Poetic Origins and the BalladMacmillan, 1921 - Počet stran: 247 |
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Strana
... Oral Literature in America " published in The Cam- bridge History of American Literature . Thanks are due to the publishers for permission to utilize passages from the latter . The polemical tone of the papers , which is so marked as to ...
... Oral Literature in America " published in The Cam- bridge History of American Literature . Thanks are due to the publishers for permission to utilize passages from the latter . The polemical tone of the papers , which is so marked as to ...
Strana 46
... oral tradition . In its earliest stages it was meant to be sung by a crowd , and got its name from the dance to which it furnished the sole musical accompani- ment . " The first sentences are unimpeachable , but the last is not . The ...
... oral tradition . In its earliest stages it was meant to be sung by a crowd , and got its name from the dance to which it furnished the sole musical accompani- ment . " The first sentences are unimpeachable , but the last is not . The ...
Strana 53
... orally preserved for some generations as a dance song , for throngs on the village 25 See also Gilchrist and Broadwood , Journal of the Folk - Song So- ciety , v , pp . 228 ff . green , the narrative element would have become yet more ...
... orally preserved for some generations as a dance song , for throngs on the village 25 See also Gilchrist and Broadwood , Journal of the Folk - Song So- ciety , v , pp . 228 ff . green , the narrative element would have become yet more ...
Strana 66
... oral tradition and gradually leading to a new struc- ture . Or in his The Popular Ballad : 43 the course of the popular ballad is from a mimetic choral situation , slowly detaching itself out of the festal dance and coming into the ...
... oral tradition and gradually leading to a new struc- ture . Or in his The Popular Ballad : 43 the course of the popular ballad is from a mimetic choral situation , slowly detaching itself out of the festal dance and coming into the ...
Strana 67
... oral transmission , ought to show the fatuity of seeking an identical genesis for these types and for pieces like the English and Scottish popular ballads.45 It is a safer hypothesis that the Child type of piece , once established in ...
... oral transmission , ought to show the fatuity of seeking an identical genesis for these types and for pieces like the English and Scottish popular ballads.45 It is a safer hypothesis that the Child type of piece , once established in ...
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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.