Forms of English PoetryAmerican Book Company, 1904 - 368 sidor |
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Sida 30
... variation in number of syllables is not introduced wantonly , but in correspondence with some transition in the nature of the imagery or passion . ” There is not wind enough to twirl The one red 30 THE FOOT , THE LINE , AND THE STANZA.
... variation in number of syllables is not introduced wantonly , but in correspondence with some transition in the nature of the imagery or passion . ” There is not wind enough to twirl The one red 30 THE FOOT , THE LINE , AND THE STANZA.
Sida 31
Charles Frederick Johnson. There is not wind enough to twirl The one red leaf , the last of its clan , That dances as often as dance it can , Hanging so light and hanging so high On the topmost twig that looks up at the sky . It has been ...
Charles Frederick Johnson. There is not wind enough to twirl The one red leaf , the last of its clan , That dances as often as dance it can , Hanging so light and hanging so high On the topmost twig that looks up at the sky . It has been ...
Sida 32
... wind slowly o'er the lea , The plowman homeward plods his weary way And leaves the world to darkness and to me . Cardinal Newman's hymn is another instance of the dignity imparted 32 THE FOOT , THE LINE , AND THE STANZA.
... wind slowly o'er the lea , The plowman homeward plods his weary way And leaves the world to darkness and to me . Cardinal Newman's hymn is another instance of the dignity imparted 32 THE FOOT , THE LINE , AND THE STANZA.
Sida 34
... wind from France When we our sails advance , Nor now to prove our chance , Longer will tarry : But putting to the main , At Kaux the mouth of Seine , With all his martial train , Landed King Harry . The three - syllable foot lends ...
... wind from France When we our sails advance , Nor now to prove our chance , Longer will tarry : But putting to the main , At Kaux the mouth of Seine , With all his martial train , Landed King Harry . The three - syllable foot lends ...
Sida 41
... responds to two in the next , making the rhyme formula aba - bcb - cdc - ded , etc. This is the form used by Shelley in his Ode to the West Wind . He , however , groups them into THE FOOT , THE LINE , AND THE STANZA 41.
... responds to two in the next , making the rhyme formula aba - bcb - cdc - ded , etc. This is the form used by Shelley in his Ode to the West Wind . He , however , groups them into THE FOOT , THE LINE , AND THE STANZA 41.
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Vanliga ord och fraser
accents Adonais amphibrach anapest antistrophe artistic ballad Battle of Maldon beauty blank verse century chant royal character Chaucer Coleridge couplet Cymbeline dead death dirge doth embodied emotion English epic expression fair feeling flower FORMS OF ENG give grief hath heart heaven heroic age hither human iambic Iliad irregular Italian Judas Iscariot Keats King lady lament language light lines literary literature Lycidas lyric manner melody meter metrical Milton mind modern musical nature never night o'er octave phrase Pindaric pleasure poem poet poetic poetry popular race rhymes romantic Sadko says sense sentiment sestina sextette Shakespeare Shelley sing society verse song sonnet soul of Judas sound spirit stanzas strophe Svyatogor sweet syllables Tennyson terminal thee things thou thought tion tone trochee Troilus and Criseyde true Twas the soul vers de société vowel wind words Wordsworth writer written wrote
Populära avsnitt
Sida 269 - The breath whose might I have invoked in song Descends on me; my spirit's bark is driven, Far from the shore, far from the trembling throng Whose sails were never to the tempest given; The massy earth and sphered skies are riven! I am borne darkly, fearfully, afar; Whilst burning through the inmost veil of Heaven, The soul of Adonais, like a star, Beacons from the abode where the Eternal are.
Sida 207 - He is made one with Nature : there is heard His voice in all her music, from the moan Of thunder, to the song of night's sweet bird ; He is a presence to be felt and known In darkness and in light, from herb and stone, Spreading itself where'er that Power may move Which has withdrawn his being to its own ; Which wields the world with never wearied love, Sustains it from beneath, and kindles it above.
Sida 207 - His part, while the one Spirit's plastic stress Sweeps through the dull dense world, compelling there All new successions to the forms they wear...
Sida 206 - He has outsoared the shadow of our night; Envy and calumny and hate and pain, And that unrest which men miscall delight, Can touch him not and torture not again...
Sida 123 - No longer mourn for me when I am dead Than you shall hear the surly sullen bell Give warning to the world that I am fled From this vile world, with vilest worms to dwell : Nay, if you read this line, remember not The hand that writ it ; for I love you so That I in your sweet thoughts would be forgot, If thinking on me then should make you woe.
Sida 124 - That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs where late the sweet birds sang. In me thou seest the twilight of such day As after sunset fadeth in the west, Which by and by black night doth take away, Death's second self that seals up all in rest.
Sida 49 - A THING of beauty is a joy for ever: Its loveliness increases ; it will never Pass into nothingness ; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing.
Sida 261 - When lovely woman stoops to folly. And finds, too late, that men betray. What charm can soothe her melancholy, What art can wash her guilt away? The only art her guilt to cover. To hide her shame from every eye, To give repentance to her lover, And wring his bosom, — is to die.
Sida 124 - Lest the wise world should look into your moan And mock you with me after I am gone.
Sida 118 - Since there's no help, come, let us kiss and part! Nay, I have done. You get no more of me! And I am glad, yea, glad with all my heart, That thus so cleanly I myself can free. Shake hands for ever! Cancel all our vows! And when we meet at any time again, Be it not seen in either of our brows That we one jot of former love retain.