Poetic Origins and the BalladMacmillan, 1921 - Počet stran: 247 |
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Strana
... earliest and most universal poetic form ; belief in the origin of narrative songs in the dance , especially definition of the English and Scottish traditional ballad type as of dance origin ; belief in the emergence of traditional ...
... earliest and most universal poetic form ; belief in the origin of narrative songs in the dance , especially definition of the English and Scottish traditional ballad type as of dance origin ; belief in the emergence of traditional ...
Strana
... Earliest Poetic Form II THE MEDIAEVAL BALLAD AND THE DANCE . I The Name " Ballad " II Dance Songs Proper · III Narrative Songs and the Dance . III BALLADS AND THE ILLITERATE I Sources of Recovery II Audience and Authorship as Mirrored ...
... Earliest Poetic Form II THE MEDIAEVAL BALLAD AND THE DANCE . I The Name " Ballad " II Dance Songs Proper · III Narrative Songs and the Dance . III BALLADS AND THE ILLITERATE I Sources of Recovery II Audience and Authorship as Mirrored ...
Strana 5
Louise Pound. trations of folk - dances among the most diverse peoples in an early stage of civilization . 6 In this ... earliest . Linked with inarticulate vocal cries it fell under the spell of measure or order , and slowly grew more ...
Louise Pound. trations of folk - dances among the most diverse peoples in an early stage of civilization . 6 In this ... earliest . Linked with inarticulate vocal cries it fell under the spell of measure or order , and slowly grew more ...
Strana 6
... earliest art impulse is essentially collective rather than individual , objective rather than subjective . No doubt primitive improvisation is the halting keynote of individuality , but it is speedily lost in the ethnic chorus . In vain ...
... earliest art impulse is essentially collective rather than individual , objective rather than subjective . No doubt primitive improvisation is the halting keynote of individuality , but it is speedily lost in the ethnic chorus . In vain ...
Strana 7
... earliest ' muse ' was the rhythm of the throng . " " Festal throngs , not a poet's solitude , are the birthplace of poetry . " " Overwhelming evidence shows all primitive poetical expression of emotion to have been collective . " Let ...
... earliest ' muse ' was the rhythm of the throng . " " Festal throngs , not a poet's solitude , are the birthplace of poetry . " " Overwhelming evidence shows all primitive poetical expression of emotion to have been collective . " Let ...
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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.