Poetic Origins and the BalladMacmillan, 1921 - Počet stran: 247 |
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Strana
... Dialogue and Situation Ballads and Theories of Development 139 III The " Uniformity " of the Ballad Style . IV Improvisation and Folk - Song . V THE ENGLISH BALLADS AND THE CHURCH I The Earliest Ballad Texts II Some Ballad Affiliations ...
... Dialogue and Situation Ballads and Theories of Development 139 III The " Uniformity " of the Ballad Style . IV Improvisation and Folk - Song . V THE ENGLISH BALLADS AND THE CHURCH I The Earliest Ballad Texts II Some Ballad Affiliations ...
Strana 56
... dialogue in the ballad . But there is nothing suggesting dance - song origin in the structure of Thomas Rymer , as it remains to us . It is not even built about a refrain ; indeed it seems intrinsi- cally inappropriate as a dance song ...
... dialogue in the ballad . But there is nothing suggesting dance - song origin in the structure of Thomas Rymer , as it remains to us . It is not even built about a refrain ; indeed it seems intrinsi- cally inappropriate as a dance song ...
Strana 65
... dialogue pieces ; 41 but one finds no traces of the development of dialogue songs into ballads proper , or of the " divorcing " of dance songs from the dance , on the way toward becom- ing lyric - epics . When we examine genuine dance ...
... dialogue pieces ; 41 but one finds no traces of the development of dialogue songs into ballads proper , or of the " divorcing " of dance songs from the dance , on the way toward becom- ing lyric - epics . When we examine genuine dance ...
Strana 83
... dialogue songs , to develop epic elements or to become " refined and ennobled by tradition , " i . e . , to become real ballads.62 Real ballads used as dance songs tend to decay , through the wearing process of dance usage . Songs used ...
... dialogue songs , to develop epic elements or to become " refined and ennobled by tradition , " i . e . , to become real ballads.62 Real ballads used as dance songs tend to decay , through the wearing process of dance usage . Songs used ...
Strana 110
... dialogue verse , the estrifs and verse contests of medieval literature . The Gray Cock is an aube , Barbara Allen's Cruelty is nearly a pure lyric , Johnny Campbell is a coronach or lament for the dead , The Holy Well and The Bitter ...
... dialogue verse , the estrifs and verse contests of medieval literature . The Gray Cock is an aube , Barbara Allen's Cruelty is nearly a pure lyric , Johnny Campbell is a coronach or lament for the dead , The Holy Well and The Bitter ...
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Alphonso Smith American Folk-Lore aristocratic authorship ballad style ballad texts balladry carols century characteristic Child ballads Child pieces Child type Chippewa choral cited communal composed composition Cowboy Songs currency dance songs dance-song Danish dialogue E. K. Chambers earliest early English and Scottish English ballads epic evidence example F. J. Child Faroe festal folk-song genuine History of English improvisation incremental repetition individual Joe Stecher Journal of American Judas King Estmere lady later literary Lomax Lord Randal lyric type lyric-epic manuscript material medieval melody Middle Ages minstrel modern narrative songs negro Old World older oral origin peasant play-party poem poetic popular song preserved primitive poetry primitive song Professor Gummere recited refrain religious Robin Hood romance Scottish ballads Scottish Popular Ballads singers singing Sioux Music Sir Patrick Spens situation songs stanzas story sung tell testimony Thomas Rymer tion tive traditional ballads tribes unlettered usage verse words
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Strana 58 - The mulberry bush, the mulberry bush. Here we go 'round the mulberry bush So early in the morning.
Strana 222 - I went to the boss to draw my roll, He had it figgered out I was nine dollars in the hole. I'll sell my outfit just as soon as I can, I won't punch cattle for no damned man. Goin' back to town to draw my money, Goin
Strana 176 - Lully, lulley Lully, lulley, lully, lulley, The faucon hath borne my make away. He bare him up, he bare him down, He bare him into an orchard brown. In that orchard there was an hall, That was hanged with purple and pall.
Strana 112 - And what wul ye leive to your ain mither deir, Edward, Edward ? And what wul ye leive to your ain mither deir ? My deir son, now tell me O." " The curse of hell f rae me sail ye beir, Mither, mither, The curse of hell frae me sail ye beir, Sic counseils ye gave to me O.
Strana 112 - Your steid was auld, and ye hae gat mair, Edward, Edward, Your steid was auld, and ye hae gat mair, Sum other dule- ye drie O.
Strana 90 - John Nichols, Illustrations of the Literary History of the Eighteenth Century, vol.
Strana 112 - Why dois your brand sae drap wi bluid, Edward, Edward? Why dois your brand sae drap wi bluid, And why sae sad gang yee O?' 'OI hae killed my hauke sae guid, Mither, mither, OI hae killed my hauke sae guid, And I had nae mair bot hee O.' 'Your haukis bluid was nevir sae reid, Edward, Edward, Your haukis bluid was nevir sae reid, My deir son, I tell thee O.
Strana 235 - Ballads sprang from the very heart of the people, and flit from age to age, from lip to lip of shepherds, peasants, nurses, of all the class that continues nearest to the state of natural men.
Strana 216 - there is something very curious in the reproduction here on this new continent of essentially the conditions of balladgrowth which obtained in mediaeval England.
Strana 203 - What time the noble LOVEWELL came, With fifty men from Dunstable, The cruel Pequa'tt tribe to tame, With arms and bloodshed terrible.