Older Masters: Essays and Reflections on English and American LiteratureDonald Davie's major essays on British and American writers from Chaucer to Browning. |
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Page 152
... stanza is part of a larger symmetry by which , in this section of the poem , the key phrase ' For ADORA- TION ' slips , stanza by stanza , from the first line to the sixth twice over ; and this in turn is locked into a larger structure ...
... stanza is part of a larger symmetry by which , in this section of the poem , the key phrase ' For ADORA- TION ' slips , stanza by stanza , from the first line to the sixth twice over ; and this in turn is locked into a larger structure ...
Page 283
... stanza to stanza , and indeed in every new form of modification in sound , the quality of shadow , echo , or answer , rather than the massed and cumulative forces of the old pentameters ' . This is a description of the musical ...
... stanza to stanza , and indeed in every new form of modification in sound , the quality of shadow , echo , or answer , rather than the massed and cumulative forces of the old pentameters ' . This is a description of the musical ...
Page 294
... stanza , but some larger unit which would provide for a gathering impetus and élan . Poet and reader alike begin to move with more assurance in the fourth stanza . Here , for the first time in the poem , we encounter something in the ...
... stanza , but some larger unit which would provide for a gathering impetus and élan . Poet and reader alike begin to move with more assurance in the fourth stanza . Here , for the first time in the poem , we encounter something in the ...
Contents
Chaucer and One Idea of Englishness 1972 | 7 |
A Reading of The Oceans Love to Cynthia 1960 | 13 |
Shakespeare and the Practising Poet Today 1976 | 31 |
Copyright | |
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Adams admired appears argument believe Berkeley better body called century certainly comes contrary course criticism death dialogue diction distinction Dryden effect eighteenth eighteenth-century England English essay example experience expression fact feel figure follows force give hand human idea imagination important instance interest John Johnson kind language later laws learned least Ledyard less lines literary literature lived London look matter means metaphor mind nature never object once passage perhaps period person philosopher poem poet poetic poetry political Pope possible present principle prose question reader reason rhetoric seems seen sense Shakespeare Smart society sort speak spirit stand stanza style surely taken Taylor things thought tion tradition true turn verse whole Wordsworth writing wrote