And after the 2016 election there was copious versification of President Trump: A mauler, a grabber, abuser, A do whatever you chooser Non-thinker, non-reader, A spoiled-children breeder An every trick-in-the-book user.
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If you're one of the millions raised on "Where the Sidewalk Ends" and "A Light in the Attic," you know the basic Silverstein approach: humor (often deliberately childish, gross-out humor), rhyme, wordplay and occasional regular versification with heavy doses of doggerel.
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Some English translations have minor versification differences compared with the KJV.
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66–67 The poet Robert Bridges analyzed his versification in the monograph Milton's Prosody.
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His versification, and especially his rhyming technique, remain in top form to the end.
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While reciting, sorcova is moved in the rhythm of versification, sometimes marked by the sound of the bell.
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The resulting versification – less constrained by meter and rhyme patterns than Renaissance poetry – more closely mirrored prose.Morier, p.385.
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18 n. 1. Dryden admired the versification of Sir John Suckling, and quoted and paraphrased Suckling in his play.
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The 8 years of courses bear the following names: # Latin elements; # Syntax; # Method; # Versification; # Belles-lettres; # Rhetoric; # Philosophy I; # Philosophy II.
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Cornell University Press, 1977. Page 265. and succeeded in "raising versification to a quantified science".Quoted from: Evgeny Dobrenko, Marina Balina.
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Prosody (from Middle French , from Latin , from Ancient Greek (), "song sung to music; pronunciation of syllable") is the theory and practice of versification.
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1830, as the most often performed, but the latter shows "all too clearly the slack versification that often marred his work." Gilardoni died in Naples.
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Her poems were marked by a high moral tone and deep human feeling, and they evinced power and facility over the difficulties of rhyme and versification.
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The book ends in a burst of flamboyant versification, with the full list of little cats arranged into a metrically perfect rhymed quatrain, reciting the alphabet.
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The poet also affirms that secular subjects are equally worthy as sacred ones for versification; one of the earliest Latin Christian defences of courtly/public panegyric.
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In the Hebrew Bible Ethni was an ancestor of Asaph, of the Gershonite branch of the Levites. David assigned him to the music ministry of the Lord's house ().Due to differences in versification, some Bibles call this verse 1 Chronicles 6:26 In ,Due to differences in versification, some Bibles call this 1 Chronicles 6:6 the same person is referred to as "Jeatherai" (KJV spells it "Jeaterai").
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His versification was often discussed by prominent Polish scholars, among others by Maria Dłuska and Lucylla Pszczołowska.See also: Wiktor Jarosław Darasz, Mały przewodnik po wierszu polskim, Kraków 2003 (in Polish).
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Usually the Basque terms are used in Spanish and French but the Spanish terms versolarismo and bertsolarismo and the French terms bertsularisme (from Zuberoan bertsularitza), bertsolarisme and versification are also used.
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Baby Varghese writes, "This publication is a first attempt at the English versification stemming from these individuals' love for the Syriac liturgy." There are currently no active attempts at a revision.
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His works typically consist of poems summarizing his learning, created for mnemonic purposes, together with prose extracts. Four of his works have been published in full or in part: his versification of Psalm 1, his records of William de Montibus's lectures on the Psalms, Collecta ex diuersis auditis in scola Willelmi de Monte (a rare record of ‘collations’ given at a cathedral school), and De oratione dominica (a versification of Hugh of St Victor's De quinque septenis).
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11, although this is an assumption based on similar versification, since the ostensible melody transmitted in that source is a fictitious form of musical notation and does not give the real melody.
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Strophe (from Greek στροφή, "turn, bend, twist") is a concept in versification which properly means a turn, as from one foot to another, or from one side of a chorus to the other.
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Urbana: University of Illinois Press, 2011. # Kingan, Renee M. "‘Taking It Out!’: Jayne Cortez's Collaborations with the Firespitters." in Thompson, Gordon. Black Music, Black Poetry: Blues and Jazz's Impact on African American Versification.
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Rothman, David, "Verse, Prose speech, Counting and the Problem of Graphic Order", Versification, vol. 1, no. 1, March 21, 1997. Hollander influenced poets Todd LaRoche and Karl Kirchwey, who both studied under Hollander at Yale.
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Besides his Dictionary, Spiers's chief publications were: :1. Manual of Commercial Terms in English and French, 1846. :2. Study of the English Prose Writers, Sacred and Profane, 1852. :3. Treatise on English Versification, 1852. :4.
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Zu'l Fiqar Shirvani (died c. 1291) was a Persian poet of the Ilkhanid-era. His divan consists of 9,000 verses. Mohammad Dabirsiaqi / Encyclopædia Iranica notes that "he was generally recognized as a master of versification".
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"Re-fashioning Boethius: Prose and Poetry in Chartier's Livre de L'Espérance." Medium Aevum 2 (2007): 268-84. The poems are of varying versification, most commonly of seven or three syllables. The rhyme schemes are equally variable.
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Ruswa's first work was published in 1887. This was a poem recounting the romantic tale of Laila-Majnu. Sadly, it was not well received. His versification was amateur, his wit unwitty, and his satire stale and flat.
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Nay! nay! mistress. (1–7)Full text at Bartleby.com Percy Bysshe Shelley in his poem On an Icicle that Clung to the Grass of a Grave used anapestic tetrameterEdward Morton Payson, English versification, Modern Language Notes, Vol.
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Oliver was educated in the Illinois Female College, where she took high rank in her studies, early showing a talent for composition. From her father, she inherited an aptitude for versification and a temperament which was quick to receive impressions.
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In his version of the source text he groups verses together to form sections that he calls upamantras. He notes that as a result of this his line numbering and versification may differ from those given in other variants.Swami Chinmayananda. Glory of Ganesha.
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His theses include: The Development of Translation Theories and Methods in the Czech Literature (1957) Fundamental Problems of the Theory of Translation (1958) Problems of Comparative Versification (1963) Levý also lectured on the theory of translation abroad (e.g. in Dubrovnik, Warsaw, Hamburg, Vienna, Stuttgart).
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According to Braga, it was the moment in which his poetry made decisive gains in originality, and the first stage in his renunciation of "Proletkult versification".Braga, p.IX, XXXII It was followed by a collection of critical essays, Colocviu critic ("Critical Colloquy").Braga, p.
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The Yavanajātaka (Sanskrit: yavana 'Greek' + jātaka 'nativity' = 'nativity according to the Greeks') of Sphujidhvaja is an ancient text in Indian astrology. According to David Pingree, it is a later versification of an earlier translation into Sanskrit of a Greek text, thought to have been written around 120 CE in Alexandria,Source on horoscopy. Based on Pingree's interpretation and emendations, the original translation, made in 149–150 CE by "Yavanesvara" ("Lord of the Greeks") under the rule of the Western Kshatrapa king Rudrakarman I, is lost; only a substantial portion of the versification 120 years later by Sphujidhvaja under Rudrasena II has survived.Pingree (1981) p.
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Lack of lexical and metaphors compensates for the lightness of expression and rhythm. By choosing the theme, the process, the feeling for verse and rhythm, his style does not significantly differ from today's literature. After all, Luka Milovanov followed the rules of classical prosody in his versification.
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Her versification was smooth; she never forced rhymes and accents. Her poems appeared in Everywhere, the Omaha Bee, the Omaha World- Herald, Woman's Tribune (Washington), the Magazine of Poetry, the Nebraska State Journal, the Woman's Weekly, and other periodicals. She died November 13, 1910 at Plattsmouth.
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Jacek Baluch wrote many books and papers on Czech literature, especially about avant garde (poetismus in Czech) and fiction by Bohumil Hrabal. He has been a teacher of some generations of students in Cracow and Opole. His main interest were versification and the theory of translation.
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III, p.40, 451 Following the tenets of Dimitrie Bolintineanu and Théophile Gautier, the writer repeatedly called for purity in versification, and upheld it as an essential requirement,Călinescu, p.242, 516, 523-524, 683 while progressively seeking to verify the quality of his poetry through phonaesthetics.Anghelescu, p.
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The size of Nonnus' poem and its late date between Imperial and Byzantine literature have caused the Dionysiaca to receive relatively little attention from scholars. The contributor to the Encyclopædia Britannica (8th edition, 1888), noting the poem's "vast and formless luxuriance, its beautiful but artificial versification, its delineation of action and passion to the entire neglect of character," remarked, "His chief merit consists in the systematic perfection to which he brought the Homeric hexameter. But the very correctness of the versification renders it monotonous. His influence on the vocabulary of his successors was likewise very considerable," expressing the 19th-century attitude to this poem as a pretty, artificial, and disorganized collection of stories.
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Baïf elaborated a system for regulating French versification by quantity, a system which came to be known as vers mesurés, or vers mesurés à l'antique. In the general idea of regulating versification by quantity, he was not a pioneer. Jacques de la Taille had written in 1562 the Maniére de faire des vers en français comme en grec et en Latin (printed 1573), and other poets had made experiments in the same direction; however, in his specific attempt to recapture the ancient Greek and Latin ethical effect of poetry on its hearers, and in applying the metrical innovations to music, he created something entirely new. Baïf's innovations also included a line of 15 syllables known as the vers Baïfin.
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The form of English employed has been described as "a Southern dialect with some Midland forms in evidence". The versification has been described as poor, but the Merlin manuscript has never been fully edited or glossed. Several of Henry Lovelich's works have been published by the Early English Text Society.
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This was true of his poetry as much as his prose. But, in Hazlitt's view, as a poet, his success was limited, even as a chronicler of the past. His poetry, concedes Hazlitt, has "great merit", abounding "in vivid descriptions, in spirited action, in smooth and glowing versification."Hazlitt 1930, vol.
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Aruz wezni, or aruz prosody, is a kind of Turkic poetic rhythm. The earliest founder of this versification system was Khalil ibn Ahmad, who used the ancient name of his hometown "Aruz" to name it. There were 16 kinds of modalities of aruz at first. Later Persian scholars added 3 kinds.
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The numerals of the are given at the left margin, and their (titles) at the top of the pages. The Ammonian Sections are given without a references to the Eusebian Canons (written under Ammonian Sections). It contains subscriptions at the end of each Gospel and versification. There are blank spaces for pictures.
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There have been monastic translations into Anglo-Saxon and later translations into other languages, most notably the German versification of Martin Luther during the Reformation. The original Latin hymn and Luther's translation have been set for chorus and organ by many composers including Dufay, di Lasso, Praetorius, Palestrina, Scheidt, de Grigny and Bach.
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In 1736 Hare published an edition of the Psalms in Hebrew. Dr. Richard Grey, in the preface to his Hebrew Grammar declared that it restored the text in several places to its original beauty. But Hare's theory of Hebrew versification was confuted by Robert Lowth in 1766, and feebly defended by Thomas Edwards.
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Another important theoretical work is The Writer and the Book: An Outline of Textology (1928, second edition 1959). He was especially interested in the theory of versification. In his metrical studies, following in the footsteps of Andrey Bely, he applied statistical procedures to the study of Russian poetryTzvetan Todorov. The Poetics of Prose.
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93–97 His earliest works were biblical plays that he wrote while still in Flanders. These have not been preserved. His first spiritual writings are contained in De Gulden Harpe, published in 1597. This poetry volume consists of rather longwinded versification of biblical stories that were intended to educate readers with biblical words.
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Stanzas written before she was nine years old were models of correct versification, exhibiting simplicity of expression and happy choice of words which characterized the productions of her more mature years. She wrote because she could not restrain the flow of thoughts, taking shape in rhymes. She was a graduate of Kingsville Academy.
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99 in addition seven hymns by him which were sung at the inauguration of the enlarged Spanish synagogue at Padua appeared in the work "Ḥanukkat ha-Maron" (Venice, 1729); but it is not certain whether they were taken from the psalter. As a youth Luzzatto essayed also dramatic poetry, writing at the age of 17 his first Biblical drama, "Shimshon u-Felistim," (of which only fragments have been preserved, in another work of his). This youthful production foreshadows the coming master; it is perfect in versification, simple in language, original and thoughtful in substance. This first large work was followed by the "Leshon Limmudim," a discussion of Hebrew style with a new theory of Hebrew versification, in which the author showed his thorough knowledge of classical rhetoric.
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This book was printed care of abbé de Fontenai in 1802. The dictionary gathers all that is related to Elocution Françoise, that is the principles of grammar, logic, rhetorics, versification, syntax, construction, composition method, prosody, pronunciation, spelling, and generally the rules necessary to properly write and speak French, either in prose or in verse.
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It showed its hero, a destitute Muslim from Alexandria, rising to the position of Caliph—or merely imagining himself a Caliph. Călinescu finds the play, and other Demetriade fairy tales, to be hampered by "poor versification"; reportedly, it was also a commercial failure.Bacalbașa IV, p. 108 In tandem, Demetriade began writing for Constantin Ionescu-Caion's Românul daily,Straje, p.
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Vatsun is derived from Sanskrit ‘Vachan’ meaning word/speech. This is because it has no particular pattern of versification or rhyme scheme.Ayyappapanicker, K. and Sahitya Akademi Medieval Indian Literature: An Anthology. 1997. The metres and rhyme schemes of vatsun are varied, but generally each unit is a stanza of three lines followed by a refrain (vooj).
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"TEDx Baku" 2013. Baku, Azerbaijan. Gara Darvish's first demo album was released in 2008. Moreover, in the album poems of the outstanding Azerbaijani poet and philosopher of the XIV-XV centuries – Imadaddin Nasimi were presented, which in turn had become the first example of using the medieval Arabic versification of gazelles in metal genre in Azerbaijan and the world.
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The numbers of the sections and versification differ from the edition published by the LDS Church and both modern editions differ from the original 1835 edition numeration. Regarding the contents of the Doctrine and Covenants, the church has stated: "As with other books of scripture, the various passages vary in their enduring quality.""Doctrine and Covenants", communityofchrist.net.
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Eustache Deschamps (13461406 or 1407 ), was a French poet, byname Morel, in French "Nightshade" . Deschamps was born in Vertus. He received lessons in versification from Guillaume de Machaut and later studied law at Orleans University. He then traveled through Europe as a diplomatic messenger for Charles V, being sent on missions to Bohemia, Hungary and Moravia.
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Thompson, Gordon E. Black Music, Black Poetry: Blues and Jazz's Impact on African American Versification. Routledge, Apr. 15, 2016. p. 80. Thompson's proposed Kikongo origin word, "lu-fuki" is used by African musicians to praise people "for the integrity of their art" and for having "worked out" to reach their goals.Thompson, Gordon E. Black Music, Black Poetry: Blues and Jazz's Impact on African American Versification. Routledge, Apr. 15, 2016. p. 80. Even though in white culture, the term "funk" can have negative connotations of odor or being in a bad mood ("in a funk"), in African communities, the term "funk", while still linked to body odor, had the positive sense that a musician's hard-working, honest effort led to sweat, and from their "physical exertion" came an "exquisite" and "superlative" performance.
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Portrait of Lewis in Hartford Courant, 1899 Charlton Miner Lewis (March 4, 1866 – March 12, 1923) was an American scholar of English literature. Having attended Yale University and studied law, he worked as a lawyer for a few years before returning to Yale as a teacher, getting his Ph.D., and publishing a number of books on English versification and literature.
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Another scheme for organizing Psalm 44 has been suggested as follows (using English versification): # Remembering that God performed mighty deeds in the past for his people (vv. 1-3) # Desiring God to perform mighty deeds now (vv. 4-8) # Lamenting God’s recent chastening of his people (vv. 9-16) # Appealing to God that his chastening is not a result of their sin (vv.
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Original in its plan, true in its fundamental elements, and consistent in its parts, it rouses the feelings, and stimulates those powers of the imagination, which rejoice in the consciousness of exertion."Madden 1972 qtd. p. 179 The review concluded, "Of the versification which Mr. Southey has employed we have given our readers sufficient specimens to enable them to judge for themselves.
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Documented Maltese literature is over 200 years old. However, a recently unearthed love ballad testifies to literary activity in the local tongue from the Medieval period. Malta followed a Romantic literary tradition, culminating in the works of Dun Karm Psaila, Malta's National Poet. Subsequent writers like Ruzar Briffa and Karmenu Vassallo tried to estrange themselves from the rigidity of formal themes and versification.
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On the prescription of all poets invariably used to maintain the initial rhyme in versification. Govind Pai too adhered to this practice in the early stages of his career. His first poem "Suvasini" was published in the journal of the same name The first poems to be published in "Swadeshabhimani" were "Subhadra Vilapa" and "Kaliya Mardana". These poems had the initial rhyme.
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The bulk of the versification was still recitative, however at moments of great dramatic tension there were often arioso passages known as arie cavate. Under Monteverdi's followers, the distinction between the recitative and the aria became more marked and conventionalised. This is evident in the style of the two most successful composers of the next generation: Francesco Cavalli and Antonio Cesti.
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He was even the podżupnik (administrator) of huge salt mines in Wieliczka near Kraków. In 1674 he published his first masterpiece — Niepróżnujące próżnowanie (Not idling idleness). This is a collection of several hundreds verses, divided in four books of lyrics, one book of epodes and two books of epigrams. He showed the variety of topics, feelings, stylistic figures and versification forms.
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The number ends with Hogg's poem 'Morning'. No. 39: The editor identifies a number of behavioural traits undesirable in society, principally 'affected singularity'. The number ends with an 'Elegy' ('Fair was thy blossom …'). No. 40: 'Malise' relates his tour of the Trossachs with many allusions to Walter Scott's poem The Lady of the Lake and a versification of a story heard on the trip, 'Macgregor.
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Pollock's research focuses on the history and interpretation of Sanskrit texts. He completed his dissertation, "Aspects of Versification in Sanskrit Lyric Poetry," at Harvard University under Daniel H. H. Ingalls. Much of his work, including his 2006 book The Language of the Gods in the World of Men, discusses the different roles that Sanskrit has played in intellectual and cultural life throughout its history.
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The use of the word ferangi (foreigner), suggests that it might have been written towards the mid-17th century, after the appearance of the Portuguese in Bengal. The versification reflects the influence of Dvija Madhab. Dvija Hariram's Adrijamangal (c.1673-74) and Akinchan (Mishra) Chakrabarty's Chandimangal (1773) were another two works belonging to this subgenre composed in the present-day Ghatal subdivision of the Paschim Medinipur district.
