Alcaic (the most common meter of the Odes). I explore the similarities between the In Memoriam stanza form and the Horatian Alcaic as well as their differences to demonstrate that, while he was certainly capable of more closely replicating the Alcaic in English, Tennyson suggests but ultimately resists Horace's meter. Resistance to Horace's meter mirrors Tennyson's resistance to Horace's paganism. I conclude that Tennyson's identification with Horace, but not too close an identification, serves to enhance the themes of the poem—struggle, tension, grief, and doubt—in a way that would go unnoticed without a close examination of Horace's influence upon In Memoriam.

The Swahilist community of scholars, teachers and students mourns the shocking death of Jean de Dieu Karangwa, an esteemed colleague, editor of Swahili Forum and, for many of us, a dear friend, who passed away prematurely on 9th February 2017. Sote tunakukosa sana Kaka Mrefu, Mola akulaze pema peponi.

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Made available in DSpace on 2016-04-29T13:31:19Z (GMT). No. of bitstreams: 1 Miriam Ximenes Pinho.pdf: 6783239 bytes, checksum: 005de88c724fc9bdfb776c626ad1c1f5 (MD5) Previous issue date: 2015-08-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / For centuries, the death was treated as a social and public event taking place accompanied by sacred rites. Right after the World War I, a precipitation of the dismantling of the traditional models of care for the dying and the bereaved just occurred. Death has become taboo and that same ban hit everything that it refers, including the mourning that has become an intimate and lonely experience. The desecration of death led to unritualized mourning, however, this did not imply neglect or abandonment of the Dead. Instead, we observe the emergence of new forms of relationship with the Dead in which the rites appear reconfigured, the manner of a bricolage. In order to study these new configurations we have chosen to investigate one of them that is called "in loving memory tattoos" produced due to a bereavement. This research suggests that in loving memory tattoos constitute an neurotic s individual (funeral) rite , that is, a private way of ritualizing mourning and paying funeral tribute in times of suppression of the death of social spaces and unritualized mourning. As we consider the making of a memorial tattoo a private rite, it was important to investigate the function of this rite that can both serve as a possible treatment of the real by the symbolic order in a kind of mourning written on the skin, as a rite that it aims to prolong the relationship with the departed one, producing an endless mourning in which the writing of the mourning never ends / Durante séculos, a morte foi tratada como um fato social e público que ocorria acompanhado por ritos sagrados. Logo após a Primeira Guerra, observou-se a precipitação do desmantelamento dos modelos tradicionais de cuidados aos agonizantes e amparo aos enlutados. A morte tornou-se tabu e essa mesma interdição atingiu tudo o que a ela se refere, incluindo o luto que se tornou uma experiência íntima e solitária. A dessacralização da morte levou à desritualização do luto, porém isso não implicou em abandono ou esquecimento dos mortos. Ao contrário, observamos a emergência de novas modalidades de relação com os mortos em que os ritos aparecem reconfigurados, ao modo de um bricolage. Com o intuito de estudar essas novas configurações, optamos por investigar uma delas, as chamadas tatuagens in memoriam produzidas em decorrência de um luto. Essa pesquisa sugere que as tatuagens in memoriam se constituem em um rito fúnebre individual do neurótico , isto é, um modo privado de ritualizar o luto e prestar tributo fúnebre em tempos de dessocialização da morte e desritualização do luto. Ao considerarmos a produção das tatuagens in memoriam um rito privado coube-nos investigar a função desse rito que pode tanto servir como tratamento possível do real pelo simbólico em forma de uma escrita do luto grafada no corpo, quanto um rito que visa prolongar a relação com o ser perdido, produzindo um luto interminável em que a escrita do luto não se conclui

Writing in the 1890s, in an early account of Tennyson’s poetry, the Victorian anthologist F. T. Palgrave was keen to maintain the myth of the spontaneous singer. ‘More than once’, he recorded, Tennyson’s ‘poems sprang’ from a ‘nucleus’, ‘a brief melodious phrase’ or ‘song’, which, if not transcribed immediately, ‘fled from him irrecoverably’. It has long been the case with poets of ‘lyrics’ and ‘songs’ that their skills have been depicted as improvisatory, fleeting, or inspired. Their skills have been understood, variously, as indicative either of the most dexterous of intellects, or of brilliant but uncontrolled visions, a ‘flash’ of prophetic insight or revelation – a feel of what Shelley likens to ‘the interpenetration of a diviner nature through our own’. For many poets, however, the reality is one of inspiration that gives birth to intense manuscript activity and revision. It is now well known that Tennyson revised and re-revised, even after publication, until only weeks before his death; and yet no book-length study has pursued the significance of his manuscript revisions for the development of his style. This thesis traces the poet’s stylistic evolution through his notebooks, drafts, and printed volumes. Uncovering new literary manuscripts from Harvard, Lincoln, Cambridge, and New York, the study offers a more comprehensive picture of the poet’s craft: one alert to his evolving ambitions, and to the immense shifts that he effected in the landscape of English verse. The thesis begins by excavating how the notion of poetic ‘song’ fuelled a creative process at the heart of Tennyson’s revisions. In tracing the diverging fates of ‘lyric’ and ‘song’ across his notebooks, the opening chapter restores an important discourse for Tennysonian sonority that has comparatively declined in recent years. Chapter II examines Tennyson’s aesthetic control over the Victorian lyrical canon, drawing on a new manuscript of ‘The Golden Treasury’, the most significant anthology of the nineteenth century. Chapter III studies the notebook containing Tennyson’s first collection of verse, ‘Poems, by Two Brothers’. It reveals how much of the poor punctuation that sparked vehement attacks – and which is reproduced in modern editions – was not, in fact, inserted by the poet. Chapter IV explores how Tennyson’s most famous early songs and lyrics, published in ‘Poems, Chiefly Lyrical’, developed in tandem with his blank verse style. Chapters V and VI illuminate Tennyson’s ‘ten year silence’, which witnessed profound innovations in form, the revision of his 1832 Poems into his celebrated collection of 1842, and the creation of ‘In Memoriam’. Chapters VII and VIII piece together the notebooks, proofs, drafts, and revision copies of ‘The Princess’, Tennyson’s medley of songs and voices, lyrics and blank verse. By its end, the study reveals how the ringing qualities of his works emerged through manuscript revision: in the interplay between sonorous forms and narratives that came, over decades of change, to shape the distinctive drama of Tennyson’s style.

Familia yake, ndugu, jamaa, marafiki na jumuiya ya wasomi watamkosa sana Omar Babu. Mungu aiweke roho yake mahali pema.

Pumzika kwa amani, Mwalimu. Raha ya milele umpe, Ee Bwana, na mwanga wa milele umwangazie. Amina.

Familia yake, ndugu, jamaa, marafiki na jumuiya ya wasomi watamkosa sana Omar Babu. Mungu aiweke roho yake mahali pema.

Pumzika kwa amani, Mwalimu. Raha ya milele umpe, Ee Bwana, na mwanga wa milele umwangazie. Amina.

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