The Japujī is Guru Nanak’s foundational hymn. Its thirty-eight stanzas are symmetrically set within a prologue and an epilogue. Seven vital aspects of Guru Nanak’s transcendent aesthetics emerge in this inaugural Guru Granth Sahib hymn: (1) aesthetic agents (panc) who invite audiences to join them on a spiritual excursion; (2) aesthetic keynote, the transcendent Nanakian material (mūlmantra); (3) the aesthetic thirty-eight stairsteps (pauṛis) leading to ever new vistas; (4) the aesthetic realm (saram khanḍ) where epistemic faculties are honed; (5) aesthetic disclosures of the ontological design (hukam) in the writing of this multiverse (lekhā) by the look of love (nadar); (6) aesthetic productions of truth (sat), beauty (suhāṇu), and enduring joy (sadā mani cāo) which reproduce an ethics of joy – singing (gāviai), listening (suniai), embracing (maniai), and loving (manu rakhiai bhāo); (7) an aesthetic epilogue, a scene capturing everyday aesthetics – the whole world playing together with night and day as the midwives and caretakers. Guru Nanak’s consummate composition fulfills Luce Irigaray’s desire that transcendence is a bodily realization here and now.

The Conclusion summarises the book’s main arguments and offers an analysis of the poem’s epilogue to reassess the post-Ovidian nature of the Thebaid. By reflecting on the new insights offered by the book into the poetics and the politics of different types of literary interactions, this analysis raises new questions in different fields, from Flavian and intertextual studies to the study of spatiality, suggesting ways to further advance the practical and theoretical study of ancient intertextuality and intermediality.

Aristotle here considers the effect of diction, or word choice, on rhetorical argument. Metaphors, epithets, special dialects, the use of the voice to convey passion or emotion, and the necessary parts of any speech are all considered here.

The epilogue wraps up the book (in one page).

An exploration of brecht's most overtly tragic play .

In this chapter, it is shown that the textual heterogeneity of the book of Revelation is only on the surface. To the contrary, it has a clear structure, designed to provide unity to the whole: a prologue in which the author provides the guidelines to the reader (1. 1–3); an introductory liturgical dialogue (1. 4–8); an account of the things John saw and heard during his vision (1.9–22.16); and a closing liturgical dialogue (22.17–21). After this, the type of account constituted by Rev 1.9–2.16 is examined, through analysis of previous proposals. We conclude that Rev 1.9–2.16 is a special narrative, with the following characteristics: the use of a homodiegetic narrator (allowing John to simultaneously appear as a witness to the story and as one of its characters, and thus to highlight the veracity of the story he tells); a flexibility in the use of space–time coordinates; the variety of characters that participate in the plot; the fact that the plot has a happy ending; etc. Finally, I explore the author’s purpose of showcasing the truthfulness of the narrative.