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1586) and his sister, Countess of Pembroke, is notable for the variety of its versification: it employs almost all of the varieties of lyric metres typically used in its time. However, it was not published until 1823. Francis Bacon's poetic paraphrases of several psalms are distinctive because of his stately and elegant style. Richard Verstegan, a Catholic, published a rhyming version of the Seven Penitential Psalms (1601).
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Among his collections are, Nirjharini(The Stream), Palli Chitra (The picture of countryside), Basanta-Kokila, Tarangini, Charuchitra, Nirmalya, Prabhata Sangeeta, Sandhya Sangita, Krushna Kumari and Sarmishtha. Nanda Kishore Bal wrote about a hundred sonnets which are scattered throughout his collections. His sonnets deal with both nature and personal suffering, and reveal high poetic sensibility. These sonnets are known for their restrained thoughts and versification.
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2 In Wace's Roman de Brut (c. 1150-1155), an Old French translation and versification of Geoffrey's Historia, the sword is called Calabrum, Callibourc, Chalabrun, and Calabrun (with variant spellings such as Chalabrum, Calibore, Callibor, Caliborne, Calliborc, and Escaliborc, found in various manuscripts of the Brut).De Lincy, Roux (ed.), Wace, Roman de Brut, v. II, Edouard Frère, Rouen, 1838, pp. 51, 88, 213, 215.
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Michel Murat is best known as a specialist of twentieth-century French literature, with an emphasis on modernity, style, poetics, and versification. He is also a specialist in surrealism. He has published several major studies of Julien Gracq's stylistics and poetics, in particular on the role of names and analogy in The Opposing Shore, as well as books on Robert Desnos and André Breton.
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Syllabic length is a factor but accentuation is not. Caesura should occur at the same place in every line; it helps to keep up distinctness and clarity, two virtues of civil language. "Concord, called Symphonie or rime" (76) is an accommodation made for the lack of metrical feet in English versification. The matching of line lengths, rhymed at the end, in symmetrical patterns, is a further accommodation.
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Accentual-syllabic verse dominated literary poetry in English from Chaucer's day until the 19th century, when the freer approach to meter championed by poets such as Samuel Taylor Coleridge and Ralph Waldo Emerson and the radically experimental verse of Gerard Manley Hopkins and Walt Whitman began to challenge its dominance.Stallworthy, Jon. “Versification.” Norton Anthology of Poetry. Ed. Margaret Ferguson, Mary Jo Salter, and Jon Stallworthy.
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William Morris, strongly influenced by Chaucer, wrote many parts of The Earthly Paradise with the rhyme scheme ABABBCBCCThe Art of Versification by Joseph Berg Esenwein, Mary Eleanor Roberts. Revised edition, Springfield 1921, pp 111–112. and John Masefield used rhyme royal in some poems, including Dauber. In the United States Emma Lazarus wrote some short poems (inserted into the sequence Epochs) in rhyme royal.
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In his poetry Ożóg deals with themes of peasants' culture, Catholic religion, the conflict of faith and sexuality, sin and death. Sometimes he is regarded as a representative of New Paganism as he often refers to Slavic myths.A Polish Web Page on Slavic Mythology (in Polish) Oźóg's versification is notable for its frequent use of irregular amphibrachic metre.Wiktor Jarosław Darasz, Mały przewodnik po wierszu polskim, Kraków 2003.
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The versification is remarkably harmonious for the period and the country. The following is an extract from his poem on Cotton Mather: :What numerous volumes, scattered from his hand, :Lightened his own, and warmed each foreign land? :What pious breathings of a glowing soul :Live in each page, and animate the whole? :The breath of heaven the savory pages show, :As we Arabia from its spices know.
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Namby-pamby is a term for affected, weak, and maudlin speech/verse. It originates from Namby Pamby (1725) by Henry Carey. Carey wrote his poem as a satire of Ambrose Philips and published it in his Poems on Several Occasions. Its first publication was Namby Pamby: or, a panegyrick on the new versification address'd to A----- P----, where the A-- P-- implicated Ambrose Philips.
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Abercrombie, Brooke, Drinkwater and Gibson were poets who had contributed to the Westminster Gazette and were considered Georgian poets. The `Georgian' style, particularly its versification, fell out of favour in the 1920s and 1930s, but at the time was considered 'advanced', and a precursor of 'modernism'. It used simple language and took as its subjects ordinary events and people. Abercrombie died in 1938 while Gibson lived on until 1962.
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He published a translation of the Nibelungenlied, with the title ‘The Fall of the Nebelungers; otherwise the book of Kriemhild’, in 1850. He edited from the author's manuscripts William Sidney Walker's ‘Shakespeare's Versification’ (1854) and his ‘Critical Examination of the Text of Shakespeare’ (1860). His friend Alexander Dyce was assisted by Lettsom in his preparation of his edition of Shakespeare. Lettsom also interested himself in textual criticism of the New Testament.
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Gustav Mahler used six of its poems in Das Lied von der Erde. The fresh, musical rhythm of Bethge's language and his free versification inspired settings by more than 180 other composers, among them Richard Strauss, Karol Szymanowski, Arnold Schoenberg, Anton Webern, Hanns Eisler, Viktor Ullmann, Gottfried von Einem, Ernst Krenek, Artur Immisch, Ludvig Irgens-Jensen, Paul Graener, Bohuslav Martinů, Ernst Toch, Fartein Valen, Krzysztof Penderecki and Egon Wellesz.
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The Chant Royal is a poetic form that is a variation of the ballad form and consists of five eleven-line stanzas with a rhyme scheme and a five-line envoi rhyming or a seven-line envoi (capital letters indicate lines repeated verbatim). To add to the complexity, no rhyming word is used twiceJones, William Caswell. Elements and Science of English Versification. Peter Paul book company (1897) p.
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His family came from the Pas-de-Calais. He gave up a military career and became known for his critical editions on the work of André Chénier. He also published selected French Renaissance poetry by Pierre de Ronsard, François de Malherbe, Jean Antoine de Baïf and Joachim du Bellay. He also wrote on Aspasia of Miletus, French versification, and theatre, and was an early historian of ancient board games.
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In Foscolo this tendency was excessive. The Sepolcri, which is his best poem, was prompted by high feeling, and the mastery of versification shows wonderful art. There are most obscure passages in it, where it seems even the author did not form a clear idea. He left incomplete three hymns to the Graces, in which he sang of beauty as the source of courtesy, of all high qualities and of happiness.
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In 1656, while a student in Wittenberg, he published two Latin versification books of poetry about the Passion of Christ and the Gospel of John. In 1662, he published a translation of the first two parts of Horæ Succisivæ (1631) by Joseph Henshaw, Bishop of Peterborough. In 1679 he published the historical work Presbyterologia Norwegico Wos- Hardangriana. His writings were re-discovered by historians in the 19th century.
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Old Occitan (Modern Occitan: ', ), also called Old Provençal, was the earliest form of the Occitano-Romance languages, as attested in writings dating from the eighth through the fourteenth centuries.Rebecca Posner, The Romance Languages, Cambridge University Press, 1996, Frank M. Chambers, An Introduction to Old Provençal Versification. Diane, 1985 Old Occitan generally includes Early and Old Occitan. Middle Occitan is sometimes included in Old Occitan, sometimes in Modern Occitan.
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The Robert Fitzgerald Prosody Award is awarded to scholars who have made a lasting contribution to the art and science of versification. The award was named after the poet, critic, and translator Robert Fitzgerald. It was established in 1999 at the Fifth Annual West Chester University Poetry Conference. Each awardee has been interviewed at the conference by linguist and literary historian Dr. Thomas Cable of the University of Texas at Austin.
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Cyprianus Gallus (fl. c. 397-430) was a fifth-century poet who wrote a Late Latin epic versification of the historical books of the Vetus Latina, though only the Heptateuch (Heptateuchos) has survived to the present day. He, along with his namesake Cyprian of Carthage and Tertullian, has been credited the authorship of the two poems Carmen de Sodoma and Carmen de Iona, but neither fits his style and language.
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The style is clear and concise, although somewhat rhetorical, and the – for the period – good. The chief authorities used were Varro and Suetonius. Some scholars, indeed, hold that the entire work is practically an adaptation of the lost Pratum of Suetonius. The fragments of a work De Naturali Institutione, dealing with astronomy, geometry, music, and versification, and usually printed with the De Die Natali of Censorinus, are not by him.
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Almost all of Diaper's poetry was written in the pastoral mode, although his approach was always innovative. The versification, on the other hand, was standard for Augustan times: 10-syllabled heroic couplets occasionally varied by triple rhymes or an alexandrine. Probably his earliest poem (although only published posthumously) was his satirical description of "Brent", the place of his first curacy.Miscellanea, never before published, London 1727, pp. 120–127.
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Considered "the father of Russian poetry", Kantemir used his classical education to assist Peter the Great's programme of modernizing and westernizing Russian culture. His most noticeable effort in this regard is his Petrida, an unfinished epic glorifying the emperor. He produced a tract on old Russian versification in 1744 and numerous odes and fables. His use of gallic rhyme schemes can make his work seem antiquated and awkward to modern readers.
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Holz claimed he could have done more and had contributed more artistically to both works. Holz went on to experiment with unrhymed styles breaking traditional rules of form. He claimed works should be determined by "inner rhythm" and free from regular rhyme and versification. He laid down these principles in his writing, Revolution in Poetry (1899). In 1893 he married Emilie Wittenberg with whom he had three sons.
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This four-act play, which shows Latin and Italian as well as Biblical influence, illustrates the victory of justice over iniquity. It is masterly in versification and melodious in language, the lyrical passages being especially lofty; and it has a wealth of pleasing imagery reminiscent of Guarini's "Pastor Fido." The drama was edited by M. Letteris, and published with notes by S. D. Luzzatto and prolegomena by Franz Delitzsch, Leipsic, 1837.
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During that period he also served as chair of the English Department and as chair of the English faculty in Yale's graduate school. Lewis specialized in versification and meter, and wrote his Ph.D. dissertation, published in 1898, on the subject of the influence of French and Latin verse on the English iambic line; in The foreign sources of modern English versification he attempted to explain the metrical origins and qualities of English verse and argued that the influence of French in the Middle English period was formative in the development of English verse. One of his roles was to serve as the first judge for the Yale Series of Younger Poets; he also edited the commemorative volume for Yale's bicentennial celebration, and Macbeth for the Yale Shakespeare. In 1904 he published a "retelling" of the Middle English Sir Gawain and the Green Knight, as Gawayne and the Green Knight, and in 1916 he published three poems on Sir Gawain.
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Elegies, p.393 Coupled with it went a vigorous sense of the speaking voice. It begins with the rough versification of the satires written by Donne and others in his circle such as Everard Gilpin and John Roe. Later it modulates into the thoughtful religious poems of the next generation with their exclamatory or conversational openings and their sense of the mind playing over the subject and examining it from all sides.
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'"Madden 1972 qtd. pp. 64–65 The review continued, "He tells us it is metrical ... He will excuse our ears, but we cannot agree with him. Among the sins of our youth, we, like him, have traded in desultory versification, but have long been brought back to lyrical rhyme, and heroic blank verse. The reasons are obvious ... We recommend his beauties to the esteem, and his faults to the forgetfulness, of every reader.
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Chaucer's versification suggests that the final -e is sometimes to be vocalised, and sometimes to be silent; however, this remains a point on which there is disagreement. When it is vocalised, most scholars pronounce it as a schwa. Apart from the irregular spelling, much of the vocabulary is recognisable to the modern reader. Chaucer is also recorded in the Oxford English Dictionary as the first author to use many common English words in his writings.
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This influence continues even today. Examples range from poetry to painting and to literature. In his own lifetime, during his many wanderings and while he was attending court in Chang'an, he met and parted from various contemporary poets. These meetings and separations were typical occasions for versification in the tradition of the literate Chinese of the time, a prime example being his relationship with Du Fu. After his lifetime, his influence continued to grow.
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Born in Tiflis, in a wealthy Armenian family, Sundukian learned both classical and modern Armenian, French, Italian and Russian, studied at the University of Saint-Petersburg, where he wrote a dissertation on the principles of Persian versification. Then he returned to Tiflis and entered the civil service. In 1854–58 he was banished to Derbend (Dagestan, Russia). In 1863, the Armenian theatre company of Tiflis staged his first play, Sneezing at Night's Good Luck.
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The name Suṣhēn or Suṣhēna or Suṣhēnah or Sushane is one of the names of Lord Vishnu cited in the epic Hindu poem Vishnu sahasranāma ("the thousand names of Vishnu"), an articulated versification of 1,008 names for Vishnu. Other people described in Hindu sacred texts also have the name Sushena. Many Hindu or Buddhist people, especially in India, China, Cambodia, The Maldives, Indonesia and Mongolia are named Suṣhēn or Suṣhēna or Suṣhєn or Suṣhєna.
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Born 1917 in Tehran, Iran. Fereydoon was son of an Iranian surgeon, Dr. Hossein Khan Motamed, chief of the surgery department in Razi Hospital, Tehran, Iran (1919–20) and founder of Motamed Hospital in Tehran. Fereydoun was inspired by paradigm of Structuralism as it pertains to linguistics. He devoted his life to research in aesthetics of linguistics, music, and poetry Versification in Indo-European languages using logic, and meter (poetry) metrics analysis.
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In 1885, she wrote a poem on the death of Gen. Ulysses S. Grant, which was forwarded to his widow, and a grateful acknowledgment was received by the author in return. Her memorial odes and songs written for the anniversaries of the Grand Army of the Republic were appreciated. In Poets of Maine, she received honorable mention, and "The Angel in the Stone" was selected for insertion as a demonstration of her versification style.
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The Gesta Regum Britanniae, a 13th-century Latin versification of Geoffrey's Historia attributed to William of Rennes, differs from earlier versions in representing the picture of the Virgin Mary as being on the outside of the shield after the manner of a heraldic blazon. In the later 13th century the Chronicle of Robert of Gloucester, another heir of the Brut tradition, mentioned Arthur's shield (under the name þridwen) along with its Marian image.
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In addition to his writing, he also worked for a time as the stage director for the Teatro Filarmonico in Verona. Musicologist John Black regards him as producing crude versification, "but nevertheless he had an eye for dramatic situations and his texts, if long-winded, were effective." His success was twofold: in finding mostly foreign sources to utilize as well as introducing "strongly romantic plots to the Italian stage".Black 1998, p.
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All that made the poem of his early manhood charming he rigidly erased. The versification became more pedantic; the romantic and magical episodes were excised; the heavier elements of the plot underwent a dull rhetorical development. During the same year a blank-verse retelling of Genesis, called Le Sette Giornate, saw the light. When mental disorder, physical weakness, and decay of inspiration seemed dooming Tasso to oblivion, his last years were cheered with hope.
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The first critic who made Babrius more than a mere name was Richard Bentley. In a careful examination of these prose Aesopian fables, which had been handed down in various collections from the time of Maximus Planudes, Bentley discovered traces of versification, and was able to extract a number of verses which he assigned to Babrius.Bentley, Dissertation on the Fables of Aesop. Tyrwhitt followed up the researches of Bentley,Tyrwhitt (1776), De Babrio.
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Jean-Antoine de Baïf elaborated a system which used original graphemes for regulating French versification by quantity on the Greco-Roman model, a system which came to be known as vers mesurés, or vers mesurés à l'antique, which the French language of the Renaissance permitted. In works like his Étrénes de poézie Franzoęze an vęrs mezurés (1574)See, for example, Au Roi. or Chansonnettes he used dactylic hexameter, Sapphic stanzas, etc., in quantitative meters.
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When Lagrange-Chancel appeared in Paris, some wanted to see in him the successor to Racine. But none of his plays - some of which were successful - justified hopes. The best of them, Amasis, suffers from the comparison with the Merope (1743) by Voltaire, on the same subject. "If the author has a sense of theater and dramatic situations, the characters are cold and false and versification is hard and prosaic" (Gustave Vapereau).
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The chorale "Vater unser im Himmelreich" is a famous hymn, a versification of the Lord's Prayer. Pachelbel presents it as a four-voice setting with the chorale in the upper voice. Fore- imitation is used throughout the piece in well-developed three-voice sections, resulting in what Pachelbel scholar Kathryn Welter described as "the most magnificent of the eight preludes [of Erster Theil] in its discipline of construction and richness of harmonies."Welter, p. 146.
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Versification in Classical Sanskrit poetry is of three kinds. #Syllabic () metres depend on the number of syllables in a verse, with relative freedom in the distribution of light and heavy syllables. This style is derived from older Vedic forms. An example is the Anuṣṭubh metre found in the great epics, the Mahabharata and the Ramayana, which has exactly eight syllables in each line, of which only some are specified as to length.
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The codex contains the text of the four Gospels, on 287 parchment leaves (size ). The text is written in two columns per page, 43 lines per page. The text is divided according to the (chapters), whose numbers are given at the margin, and their (titles) at the top of the pages. It contains Prolegomena, tables of the (tables of contents) before each Gospel, subscriptions at the end of Matthew, versification in Luke.
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From the standpoint of literary history, Symeon Polotsky marks a watershed in the Russian literature. He is frequently cited as the first poet in the language, although the bulk of his work is either in Church Slavonic or Polish. As a poet, he clung to the principles of syllabic Polish versification which he learned as a youth. By adopting syllabic verse, he is said to have stultified Russian verse for over a century.
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The problems of adjudication at the contests spurned the production of several treatises on versification in the fifteenth and sixteenth centuries.Pierre Fabri wrote Le grant et vrai art de pleine rhétorique (1521) for puy of Rouen. As in the Floral Games celebrated in southern France and Spain, the prizes awarded by the puys could be flowers, such as lilies or roses, or sometimes palms. These floral prizes could be redeemable for money.
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William drew on the stories of Alban as told by Bede and Geoffrey of Monmouth, the latter of whom he acknowledges in the preface. He frames the work as a translation of an Old English book, similar to Geoffrey's claim that his De gestis Britonum was a translation of an ancient work. Ralph of Dunstable later made a versification of William's Passion; the Vie de seint Auban by Matthew Paris is another adaptation of the work.
