Poetic Origins and the BalladMacmillan, 1921 - Počet stran: 247 |
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Strana 37
... and Scot- tish ballads , their content and special qualities , is very suggestive and stimulating . 4 English Mediaeval Literature ( 1914 ) , pp . 237 , 242 . ually killed the lyric , so that recitation of a THE BALLAD AND THE DANCE 37.
... and Scot- tish ballads , their content and special qualities , is very suggestive and stimulating . 4 English Mediaeval Literature ( 1914 ) , pp . 237 , 242 . ually killed the lyric , so that recitation of a THE BALLAD AND THE DANCE 37.
Strana 38
Louise Pound. ually killed the lyric , so that recitation of a story by a minstrel took the place of the dancing chorus ... recited to an audience sitting still ; ballads were given out by minstrels , like the min- strel of Chevy Chase ...
Louise Pound. ually killed the lyric , so that recitation of a story by a minstrel took the place of the dancing chorus ... recited to an audience sitting still ; ballads were given out by minstrels , like the min- strel of Chevy Chase ...
Strana 76
... recited orally . The refrain is present in mediæval as in modern songs which have no connection with the dance . But the refrain itself is not an essential in the Child pieces as it is in the Danish ; we have just pointed out that ...
... recited orally . The refrain is present in mediæval as in modern songs which have no connection with the dance . But the refrain itself is not an essential in the Child pieces as it is in the Danish ; we have just pointed out that ...
Strana 82
... recited pieces , but the very different and wholly appro- priate song of Young Thomlin , licensed in 1557-58 . Number 108 , Ihonne ermistrangis dance , is the one pos- sible Child piece of the 30 ; but neither Mr. Furnivall nor Mr ...
... recited pieces , but the very different and wholly appro- priate song of Young Thomlin , licensed in 1557-58 . Number 108 , Ihonne ermistrangis dance , is the one pos- sible Child piece of the 30 ; but neither Mr. Furnivall nor Mr ...
Strana 88
... recitation from memory by people who do not read or write . " 4 " Our typical ballads , " says Professor G. H. Stempel , " have come to us pretty straight from unlettered people living in out of the way places , people of no converse ...
... recitation from memory by people who do not read or write . " 4 " Our typical ballads , " says Professor G. H. Stempel , " have come to us pretty straight from unlettered people living in out of the way places , people of no converse ...
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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.