Even accounting for the fact that tragic deaths invite encomiastic obituaries, his demise reminds us of the many leadership lessons contained in his 2628 years.
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An encomiastic introduction to Mavrocordatos' Liber de Officiis, which was published in December 1719, is the last known work by John, who died sometime during that year. He was probably buried in Bucharest, but the exact site remains a mystery.
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Perhaps one of the reasons for this movement was to usurp the pagan vocabulary and style of the most honored ancient poet for Christian purposes. Dioscorus continued and developed this revolution by writing encomiastic poems (poems of praise) in an Homeric style.MacCoull 1985, p. 9; Fournet 1999, pp. 673–675.
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The Chronicle also records that these kings held the title bretwalda, or "Britain- ruler".Swanton, Anglo-Saxon Chronicle, pp. 60–61. The exact meaning of bretwalda has been the subject of much debate; it has been described as a term "of encomiastic poetry",Stenton, Anglo-Saxon England, pp. 34–35.
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The list is often thought to be incomplete, omitting as it does some dominant Mercian kings such as Penda and Offa. The exact meaning of the title has been much debated; it has been described as "a term of encomiastic poetry"Stenton, Anglo-Saxon England, pp. 34–35. but there is also evidence that it implied a definite role of military leadership.Kirby, Earliest English Kings, p. 17.
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Finally, the match ended in a 1–2 defeat for Greece, but Petzaropoulos was cheered by the crowd. Nikos Petzaropoulos was called the "Hero of Tampere" from the Greek journalists who were constantly posting glowing articles dedicated to him. The international press was accordingly encomiastic. "The New Zamora was born" was the title of many European newspapers after the game, comparing him, with the greatest goalkeeper at the time.
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Underwood, published in the expanded folio of 1640, is a larger and more heterogeneous group of poems. It contains A Celebration of Charis, Jonson's most extended effort at love poetry; various religious pieces; encomiastic poems including the poem to Shakespeare and a sonnet on Mary Wroth; the Execration against Vulcan and others. The 1640 volume also contains three elegies which have often been ascribed to Donne (one of them appeared in Donne's posthumous collected poems).
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Most of Pindar's victory odes contain a mythical narrative as part of their encomiastic strategy. Pythian 1 features the story of Typhon, a mythical giant who challenged Zeus' primacy and was consequently buried beneath Mount Etna. The poem envisions his imprisonment as the cause for a volcanic eruption of Etna, which it then goes on to describe.Pind. Pyth. 1.21-7. The eruption constitutes an elaborate ecphrasis and has been considered by critics to be central to the poem's interpretation.
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He was an Apulian medical officer, intellectual, apparatore and director of many festive sets held by the aristocracy in the courts of Apulia of the late seventeenth century. He was a member of Accademia dei Ravvivati of Acquaviva delle Fonti, of Accademia dei Pigri of Bari and of Accademia degli Spensierati of Rossano. He experimented many genres such as drama, musical theatre, sacred and profane theatre, the lyric with encomiastic and religious themes and literature of magical and scientific topic (Il Proteo is an example).
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Tablets I to V present their topic in a concise, matter of fact manner. Tablets VI and VII repeat the same subject of Tablet I in a much more detailed and diluted way, with apparent literary and encomiastic intentions and overtones. The content of the tablets is given below, in their relative order of antiquity as established by Newman on the authority of Aufrecht and Kirchhoff, which is identical to that recently indicated by A. Maggiani.In Aldo Luigi Prosdocimi Le Tavole Iguvine I Firenze Olschki 1984.
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Ioane Shavteli () was a Georgian poet of the late 12th and early 13th centuries credited to have written the encomiastic poem traditionally, and unsuitably, known as Abdulmesiani (აბდულმესიანი), i.e., "Slave of the Messiah" (from Arabic عبد المسيح, Abdul Masīh). A reference to Shavteli and his work is made in a postscript of Shota Rustaveli’s The Knight in the Panther's Skin (ვეფხისტყაოსანი), which is the source of the poem's incongruous title. Shavteli's ode is, in fact, a eulogy to the two greatest monarchs of medieval Georgia, David "the Builder" (r.
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Satyrae hecatostica : one hundred satirical compositions in hexameters. Filelfo's life at Milan curiously illustrates the multifarious importance of the scholars of that age in Italy. It was his duty to celebrate his princely patrons in panegyrics and epics, to abuse their enemies in libels and invectives, to salute them with encomiastic odes on their birthdays, and to compose poems on their favorite themes. For their courtiers he wrote epithalamial and funeral orations; ambassadors and visitors from foreign states he greeted with the rhetorical lucubrations then so much in vogue.
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Bede also makes it clear that Ceawlin was not a Christian—Bede mentions a later king, Æthelberht of Kent, as "the first to enter the kingdom of heaven".Bede, Ecclesiastical History, II 5, quoted from Sherley-Price's translation, p. 111 The Anglo-Saxon Chronicle, in an entry for the year 827, repeats Bede's list, adds Egbert of Wessex, and also mentions that they were known as "bretwalda", or "Britain-ruler". A great deal of scholarly attention has been given to the meaning of this word. It has been described as a term "of encomiastic poetry",Stenton, Anglo-Saxon England, pp. 34–35.
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Its success prompted other young teachers to try their hand at fiction writing, thus launching one of the earliest literary movements in sub-Saharan Africa. Mofolo's next book, Pitseng (1910), is built on a rather clumsy love plot in imitation of European fiction. It contains perceptive descriptions of native mores in Lesotho and in South Africa and a thoughtful, by no means encomiastic, appraisal of the influence of Christianity on traditional marriage customs. Mofolo then composed Chaka (1925), a fictionalized account of the Zulu conqueror who built a mighty empire during the first quarter of the 19th century.
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Bersi Skáldtorfuson, in chains, composing poetry after he was captured by King Óláfr Haraldsson (Christian Krohg's illustration from Heimskringla, 1899 edition) Skald, or skáld (Old Norse: , later ; , meaning "poet"), is generally a term used for poets who composed at the courts of Scandinavian leaders during the Viking Age, 793–1066 AD, and continuing into the Middle Ages (5th century – 15th century). Skaldic poetry forms one of two main groupings of Old Norse poetry, the other being the anonymous Eddic poetry. The most prevalent metre of skaldic poetry is dróttkvætt. The subject is usually historical and encomiastic, detailing the deeds of the skald's patron.
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Having attained prominence in the theatre with her verse tragedies, Bernard abandoned the theatre and the showy verse typical of her early years with the support of the patronage of the austere Chancèliere de Pontchartrain, an organization whose moral severity was second only to Bernard's. Some dozen poems followed, however, that were published by Bouhours in 1693 and 1701. One poem was a light-hearted petition to the king for payment of a pension of 200 francs rewarded her encomiastic verse. The Académie française awarded her prizes for poetry in 1691, 1693, and 1697, and she was elected a member of the Ricovrati Academy of Padua.
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William Taylor was England's first advocate of and enthusiast for German Romantic literature, and leader in its assimilation until the return of Coleridge from Germany in 1799. English writers were indebted to his enthusiastic if free translations. In 1828 the author Thomas Carlyle reminded Goethe that: :A Mr.Taylor of Norwich who is at present publishing 'Specimens of German Poetry', is a man of learning and long ago gave a version of your Iphigenie auf Tauris (Iphigenia in Tauris) Taylor is depicted as a mentor in George Borrow's semi-autobiographical novel Lavengro. Borrow described his philological teacher as: : the Anglo-German... a real character, the founder of the Anglo-German school in England, and the cleverest Englishman who ever talked or wrote encomiastic nonsense about Germany and the Germans.
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Rime del cav. Marini (1674) Marino originated a new, "soft, graceful and attractive" style for a new public, distancing himself from Torquato Tasso and Renaissance Petrarchism as well as any kind of Aristotelian rule. His new approach can be seen in the Rime of 1602, later expanded under the title La lira (The Lyre) in 1614, which is made up of erotic verse, encomiastic and sacred pieces, arranged either by theme (sea poems, rustic poems, love poems, funereal poems, religious poems) or by verse form (madrigal, canzone). They often hark back to the Classical traditions of Latin and Greek literature, with a particular fondness for the love poems of Ovid and the Dolce stil nuovo tradition of Italian verse, showing a strong experimental tension with anti-Petrachan tendencies.
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31 Issue 1 (Dec. 1984), pages 13–24, online here Authorship of the poem is attributed to Ibycus on textual and historical grounds but its quality as verse is open to debate: "insipid", "inept and slovenly"David A. Campbell, Greek Lyric Poetry, Bristol Classical Press (1982), pages 306–7 or, more gently, "not an unqualified success" and optimally "the work of a poet realizing a new vision, with a great command of epic material which he could manipulate for encomiastic effect."Douglas E. Gerber, citing opinions of Barron (1969) and Sisti (1967), A Companion to the Greek Lyric Poets, Brill (1997), page 191 In the poem, Ibycos parades the names and characteristics of heroes familiar from Homer's Trojan epic, as types of people the poem is not about, until he reaches the final stanza, where he reveals that his real subject is Polycrates, whom he says he will immortalize in verse. An elaborate and not very amusing joke, this "puzzling" poem has been considered historically significant by some scholars as a signal from Ibycus that he is now turning his back on epic themes to concentrate on love poetry instead: a new vision or recusatio.
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Carole Newlands has read the poem as particularly subversive of the regime and imperial propaganda; she believes that several passages point to the problem of curtailed free speech and artistic freedom under the empire without an influential patron to protect artists. She points out that Ovid seems to use divine interlocutors and especially divine disagreements to avoid authority and responsibility for the poem's statements, that there is an inherent and destabilizing tension with the presence of traditional Roman matronae in an elegiac poem (an erotic genre and meter), and that Ovid often uses astronomical notices and undermining narrative juxtapositions as a way of subverting seemingly encomiastic episodes. Earlier scholars posited that the imperial festivals are actually the central focus of the poem embedded in an elaborated frame of charming stories which serve to draw attention to the "serious" imperial narratives — a concept which Herbert-Brown argues against while taking a less subversifying position than Newlands. Herbert-Brown argues that Ovid's main consideration is versifying the calendar; although some sections may be subversive, Herbert-Brown believes that for the most part Ovid's poem harmonizes with imperial ideology in an attempt to gain favor with the imperial household from exile.
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