I used to be able to sit quietly in the window seat, or on the bench under the same window in the long summer, and whittle away at words, frown over rhyme schemes and assonances.
|
|
Flaubert famously avoided the inexact, the abstract and the vaguely inapt expression, and scrupulously eschewed the cliché. In a letter to George Sand he said that he spends his time "trying to write harmonious sentences, avoiding assonances".The Letters of Gustave Flaubert: 1857-1880 By Gustave Flaubert, Francis Steegmuller p.89Angraj Chaudhary (1991) Comparative aesthetics, East and West p.
|
|
His mixture > of ornate invention and rhetorical ingenuity with archaic and colloquial > forms marks him rather as a man of his epoch, in which the classical > heritage is being transformed by a welter of new forces." Phrases like "oppido formido" [I greatly fear] litter his pages. Apuleius' "prose is a mosaic of internal rhymes and assonances. Alliteration is frequent.
|
|
See also Bostock, King & McLintock 1976, 304–313. Some lines contain rhymes, using a poetic form pioneered in the ninth century by Otfrid of Weissenburg (ca. 790–875).Otfrid still used the traditional long lines divided centrally at a caesura, but with rhymes or assonances at each half-line, and in general no attempt at alliteration. On Otfridian verse, see Bostock, King & McLintock, 322–326.
|
|
University of California Press, California. . He emphasised the striking harmonious musicality in his poetry by using onomatopoeia, phonetic instrumentation, and sonorous neologisms as well as selecting originally harmonious rare assonances and rhymes. Czechowicz is often described as a poet of the city, of small towns and provinces. The supernatural character of the worlds presented in his poetry is intensified by the use of personifications, including nature and landscape elements.
|
|
This is the most close-knit series of poems in the entire collection and deserves consideration as a single long poem. It also introduces two enduring themes in his work – his love of his native sea and nostalgia for his childhood. The poems in this sequence are nearly all written in lines of irregular length and irregular assonances and derive most obviously from the cancionero tradition. La amante (1925) and El alba del alhelí (1926) followed in quick succession.
|
|
Some, like Bouvy and Krumbacher, place him among the greatest hymn-writers of all times; others, like Cardinal Pitra, are more conservative. For a final judgment a complete edition of the hymns is needed. Compared to Latin church poets such as Ambrose and Prudentius, his surviving works tend towards a more rhetorically flowery, digressive, and dogmatic verse. He is fond of symbolic pictures and figures of speech, antitheses, assonances, especially witty jeux d'esprit, which contrast with his characteristic simplicity of diction and construction.
|
|
Day by day, he reproduces his actions and he is drawn into some of his secrets, not in theory, but practically, by experience."Pasternak, (1959), p. 142. According to Ivinskaya: While they were both collaborating on translating Rabindranath Tagore from Bengali into Russian, Pasternak advised Ivinskaya: "1) Bring out the theme of the poem, its subject matter, as clearly as possible; 2) tighten up the fluid, non-European form by rhyming internally, not at the end of the lines; 3) use loose, irregular meters, mostly ternary ones. You may allow yourself to use assonances.
|
|
"The Doors of His Face, the Lamps of His Mouth" is a science fiction novelette by Roger Zelazny. Originally published in the March 1965 issue of The Magazine of Fantasy and Science Fiction, it won the 1966 Nebula Award for Best Novelette, and was nominated for the 1966 Hugo Award for Best Short Fiction. Writing in The Encyclopedia of Science Fiction, John Clute found that Zelazny's story "intoxicatingly dashes together myth and literary assonances—in this case Herman Melville's Moby-Dick—and sex". Gardner Dozois opined that "Doors of His Face" was inspired by "a loving nostalgia for the era of the pulp adventure story that was then widely supposed to be ending".
|
|
These poems dealt with the Highland clearances, and described the Scottish landscape in rich detail, using Gaelic assonances. He was one of the first to succeed in rendering the qualities of Gaelic poetry in English. These poems and verse plays won praise from many Scottish writers – Naomi Mitchison, Norman MacCaig, Edwin Muir, Compton Mackenzie, George Bruce, Sydney Goodsir Smith, Maurice Lindsay, and many more. Macleod's "Drinan" poetry was in much demand in both England and Scotland, as well as Ireland and the US. Editors such as Tambimuttu (of Poetry (London)), Maurice Lindsay (Poetry (Scotland)) and John Lehmann (Hogarth Press and New Writing), all requested and published large amounts of his poems in the 1940s.
|
|
They are also so ancient as to be unintelligible without heavy glosses. It is a tremendous claim to make for the Celt that he "taught Europe to rhyme", yet it has often been made for him, and not by himself, but by such men as Zeuss, the father of Celtic learning, Constantine Nigra, and others. Certain it is that by the time of the Irish mission to the continent, as early as the 7th century, we find the Irish had brought the art of rhyming verses to a high pitch of perfection, that is, centuries before most of the vernacular literatures of Europe knew anything at all about it. Nor are their rhymes only such as we are accustomed to in English, French, or German poetry, for they delighted not only in full rhymes, like these nations, but also in assonances, like the Spaniards, and they often thought more of a middle rhyme than of an end rhyme.
|
|