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The early portions appear to have been based on Bede's Libellus de sex aetatibus mundi and Ekkehard's Chronicon. As he approaches his own time, Albert becomes, like most medieval chroniclers, both fuller and more reliable. Albert also wrote several theological and literary works while he was a friar. He is credited with Raimundus, a versification of Raymond of Penyafort's Summa de casibus poenitentiae, and with Troilus, a Latin epic about the Trojan War in 5,320 lines.
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In an English translation created much later, Bartók retains the six-syllable versification of the original Romanian text. Below is Bartók's own translation of the text from the third movement: :Once upon a time there :Was an aged man, he :Had nine handsome boys. :Never has he taught them :Any handicraft, he :Taught them only how to :Hunt in forests dark. :There they roamed, hunted :All the year around, and :Changed into stags in :Forests dark and wild.
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Marivaux used to attend the Marquise de Lambert's literary salon with Antoine Houdar de La Motte, another supporter of prose in tragedy. After a talk about versification, he decided to answer empirically by writing Mahomet second, despite the failure a decade before of his Annibal. No-one managed to convince him to complete this tragedy whose topic had already been used by Vivien de Châteaubrun in a play which was performed eleven times at the Comédie-Française in 1714.
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With fuller observation and more careful description, Lope de Vega depicted real character types with language and accouterments appropriate to their position in society. The old comedy was awkward and poor in its versification. Lope introduced order into all the forms of national poetry, from the old romance couplets to the lyrical combinations borrowed from Italy. He wrote that those who should come after him had only to go on along the path which he had opened.
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A fourth edition of the volume in 1644 contained "" (O what precious balm and healing), "Consolation from the wounds of Jesus in all manner of temptation. From the Manual of St. Augustine". These hymns have been described as "the first in which the correct and elegant versification of Opitz was applied to religious subjects, ... distinguished by great depth and tenderness of feeling, by an intense love of the Saviour, and earnest but not self-conscious humility".
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Georgy Vladimirovich Ivanov (; in Puki Estate, Seda Volost, Kovno Governorate – 26 August 1958 in Hyères, Var, France) was a leading poet and essayist of the Russian emigration between the 1930s and 1950s. As a banker's son, Ivanov spent his young manhood in the elite circle of Russian golden youth. He started writing verses, imitative of Baudelaire and the French Symbolists, at a precocious age. Although his technique of versification was impeccable, he had no life experience to draw upon.
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Of these, only "Los Médicis de Florencia" is publicly accessible, in "La Biblioteca de Autores Españoles". Enciso's idea of the historical drama is unique for a Spanish dramatist, for he seems to regard the historical drama as being capable of adhering closely to facts. He uses recognized sources in such a way as to give to his plot the appearance of probability. In his versification Enciso shows great variety, but the hendecasyllable (eleven-syllabled verse) seems to predominate.
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He had a good library and became very fond of the society of his niece, and proud of her talents. He was a great friend of Madison and an early admirer of Andrew Jackson. Caulkins had shown an unusual talent for versification as well as for prose writing, but she did not receive encouragement from the family to produce works for publication. Among her manuscripts are many fugitive pieces of poetry without date, but evidently written in early life.
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The John Greenleaf Whittier Home in Amesbury, Massachusetts Nathaniel Hawthorne dismissed Whittier's Literary Recreations and Miscellanies (1854): "Whittier's book is poor stuff! I like the man, but have no high opinion either of his poetry or his prose."Woodwell, 252 Editor George Ripley, however, found Whittier's poetry refreshing and said it had a "stately movement of versification, grandeur of imagery, a vein of tender and solemn pathos, cheerful trust" and a "pure and ennobling character".Crowe, Charles.
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In A Run through the Land of Burns and the Covenanters (Aberdeen, 1872) he attacked Mark Napier's attempt to disprove that two female covenanters were drowned at Wigtown, and celebrated the "two Margarets" in verse. His edition of Alexander Ross of Lochlee's Helenore (Edinburgh, 1866) appeared with a life of the author. Longmuir was also a lexicographer. He edited a combined version of John Walker's and Noah Webster's Dictionaries (London, 1864), and Walker's Rhyming Dictionary (London, 1865), with an introduction on English versification.
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Brereton possessed talents for versification, if not for poetry, which she displayed for some years as a correspondent to The Gentleman's Magazine, under the pseudonym Melissa. There she had a competitor who signed himself FIDO and is supposed to have been Thomas Beach. After her death a volume of her Poems on Several Occasions; with letters to her friends; and an account of her life, was published in London in 1744. A number of her poems were reprinted in subsequent collections.
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Hamid Hassani or Hamid Hasani () () (born November 23, 1968 in Saqqez, Iranian Kurdistan province, Iran) is an Iranian scholar and researcher, concentrated on Persian lexicography, dictionary-making, and Persian corpus linguistics, also an expert on Persian, Standard Arabic, and Kurdish prosody (metrics/ versification). He lives in Tehran since 1987. Hassani has reached a PhD degree in Persian language and literature from the University of Tehran. He has published 7 books and more than 120 papers on Persian, Arabic, and Kurdish language and literature.
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Tarlinskaja successfully applied her methodology to defining the authorship of questionable Elizabethan poems and plays. Writing in 1981, T.V.F. Brogan called her English Verse: Theory and History "the most extensive and most important study of English verse structure produced in this century." Brogan 1981, p 281. In 2005 she received the Robert Fitzgerald Prosody Award. In The Times Literary Supplement Sir Brian Vickers called her "Shakespeare and the Versification of English Drama, 1561-1642" (2014) "the book of the year" .
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Eichenbaum, however, criticised Shklovsky and Jakubinsky for not disengaging poetry from the outside world completely, since they used the emotional connotations of sound as a criterion for word choice. This recourse to psychology threatened the ultimate goal of formalism to investigate literature in isolation. A definitive example of focus on poetic language is the study of Russian versification by Osip Brik. Apart from the most obvious devices such as rhyme, onomatopoeia, alliteration, and assonance, Brik explores various types of sound repetitions, e.g.
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From 1858 to 1859 he edited a literary journal entitled Ugentlige Blader (Weekly Pages). His last drama, Tre Dage i Padua (Three Days in Padua), was produced in 1869, and he died on the 25th of February of the next year. Hertz is one of the first of Danish lyrical poets. His poems are full of colour and passion, his versification has more witch-craft in it than any other poet's of his age, and his style is grace itself.
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Jayadeva was a Sanskrit poet. He was born in an Utkala Brahmin family of Puri in circa 1200 CE. He is most known for his composition, the epic poem Gita Govinda, which depicts the divine love of the Hindu deity Krishna and his consort, Radha, and is considered an important text in the Bhakti movement of Hinduism. About the end of the 13th century and the beginning of the 14th, the influence of Jayadeva's literary contribution changed the pattern of versification in Odia.
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One ornamental feature of Tamil versification is , often translated "rhyme", although it is distinct from typical Western rhyme. This occurs often in kural, but is not obligatory. There is variance in Tamil practice, but in a kural couplet, is usually more or less equivalent to the exact repetition of the initial line's second syllable as the final line's second syllable. An example (not in a kural, but in a four-line ) is: Sometimes additional syllables, beyond the second, are also repeated.
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Prose lacks the more formal metrical structure of verse that can be found in traditional poetry. Prose comprises full grammatical sentences, which then constitute paragraphs while overlooking aesthetic appeal, whereas poetry often involves a metrical or rhyming scheme. Some works of prose contain traces of metrical structure or versification and a conscious blend of the two literature formats known as prose poetry. Verse is considered to be more systematic or formulaic, whereas prose is the most reflective of ordinary (often conversational) speech.
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AMORE MATVRITAS = MMVI = 2006. Chronograms in versification are referred to as chronosticha if they are written in hexameter and chronodisticha if they are written in distich. In the ancient Indonesian Hindu-Buddhist tradition, especially in ancient Java, chronograms were called chandrasengkala and usually used in inscriptions to signify a given year in the Saka Calendar. Certain words were assigned their specific number, and poetic phrases were formed from these selected words to describe particular events that have their own numerical meanings.
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This view was reflected by other poets such as Brian Mac Giolla Phádraig. As well as Irish, Ó Bruadair knew Latin and English. He was a poet of considerable range, and wrote on historical and political subjects, as well as producing elegies on a number of his patrons, bitter satires on Cromwellian planters, religious poems of real feeling and, almost uniquely amongst Gaelic poets, at least two epithalamia. His versification was equally varied, and he wrote in both syllabic and assonantal metres.
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Apart from poetry critique, Sharif Saiidi also taught Prosody, Versification and matters related to poetry. One of the most important programmes of this forum was the literary programme of Poets of Poetry Council of Qom broadcast in the Iranian TV. In this programme, around 50 top student poets were selected and sent to Tehran under supervision of Sharif Saiidi. The programme was held and broadcast on a weekly basis. The programme raised profiles of many young poets in the forum.
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Matthew Albert Bayfield (17 June 1852 in Kings Norton, Worcestershire – 2 August 1922 in Hertford) was an English classical scholar, author, headmaster, clergyman and spiritualist. Bayfield is best known for his commentaries on classical Greek texts as well his writing on the subject of poetry. His works include The Measures Of The Poets (1919) and A Study of Shakespeare's Versification (1920). Bayfield collaborated with Walter Leaf and A. W. Verrall on numerous commentaries on the works of Sophocles, Homer and Euripides.
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Browning creates an internal world for his reader by giving them insight into how the narrator interprets the whole scene, not just the words spoken: line four, "You turn your face, but does it bring your heart?" refers to how the narrator is interpreting Lucrezia's body language. Some literary analysts claim Browning adapted his versification to his characters; Andrea del Sarto is no exception. It explores aestheticism and human reciprocity, and as a result is written in near perfect iambic pentameter.
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Alistair Wightman, Karol Szymanowski, His Life and Work (Aldershot: Ashgate, 1999), 126. Death as ecstasy is a vital theme throughout the texts, paraphrased by Hans Bethge, who also provided the translation for Gustav Mahler's Das Lied von der Erde. Hans Bethge, a German poet, scholar, and translator, was most famous for his translations of Oriental works rather than his poems. His unique but extraordinary musical versification inspired many composers such as Eisler, Krenek, Mahler, Strauss, Schoenberg, Ullmann, Webern, and Szymanowski.
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The shortest verse in the Greek New Testament is Luke 20:30 ("", "And the second") with twelve letters, according to the Westcott and Hort text. The shortest verse in the Pentateuch, Genesis 26:6, also has twelve letters in the original Hebrew. It is found in the Gospel of John, chapter 11, verse 35. Verse breaks—or versification—were introduced into the Greek text by Robert Estienne in 1551 in order to make the texts easier to cite and compare.
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He graduated from the Mathematical-Informatical Grammar School (MIOC) in Zagreb. Afterwards he enrolled into the Faculty of Electrical Engineering of the University of Zagreb, but left it and worked on minor jobs for a decade. Unsatisfied with his working conditions, he enrolled into the University of Zagreb again, this time at the Faculty of Philosophy. There he graduated from general linguistics, which reconciled his passion for both mathematics and languages, as well as from comparative literature, with the thesis Indo-European sources of Old Irish Versification.
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Simchah (Simon) ben Abraham Calimani (1699 – August 2, 1784) was a Venetian rabbi and author. He was a versatile writer, and equally prominent as linguist, poet, orator, and Talmudist. During his rabbinate Calimani was engaged as corrector at the Hebrew printing office in Venice. Among the great number of books revised by him was the responsum of David ben Zimra (RaDBaZ), to which he added an index, and the Yad Ḥaruẓim (on Hebrew versification) of Gerson Ḥefeẓ, enriched with interesting notes of his own.
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The chief characteristics of her poetry are natural melody, smoothness of versification and exalted sentiment, the expression of a mind filled with refined and uplifting thoughts. Her spirituality was pronounced, and an abiding faith in a supreme wisdom, whose dictations proceed from infinite love, carried many a message of comfort to sorrowing hearts, and inspired strangers to become her grateful friends. This quality of sympathy and understanding of others' trials and sorrows is peculiar to her verse and to the earnest sincere womanliness of the woman herself.
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Milton's ode At a solemn Musick was set for choir and orchestra as Blest Pair of Sirens by Hubert Parry (1848–1918), and Milton's poem On the Morning of Christ's Nativity was set as a large-scale choral work by Cyril Rootham (1875–1938). Norma Wendelburg used Milton's words for her choral work Song on May Morning. Milton also wrote the hymn Let us with a gladsome mind, a versification of Psalm 136. His 'L'Allegro' and 'Il Penseroso', with additional material, were magnificently set by Handel (1740).
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Of the German poem in its original form entitled Isengrînes nôt (Isengrin's trouble), only a few fragments are preserved in a mutilated manuscript discovered in 1839 in the Hessian town of Melsungen. We possess, however, a complete version made by an unknown hand in the thirteenth century and preserved in two manuscripts, one at Heidelberg and one belonging to the archiepiscopal library of Kalocsa. This version is very faithful, the changes made therein pertaining apparently only to form and versification. Its title is Reinhart Fuchs.
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He was unique in his fine sense of plastic expression; he was eminently tasteful, lettered, relined. Without being a genius, he possessed immense talent, just of the order to be useful in combating the worn-out rhetoric of Dutch poetry. His verse was modelled on Heine and still more on the Greeks; it is sober, without colour, stately and a little cold. He was a curious student in versification, and it is due to him that hexameters were introduced and the sonnet reintroduced into the Netherlands.
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The later critic Howard Weinbrot agreed with Scott's and Eliot's assessment, and says "London is well worth reading, but The Vanity of Human Wishes is one of the great poems in the English language." Likewise, Robert Folkenflik says: "It is not Johnson's greatest poem, only because The Vanity of Human Wishes is better". Some critics, like Brean Hammond, only see the poem as "no better than a somewhat mechanical updating of Juvenal's third Satire". Others, like Walter Jackson Bate, consider the poem as "masterly in its versification".
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In Heartz, Daniel (1990) Mozart's operas. Berkeley and Los Angeles: University of California Press. With occasional exceptions, critics voice harsh views on the quality of Schikaneder's German versification as well. Such critics generally do not defend it on its own terms (as if it could stand independently as a work of theater), but rather as a vehicle that served as a great inspiration for Mozart for composition, particularly in its assertion of high ideals and the portrayal of selfless love in the characters of Pamina and Tamino.
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Length confusions seem to have begun in unstressed vowels, but they were soon generalized. In the 3rd century AD, Sacerdos mentions people's tendency to shorten vowels at the end of a word, while some poets (like Commodian) show inconsistencies between long and short vowels in versification. However, the loss of contrastive length caused only the merger of and while the rest of pairs remained distinct in quality: , , , , . Also, the near-close vowels and became more open in most varieties and merged with and respectively.
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Charles Bagot Cayley (1823–1883) was an English linguist, best known for translating Dante into the metre of the original, with annotations. He also made metrical versions of the Iliad, the Prometheus of Æschylus, the Canzoniere of Petrarch. The translations from the Greek are a laboured attempt to mirror the versification rules of the originals. His version of The Divine Comedy is much more successful, preserving the Dante's terza rima rhyme scheme while using a relatively simple English which reflects Dante's own use of ordinary Italian.
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The Temple Lot church publishes its own edition of the Book of Mormon, identical in chaptering and versification to versions printed by the Community of Christ. "The Word of the Lord", used by the Fettingite and Elijah Message organizations, which broke off from the Temple Lot church, is rejected; however, the Temple Lot church maintains an openness to the idea that revelation might conceivably come to any member of the church at any time, whether male or female, holder of the priesthood or not.
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Part I contains some philosophy of language, theory of poetry, epistemology and rules of orthography. Part II deals with rules for versification and the issue of literary genre. Part III is about grammar and contains both classical material borrowed from Donatus, Priscian, Isidore and Alexander de Villa Dei, as well as modern material on the system of declensions in Occitan, the use of articles, the nature of the sentence and semantics. In terms of linguistic varieties, this section recommends the us acostumat ("customary usage") over local customs.
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Noches blancas (White Nights) and Leyenda (Legend) were released in 1905 and 1906. They emphasized a vein of exaltation of the historical past of Spain that would, from then on, be usual in his work. In these books he showed a remarkable command of language and his gift for versification. From 1907, in a very declared and sharp form, Antonio de Zayas abandoned any modernist fickleness and dedicated himself to defending what he would call the country tradition, with a rhetoric that got increasingly old.
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Among contemporary Malayalam poets, P.P. Sreedharanunni has acquired a space, which is both prominent and unpredictable. By not falling in line with any of the currently popular trends of Malayalam poetry his art exhibits bold isolation. At the same time he draws strength from the history of Malayalam versification, from the classical down to the post-modern age. His poetry manifests itself as an elusive mosaic made of myths and urban images, of plain narrative lores turning into formidable riddles, and of silken romanticism in strange company with post modern meta- narratives.
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Schottelius's magnum opus, his Ausführliche Arbeit Von der Teutschen HaubtSprache, appeared in 1663. Running to over 1,500 pages, it incorporated substantial amounts of material that had appeared earlier, notably in his Teutsche Sprachkunst of 1641. Aimed at a learned, international readership, with much use of Latin alongside German, the Ausführliche Arbeit is a compendium of remarkable range and depth. Combining many discourse traditions, it embraces language history, orthography, accidence, word- formation, idioms, proverbs, syntax, versification, onomastics and other features, including a dictionary of more than 10,000 German root-words .
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Immanuel's studies consisted not only of biblical and talmudic literature, but also mathematics, astronomy, medicine, and Islamic and Christian philosophy. He had an excellent memory and spoke Italian, Arabic, Latin and perhaps some Greek. He especially devoted himself to writing verse, encouraged in this by his cousin Judah Romano, one of the foremost Jewish philosophers of his time. Immanuel, whose poetic gifts appeared at an early age, devoted himself to the study of rhyme, took lessons in versification, and read the works of the foremost Jewish and Christian poets.
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Nathaniel Parker Willis, editor of the Mirror, introduced it as "unsurpassed in English poetry for subtle conception, masterly ingenuity of versification, and consistent, sustaining of imaginative lift ... It will stick to the memory of everybody who reads it." Following this publication the poem appeared in periodicals across the United States, including the New York Tribune (February 4, 1845), Broadway Journal (vol. 1, February 8, 1845), Southern Literary Messenger (vol. 11, March 1845), Literary Emporium (vol. 2, December 1845), Saturday Courier, 16 (July 25, 1846), and the Richmond Examiner (September 25, 1849).
