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
The symmetrically regular rhyming in each stanza is part of a larger symmetry by which , in this section of the poem , the key phrase ' For ADORATION ' slips , stanza by stanza , from the first line to the sixth twice over ; and this in ...
The symmetrically regular rhyming in each stanza is part of a larger symmetry by which , in this section of the poem , the key phrase ' For ADORATION ' slips , stanza by stanza , from the first line to the sixth twice over ; and this in ...
Page 283
... sets these lines from the Lay along with stanzas from Blake , from Burns , and from Tom Moore , to recreate very ... the lightness of masculine endings , shadings of echo and progression from stanza to stanza , and indeed in every ...
... sets these lines from the Lay along with stanzas from Blake , from Burns , and from Tom Moore , to recreate very ... the lightness of masculine endings , shadings of echo and progression from stanza to stanza , and indeed in every ...
Page 294
In the first stanzas of this poem , the reader is uncertain which sort of poet he is dealing with , so uncertain that ... For the leap to God would have to be made in the verse , and so it would demand , not Bryant's stanza , but some ...
In the first stanzas of this poem , the reader is uncertain which sort of poet he is dealing with , so uncertain that ... For the leap to God would have to be made in the verse , and so it would demand , not Bryant's stanza , but some ...
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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 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