First Impressions: Essays on Poetry, Criticism, and ProsodyA.A. Knopf, 1925 - 249 pagine |
Dall'interno del libro
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Pagina 39
... metrical pattern to the cadences of human speech . His metrical ictus is always there but it is not always emphasized , and he is never afraid to let a logical or word accent come in a weak place metrically . His verse is at the ...
... metrical pattern to the cadences of human speech . His metrical ictus is always there but it is not always emphasized , and he is never afraid to let a logical or word accent come in a weak place metrically . His verse is at the ...
Pagina 50
... —which , read in terms not of wood and its grain but of speech and its natural cadence , never distorted to fit a metrical scheme , gives us precisely Frost's practice in verse rhythm . And this suggests Frost , 50 First Impressions.
... —which , read in terms not of wood and its grain but of speech and its natural cadence , never distorted to fit a metrical scheme , gives us precisely Frost's practice in verse rhythm . And this suggests Frost , 50 First Impressions.
Pagina 53
... metrical device with intention , and knowing just what they are aiming at . And in contrast to those poets it places men of whom , in its mind , Carl Sandburg is an example : rough and ready , empirical , singing in free verse be- cause ...
... metrical device with intention , and knowing just what they are aiming at . And in contrast to those poets it places men of whom , in its mind , Carl Sandburg is an example : rough and ready , empirical , singing in free verse be- cause ...
Pagina 55
... she remember . And the whole paragraph really reads in metrical lines of two feet each , except the second , " Sweet as a red haw in November , " which has four , and the penultimate line , of one , " In the dust 55 First Impressions.
... she remember . And the whole paragraph really reads in metrical lines of two feet each , except the second , " Sweet as a red haw in November , " which has four , and the penultimate line , of one , " In the dust 55 First Impressions.
Pagina 104
... metrical knowl- edge , sifts from it the essentials , and builds from them . Miss Crapsey's own contribution is an analysis which shows that what we may call the prosodic complexion of English poetry - its variety and freedom - depends ...
... metrical knowl- edge , sifts from it the essentials , and builds from them . Miss Crapsey's own contribution is an analysis which shows that what we may call the prosodic complexion of English poetry - its variety and freedom - depends ...
Altre edizioni - Visualizza tutto
First Impressions: Essays on Poetry, Criticism, and Prosody Llewellyn Jones Visualizzazione completa - 1925 |
First Impressions: Essays on Poetry, Criticism, and Prosody Llewellyn Jones Visualizzazione estratti - 1968 |
First Impressions: Essays on Poetry, Criticism, and Prosody Llewellyn Jones Visualizzazione estratti - 1968 |
Parole e frasi comuni
Abercrombie accent Adelaide Crapsey aesthetic Alice Meynell American amphibrachic anapæstic artist beat beauty blank verse Camelot Carl Sandburg character cinquains criticism Croce death decorative Edgar Lee Masters Edwin Arlington Robinson emotional English verse experience expression eyes fact feel feet free verse Frost give Guinevere heart human humor iambic imagine instance Lancelot Lindsay Lindsay's living Lowell's lyric Mare Mare's matter Merlin metre metrical Meynell Miss Crapsey Miss Lowell Mitch Miller mood Moore Moore's moral mother natural never perhaps philosophic phrase picture poet poetic poetry prose published purely quoted reader regular verse rhythm rhythmic Robert Bridges Robinson Rupert Brooke satire scansion sense simply Smoke song sort speak spirit spondee stanza story Sturge Moore syllables tells theme thing thou thought tion told tragedy volume whole wind woman words writing written Yeats Yeats's Zorn
Brani popolari
Pagina 209 - Why, let the stricken deer go weep, The hart ungalled play; For some must watch, while some must sleep; So runs the world away.
Pagina 55 - Take any streetful of people buying clothes and groceries, cheering a hero or throwing confetti and blowing tin horns . . . tell me if the lovers are losers . . . tell me if any get more than the lovers ... in the dust . . . in the cool tombs.
Pagina 94 - The lost, that in armies wept over your funeral pall? They call on the names of a hundred high-valiant ones, A hundred white eagles have risen the sons of your sons, The zeal in their wings is a zeal that your dreaming began The valor that wore out your soul in the service of man.
Pagina 38 - The Pasture I'm going out to clean the pasture spring; I'll only stop to rake the leaves away (And wait to watch the water clear, I may): I shan't be gone long. — You come too. I'm going out to fetch the little calf That's standing by the mother. It's so young, It totters when she licks it with her tongue. I sha'n't be gone long. — You come too.
Pagina 246 - LONDON SNOW When men were all asleep the snow came flying, In large white flakes falling on the city brown, Stealthily and perpetually settling and loosely lying, Hushing the latest traffic of the drowsy town; Deadening, muffling, stifling its murmurs failing; Lazily and incessantly floating down and down; Silently sifting and veiling road, roof and railing; Hiding difference, making unevenness even, Into angles and crevices softly drifting and sailing.
Pagina 142 - Are nine and fifty swans. The nineteenth Autumn has come upon me Since I first made my count; I saw, before I had well finished, All suddenly mount And scatter, wheeling, in great broken rings Upon their clamorous wings. I have looked upon those brilliant creatures, And now my heart is sore. All's changed...
Pagina 19 - Where was he going, this man against the sky ? You know not, nor do I. But this we know, if we know anything : That we may laugh and fight and sing And of our transience here make offering To an orient Word that will not be erased, Or, save in incommunicable gleams Too permanent for dreams, Be found or known.
Pagina 138 - I MADE my song a coat Covered with embroideries Out of old mythologies From heel to throat; But the fools caught it, Wore it in the world's eyes As though they'd wrought it. Song, let them take it, For there's more enterprise In walking naked.
Pagina 48 - The Sound of the Trees I wonder about the trees. Why do we wish to bear Forever the noise of these More than another noise So close to our dwelling place? We suffer them by the day Till we lose all measure of pace, And fixity in our joys, And acquire a listening air. They are that that talks of going But never gets away; And that talks no less for knowing, As it grows wiser and older, That now it means to stay.
Pagina 119 - WOMEN Women have no wilderness in them, They are provident instead, Content in the tight hot cell of their hearts To eat dusty bread. They do not see cattle cropping red winter grass, They do not hear Snow water going down under culverts Shallow and clear. They wait, when they should turn to journeys, They stiffen, when they should bend. They use against themselves that benevolence To which no man is friend. They cannot think of so many...