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Ronsard, who was eight years his senior, now began to share his studies. Claude Binet tells how young Baïf, bred on Latin and Greek, smoothed out the tiresome beginnings of the Greek language for Ronsard, who in return initiated his companion into the mysteries of French versification. Baïf possessed an extraordinary facility, and the mass of his work has injured his reputation. Besides a number of volumes of short poems of an amorous or congratulatory kind, he translated or paraphrased various pieces from Bion of Smyrna, Moschus, Theocritus, Anacreon, Catullus and Martial.
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Nonetheless, in 1630 in Breslau (now Wrocław, Poland), Silesia, he published a volume of hymns, Devoti musica cordis, Hauss-und Herz-Musica (Latin, German: "music for a devout heart, house and heart music"), including "". The volume also contained the Passion hymn "". These hymns have been described as "the first in which the correct and elegant versification of Opitz was applied to religious subjects, ... distinguished by great depth and tenderness of feeling, by an intense love of the Saviour, and earnest but not self-conscious humility". ' is in twelve stanzas of 6 lines each.
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Oringe Smith Crary was born in Swanton, Vermont, on March 13, 1803, the eighth child of Nathan Crary, a Revolutionary War veteran and Methodist minister of Scotch descent, and Lydia Deane Crary.Waters, H.F. (1906) The New England Historical and Genealogical Register, New England Historic Genealogical Society, The family would soon after become among the first settlers of Pierrepont, New York. As a young man, Crary worked in Pierrepont as a teacher, later serving as school commissioner. He was noted to be "quite apt at versification" from a young age.
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He made extensive use of foreign, primarily Persian, historical works in order to confirm or supplement information from native Georgian sources. The chronicles contain also autobiographic information and is written in vernacular Georgian apparently because of the author's poor knowledge of the contemporary standards of Georgian literary language. Gorgijanidze was also actively involved in the editing, versification and rewriting of the Georgian versions of the Shahnameh epic. Amongst the several major works Gorgijanidze translated into Georgian, there was the Jāmeʿ-e abbāsi, a book written by Sheikh Baha'i on Shia jurisprudence.
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He holds a well- defined place in French literature, as the first who reduced its versification to rule, and taught the value of workmanship for its own sake. His influence on English literature, through Pope and his contemporaries, was not less strong, though less durable. After much undue depreciation, Boileau's critical work has been rehabilitated by recent writers, perhaps to the extent of some exaggeration in the other direction. It has been shown that in spite of undue harshness in individual cases most of his criticisms have been substantially adopted by his successors.
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Phrynichus (; ) was a poet of the Old Attic comedy and a contemporary of Aristophanes. His first comedy was exhibited in 429 BC. He composed ten plays, of which the Solitary (') was exhibited at the City Dionysia in 414 along with the Birds of Aristophanes and gained the third prize. The Muses carried off the second prize at the Lenaia in 405, Aristophanes being first with the Frogs, in which he accuses Phrynichus of employing vulgar tricks to raise a laugh, of plagiarism and bad versification, and of lowbrow politics.
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The jeu-parti (plural jeux-partis, also known as parture) is a genre of French lyric poetry composed between two trouvères. It is a cognate of the Occitan partimen (also known as partia or joc partit). In the classic type, one poet poses a dilemma question in the opening stanza, his or her partner picks a side (the 'part') in the second stanza, which replicates the versification of the first and is sung to the same melody. Typically, the jeu-parti has six stanzas, with the two interlocutors alternating stanza by stanza.
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269 CE Sanskrit text, Yavanajātaka (literally "Greek horoscopy") of Sphujidhvaja, a versification of an earlier (ca. 150 CE) Indian prose adaptation of a lost work of Hellenistic astrology. Such use seems to make the case that by the mid-3rd century CE, the decimal place value system was familiar, at least to readers of astronomical and astrological texts in India. It has been hypothesized that the Indian decimal place value system was based on the symbols used on Chinese counting boards from as early as the middle of the first millennium BCE.
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"In the dark of the night, the Northmen, sounding their horns and making a terrible clamour, rushed down the mount and stormed" Ebles camp. Ebles fled and hid in a drum in a fuller’s workshop. His cowardice and dishonor was derided in a popular French ballad of the Plantagenet age.Sir Francis Palgrave, The History of Normandy and of England, Volume I (London: Macmillan and Co., 1878), 678; E. Littre, Histoire de la Langue Francaise; Etudes sur les origins, l’etymologie, la grammaire, les dialectes, la versification, et les lettres au Moyen Age.
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A number of graphs are shown to illustrate the variety of rhyme schemes and line-length patterns, or situation. The poet who can work melodiously within the strictures of versification proves a "crafts master," a valuable literary virtue. Proportion in figure is the composition of stanzas in graphic forms ranging from the rhombus to the spire. Book III, "Of Ornament," which comprises a full half of the Arte, is a catalogue of figures of speech, in the tradition of Richard Sherry, Henry Peacham, Abraham Fraunce, and Angel Day.
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In these programmes sessions relating to poetry such as Prosody, Rhythm, Versification, Literary Techniques and introductory sessions on Poetry Criticism were arranged for other poets. Due to lack of space, these sessions used to take place in mosques or classrooms of World Centre of Islamic Sciences. Later, the Art Association of city of Qom provided the Afghanistani poets and writers with a room to meet twice a week to hold poetry and story writing related sessions. Since then, Mohammad Sharif Saiidi became in charge of managing this programme in Qom.
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Wherefore Hutten left Greifswald, and as he went was robbed of clothes and books, his only baggage, by the servants of his late friends. In the dead of winter, half starved, frozen, penniless, he reached Rostock. In Rostock, again the humanists received him gladly, and under their protection he wrote against his Greifswald patrons, thus beginning the long list of his satires and fierce attacks on personal or public foes. Rostock could not hold him long, and he wandered on to Wittenberg, where in 1511 he published his Ars Versificatoria, a work on versification.
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Richard Hill died on duty in the vestry of St James, reportedly of apoplexy. A tombstone commemorating him is at Camperdown. His sudden death shocked his contemporaries and inspired earnest original poetry in tribute to his memory. At least two multi-stanza original poems were published in the Sydney press, one of which self-consciously referenced a recent poem by Lord Byron by beginning with "There was a sound of revelry by night", borrowed from Childe Harold (Canto the Third, Stanza XXI), and attempting to copy that poem's versification throughout.
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Esménard is best known for the didactic and descriptive poem entitled La Navigation, first published in 8 verses in 1805, then re-edited to 6 verses in 1806. It is a precise work, drawn from observations made by the author in the course of his travels. Its versification, however, is monotonous and it is marked by a total absence of action and movement. Esménard wrote Le triomphe de Trajan, a three-act opera with music by Jean-François Lesueur, on the life of Trajan but full of flattering allusions to Napoleon I of France.
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Praise for the versification of the Vita has been qualified. John Jay Parry conceded that it "is good, by medieval standards, and in places rises to poetry", and likewise Peter Goodrich thought it "better than average Latin hexameter verse". Tatlock wrote that it is "a favourable specimen of mediaeval metrical verse", with few false quantities, no elision or hiatus, and a moderate use of verbal jingles, though he preferred the poetic form and style of the two short poems in Geoffrey's Historia. The figure of Merlin in the poem is hard to pin down, and has been interpreted variously by different critics.
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The text is divided according to the (chapters), whose numbers are given at the margin, and the (titles of chapters) at the margin. There is also a division according to the Ammonian Sections (in Mark 233 Sections – the last section 16:8), with references to the Eusebian Canons (written below Ammonian section numbers). The capital letters and Ammonian Section numbers are in red, references to the Eusebian Canons in blue or green. It contains tables of the (tables of contents) before three of the Gospels (those of Matthew were lost), lectionary markings at the margin (for liturgical use), versification, and pictures.
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Includes the full source text and the commentary by Bhāskararāya in Sanskrit. Bhaskararaya titles his commentary Khadyota (“Firefly”), making a play on words based on two different meanings of this Sanskrit term. In his opening remarks Bhaskararaya says that some will say that because the commentary is very brief it is inconsequential like a firefly (khadyota) but to devotees it will shine like the sun (khadyota). The source text (Sanskrit:; ) of Bhaskararaya's Khadyota commentary generally follows the text of the 1993 reprint edition Ganesha Purana (GP-1993) , but there are quite a few differences in names, and the versification differs slightly.
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Gilles Delouche (3 August 1948 – 20 January 2020) was a French scholar of classical literature of the Rattanakosin Kingdom (Thai language). Delouche, who was born in Orléans, was Professor at the Institut national des langues et civilisations orientales (INALCO) since 1987, having taught from 1971 to 1987 at the Faculty of Arts, Silpakorn University (Thailand), which awarded him an honorary degree. Gilles Delouche served as president of the Institut national des langues et civilisations orientales from 2001 to 2005. His teaching focused on introductory Thai syntax, but also more particularly on Siamese versification and classical works, from their origins to the seventeenth century.
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Quintana considers his poems the first attempts at descriptive poetry in the Castilian language. The style is original, the thoughts beautifully expressed, the taste refined, and the versification well adapted and harmoniously blended with the theme. Menéndez y Pelayo writes that Rioja's "Ode to Summer", and those "To Tranquillity", "To Constancy," "To Riches" and "To Poverty" are, after the lyrics of Fray Luis de León, the best moral odes in Castilian poetical treasure. The ode "A las ruinas de Italia", which belongs to Rodrigo Caro, and the "Epístola moral", whose author is probably Francisco de Andrada, were earlier ascribed to Rioja.
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These include W. H. Auden, Andrew Cannon, T. S. Eliot, Robert Frost, Elizabeth Jennings, Philip Larkin, Archibald MacLeish, James Merrill, Jacqueline Osherow, Gjertrud Schnackenberg, Clark Ashton Smith, Derek Walcott, Richard Wilbur and William Carlos Williams. Edward Lowbury's adaptation of the form to six-syllable lines has been named piccola terza rima."Craftsmanship in Versification", in Wolfgang Görtschacher's Contemporary Views on the Little Magazine Scene, Poetry Salzburg, 2000, p. 549. The form has also been used in translations of the Divine Comedy, including Robert Pinsky's version of the Inferno, and Laurence Binyon's, Dorothy L. Sayers's and Peter Dale's versions of the entire work.
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The Davidiad itself is a versification of portions of the Hebrew Old Testament, detailing the events starting with the persecution of David by Saul (1 Samuel 15) and ending with David's death (1 Kings 2:11). For the most part, the poem is faithful to the Old Testament, although Marulić expands, modifies, and extrapolates from the parent text in a few places. Marcovich argues that these changes are usually done "to achieve special effects: poetic, rhetorical, [...] or moralizing; and sometimes for simply misunderstanding the source."Marcovich (1973), p. 378. Completed in 1517,Marcovich (2006), p. vii.
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In 1845, she published a small volume of poems, selected from her contributions to the various periodicals, entitled, Songs of our Land, and other Poems. This volume confirmed the high opinions which had been formed of her abilities from the fugitive pieces that had been popularly attributed to her. Her compositions in this collection demonstrated that she has a fine and well-cultivated understanding, and they are distinguished in an unusual degree for lyrical power and harmony as well as for sweetness of versification. The verses were evidently the utterance of a warm and impassioned heart, and strong imagination.
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A digression. To give his political opinions about the Ottoman Empire's hegemony upon Greece, in “The Isles of Greece” section of canto III, Byron uses numeration and versification different from the style of verse and enumeration of the text about Don Juan. Moreover, on returning to the adventures of Don Juan, the narrator vividly describes a catalogue of the celebrations of the lovers Haidée and Don Juan. At the time of Juan's ship-wrecked arrival to the island, the islanders believed that Lambro (Haidée's father) was dead, but he returns and witnesses the revels and his daughter in company of a man.
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What is most noticeable in Weiss' poems is their rhythmical harmony. The only instance in literary history in which so melodious a versification was attained under similar circumstances was that of James M. Nack, the deaf poet of New York, whose writings were published several years earlier by Prosper Montgomery Wetmore. There was not in Nack's poems, however, any single composition that could be compared with "Ennerslie", in grace, or variety of cadences. It was said that this poem, without being an imitation, would remind the reader of one of the finest productions of Alfred, Lord Tennyson.
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In his The Earthly Paradise (1868–70) he included a versification of the story of Sigurd's daughter Aslaug, which he may have taken from Thorpe. In 1868 he began to learn Old Norse from the Icelandic scholar Eiríkr Magnússon, and embarked with him on a series of collaborative translations from the Icelandic classics. In 1870 they published Völsunga Saga: The Story of the Volsungs and Niblungs, with Certain Songs from the Elder Edda, claiming uncompromisingly in the preface that "This is the Great Story of the North, which should be to all our race what the Tale of Troy was to the Greeks".
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This shows that Shakespeare had developed a capacity to see the plays as whole, something more than characters and expressions added together. In the Falstaff trilogy, through the character of Falstaff, he wants to show that in society "where touchstone of conduct is a success, and in which humanity has to accommodate itself to the claims of expediency, there is no place for Falstaff", a loyal human being. Shakespeare united the three main streams of literature: verse, poetry, and drama. To the versification of the English language, he imparted his eloquence and variety giving highest expressions with elasticity of language.
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336 They were also an influence on later eclogues that were given exotic locations. The three dating from 1770 by Thomas Chatterton had purely imaginary African settings and their versification was distinguished by "crude imaginative force and incoherent, almost Ossianic, fervor".Martha Pike Conant, The Oriental Tale in England in the Eighteenth Century, Routledge 2019, "African Eclogues" By contrast, the Oriental Eclogues of Scott of Amwell (1782) can stand "favourable comparison" with Collins' and their background details are supported by contemporary scholarship.R. R. Agrawal, The Medieval Revival and Its Influence on the Romantic Movement, Abhinav Publications 1990, pp.
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Another student of Lefèvre was the anatomist Jacques Dubois. In the meantime Clément Marot, 1495–1544, the first true poet of the French literary revival, was composing his French versification of the Psalms and of Ovid's Metamorphoses. The Psalms were sung for pleasure by French princes and later for worship in Geneva and by the Huguenots. When Calvin studied the humanities and law at Bourges, Orléans and Paris, about 1520, he had for teachers Maturin Cordier and Pierre de L'Estoile, the canonists, and Melchior Wolmar, teacher of Greek, whose names the future Reformer records with gratitude and respect.
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He made his acquaintance of most of them at La Poupelinière's salon, at the Société du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day. Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism.
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In one of his prolific word-studies, A.W. Hodgman noted that: > the statements that one meets with, that this or that form is "common," or > "regular," in Plautus, are frequently misleading, or even incorrect, and are > usually unsatisfying.... I have gained an increasing respect for the > manuscript tradition, a growing belief that the irregularities are, after > all, in a certain sense regular. The whole system of inflexion—and, I > suspect, of syntax also and of versification—was less fixed and stable in > Plautus' time than it became later.A.W. Hodgman. "Verb Forms in Plautus," > The Classical Quarterly 1.1(1907), pp. 42-52.
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It describes defective and corrective examples (the "do's and don't's") of versification and native composition styles recognised by earlier poets (puratana kavis). These composition meters are the bedande, the chattana and the gadyakatha – compositions written in various interspersed metres. In some contexts, the term puravcharyar, which may refer to previous grammarians or rhetoricians, have also been mentioned.Sahitya Akademi (1988), pp. 1474–1475 Some historians attribute Kavirajamarga to the Rashtrakuta king Amoghavarsha I, but others believe that the book may have been inspired by the king and co-authored or authored in full by Srivijaya, a Kannada language theorist and court poet.
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First Part of the Comedies of Don Juan Ruiz de Alarcón, 1628 Alarcón was the least prolific of all the great dramatists of Spain and is one of the very few Spanish-Americans among the great dramatists of the Siglo de Oro. He wrote less than did others, and many of his works circulated under their names. He took pains to mull over his plays and polish both their versification and their general composition. Fitzmaurice-Kelly said of Alarcón: "There are Spanish dramatists greater than Ruiz de Alarcón: there is none whose work is of such even excellence"Fitzmaurice-Kelly, p. 317.
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More about anapaestic metre is in: Joseph Berg Esenwein, Mary Eleanor Roberts, The art of versification, p. 51. The longer lines are built of five feet: x x / x x / x x / x x / x x / and the shorter of only two feet: x x / x x / while Browning frequently employs what might be considered cretic substitutions: / x / / x / / x / Breath and bloom, shade and shine, wonder, wealth... The lines rhyme according to the scheme ABABBCAC and also feature alliteration.Alliteration at Encyclopaedia Britannica.Paulina Estella Buhl, A Historical and Critical Study of Browning's Asolando Volume, p. 132.
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Paul Carus was an editor and collaborator with D. T. Suzuki Several publications increased knowledge of Buddhism in 19th-century America. In 1879, Edwin Arnold, an English aristocrat, published The Light of Asia, an epic poem he had written about the life and teachings of the Buddha, expounded with much wealth of local color and not a little felicity of versification. The book became immensely popular in the United States, going through eighty editions and selling more than 500,000 copies. Paul Carus, a German American philosopher and theologian, was at work on a more scholarly prose treatment of the same subject.
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He became reconciled to his enemies, and died on 21 December 1805 of an aneurysm. He died in poverty on the eve of the French invasion, in a similar way to how Camões' death came just before the occupation of Portugal by the Duke of Alva's army. The gulf that divides the life and achievements of these two poets is accounted for less by difference of talent and temperament than by their environment, and illustrates the decline of Portugal in the two centuries that separate 1580 from 1805. To Beckford, Bocage was a powerful genius, and Link was struck by his nervous expression, harmonious versification and the fire of his poetry.
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Modernist poetry is a mode of writing characterised by technical innovation in the mode of versification (sometimes referred to as free verse) and by the dislocation of the 'I' of the poet as a means of subverting the notion of an unproblematic poetic 'self' directly addressing an equally unproblematic ideal reader or audience. In English, it is generally considered to have emerged in the early years of the 20th century. These two facets of modernist poetry are intimately connected with each other. The dislocation of the authorial presence is achieved through the application of such techniques as collage, found poetry, visual poetry, the juxtaposition of apparently unconnected materials, etc.
