Greek Lyric Poetry PDF Book

Total Page:16

File Type:pdf, Size:1020Kb

Greek Lyric Poetry PDF Book GREEK LYRIC POETRY PDF, EPUB, EBOOK David A. Campbell | 502 pages | 02 Nov 2009 | Bloomsbury Publishing PLC | 9780862920081 | English | London, United Kingdom Greek Lyric Poetry PDF Book No trivia or quizzes yet. Routledge, MIT Press Cambridge , Load Next Page. Lyric in European literature of the medieval or Renaissance period means a poem written so that it could be set to music—whether or not it actually was. This makes me want to read even more Greek poetry, even if it's not my absolute favorite. Others do come A few years ago I thought I would quickly read Republic. