epigram

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epigram,

a short, polished, pithy saying, usually in verse, often with a satiric or paradoxical twist at the end. The term was originally applied by the Greeks to the inscriptions on stones. The epigrams of the Latin poet MartialMartial
(Marcus Valerius Martialis) , c.A.D. 40–c.A.D. 104, Roman epigrammatic poet, b. Bilbilis, Spain. After A.D. 64 he lived in Rome for many years, winning fame by his wit and poetic gifts.
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 established the form for many later writers. In England the epigram flourished in the work of innumerable poets including Donne, Herrick, Ben Jonson, Pope, Byron, Coleridge, and Walter Savage Landor. Great German epigrammatists include Logau, Lessing, and Herder. In 18th-century France, Boileau-Despréaux, Lebrun, and Voltaire excelled in the form. Poets of the 20th cent. who are noted for their epigrams include Yeats, Pound, Roy Campbell, and Ogden Nash. One of the most brilliant of prose epigrammatists was Oscar Wilde. His works are studded with epigrams, such as "I can resist everything except temptation."

Epigram

 

(1) In classical poetry, a short lyric poem of unspecified content written in the elegiac distich form. Eventually epigrams were written on certain specific themes. For example, they were often written as inscriptions on objects offered to the gods. Some epigrams were didactic, epitaphial, descriptive, or satirical in theme, while others were devoted to love or the joys of the table.

In Greek literature the epigram reached its peak in the work of the Hellenistic poets of the third century B.C. to the first century A.D. These made up the larger part of the Greek Anthology, a work in 16 books. In Roman literature the epigram flourished in the satirical works of Martial in the first century A.D The traditions of the classical epigram were continued in the Byzantine and Latin literature of the Middle Ages and Renaissance. Later these traditions were only occasionally revived, notably in Goethe’s Venetian Epigrams.

(2) In modern European poetry, a short poem usually based on the contrast of a gradual exposition and a final witticism. Epigrams of this type are found in French poetry of the 16th and 17th centuries, based on motifs derived from Martial. They flourished in the 18th century in the works of Voltaire, J.-B. Rousseau, G. E. Lessing, R. Burns, and A. P. Sumarokov. A nontraditional epigram,which developed parallel to the traditional one, was written in direct response to topical, often political events. A. S. Pushkin wrote epigrams of both types. The first type includes works such as “Movement” and “The Curious One,” while the second type includes epigrams on A. A. Arakcheev and F. V. Bulgarin.

By the mid-19th century epigrams of the traditional type began to die out, while those of the topical variety continued as a minor genre. Topical epigrams were written by several 19th-century Russian writers, including D. D. Minaev, and are represented in Soviet literature by the work of A. Arkhangel’skii and S. Vasil’ev.

TEXTS AND REFERENCES

Grecheskaia epigramma. Edited by F. A. Petrovskii. Moscow, 1960.
Russkaia epigramma vtoroi poloviny XVII—nach. XX v. Leningrad, 1975.

M. L. GASPAROV

epigram

a short, pungent, and often satirical poem, esp one having a witty and ingenious ending
References in periodicals archive ?
Nearly all Renaissance epigrammatists looked back to Martial, the most prominent classical poet in the genre.
A number of early seventeenth-century epigrammatists directly mark their conversion of the form in program poems, using the language of repentance and conversion as they adopt religious subject matter.
he reputation for scandalous subject matter dogged all users of the form in the period, and epigrammatists frequently apologize for and dismiss their own works.
While the religious epigrammatists of the time wrestled with these elements of the genre, they drew upon two main defenses: theoretical classifications of subgenres and appeal to precedent.
English epigrammatists make frequent reference to these metaphoric categories and defend their own poems by distinguishing them from other varieties.
In addition to these theoretical subdivisions of the genre, would-be epigrammatists could also invoke authoritative precedents and models as part of their defense.
29) The lack of a strong organizing principle may reflect the strong force of Martial's example, and the vast majority of seventeenth-century epigrammatists took this mixed-bag approach.
Publication offered epigrammatists another opportunity to organize or contextualize their work, but such organizing was in tension with the longstanding tradition of the epigram.