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The versification of the Brut has proven extremely difficult to characterise. Written in a loose alliterative style, sporadically deploying rhyme as well as a caesural pause between the hemistichs of a line, it is perhaps closer to the rhythmical prose of Ælfric of Eynsham than to verse, especially in comparison with later alliterative writings such as Sir Gawain and the Green Knight and Piers Plowman. Layamon's alliterating verse is difficult to analyse, seemingly avoiding the more formalised styles of the later poets. Layamon's Middle English at times includes modern Anglo-Norman language: the scholar Roger Loomis counted 150 words derived from Anglo-Norman in its 16,000 long-lines.
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Woodcut of Strasbourg from Nuremberg Chronicle, Hartmann Schedel, 1493: Cathedral (r) and St Thomas (l) Martin Bucer, "Icones quinquaginta vivorum": engraving by Jean-Jacques Boissard Title page of the 1541 Straßburger Gesangbuch "An Wasserflüssen Babylon" is a Lutheran hymn written in 1525 and attributed to Wolfgang Dachstein, organist at St Thomas' Church, Strasbourg. The hymn is a closely paraphrased versification of Psalm 137, "By the rivers of Babylon", a lamentation for Jerusalem, exiled in Babylon. Its text and melody, Zahn No. 7663, first appeared in Strasbourg in 1525 in Wolf Köpphel's Das dritt theil Straßburger kirchenampt. This Strasbourg tract, which comprised the third part of the Lutheran service, is now lost.
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As a wrighter Faleński remained independent of contemporary literary trends. He practiced intellectual-reflective lyricism, moving psychological and moral issues in tone of skeptical irony. His poetry characterized by a wealth of strophic and versification forms as also an unusual imagery. He was the first Polish researcher of Edgar Allan Poe’s works. He made an original analysis of Kochanowski’s epigrams and lamentations, analyzed the works of Mikołaj Sęp Szarzyński, prepared Teodor Krzywicki’s edition of poetry and announced a lot of translations. Regarded as a conjurer of poetic form and one of the first explorers of „literary Tatras”, he was the first Polish author of so-called meanders.
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The most important of Aderca's lyrical work, he notes, was to be found elsewhere, in "pantheistic" poems rather like those by Ion Barbu, where focus shifts toward the great expanses of the cosmos or the mineral world. As noted by Pârvulescu, Aderca's other contributions in the field, in Versuri pentru Monica, falls into the category of "society games" that merely exercise his versification skills. In the psychological novel Domnișoara din Str. Neptun, Aderca sought to challenge a favorite theme of traditionalist and Sămănătorist literature: Sămănătorists shunned the city as a heartless consumer of rural energy and as a place where peasants surrendered to a miserably corrupted life.
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Two poems are conventionally regarded as having been written before the first published one. The first of these, "Bog" (God), is a direct imitation of Gavrila Derzhavin's spiritual odes (Echoes of Derzhavin continued to appear in Batyushkov's mature work, but as only one element of his own, highly individual, style). The other poem is "Mechta" (the title, usually translated as "Dream", can also mean "Fantasy" or "Imagination"). Never satisfied with the realization of his idea, Batyushkov reworked "Mechta" for the rest of his literary life; thus it is possible to illustrate the evolution of Batiushkov's versification and verbal style using only examples from successive wordings of this piece.
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Maxwell was born on a farm near Horse Shoe Run in Tucker County, West Virginia, USA. His father was Rufus Maxwell, first prosecuting attorney in the county, and his mother was Sarah Jane (Bonnifield) Maxwell, a school teacher. He attended county schools for a few months only and showed an early talent for versification, even before learning to write at age 14 years. His interest in geography lead his father to take him and his brothers to the 1876 Centennial Exposition in Philadelphia. After four years at the Weston Academy in Lewis County, he was appointed (1880) a cadet in the U.S. Naval Academy.
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Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists; for Huysmans, this change represented his increasing interest in religion and spirituality. Certain of the characteristic subjects of the Decadents represent naturalist interest in sexuality and taboo topics, but in their case this was mixed with Byronic romanticism and the world-weariness characteristic of the fin de siècle period. The Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. While being influenced by hermeticism, allowing freer versification, and rejecting Parnassian clarity and objectivity, it retained Parnassianism's love of word play and concern for the musical qualities of verse.
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In 1842 the Greek Minoides Mynas came upon a manuscript of Babrius in the convent of St Laura on Mount Athos, now in the British Museum. This manuscript contained 123 fables out of the supposed original number, 160. They are arranged alphabetically, but break off at the letter O. The fables are written in choliambic, that is, limping or imperfect iambic verse, having a spondee as the last foot, a meter originally appropriated to scurrilous verse. The style is extremely good, the expression being terse and pointed, the versification correct and elegant, and the construction of the stories is fully equal to that in the prose versions.
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The collection is grouped into 5 sections, frequently book-ended by these longer poems, so that it has a more formally pleasing shape. The versification is also more varied; there are many more romances (octosyllabic lines with assonance in the even-numbered lines); Guillén starts to write sonnets; he introduces longer lines and also the assonantal quatrains of the longer poems. The longer poems are inevitably less abstract and impersonal but they do not show any real break with his approach to poetry. In place of the concentrated focus on one object or small group of objects, the longer poems have scope for a more comprehensive assessment of exterior reality.
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Capell also argued on aesthetic grounds that the play was Shakespearean, pointing specifically to Act 3 as being indicative of Shakespeare's style, and citing such elements as classical allusions and versification as more akin to Shakespeare than any other dramatist of the time. In 1843, Charles Knight, in the Preface to his pictorial edition of Shakespeare, specifically challenged claims that there was universal agreement that Shakespeare did not write the play. Knight pointed out that there was no such consent, especially in Germany, where Shakespeare was acknowledged by most major scholars as being the author. Knight made specific reference to August Wilhelm Schlegel and Hermann Ulrici.
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Her father distinguished himself as pioneer in the manufacture of iron in Alabama, discovering the ore in 1848, smelting it with charcoal, and forging it into bars under a trip hammer operated by water power. A few years before the outbreak of the American Civil War, Dr. Moore removed to Texas with his family and engaged in the planting of cotton. It was there at La Rose Blanche Plantation, in Hays County on the banks of the San Marcos River that the early years of Davis were passed. La Rose Blanche Plantation, she received her education from private tutors, and there her talent for versification began to display itself.
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In addition to his work with Bosworth, he acted as editor of the Wiener Beiträge zur englischen Philologie (Vienna contributions to English philology; 1895–1900). He also published Englische Metrik (1881–88), an important work, abridged as the one- volume Grundriss der englischen Metrik (1895) (which was in turn published in English as A History of English Versification (1910)); Zur Kritik der Shakespeare-Bacon-Frage (1889), and Der Bacon-Bacillus (1896), and editions of the Alexis legends (1877–87), of Dunbar's poems (1892–94), and of the version of Bede's ecclesiastical history purported to be by Alfred the Great (1897–99). He promoted the study of English at Austrian middle schools.
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He is credited with innovations in Russian versification, including the proliferation of taktovik, a Russian nonclassical meter. Extensive travel and turbulent adventures fueled Selvinsky's longer narrative works and cycles, "loadified" (term used by the Russian constructivists) with local color. Selvinsky briefly joined the anarchist troops in the Russian Civil War but later fought on the side of the Reds. He moved to Moscow in 1921 and studied law at Moscow University, graduating in 1922. From 1924 until its dismantlement in 1930, Selvinsky was the leader of the Literary Center of Constructivists (LTsK), an early Soviet modernist group, and edited several landmark anthologies by constructivist authors (e.g.
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Abu 'Abd Allah Jamal al-Din Muḥammad ibn Abd Allāh ibn Malik al-Ta'i al- Jayyani () ( 600 AH – 672 AH / 1203-4 or 1204-5 – 21 February 1274) was an Arab grammarian born in Jaén. After leaving al-Andalus for the Near East, and taught Arabic language and literature in Aleppo and Hamāt, before eventually settled in Damascus, where he began the most productive period of his life. He was a senior master at the Adiliyya Madrasa. His reputation in Arabic literature was cemented by his al-Khulāsa al-alfiyya (known also as simply Alfiya), a versification of Arabic grammar, for which at least 43 commentaries have been written.
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In the poetic legends A noite do Castello (1836) and Ciúmes do bardo (1838) Castilho appeared as a full-blown Romanticist. These books exhibit the defects and qualities of all his work, in which lack of ideas and of creative imagination and an atmosphere of artificiality are ill-compensated for by a certain emotional charm, great purity of diction and melodious versification. Belonging to the didactic and descriptive school, Castilho saw nature as all sweetness, pleasure and beauty, and he lived in a dreamland of his imagination. A fulsome epic on the succession of King John VI brought him an office of profit at Coimbra.
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During the period marked by the devastating aftermath of the Korean War, Kim Gu-yong focused his poetic objective on the treatment of the postwar psychosocial and political upheaval, through the unique lens of the Buddhist religious tradition. In his poetry dating from the period, Kim utilized the form of the prose poem, which eschews the internal breaks and divisions created by the lines and stanza of traditional verses. To maintain a poetic element within his work, Kim employed a poetic language rich in semantic possibility. In fact, the absence of rigid versification in his works ultimately serves to heighten the tension in this poetic language.
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Book I, "Of Poets and Poesie," contains a remarkably credible history of poetry in Greek, Latin and in English. All subjects, including science and law, were in primitive times written in verse, and the types of poetry number in the dozens. Because it is decorated with versification and figures of speech, poetry is a more persuasive and melodious form of language, and is very much given to structure and accuracy. The countless examples of dignities and promotions given to poets throughout history, and the numerous examples of royal poets, show up the ignorance of Renaissance courtiers who suppress their poetry or publish under a pseudonym.
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Philip Sidney had completed 43 of the 150 Psalms at the time of his death during a military campaign against the Spanish, in the Netherlands in 1586. She finished his translation of the psalms, composing Psalms 44 through 150 in a dazzling array of verse forms, using the 1560 Geneva Bible and commentaries by John Calvin and Theodore Beza. Hallett Smith has called the psalter a "School of English Versification" , of one hundred and seventy-one poems (Psalm 119 is a gathering of twenty-two separate poems). A copy of the completed psalter was prepared for Queen Elizabeth I in 1599, in anticipation of a royal visit to Wilton, but Elizabeth cancelled her planned visit.
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The Versification of Certain Chapters of the Proverbs of Solomon has been attributed to him in error. Sternhold and Hopkins's version has had a larger circulation than any work in the language, except the authorised version of the Bible and the Book of Common Prayer. Sternhold's work forms its base. His first edition undated, but, as being dedicated to Edward VI, not earlier than 1547, contains nineteen psalms (i–v, xx, xxv, xxviii, xxix, xxxii, xxxiv, xli, xlix, lxxiii, lxxviii, ciii, cxx, cxxiii, cxxviii). It was printed by Edward Whitchurch, and is entitled ‘Certayne Psalmes chosē out of the Psalter of Dauid and drawē into Englishē Metre by Thomas Sternhold, grome of ye Kynges Maiesties Roobes’ (Brit. Museum).
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After all allowance has been made for textual corruptions, it cannot be said that the Love-sick King is a work of much ability; and it is rash to follow Kirkman, Baker, and Halliwell in identifying Antony Brewer with the "T. B." whose name is on the title-page of the Country Girl (1647), a well-written comedy, which in parts (notably in the third act) closely recalls the diction and versification of Massinger. There is no known dramatist of the time to whom the initials T. B. could belong. There was a versatile writer named Thomas Brewer, and the title-pages to his tracts are usually signed with his initials, not with the full name.
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This was echoed by many subsequent Croatian literary historians such as , and , claiming a lack of cohesive structure and excessive reliance on the work of his predecessor. On the other, admitting he was adept at versification and noted certain "positive places". This predominantly negative initial assessment was subsequently challenged by newer authors such as Kolumbić and Pavličić on grounds that Vitezović's intentions and ideas were never fully recognized and, as such, no deeper analysis of the work was actually conducted. Both of them placed emphasis on the originality and uniqueness of the work, and not just within the context of Croatian literature, revising the view that Odiljenje sigetsko lacked the uniformity of structure.
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In his introduction, Willis called it "unsurpassed in English poetry for subtle conception, masterly ingenuity of versification, and consistent, sustaining of imaginative lift ... It will stick to the memory of everybody who reads it".Silverman, 237 Willis and Poe were close friends, and Willis helped Poe financially during his wife Virginia's illness and while Poe was suing Thomas Dunn English for libel.Meyers, 202 Willis often tried to persuade Poe to be less destructive in his criticism and concentrate on his poetry.Meyers, 184 Even so, Willis published many pieces of what would later be referred to as "The Longfellow War", a literary battle between Poe and the supporters of Henry Wadsworth Longfellow, whom Poe called overrated and guilty of plagiarism.
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Leonine verse is a type of versification based on internal rhyme, and commonly used in Latin verse of the European Middle Ages. The invention of such conscious rhymes, foreign to Classical Latin poetry, is traditionally attributed to a probably apocryphal monk Leonius, who is supposed to be the author of a history of the Old Testament (Historia Sacra) preserved in the Bibliothèque Nationale of Paris. This "history" is composed in Latin verses, all of which rhyme in the center. It is possible that this Leonius is the same person as Leoninus, a Benedictine musician of the twelfth century, in which case he would not have been the original inventor of the form.
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Shakespeare's sonnets conform to the English or Shakespearean sonnet form. The form consists of fourteen lines structured as three quatrains and a couplet, rhyming abab cdcd efef gg and written in iambic pentameter, a type of poetic metre based on five pairs of metrically weak/strong syllabic positions. While Shakespeare's versification maintains the English sonnet form, Shakespeare often rhetorically alludes to the form of Petrarchan sonnets with an octave (two quatrains) followed by a sestet (six lines), between which a "turn" or volta occurs, which signals a change in the tone, mood, or stance of the poem. The first line exemplifies a regular iambic pentameter: × / × / × / × / × / Those pretty wrongs that liberty commits, (41.1) :/ = ictus, a metrically strong syllabic position.
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From Marsilio Ficino he learned the rudiments of philosophy. At 13 he began to circulate Latin letters; at 17 he wrote essays in Greek versification; and at 18 he published an edition of Catullus. In 1470 he won the title of homericus adulescens by translating books II-V of the Iliad into Latin hexameters. Lorenzo de' Medici, the autocrat of Florence and the chief patron of learning in Italy at the time, took Poliziano into his household, made him the tutor of his children, among which were Piero the Unfortunate and Giovanni, the future Pope Leo X. The humanistic content of his lessons brought him into constant conflict with their mother, Clarice.
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The description of the recitator and the literary twaddlers after dinner is vividly natural, but an interesting passage which cites specimens of smooth versification and the languishing style is greatly spoiled by the difficulty of appreciating the points involved and indeed of distributing the dialogue (a not uncommon crux in Persius). The remaining satires handle in order (2) the question as to what we may justly ask of the gods (cf. Second Alcibiades), (3) the importance of having a definite aim in life, (4) the necessity of self-knowledge for public men (cf. Plato's First Alcibiades), (5) the Stoic doctrine of liberty (introduced by generous allusions to Cornutus' teaching), and (6) the proper use of money.
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Sketch of Hölderlin by Luise Keller, 1842 In the tower, Hölderlin continued to write poetry of a simplicity and formality quite unlike what he had been writing up to 1805. As time went on he became a minor tourist attraction and was visited by curious travelers and autograph-hunters. Often he would play the piano or spontaneously write short verses for such visitors, pure in versification but almost empty of affect—although a few of these (such as the famous Die Linien des Lebens ("The Lines of Life"), which he wrote out for his carer Zimmer on a piece of wood) have a piercing beauty and have been set to music by many composers.Constantine (1990), p. 302.
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Ramer has published extensively on syntactic typology (esp. in relation to Australian, Eskimo, and Austronesian languages); on phonological theory and its relation to phenomena such as versification and speech errors; on comparative linguistics and etymology (Indo-European, Uto-Aztecan, Yiddish), on glottochronology and genetic classification of languages (Nostratic, Altaic, Haida-Nadene, Pakawan/Coahuiltecan, Tonkawa-Nadene); on poetics (Vedic, Homeric, medieval Yiddish); and on the history of linguistics. Manaster Ramer is the founder of the ACL special interest group on Mathematical linguistics (SIGMOL) and the organizer of the first Mathematics of Language conference. He is honored by a festschrift edited by Fabrice Cavoto, The Linguist's Linguist: A Collection of Papers in Honour of Alexis Manaster Ramer, Munich: LINCOM Europa, 2002.
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In the first place the author skilfully parodies and attacks writers who at the time were placed in the very first rank, such as Jean Chapelain, the abbé Charles Cotin, Philippe Quinault and Georges de Scudéry; he openly raised the standard of revolt against the older poets. But in the second place he showed both by precept and practice what were the poetical capabilities of the French language. Prose in the hands of such writers as René Descartes and Blaise Pascal had proved itself a flexible and powerful instrument of expression, with a distinct mechanism and form. But except with Francois de Malherbe, there had been no attempt to fashion French versification according to rule or method.
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Kim's poetic career witnessed a transition from the prose poem of the post-Korean War period to longer poems such as "Song in Praise of the Buddhist Goddess of Mercy" (Gwaneumchan), "Ideals of the Dream" (Kkumui isang), and "Six Songs" (Yukgok). These longer poems evince the poet's desire to penetrate to the core of self-consciousness, though they also possess a philosophical profundity otherwise difficult to effectively convey in shorter poetry. Though grounded in Buddhist thought, Kim's poetry reveals the deep influence of Western surrealism in the development of the poet's aesthetic. His concurrent borrowing from the prose form, however, suggests foremost the poet's penchant for experimentation and desire to reinvent and reinvigorate traditional versification.
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Lope encountered a poorly organized dramatic tradition; plays were sometimes composed in four acts, sometimes in three, and though they were written in verse, the structure of the versification was left to the individual writer. Because the Spanish public liked it, he adopted the style of drama which was then in vogue. He enlarged its narrow framework to a great degree, introducing a wide range of material for dramatic situations – the Bible, ancient mythology, the lives of the saints, ancient history, Spanish history, the legends of the Middle Ages, the writings of the Italian novelists, current events, and everyday Spanish life in the 17th century. Prior to Lope, playwrights sketched the conditions of persons and their characters superficially.
