Baroque Lyric PoetryYale University Press, 1961 - 244 стор. |
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Сторінка 54
... ( lines 27-29 and 105 ) , which seem to have little structural importance . They do serve to remind us for a while that the poem is cast in the historical present . But in the last third of the poem ( lines 106–68 ) the reader loses sight ...
... ( lines 27-29 and 105 ) , which seem to have little structural importance . They do serve to remind us for a while that the poem is cast in the historical present . But in the last third of the poem ( lines 106–68 ) the reader loses sight ...
Сторінка 55
... lines 106–10 and completed in the final lines , 165–68 . Reading Marlowe's poem , we run no risk of losing our time sense . Despite occasional interruptions , the narrative proceeds unruffled on one time plane ; and though the poem ...
... lines 106–10 and completed in the final lines , 165–68 . Reading Marlowe's poem , we run no risk of losing our time sense . Despite occasional interruptions , the narrative proceeds unruffled on one time plane ; and though the poem ...
Сторінка 74
... ( lines 64-66 ff . ) are answered only in pagan terms : the nearest approach to survival after death is through “ fame " ; as Jove " pronounces lastly on each deed , / Of so much fame in Heav'n expect thy meed . " The em- phasis , though ...
... ( lines 64-66 ff . ) are answered only in pagan terms : the nearest approach to survival after death is through “ fame " ; as Jove " pronounces lastly on each deed , / Of so much fame in Heav'n expect thy meed . " The em- phasis , though ...
Зміст
The Uses of Time in Poetry | 21 |
A Survey of Time Patterns | 37 |
Miltons Nativity Ode | 45 |
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Загальні терміни та фрази
achieved action actually addressed alternation aspect attempt attitude audience awareness Baroque become beginning body called characterization Christian complex concerned consider continues contrast course death defining described devices direct Donne effect elements evolution evolved example exist fact finally follow future Galatea gradual historical important instance Italy kind least less lines literary literature look lovers Lycidas lyric Marino means Milton move movement nature never pagan paradox particular passage past performance perhaps period person planes poem poetic poetry poets Polifemo possible present tense questions reader reference relation relationship remains Renaissance rhetorical situation seems seen sense serves simple speak speaker speaker's attitude stanza structure style suggest thou thought tion tradition true universal usual whole