ellauri028.html on line 116: One of these guarded treasures of Kaiser Wilhelm was a volume of grossly indecent verses by Voltaire, addressed to Frederick the Great. “I would blush to remember any of these stanzas except to tell Krafft-Ebing about them when I get to Vienna”, said Mark Twain. "Too much is enough."
ellauri094.html on line 654: The body of Algernon Charles Swinburne’s poetry is so vast and varied that it is difficult to generalize about it. Swinburne wrote poetry for more than sixty years, and in that time he treated an enormous variety of subjects and employed many poetic forms and meters. He wrote English and Italian sonnets, elegies, odes, lyrics, dramatic monologues, ballads, and romances; and he experimented with the rondeau, the ballade, and the sestina. Much of this poetry is marked by a strong lyricism and a self-conscious, formal use of such rhetorical devices as alliteration, assonance, repetition, personification, and synecdoche. Swinburne’s brilliant self-parody, “Nephilidia,” hardly exaggerates the excessive rhetoric of some of his earlier poems. The early A Song of Italy would have more effectively conveyed its extreme republican sentiments had it been more restrained. As it is, content is too often lost in verbiage, leading a reviewer for The Athenaeum to remark that “hardly any literary bantling has been shrouded in a thicker veil of indefinite phrases.” A favorite technique of Swinburne is to reiterate a poem’s theme in a profusion of changing images until a clear line of development is lost. “The Triumph of Time” is an example. Here the stanzas can be rearranged without loss of effect. This poem does not so much develop as accrete. Clearly a large part of its greatness rests in its music. As much as any other poet, Swinburne needs to be read aloud. The diffuse lyricism of Swinburne is the opposite of the closely knit structures of John Donne and is akin to the poetry of Walt Whitman.
ellauri094.html on line 680: Amount of stanzas: 32
ellauri094.html on line 693: The author used the same words by, and at the beginnings of some neighboring stanzas.
ellauri095.html on line 510: The result is an ode of thirty-five eight-line stanzas, divided into two parts. The first part, consisting of ten stanzas, is autobiographical, recalling how God touched the speaker in his own life. The second begins with seven stanzas dramatizing newspaper accounts of the wreck. Then fourteen stanzas narrow the focus to a single passenger, the tallest of the five nuns who drowned. She was heard to call on Christ before her death. The last four stanzas address God directly and culminate in a call for the conversion of England.
ellauri109.html on line 685: Dryden ylisti Cromwellia säkeissä Heroic stanzas (1658) ja Kaarle II:ta runossa Astræa redux. Myöhemmin hän palveli hallitusta poliittisilla satiireillaan. Hän kääntyi katolisuuteen Jaakko II:n noustessa valtaistuimelle, sai poeta laureatus -arvon ja eläkkeen, mutta menetti kaiken vuoden 1688 vallankumouksessa. Loppuiällään hän oli Englannin suurin kritiikin auktoriteetti. Ketä kiinnostaa sen draamojen esipuheet, ei mua ainakaan. niiden painopisteenä olivat lemmenjuonet ja urotyöt, joihin liittyi henkienilmestyksiä ja taisteluntuoksinaa.
ellauri197.html on line 78: The two stanzas of the poem are quite similar in form. Yeats repeats parts of the same lines twice in order to maintain the song-like qualities of the first three lines that he could remember. The speaker’s relationship failed because, despite his love’s urgings, he did not take life or love easy. Perhaps he rushed into things too quickly or made decisions that she didn’t approve of. Either way, it ended in tears.
ellauri197.html on line 92: Yeats makes use of several literary devices in ‘Down By the Salley Gardens’. These include but are not limited to anaphora, epistrophe, and alliteration. The first of these, anaphora, is seen through the use and reuse of words at the beginning of multiple lines of text. For instance, “She” in stanzas one and two. Epistrophe is the opposite of anaphora. It is concerned with the repetition of phrases at the ends of lines. For instance, “salley gardens” at the ends of lines one and three of the first stanza and “young and foolish” at the end of line seven in the first stanza and line seven in the second stanza.
ellauri197.html on line 293: ‘How Happy I Was If I Could Forget’ is a two-stanza work where the narrator takes the reader through a series of confusing verb tenses and language choices to represent the overall lack of clarity she has for the memory that she wishes she “could forget.” The cyclical state of the stanzas’ disorganization, additionally, reflects that the narrator feels trapped in her confused loop from the memory, and the reader could finish ‘How Happy I Was If I Could Forget’ without knowing what the troubling memory is. This is yet another method of revealing the narrator’s confusion over the memory. Just as she does not know how to treat the memory, the reader does not know solid details about the memory. From start to finish then, this is a work that is structured perfectly to share and represent the narrator’s confusion.
ellauri197.html on line 311: Additionally, the third line of this stanza again does not have a subject for its main verb, and this format adds a bit of structure amidst the chaos since the varying verb tenses happen in the first two lines of both stanzas while the missing subject shows up in the third lines. This sustained format is an indication that this bad memory she could not “forget” keeps her in a loop she cannot break free of, as in no matter how far she tries to run from it, she always ends up dealing with the same problems again and again. The grammar details, then, mirror the circular repetition of her emotional problems.
ellauri368.html on line 49: Sutzkeverin teos vahvistaa jatkuvasti ihmiskunnan voimaa ja luonnon kestävyyttä. Omaelämäkerrallisessa "Makaan arkussa", kirjoitettu 30. elokuuta 1941, Sutzkever kirjoittaa loppustanzassa:
ellauri371.html on line 193: Monopolit; riippuvuus heistä "goyim toverit" seisomassa. Pian alamme luoda myrskyisiä muodeja, nopolit ovat valtavan vaurauden varastoja, joista jopa suuret goimien omaisuudet riippuvat heistä niin paljon, että ne hukkuvat lainan mukana valtio poliittisen katastrofin jälkeisenä päivänä stanzas. » m „i ^
ellauri390.html on line 297: Vuonna 1861 V.V. Krestovsky "kirjoitti uudelleen" "Vanka the Keykeeper" eliminoimalla prinssin nimen, jonka mainitseminen laulussa oli kielletty. Näin syntyi balladin toinen painos, joka merkitsi 1700-luvun lopulla alkanutta kansan- ja ammattiluovuuden yhdistämisprosessia. Balladin teksti, jossa on riimejä ja stanzas -neljästöjä, oli kansalle esimerkki ammattimaisesta runokulttuurista, uudesta taiteellisesta ja runollisesta ajattelusta. Krestovskyn runo levisi kansan keskuudessa suosittujen tulosteiden ansiosta ja oli olemassa tekijän runotekstin laulusovitusten muodossa rinnakkain muinaisen kansanballadin kanssa.
xxx/ellauri199.html on line 289: First of all I would like to clarify what poetry is and isn´t. Writing poetry is best described as a composition that uses literary techniques and is not prose. Writing Prose is best described as writing that uses ordinary speech or language, such as a story or letter. However, there is such a thing as prose poetry that does use poetic devices, but it is still written in journal, letter or paragraph or story form. Poetry is written with a certain poetic structure of line breaks and stanzas. We will get more into the structure of poetry later in the course. Now that we have that cleared up, let´s forge ahead.
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