Poetic Origins and the BalladMacmillan, 1921 - Počet stran: 247 |
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Strana 3
... later , es- pecially books , studies , or special articles dealing with South Amer- ican , African , and Australian tribes . 8 See F. B. Gummere , The Beginnings of Poetry , 1901 , and The Popular Ballad , 1907. See also Primitive ...
... later , es- pecially books , studies , or special articles dealing with South Amer- ican , African , and Australian tribes . 8 See F. B. Gummere , The Beginnings of Poetry , 1901 , and The Popular Ballad , 1907. See also Primitive ...
Strana 6
... 106 , 212 , 13 , 93 , etc. Later , by Professor Gummere , are The Popular Ballad ( 1907 ) , and the chapter on Ballads in the Cambridge History of English with the impersonal , with communal emotion . " " 6 THE BEGINNINGS OF POETRY.
... 106 , 212 , 13 , 93 , etc. Later , by Professor Gummere , are The Popular Ballad ( 1907 ) , and the chapter on Ballads in the Cambridge History of English with the impersonal , with communal emotion . " " 6 THE BEGINNINGS OF POETRY.
Strana 31
... later than melody , and real narrative later yet . As a lyrical species , the narrative song is a late , not an early , poetical development . If we look at what certain evidence we have , primitive songs are very brief , the words are ...
... later than melody , and real narrative later yet . As a lyrical species , the narrative song is a late , not an early , poetical development . If we look at what certain evidence we have , primitive songs are very brief , the words are ...
Strana 65
... later de- velopment , II , p . 500. Professors W. M. Hart and G. H. Stempel think that dialogue songs represent a very early stage , in the history of ballads proper . 42 A remark made by Professor C. S. Baldwin concerning the ballad is ...
... later de- velopment , II , p . 500. Professors W. M. Hart and G. H. Stempel think that dialogue songs represent a very early stage , in the history of ballads proper . 42 A remark made by Professor C. S. Baldwin concerning the ballad is ...
Strana 69
... later stage . 66 In Denmark , courtly society of the later middle ages danced to narrative ballads , and the pieces closely resemble the Child ballads . But Danish literature seems to know no other song , no body of purely lyrical ...
... later stage . 66 In Denmark , courtly society of the later middle ages danced to narrative ballads , and the pieces closely resemble the Child ballads . But Danish literature seems to know no other song , no body of purely lyrical ...
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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.