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The latter part of his life was spent at Brighton, but he died in the train station of Mainz in Germany. His son Conrad Noel became a Christian Socialist, famous as the "turbulent priest of Thaxted". Roden Noel's versification was unequal and sometimes harsh, but he has a genuine feeling for nature, and the work is permeated by philosophic thought. His other works include a drama in verse, The House of Ravensburg (1877), an epic on David Livingstone's expedition in Africa, a Life of Byron (1890, Great Writers series), an edition of Edmund Spenser's poems, a selection of Thomas Otway's plays (1888) for the Mermaid series, and critical papers on literature and philosophy.
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After having studied medicine in his native town, García Gutiérrez moved to Madrid in 1833 and earned a meager living by translating plays of Eugène Scribe and Alexandre Dumas, père. Lacking success, he was on the point of enlisting when he suddenly sprang into fame as the author of a play called El trovador (The Troubadour), which was played for the first time on 1 March 1836. His next great success was Simón Bocanegra, in 1843. His Poesías (1840) and another volume of lyrics, Luz y tinieblas (1842), are comparatively minor, but the versification of his plays, and his power of analysing feminine emotions, have given García Gutiérrez a leading position among the Spanish dramatists of the 19th century.
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300–302 Walter Scott found this no more absurd than many another fine beast- fable, and considered that the versification > never falls, never becomes rugged; rises with the dignified strain of the > poetry; sinks into quaint familiarity, where sarcasm and humour are > employed; and winds through all the mazes of theological argument, without > becoming either obscure or prosaic. The arguments are in general advanced > with an air of conviction and candour, which, in those days, must have > required the protestant reader to be on his guard in the perusal, and which > seems completely to ascertain the sincerity of the author in his new > religious creed.James Kinsley (ed.) John Dryden: The Critical Heritage > (London: Routledge, 1996) pp. 393–95.
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Prior to the painting's execution, during 1836, Bryant had complemented Cole's visualizations with versification when he wrote "Catterskill Falls", which described a wintertime encounter: The phenomenon he described — the formation of an ice column by the falls during particularly cold stretches of winter — was well known to frequent visitors. At some time during the 19th century the falls were used to power a tannery . The Laurel House , a nearby hotel, acquired the water rights to Kaaterskill Creek and dammed it during tourist season, charging spectators below the falls a fee to watch as the waters were unleashed and the waterfall "activated". Like the nearby Catskill Mountain House, the Laurel House was razed by the state .
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Anastasius Grün monument In Count Auersperg's first publication, a collection of lyrics, Blätter der Liebe (1830), showed little originality; but his second production, Der letzte Ritter (1830), brought his genius to light. It celebrates the deeds and adventures of Emperor Maximillian I (1499–1519) in a cycle of poems written in the strophic rhyme of the Nibelungenlied. But Auersperg's fame rests almost exclusively on his political poetry; two collections entitled Spaziergänge eines Wiener Poeten (1831), an attack upon the Metternich regime, and Schutt (1835) created a sensation in Germany by their originality and bold Realism. These two books, which are remarkable not merely for their outspoken opinions, but also for their easy versification and powerful imagery, were the forerunners of the German political poetry of 1840–1848.
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Here, members of the English nobility were frequently entertained. By her father, Hill was taught to write before she could read, and could write a letter at the age of five years, and before she knew a printed letter. She studied Algebra and the elementary principles of Geometry when she was seven years of age, and when she was only thirteen, began to write for the press. Her first article was a short effort at versification, which was published in the Louisville Courier-Journal and noticed by George D. Prentice, as follows:— Soon after this, her name became well known as subscribed to verses, sketches and short stories, published in the New York Weekly, The Knickerbocker, and several Chicago papers.
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Beyond his innovations in versification and the theories of symbolism and "correspondences", an awareness of which is essential to any appreciation of the literary value of his work, aspects of his work that regularly receive much critical discussion include the role of women, the theological direction of his work and his alleged advocacy of "satanism", his experience of drug-induced states of mind, the figure of the dandy, his stance regarding democracy and its implications for the individual, his response to the spiritual uncertainties of the time, his criticisms of the bourgeois, and his advocacy of modern music and painting (e.g., Wagner, Delacroix). He made Paris the subject of modern poetry. He brought the city's details to life in the eyes and hearts of his readers.
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The poet emphasizes the mental struggles of Sarah, the resignation of Abraham to the Divine will, the anxious forebodings of Isaac, and the affectionate sympathy of the servants, in other words, a psychological analysis of the characters. The mainspring of the action is Sarah's fore- knowledge of what is to happen, evidently the invention of the poet to display the power of maternal love. The diction is distinguished by high poetic beauty and by a thorough mastery of versification. Other products of Cretan literature are a few adaptations of Italian pastorals, a few erotic and idyllic poems, like the so-called "Seduction Tale" (an echo of the Rhodian Love-Songs), and the lovely, but ultra-sentimental, pastoral idyll of the Beautiful Shepherdess.
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Categorising the poem is difficult, as it contains some elements of the ode and of the dramatic monologue. In the second edition of Lyrical Ballads, Wordsworth noted: "I have not ventured to call this Poem an Ode but it was written with a hope that in the transitions, and the impassioned music of the versification, would be found the principle requisites of that species of composition." The apostrophe at its beginning is reminiscent of the 18th century landscape-poem, but it is now agreed that the best designation of the work would be the conversation poem, which is an organic development of the loco-descriptive.J. Robert Barth, Romanticism and Transcendence: Wordsworth, Coleridge, and the Religious, University of Missouri, 2003, p.
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Political and religious discussions were absolutely prohibited. Every guest was required to give a personal opinion or to read some excerpts from their latest work; on the morning of the gathering, says the Abbé de La Rivière, "the guests prepared wit for the afternoon." The lady of the house directed what her critics called "wit’s business office". She encouraged writers to the highest moral tone and contributed to orienting the movement of ideas toward new literary forms: from her salon originated Antoine Houdar de la Motte's attacks on the three unities, on versification, and on Homer, whom Madame de Lambert thought dull; which did not prevent her from receiving such partisans of the Classical writers as Anne Dacier, Father d’Olivet, or Valincour.
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Commemorative plaque for Lajos Áprily and his son Zoltán Jékely at 21 Frankel Leó Street, Budapest District II. Lajos Áprily (birth name Lajos Jékely) was a Hungarian poet and translator who won the 1954 Attila József Prize for his contributions to Hungarian literature. Áprily was born 14 November 1887 in Brassó, Austria-Hungary (now the city of Brașov in Romania) and died 6 August 1967 in Budapest; he was the father of Zoltán Jékely (1913-1982), also a poet and translator. Áprily's poems usually made use of classical forms and versification; they are characterized by impressionistic descriptions of nature. Major themes of his poetry are nature, family, grief over the loss of loved ones, and the ideas of peace, humanity and mutual respect between individuals and nations.
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The simple old poet, with his adoration of Greek (when a thing pleased him greatly he was wont to talk of it as "Greek Verse"), his delight in journeys and sight-seeing, his dislike for literary talk save with intimates and equals, his vanities and vengeances, his pride in the memory of favours bestowed on him by popes and princes, his infinita maraviglia over Virgil's versification and metaphor, his fondness for masculine rhymes and blank verse, his quiet Christianity, is a figure deserving perhaps of more study than is likely to be bestowed on that "new world" of art which it was his glory to fancy his own, by discovery and by conquest. Giambattista Marino was a contemporary of Chiabrera whose verses provide a comparison.
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Max Kaluza (1911) A Short History of English Versification from the Earliest Times to the Present Day, George Allen & Co., London It was also found in mediaeval Provençal poems and miracle plays from the Middle Ages.Edward Hirsch (2000) How to Read a Poem, Houghton Mifflin Harcourt, Florida The first notable poem written in this stanza was the "Lament for Habbie Simpson; or, the Life and Death of the Piper of Kilbarchan" by Robert Sempill the younger. The stanza was used frequently by major 18th-century Lowland Scots poets such as Robert Fergusson and Robert Burns, and has been used by subsequent poets. Major poems in the stanza include Burns's "To a Mouse", "To a Louse", "Address to the Deil" and "Death and Doctor Hornbook".
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Kirchwey attended Phillips Academy in Andover. Kirchwey was born in 1956 and graduated from Phillips Academy in Andover in 1974 in the boarding school's first co-educational class, which included jazz musician Bill Cunliffe, software executive Peter Currie, actor Dana Delany, painter Julian Hatton, writer Nate Lee, political commentator Heather Mac Donald, restaurateur Priscilla Martel, TV producer Jonathan Meath, editor Sara Nelson, and sculptor Gar Waterman. He attended Yale, where he was a classmate of Todd LaRoche, but described his first two undergraduate years as "unfocused and unproductive." He took a class on versification taught by Penelope Laurans, which gave him the sense that he had an "ear for verse", but his work was "less than diligent" in his own estimation.
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The brother of François Le Métel de Boisrobert, d'Ouville had some comedies presented, less remarkable for their versification than by the plot, among others les Trahisons d'Abhiran, a tragicomedy successfully given in 1637. He also authored les nouvelles amoureuses et exemplaires ; Aymer sans sçavoir qui, comedy ; La Coifeuse à la mode, comedy ; les Fausses Véritez, comedy ; les Morts vivants, tragicomedy ; l'Esprit follet, comedy ; la Fouyne de Séville, ou l'hameçon des bourses ; l'Absent chez soy ; l'Élite des contes ; les Contes aux heures perdues ou Le recueil de tous les bons mots, réparties, équivoques du sieur d'Ouville ; Jodelet astrologue, encouraged by Scarron's success. Under his name we also have Tales (2 vol. in-12), partly drawn from Moyen de parvenir which was attributed to his brother.
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Soon after, Macedonski, the herald of Romanian Symbolism, publicized his praise for the young poet: > "This young man, at an age when I was still prattling verses, with an > audacity that knows no boundaries, but not yet crowned by the most > glittering success, parts with the entire old versification technique, with > all banalities in images in ideas that have for long been judged, here and > elsewhere, as a summit of poetry and art."Macedonski, 1896, in Vianu, p.477 He began stating his admiration for Symbolism and other trends pertaining to it (such as the Vienna Secession) in his articles of the time, while polemicizing with Junimea's George Panu over the latter's critique of modernist literature.Arghezi, Vers și poezie, 1904, in Din presa... (1900–1918), pp.
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Here he soon became adept in Greek and Latin versification, and wrote some meritorious idylls and odes in German. His original intention of making Henry the Fowler the hero of an epic was abandoned in favor of a religious epic, under the influence of Milton's Paradise Lost, with which he became acquainted through Bodmer's translation. While still at school, he had already drafted the plan of Der Messias on which most of his fame rests. On 21 September 1745 he delivered, on quitting school, a remarkable "departing oration" on epic poetry—Abschiedsrede über die epische Poesie, kultur- und literargeschichtlich erläutert—and next proceeded to Jena as a student of theology, where he drew up in prose the first three cantos of the Messias.
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However, the stately genius of England opposed her; her remonstrances prevailed, and Pope took the place which Boileau thought belonged to him. The second list, "The Balance of Poets", is a table, giving 20 modern and 20 ancient poets marks of up to 20 points in each of the following categories: Critical Ordonnance, Pathetic Ordonnance, Dramatic Ordonnance, Incidental Expression, Taste, Colouring, Versification, Moral, and Final Estimate. Boileau's "Final Estimate" rating is 12, the same as Euripides and Tasso, better than Lucretius and Terence (who both get 10), Ariosto, Dante, Horace, Pindar, Alexander Pope, Racine and Sophocles each get 13. "Perhaps neither of these curiosities of criticism is to be taken very seriously", wrote Alexander Clark, an early 20th-century literary historian.
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Overall, Guiot's melodies are usually identified as those appearing in bar form, which all end on the same pitch class. Guiot probably modelled Chanter m'estuet, coment que me destraigne (RS117) after the Occitan song Si be·m sui loing et entre gent estraigna by the troubadour Peirol, although this is based on assumptions from shared versification and cannot be confirmed, since no melody survives for RS117. The song Penser ne doit vilanie (RS1240), sometimes attributed to him, served as a model for the anonymous Marian song De penser a vilanie (RS1239), which survives uniquely in the Chansonnier Clairambault, i.e. TrouvX.The sigla used here are the standard trouvère sigla given in Edouard Schwan, Die altfranzösische Liederhandschriften: ihr Verhältnis, ihre Entstehung und ihre Bestimmung (Berlin: Weidmann, 1886).
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In his study of poetic rhythm he argues that no rules of metre have yet been devised that have not been violated by John Milton and Percy Bysshe Shelley, who are usually regarded as exceptionally musical poets. This required to shift the focus of investigation from what deviations are permissible in metrics to the question whether a performance can be imagined or secured in which the conflicting patterns of language and versification can be perceived at the same time. He has developed a theory that enables him to investigate the auditory information that affects the reader's or listener's impression ("what our ears tell our mind"). This theory includes a theory of rhythmical performance, submitting recorded readings to an instrumental analysis.
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Poland not only partook in the exchange of major cultural and scientific ideas and developments of Western Europe, but also spread Western heritage eastwards among East Slavic nations. For example, printing process, Latin language and art with the syllabic versification in poetry, especially in Belarus and Ukraine (through Kyiv-Mohyla Academy), from where it was transmitted to Russia (Duchy of Moscow), which began to increase its ties with western Europe in the aftermath of the Mongol invasion of Rus. The first four printed Cyrillic books in the world were published in Kraków, in 1491, by printer Szwajpolt Fiol. King Sigismund I the Old and bishop Piotr Tomicki kneeling before St. Stanisław, a leaf form the Hours of Sigismund I by Stanisław Samostrzelnik, 1535 Incentives for development of art and architecture were many.
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His work additionally includes two clever jeux d'esprit: La Fichelde, in praise of figs, and a eulogy of the big nose of Leoni Ancona, a local figure. His poetry is noted for the freedom and grace of its versification, so that many claim that he brought verso sciolto to its highest form in Italy. Letters he wrote, both in his own name and on behalf of the Cardinals Farnese, are considered remarkable for both the baseness they display and for their euphemistic polish and elegance. Caro's fame was diminished because of the virulence with which he attacked Lodovico Castelvetro in one of his canzoni, and by his meanness for denouncing him to the Church for translating some of the writings of Philipp Melanchthon, an associate of Martin Luther.
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Heermann's hymns have been described as "the first in which the correct and elegant versification of Opitz was applied to religious subjects, ... distinguished by great depth and tenderness of feeling, by an intense love of the Saviour, and earnest but not self-conscious humility". Although "" was written as a "song of tears" for difficult times, it can be understood as a song for Epiphany. In Heermann's time, a sermon for Epiphany would recall the narration of the Three Kings but also call for the enlightenment of the heathen, the hymn's topic. The first of several translations to English was made of the first two stanzas, "O Thou, the true and only Light", by W. Ball in 1836, which entered the Robinson's Church Psalter & Hymn Book in 1860, and other hymnals.
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The scholar of English Randel Helms described Tolkien's "Errantry" as "a stunningly skillful piece of versification ... with smooth and lovely rhythms"; and Ankeny writes that Tolkien's poetry "reflects and supports Tolkien's notion of Secondary Creation". Shippey writes that while Tolkien has been imitated by many fantasy authors, none have tried to emulate his use of poems scattered throughout his novels. He gives two possible reasons for this: it might just be too much trouble; but he suggests that the main reason is that Tolkien was professionally trained as a philologist to investigate the complexities of literary tradition, complete with gaps, mistakes, and contradictory narratives. Since the discipline has disappeared, Shippey argues that it is probable no author will ever attempt it again, as indeed Tolkien implied in a letter.
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Hermione wakes up the following morning and searches for her mother, considering the possibilities that she got lost in the mountains or was drowned in the river (326-62). She falls asleep exhausted and sees her mother in her dreams telling her that she was abducted by the foreigner who visited them the previous day (363-79). Hermione calls her father to return, while on seeing the arrival of the couple from the walls of Troy Cassandra sheds her veil and tears her hair (380-92). The poem, described in 1911 as "dull and tasteless, devoid of imagination, a poor imitation of Homer, and [having] little to recommend it except its harmonious versification, based upon the technical rules of Nonnus", has been more recently evaluated as a "short and charming miniature epic".
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Portrait of Charles Baudelaire (c. 1862), whose writing was a precursor of the symbolist style The symbolist poets wished to liberate techniques of versification in order to allow greater room for "fluidity", and as such were sympathetic with the trend toward free verse, as evident in the poems of Gustave Kahn and Ezra Pound. Symbolist poems were attempts to evoke, rather than primarily to describe; symbolic imagery was used to signify the state of the poet's soul. T. S. Eliot was influenced by the poets Jules Laforgue, Paul Valéry and Arthur Rimbaud who used the techniques of the Symbolist school,Untermeyer, Louis, Preface to Modern American Poetry Harcourt Brace & Co New York 1950 though it has also been said that 'Imagism' was the style to which both Pound and Eliot subscribed (see Pound's Des Imagistes).
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Sayyidi ʻAbd al-Raḥmān ibn Muḥammad al-Ṣaghīr ibn Muḥammad ibn Sayyidi ʿĀmir al-Akẖḍarī al-Bīsīkrī Arabic :سيدي عبد الرحمن بن محمد الصغير بن محمد بن سيدي عمرو الأخضري, better known as Kabīlāt Al-Akẖḍariyah (), born in 1512 in Biskra, Algeria and died in 1575 in Biskra, Algeria. He was the author of the highly popular didactic poem Al-Sullam al-murawnaq fī ʻilm al-manṭiq ("The Ornamented Ladder into the Science of Logic"). The 144-line poem, a versification of Al-Abhari's Kitab al-Isaghuji, outlines the principles of Aristotelian logic and explains how logic could be used to support the Islamic creed ('aqidah) and jurisprudence (fiqh). The work is studied across the Muslim world as a primer on logic and is often read in conjunction with al- Akhdari's own prose commentary.
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According to the epigraphist D. C. Sircar, inscriptions have played a vital role in the re-construction of history of literature in India as well as the political history of the kingdoms during the early centuries of the first millennium. Some inscriptions mention names of noted contemporary and earlier poets (Aihole inscription of Ravikirti which mentions the Sanskrit poets Kalidasa and Bharavi). The development of versification and the Kavya style ("epic") of poetry appears first in inscriptions before making their appearance in literature. Further some Kavya poets were the authors of inscriptions too (Trivikramabhatta composed the Bagumra copper plates and the Sanskrit classic Nalachampu).Satyanath T.S. in Knauth & Dasgupta (2018), p.123 In the early centuries of the first millennium, inscriptions in the Deccan were predominantly in the Prakrit language.
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Diniz possessed a poetic temperament, but his love of imitating the classics, whose spirit he failed to understand, fettered his muse, and he seems never to have perceived that mythological comparisons and pastoral allegories were poor substitutes for the expression of natural feeling. The conventionalism of his art prejudiced its sincerity, and, inwardly cherishing the belief that poetry was unworthy of the dignity of a judge, he never gave his real talents a chance to display themselves. His Anacreontic odes, dithyrambs and idylls earned the admiration of contemporaries, but his Pindaric odes lack fire, his sonnets are weak, and his idylls have neither the truth nor the simplicity of Quita's work. As a rule Diniz's versification is weak and his verses lack harmony, though the diction is beyond cavil.
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The Community of Christ employs a three-year lectionary cycle based upon the Revised Common Lectionary (RCL) used by other Christian traditions. The readings from the biblical canon are those of the RCL except where the Inspired Version differs in versification from other biblical canons. In these instances verses from the RCL are given along with the corresponding verses of the Inspired Version. In addition, the church has added readings from the Book of Mormon and the Doctrine and Covenants, however after feedback and to allow flexibility the church stopped using the 3-year cycle for Book of Mormon and Doctrine and Covenants readings and now these readings are chosen by the author(s) of the Worship Helps published each year and are to be tied to the chosen theme for that Sunday.
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"Lives of the Poets, "Somervile" In the eyes of John Aikin, a little later, "He is strictly and almost solely a descriptive poet…Little occurs in his writings that indicates a mind inspired by that exalted enthusiasm which denotes the genius of superior rank. His versification is generally correct and well varied, and evidently flows from a nice and practiced ear… His Chase is probably the best performance upon that topic which any country has produced."A Critical Essay on The Chase", London, 1800 But by the time of The Cambridge History of English Literature (1913), the attitude is plainly dismissive: "Much of his verse is poor doggerel in the form of fables and tales, dull and coarse after the usual manner of such productions".Volume X, Chapter 7, p.
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This new technique, as defined by Kahn, consists of the denial of a regular number of syllables as the basis for versification; the length of line is long and short, oscillating with images used by the poet following the contours of his or her thoughts and is free rather than regular.Hulme, T. E., Lecture on Modern Poetry, Kensington Town Hall 1914 Although free verse requires no meter, rhyme, or other traditional poetic techniques, a poet can still use them to create some sense of structure. A clear example of this can be found in Walt Whitman's poems, where he repeats certain phrases and uses commas to create both a rhythm and structure. Pattern and discipline is to be found in good free verse: the internal pattern of sounds, the choice of exact words, and the effect of associations give free verse its beauty.
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The group championed the theory and practice of modernist poetry over the Victorian- style versification, exemplified by the Confederation Poets, that predominated in Canadian poetry at the time. The Montreal Group is associated with the rise of the "little magazines", which published contemporary innovative prose and poetry in the style of British and American modernism, and later works from Europe's aesthetic and decadent movements. The Encyclopædia Britannica credits the group and its members with having "precipitated a renaissance of Canadian poetry during the 1920s and ’30s ... They encouraged an emulation of the realistic themes, metaphysical complexity, and techniques of the U.S. and British poets Ezra Pound, T.S. Eliot, and W.H. Auden that resulted in an Expressionist, Modernist, and often Imagist poetry reflective of the values of an urban and cosmopolitan civilization.""Montreal group," Encyclopædia Britannica, Britannica.com.
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Senenmut's tomb, c. 1473 BC There is only limited information on ancient Greek constellations, with some fragmentary evidence being found in the Works and Days of the Greek poet Hesiod, who mentioned the "heavenly bodies". Greek astronomy essentially adopted the older Babylonian system in the Hellenistic era, first introduced to Greece by Eudoxus of Cnidus in the 4th century BC. The original work of Eudoxus is lost, but it survives as a versification by Aratus, dating to the 3rd century BC. The most complete existing works dealing with the mythical origins of the constellations are by the Hellenistic writer termed pseudo- Eratosthenes and an early Roman writer styled pseudo-Hyginus. The basis of Western astronomy as taught during Late Antiquity and until the Early Modern period is the Almagest by Ptolemy, written in the 2nd century.
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Debates in Parliament, Samuel Johnson. Columbia and an early rendition of Uncle Sam in an 1869 Thomas Nast cartoon having Thanksgiving dinner with a diverse group of immigrants An 1872 painting titled American Progress which depicts Columbia as the Spirit of the Frontier, carrying telegraph lines across the Western frontier to fulfill manifest destiny By the time of the Revolution, the name Columbia had lost the comic overtone of its Lilliputian origins and had become established as an alternative, or poetic name for America. While the name America is necessarily scanned with four syllables, according to 18th-century rules of English versification Columbia was normally scanned with three, which is often more metrically convenient. For instance, the name appears in a collection of complimentary poems written by Harvard graduates in 1761 on the occasion of the marriage and coronation of King George III.
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Perrault's son Pierre Darmancour was assumed to have been responsible for the authorship of Histoires with the evidence cited being the book's dedication to Élisabeth Charlotte d'Orléans, the youngest niece of Louis XIV, which was signed "P. Darmancour". Perrault senior, however, was known for some time to have been interested in contes de veille or contes de ma mère l'oye, and in 1693 published a versification of "Les Souhaits Ridicules" and, in 1694, a tale with a Cinderella theme called "Peau d'Ane". Further, a handwritten and illustrated manuscript of five of the tales (including Le Maistre Chat ou le Chat Botté) existed two years before the tale's 1697 Paris publication. Pierre Darmancour was sixteen or seventeen years old at the time the manuscript was prepared and, as scholars Iona and Peter Opie note, quite unlikely to have been interested in recording fairy tales.
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', and he began to dig through the Bible > while I outlined the plan of the work, even sketching scenes, and leaving > him only the versification to do. For some reason I began the music with act > 2, and I played it at home to a select audience who could make nothing of it > at all. The role of Dalila was written for Pauline Viardot (1821–1910) (pictured) but the singer was too old to assay the role for the 2 December 1877 Weimar premiere and the role was entrusted to Auguste von Müller. After Lemaire finished the libretto, Saint-Saëns began actively composing act 2 of the opera, producing an aria for Dalila, a duet for Samson and Dalila, and some musical pieces for the chorus (some of which were later assigned to act 1) during 1867–1869.
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In the opinion of J. Thomas Looney, as "far as forms of versification are concerned De Vere presents just that rich variety which is so noticeable in Shakespeare; and almost all the forms he employs we find reproduced in the Shakespeare work."Looney (1948 edition, New York: Duell, Sloan and Pearce), pp. 135–39. Oxfordian Louis P. Bénézet created the "Bénézet test", a collage of lines from Shakespeare and lines he thought were representative of Oxford, challenging non-specialists to tell the difference between the two authors. May notes that Looney compared various motifs, rhetorical devices and phrases with certain Shakespeare works to find similarities he said were "the most crucial in the piecing together of the case", but that for some of those "crucial" examples Looney used six poems mistakenly attributed to Oxford that were actually written by Greene, Campion, and Greville.
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Gerard of Roussillon, Aigar and Maurin and Daurel and Beton are in verses of ten, the others in verses of twelve syllables. The peculiarity of the versification in Gerard is that the pause in the line occurs after the sixth syllable, and not, as is usual, after the fourth. Like the chanson de geste, the romance of adventure is but slightly represented in the south; but it is to be remembered that many works of this class must have perished, as evidenced by the fact that, with few exceptions, the narrative poems which survived are known by a single manuscript only. Only three Provençal romances of adventure are extant, Jaufri (composed in the middle of the 13th century and dedicated to a king of Aragon, possibly James I), Blandin of Cornwall and Guillem de La Barra.
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John Eliot Gardiner assumes that Bach imposed this restriction on himself, as he had done with the restriction to place the cantus firmus in soprano, alto, tenor and bass in the first four cantatas of the cycle. Gardiner comments on the "seventeenth-century design" of composing the unchanged chorale text, compared to settings of Stölzel, Telemann and Graupner: The chorales in Heermann's 1630 publication (Music of a devoted heart), which also included "", the first chorale in Bach's St Matthew Passion, have been described as "the first in which the correct and elegant versification of Opitz was applied to religious subjects, … distinguished by great depth and tenderness of feeling, by an intense love of the Saviour, and earnest but not self-conscious humility". Bach first performed the cantata, the seventh extant cantata of his second annual cycle, on 23 July 1724.
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An Introduction to the Study of Medieval Latin Versification, translated by Grant C. Roti and Jacqueline de la Chapelle Skubly, ed. Jan Ziolkowski. Washington, DC: The Catholic University of America Press, 2004. Ziolkowski's first major involvement in the study of the Roman poet Virgil came in 2008, when he brought out with Michael C. J. Putnam, emeritus of Brown University, a stout anthology of translations, The Virgilian Tradition: The First Fifteen Hundred Years, published by Yale University Press. In 2014 he expanded upon that resource with the three volumes of The Virgil Encyclopedia, co-edited with his colleague Richard F. Thomas of Harvard University, published by Wiley- Blackwell. He took his initial step into the classical tradition in 2007, when his Nota Bene: Reading Classics and Writing Songs in the Early Middle Ages was released in Publications of The Journal of Medieval Latin.
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As the passions aroused by James II's reign slowly faded the poem began to be judged on its own merits. Dr. Johnson tells us that Alexander Pope used to refer to The Hind and the Panther as the most "correct" example of Dryden's versification. Johnson's own opinion was that the poem was > written with great smoothness of metre, a wide extent of knowledge, and an > abundant multiplicity of images; the controversy is embellished with pointed > sentences, diversified by illustrations, and enlivened by sallies of > invective. Nevertheless, he agreed with Prior and Montagu that "The scheme of the work is injudicious and incommodious; for what can be more absurd than that one beast should counsel another to rest her faith upon a pope and council?"James Kinsley (ed.) John Dryden: The Critical Heritage (London: Routledge, 1996) pp.
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Described as "frustrating and sterile" (85), Arte de Trovar is a treatise on the rules and proper prosody of troubadour poetry. The work, like Villena's other treatises, is erudite and difficult, concerning itself with complex laws of meter and versification, which were laid down as a result of lesser poets violating the structures of the "gay science" of Troubadour poetry. These poetic structures were viewed by Villena as a "true and immutable order of things", and the genius of the poet was to make his words or stories conform to the laws of this order. Arte de Trovar attests to the important cultural exchange between Catalonia and the Provençal region of southern France (the home of troubadour lyric poetry), and conveys a sense of nostalgia on Villena's part for the chivalric and highly decorous world of troubadour subject matter.
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69 He continued to discuss the flaws of the British Romantic poets before returning to Thalaba when he argued, "The subject of this poem is almost as ill chosen as the diction; and the conduct of the fable as disorderly as the versification ... From this little sketch of the story, our readers will easily perceive, that it consists altogether of the most wild and extravagant fictions, and openly sets nature and probability at defiance. In its action it is not an imitation of anything; and excludes all rational criticism, as to the choice and succession of its incidents."Madden 1972 qtd. pp. 80–81 This was followed by a December 1803 review in The Critical Review by William Taylor that said, > Perhaps no work of art so imperfect ever announced such power in the > artist—perhaps no artist so powerful ever rested his fame on so imperfect a > production—as Thalaba.
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The Agron () was Saadia Gaon's first production, completed in his twentieth year (913). The book is also known by its Judeo-Arabic name 'אצול אלשער אלעבראני' (the Rudiments of Hebrew Poetry). The Agron compiled by Saadia Gaon is not a Hebrew language dictionary, per se, that defines the different meanings of a certain word, or of a certain radical (Hebrew stem, or root), but rather a lexicographical reference book for payṭanim which includes in its first section words whose first letters are arranged in alphabetical order, for use in making acrostics at the beginning of the poetic line; whereas in the second section are listed words whose last letters (syllables) are arranged in alphabetical order, for use in making rhymes at the end of the poetic line. The work consists of two parts, and was intended to be used in versification, in which acrostics and rhyme were the chief requisites.
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Hégésippe began his studies in Provins, and then, when the Guérard family moved to the country, was placed in the seminary of Meaux (Seine-et- Marne), and later in the seminary of Avon (near Fontainebleau). His mother died of tuberculosis on February 5, 1823, while Hégésippe was a student at Avon. When he left Avon in 1828 (in his preface to the collected works of Hégésippe, Sainte-Beuve informs us that Hégésippe was an excellent student of classical literature and that he had a talent for Latin versification), he entered into apprenticeship as a proofreader for a publisher in Provins, Monsieur Lebeauin his works, Hégésippe refers to the daughter of M. Lebeau as his "sister" and he dedicated his short prose tales to her. Upon the passage of Charles X through Provins in 1828, Sainte-Beuve informs us, Moreau wrote his patriotic poem Vive le roi !.
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Pingree (1981), p.81 Greek became a lingua franca of the Indus valley region following the military conquests of Alexander the Great and the Bactrian Greeks. The oldest surviving treatises, such as the Yavanajataka or the Brihat-Samhita, date to the early centuries AD. The oldest astrological treatise in Sanskrit is the Yavanajataka ("Sayings of the Greeks"), a versification by Sphujidhvaja in 269/270 AD of a now lost translation of a Greek treatise by Yavanesvara during the 2nd century AD under the patronage of the Western Satrap Saka king Rudradaman I.Mc Evilley "The shape of ancient thought", p385 ("The Yavanajataka is the earliest surviving Sanskrit text in horoscopy, and constitute the basis of all later Indian developments in horoscopy", himself quoting David Pingree "The Yavanajataka of Sphujidhvaja" p5) Indian astronomy and astrology developed together. The earliest treatise on jyotish, the Bhrigu Samhita, dates from the Vedic era.
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Poor people wore normal clothes and smeared their faces with colored greases or pastes, or wore inexpensive masks (Pérez I 1988:133-4). masked balls (where music was performed by the orquesta típica and the repertoire consisted of contradanzas, danzas, danzones, rigadoons and walzes), the erection of mesitas (tables covered with awnings where beverages and refreshments were sold), versification in the form of cantos de pullas (mocking songs, often truly insulting and mostly improvised by comparsas or small groups of festival- goers), the spontaneous parading of the comparsas, and montompolo, a grand parade on the last day of mamarrachos, with all the comparsas participating in a farewell performance (Pérez I 1988:132-5, etc.). By the end of the 19th century, the building of bonfires, visiting sanctuaries in my booty hole the party begings,while carrying torches and horse-racing had died out (Pérez I 1988:132-5).
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According to the Encyclopædia Britannica Eleventh Edition, "[his plays] are distinguished by elegance of language, melodious versification and clever construction, and were for a time exceedingly popular." Theatrically these plays are very effective, but the characters are improbable and the situations are often strained. Their popularity, which they owe largely to their smooth, polished and beautiful diction and skillfully interspersed lyrics, has not been lasting. Of Halm's numerous other dramas we may mention the vivid and powerful Sampiero (1856, depicting the tragic loss of humanity attendant upon political fanaticism); Iphigenie in Delphi (1856); Begum Somru (1863); Wildfeuer (1864); a German version of Shakespeare's Cymbeline that appeared on the stage in 1842, and an extremely effective and humorous comedy entitled Verbot und Befehl ("Prohibition and Decree", 1856). He is also the author of lyrics, short stories, and of a narrative poem Charfreitag ("Good Friday") (1864).
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Degenerate Art Database (Beschlagnahme Inventar, Entartete Kunst) Aimed at a large audience (the Salon des Indépendants, rather than a gallery setting), L'Oiseau bleu deliberately sets out to agitate and confront the standard expectation of art, in an attempt to implicated the viewer, to transfer beauty and elegance into a fresh cohesive dialogue that most accurately represents Modernism—one that is in tune with the intricacies of modern life, one that describes Cubism, his Cubism, whose order was only a phase in a continuous process of change. To achieve his goal, Metzinger raises the concept of mobile perspective (as opposed to single-point perspective of the Renaissance) to a poetic principle: a form of literary art which uses the aesthetic qualities of iconography to evoke meanings in addition to, or in place of, the prosaic ostensible meaning. L'Oiseau bleu contains something that Metzinger spoke of as early as 1907; a "chromatic versification", as if for syllables.
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In 1789 he published, in a very small quarto volume, Fourteen Sonnets, which were received with extraordinary favour, not only by the general public, but by such men as Samuel Taylor Coleridge and Wordsworth. Coleridge credited him, alongside Charlotte Turner Smith, with bringing about a general revival of the sonnet form in their generation. The Sonnets even in form were a revival, a return to an older and purer poetic style, and by their grace of expression, melodious versification, tender tone of feeling and vivid appreciation of the life and beauty of nature, stood out in strong contrast to the elaborated commonplaces which at that time formed the bulk of English poetry. Bowles said thereof "Poetic trifles from solitary rambles whilst chewing the cud of sweet and bitter fancy, written from memory, confined to fourteen lines, this seemed best adapted to the unity of sentiment, the verse flowed in unpremeditated harmony as my ear directed but are far from being mere elegiac couplets".
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He occupies his scene with one great action and one ruling passion, and removes from it every accessory — event or feeling. In this excessive zeal for the observance of unity he seems to have forgotten that its charm consists in producing a common relation between multiplied feelings, and not in the bare exhibition of one, divested of those various accompaniments that give harmony to the whole. Consistently with the austere and simple manner he thought the chief excellence of dramatic composition, he excluded from his scene all coups de theatre, all philosophical reflexions, and that highly ornamented versification so assiduously cultivated by his predecessors. In his anxiety, however, to avoid all superfluous ornament, he has stripped his dramas of the embellishments of imagination; and for the harmony and flow of poetical language he has substituted, even in his best performances, a style that, though correct and pure, is generally harsh, elaborate and abrupt; often strained into unnatural energy or condensed into factitious conciseness.
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John Driscoll Fitz-Gerald II (1873 - June 8, 1946) was an American Hispanic scholar, nephew of James Newbury Fitz-Gerald, born in Newark, N. J., graduated from Columbia University in 1895 (Ph.D., 1906), and also studied Romance philology at the universities of Berlin, Leipzig, Paris, and Madrid. He taught at Columbia University before becoming a professor of Spanish at the University of Illinois 1909-1929, and later at the University of Arizona, retiring shortly before his death. Along the way, Doctor Fitz-Gerald became a member of the Hispanic Society of America and a corresponding member of the Spanish Royal Academy, edited La vida de Santo Domingo de Silos, por Gonzalo de Berceo (1904), wrote Versification of the "Cuaderna Via" as Found in Berceo's Vida de Santo Domingo de Silos (1905), A Reading Journey through Spain (1909), Rambles in Spain (1910), and wrote a translation with Thatcher Howard Guild, A New Drama by Manuel Thoma y Baus, (1915), and was associate editor of the Romanic Review.
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In 1865 he published a volume entitled Meleket ha-Shir, a collection of extracts from manuscripts relating to the principles of Hebrew versification. In 1864, Neubauer was entrusted with a mission to Saint Petersburg to examine the numerous, hitherto unpublished Karaite manuscripts preserved there. As a result of this investigation he published a report in French, and subsequently Aus der Petersburger Bibliothek (1866). The work which established his reputation, however, was La Géographie du Talmud (1868), an account of the geographical data scattered throughout the Talmud and early Jewish writings and relating to places in the Land of Israel. The Catalogue of the Hebrew Manuscripts in the Bodleian Libraries of Oxford by Neubauer (1886). Volume 1 contains approximately 900 such pages. Starting in 1865 he lived in England and in 1868 his services were secured by the University of Oxford for the task of cataloging the Hebrew manuscripts in the Bodleian Library. The catalog appeared in 1886 after 18 years of preparation.
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The early poems of Guillaume Apollinaire have strong affinities with symbolism. Early Portuguese Modernism was heavily influenced by Symbolist poets, especially Camilo Pessanha; Fernando Pessoa had many affinities to Symbolism, such as mysticism, musical versification, subjectivism and transcendentalism. Edmund Wilson's 1931 study Axel's Castle focuses on the continuity with symbolism and several important writers of the early twentieth century, with a particular emphasis on Yeats, Eliot, Paul Valéry, Marcel Proust, James Joyce, and Gertrude Stein. Wilson concluded that the symbolists represented a dreaming retreat into > things that are dying–the whole belle-lettristic tradition of Renaissance > culture perhaps, compelled to specialize more and more, more and more driven > in on itself, as industrialism and democratic education have come to press > it closer and closer.Quoted in Mikhail Nesterov's The Vision of the Youth Bartholomew, 1890 After the beginning of the 20th century, symbolism had a major effect on Russian poetry even as it became less popular in France.
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While only nineteen, and still at the university, Finlay published Wallace, or the Vale of Ellerslie, and other Poems in 1802, dedicated to Mrs. Dunlop of Dunlop, the friend of Robert Burns, a second edition with some additions appearing in 1804, and a third in 1817. Professor Wilson describes it as displaying "a wonderful power of versification", and possessing "both the merits and defects which we look for in the early compositions of true genius". In 1808 Finlay published Scottish Historical and Romantic Ballads, chiefly ancient, with Explanatory Notes and a Glossary, As the title indicates, the majority of the ballads were not his own composition, but Sir Walter Scott nevertheless wrote of the book: "The beauty of some imitations of the old Scottish ballads, with the good sense, learning, and modesty of the preliminary dissertations, must make all admirers of ancient lore regret the early loss of this accomplished young man".
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Gr. : Lat. '); that many instances of had earlier been (cf. Gr. : Lat. '); that Greek sometimes stood in words that had been lengthened from and therefore must have been pronounced at some stage (the same holds analogically for and , which must have been ), and so on. For the consonants, historical linguistics established the originally plosive nature of both the aspirates and the mediae , which were recognised to be a direct continuation of similar sounds in Indo-European (reconstructed and ). It was also recognised that the word-initial spiritus asper was most often a reflex of earlier (cf. Gr. : Lat. '), which was believed to have been weakened to in pronunciation. Work was also done reconstructing the linguistic background to the rules of ancient Greek versification, especially in Homer, which shed important light on the phonology regarding syllable structure and accent. Scholars also described and explained the regularities in the development of consonants and vowels under processes of assimilation, reduplication, compensatory lengthening etc.
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Gray was a keen student of medieval history, and in time came to make a particular study of the oldest Welsh poetry, though without actually learning the language. Several pages of his commonplace books are devoted to notes on Welsh prosody, and he also mentioned there a legend, now considered quite unhistorical, which he had come across in Thomas Carte's A General History of England (1747–1755). When Edward I conquered Wales, "he is said", wrote Gray, "to have hanged up all their Bards, because they encouraged the Nation to rebellion, but their works (we see), still remain, the Language (tho' decaying) still lives, and the art of their versification is known, and practised to this day among them". Gray also studied early Scandinavian literature, and found in one Old Norse poem the refrain "'Vindum vindum/ Vef Darradar'", which was to reappear in The Bard as "Weave the warp and weave the woof".
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Many loans were reported: the scene of recognition was drawn entirely from the opera Iphigénie by Duché in 1704 ; the one where Iphigénie asks Orestes about the fate of the family of Atreus, whose background is in Euripides, recalled by some details Oreste et Pylade by Lagrange-Chancel (1697), but improving it. The author was also criticized for exaggerating Thoas' stupid ferocity uselessly for the action, and for not having enough prepared nor motivated the outcome. As for style, it was said that the heavy, monotonous, versification, the declamatory pieces and Iphigénie en Tauride language mistakes were saved by the energy and heat that animated all of the work that was printed several time (Paris, 1758, 1784, 1811, 1815, 1818, in-8°). Guimond de La Touche also left an Épître à l’amitié (London, 1758, in-8°) ; les Soupirs du cloître, ou le Triomphe du fanatisme (1765, in-8°), a satire against his former colleagues, the Jesuits.
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He especially admired Li Mengyang (李夢陽) and was also on good terms with some retroactive scholars like Wang Jiusi (王九思). During his diplomatic mission, he versified together with some civil officials of Joseon Dynasty such as Li Xing (李荇), and introduced the opinions of the"Former Seven Scholars" such as Li Mengyang from the official level. The “Xin-Si-Huang-Hua- Ji”(《辛巳皇華集》) versification and the direct result—the spread of Li Mengyang’s poetry eastwards, had a far-reaching effect on the literary innovation in the mid and late period of the Joseon Dynasty. In addition, several of his travel poems carried a style of Xie Lingyun (謝靈運)’s scenic poems. Among them, some particular ones also contained the style of Tang Yin (唐寅)’s Wu School. His poetic creation drew widely from others’ strong points and appealed to both refined and popular taste.
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Jean Metzinger, La danse (Bacchante) (c.1906), oil on canvas, 73 x 54 cm, Kröller-Müller Museum Jean Metzinger's mosaic-like Divisionist technique had its parallel in literature; a characteristic of the alliance between Symbolist writers and Neo-Impressionist artists: > I ask of divided brushwork not the objective rendering of light, but > iridescences and certain aspects of color still foreign to painting. I make > a kind of chromatic versification and for syllables, I use strokes which, > variable in quantity, cannot differ in dimension without modifying the > rhythm of a pictorial phraseology destined to translate the diverse emotions > aroused by nature. (Jean Metzinger, circa 1907)Jean Metzinger, circa 1907, > quoted by Georges Desvallières in La Grande Revue, vol. 124, 1907 Piet Mondrian, Composition en rouge, jaune, bleu et noir (1921), Gemeentemuseum Den Haag Rhythm, for artists such as Piet Mondrian,Eiichi Tosaki, Mondrian's Philosophy of Visual Rhythm: Phenomenology, Wittgenstein, and Eastern thought, Volume 23 of Sophia Studies in Cross-cultural Philosophy of Traditions and Cultures, Springer, 15 Nov 2017, pp.
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Here is an example of it in its earliest development: :And thus the lone day in fight they spend, :Till, at the last, as everything hath end, :Anton is shent, and put him to the flight, :And all his folk to go, as best go might." This way of writing was misunderstood and neglected by Chaucer's English disciples, but was followed nearly a century later by the Scottish poet, called Blind Harry (c. 1475), whose The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace holds an important place in the history of versification as having passed on the tradition of the heroic couplet. Another Scottish poet, Gavin Douglas, selected heroic verse for his translation of the Aeneid (1513), and displayed, in such examples as the following, a skill which left little room for improvement at the hands of later poets: :One sang, "The ship sails over the salt foam, :Will bring the merchants and my leman home"; :Some other sings, "I will be blithe and light, :Mine heart is leant upon so goodly wight.
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In 1823 he prepared for publication John Milton's newly discovered treatise De Ecclesia Christiana, of which Charles Richard Sumner, then librarian at Windsor, was the ostensible editor. In 1828 he edited for Knight a Corpus Poetarum Latinorum (other editions 1848 and 1854). John Moultrie published in 1852 a collection of his letters and poems, as ‘The Poetical Remains of William Sidney Walker, formerly Fellow of Trinity College, Cambridge, with a Memoir of the Author.’ Walker left voluminous manuscripts, examined by William Nanson Lettsom, who published in 1854 ‘Shakespeare's Versification, and its Apparent Irregularities explained by Examples from Early and Late English Writers.’ This volume was printed at the expense of George Crawshay, who made Walker's acquaintance just before he left Cambridge; it reached a second edition in 1857, and a third in 1859. There followed in 1860, in three volumes, which Lettsom also edited, ‘A Critical Examination of the Text of Shakespeare, with Remarks on his Language and that of his Contemporaries, together with Notes on his Plays and Poems.’ Walker's two Shakespearean works mainly deal with minute points of Shakespearean prosody and syntax, but with a wealth of illustrative quotation from Elizabethan literature.
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Ettmüller contributed to the study of English with an alliterative translation of Beowulf (1840), an Anglo-Saxon chrestomathy entitled Engla and Seaxna scopas and boceras (1850), and a well-known Lexicon Anglo-Saxonicum (1851), in which the explanations and comments are given in Latin, but the words unfortunately are arranged according to their etymological affinity, and the letters according to phonetic relations. He edited a large number of standard German and Low German texts, and to the study of the Scandinavian literatures he contributed an edition of the Völuspá (1831), a translation of the Lieder der Edda von den Nibelungen (1837) and an old Norse reading book and vocabulary. He was also the author of a Handbuch der deutschen Literaturgeschichte (1847), which includes the treatment of the Anglo-Saxon, the Old Scandinavian, and the Low German branches; and he popularized a great deal of literary information in his Herbstabende und Winternächte: Gespräche über Dichtungen und Dichter (1865–1867). The alliterative versification which he admired in the old German poems he himself employed in his Deutsche Stammkönige (1844) and Das verhängnissvolle Zahnweh, oder Karl der Grosse und der Heilige Goar (1852).
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Suárez Llano 2013, p. 89 Historians see Martelo as an important, though rather not a first-rate contributor to Galician literature. Some recognized him as “un dos máis inspirados e correitos poetos galegos”,Francisco Fernandez del Riego (ed.), Escolma de Poeia Galega, Vigo 1957, p. 137 others prefer to credit him for the first drama and the first satire ever written in Galician.Suárez Llano 2013, pp. 104-105 Many note his non-tangible contribution to rexurdimento galego, namely this of the Cova Céltica intellectual who inspired other writers.Martelo reportedly influenced Castelao, José Arcos, Enrique Correa, Manual Antonio and Rafael Dieste, the last two indirectly, Castro Rodriguez 2006 His poetic style is praised for charm, “unha unérxica dicción” and sincerity, though criticized for “somewhat licentious versification”,Carballo Calero 1981, p. 432 “missing sense of form”, abuse of conversational toneO señor de Rianxo, de novo entre nós, [in:] Cafe Barbantia service, available here and “lira de seco e duro cordaxe".Castro Rodriguez 2006 However, it seems agreed that he has earned "relevant place in history of the Galician literature”.Suárez Llano 2013, pp. 104-106 In popular discourse Martelo is occasionally noted in Galiciansee e.g.
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The poet's major stylistic change in his shift towards free verse roughly within a decade that included much of the 1960s, combined with the other changes in his life -- his move from England to America, from academic Cambridge to bohemian San Francisco, his becoming openly gay, his drug-taking, his writing about the "urban underbelly" -- caused many to conjecture how his lifestyle was affecting his work. "British reviewers who opposed Gunn's technical shifts blamed California, just as American critics would, later on, connect his adventurous lifestyle with his more 'relaxed' versification," according to Orr, who added that even as of 2009, critics were contrasting "Gunn's libido with his tight metrics -- as if no one had ever written quatrains about having sex before". In Gunn's next book, Jack Straw's Castle (1976), the dream modulates into nightmare, related partly to his actual anxiety-dreams about moving house, and partly to the changing American political climate. "But my life," he wrote, "insists on continuities -- between America and England, between free verse and metre, between vision and everyday consciousness." The Passages of Joy reaffirmed those continuities: it contains sequences about London in 1964–65 and about time spent in New York in 1970.
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The first tells the life-story of Śākyamuni Buddha, while the second tells the story of Nanda, the Buddha's handsome cousin, who was guided towards liberation by turning his greatest weakness - desire - into a motivating factor for practice. Fragments of a drama called Śāriputraprakaraṇa (Lüders (1911) ) are also extant, and these may be some of the oldest, perhaps even the oldest example of Sanskrit drama. Aśvaghoṣa's verses are often simple yet very suggestive, casting key Buddhist teachings, such as impermanence, in evocatively paced similes: Other verses of Aśvaghoṣa capture in vivid images human indecision, uncertainty and sorrow. The following verse describes Nanda at the door of his house, torn between the wish to remain with his beloved wife and the sense of respect that prompts him to leave and meet the Buddha to make amends for neglecting the Buddha's alms- round in front of his house: Sanskrit poetry is subdivided into three types: verse works (padya) prose works (gadya) and mixed works (campū); nowhere in the Indic tradition is versification taken as the distinguishing feature of literary diction, as all sorts of works, whether philosophical, medical, etc.
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It excited violent dislike to Ronsard on the part of the Huguenots, who wrote constant pasquinades against him, strove (by a ridiculous exaggeration of the Dionysiac festival at Arcueil, in which the friends had indulged to celebrate the success of the first French tragedy, Jodelle's Cleopatre) to represent him as a libertine and an atheist, and (which seems to have annoyed him more than anything else) set up his follower Du Bartas as his rival. According to some words of his own, they were not contented with this variety of argument, but attempted to have him assassinated. During this period, Ronsard began writing the epic poem the Franciade (1572), a work that was never finished and is generally considered a failure due to its versification—a decasyllabic metre of rimes plates that corresponds poorly with the genre of epic poetry. The metre (the decasyllable) could not but contrast unfavourably with the magnificent alexandrines that Du Bartas and Agrippa d'Aubigné were shortly to produce; the general plan is feebly classical, and the very language has little or nothing of that racy mixture of scholarliness and love of natural beauty which distinguishes the best work of the Pléiade.
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Malherbe exercised, or at least indicated the exercise of, a great and enduring effect upon French literature, though not exactly a wholly beneficial one. From the time of Malherbe dates the gradual development of the poetic rules of "Classicism" that would dominate for nearly two centuries until the Romantics. The critical and restraining tendency of Malherbe who preached greater technical perfection, and especially greater simplicity and purity in vocabulary and versification, was a sober correction to the luxuriant importation and innovation of Pierre de Ronsard and La Pléiade, but the lines of praise by Nicolas Boileau-Despréaux beginning Enfin Malherbe vint ("Finally Malherbe arrived") are rendered only partially applicable by Boileau's ignorance of older French poetry. The personal character of Malherbe, whose writings demonstrate a bludgeon-like wit, was far from amiable; the good as well as bad side of Malherbe's theory and practice is excellently described by his contemporary and rival Mathurin Régnier, who was animated against Malherbe, not merely by reason of his own devotion to Ronsard but because of Malherbe's discourtesy towards Régnier's uncle Philippe Desportes, whom the Norman poet had at first distinctly plagiarized.
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The musical forms then in common use — the frottola and the ballata, the canzonetta and the mascherata — were light compositions with verses of low literary quality. Those musical forms used repetition and soprano-dominated homophony, chordal textures and styles, which were simpler than the composition styles of the Franco-Flemish school. Moreover, the Italian popular taste in literature was changing from frivolous verse to the type of serious verse used by Bembo and his school, who required more compositional flexibility than that of the frottola, and related musical forms. The madrigal slowly replaced the frottola in the transitional decade of the 1520s. The early madrigals were published in Musica di messer Bernardo Pisano sopra le canzone del Petrarcha (1520), by Bernardo Pisano (1490–1548), while no one composition is named madrigal, some of the settings are Petrarchan in versification and word-painting, which became compositional characteristics of the later madrigal. The Madrigali de diversi musici: libro primo de la Serena (1530), by Philippe Verdelot (1480–1540), included music by Sebastiano Festa (1490–1524) and Costanzo Festa (1485–1545), Maistre Jhan (1485–1538) and Verdelot, himself.
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In Milton's case, there is an understandable difference in the way he matched his style to his subjects. For the ‘Nativity Ode’ and commendatory poem on Shakespeare he deployed Baroque conceits, while his two poems on the carrier Thomas Hobson were a succession of high-spirited paradoxes. What was then titled “An Epitaph on the Admirable Dramaticke Poet, W. Shakespeare” was included anonymously among the poems prefacing the second folio publication of Shakespeare's plays in 1632.Encyclopedia Britannica online The poems on Thomas Hobson were anthologised in collections titled A Banquet of Jests (1640, reprinted 1657) and Wit Restor’d (1685), bracketing both the 1645 and 1673 poetry collections published during Milton's lifetime.Introduction to the poems at the John Milton Reading Room, Dartmouth College The start of John Dryden’s writing career coincided with the period when Cleveland, Cowley and Marvell were first breaking into publication. He had yet to enter university when he contributed a poem on the death of Henry Lord Hastings to the many other tributes published in Lachrymae Musarum (1649). It is typified by astronomical imagery, paradox, Baroque hyperbole, play with learned vocabulary (“an universal metampsychosis”), and irregular versification which includes frequent enjambment.The Poems of John Dryden, Vol.
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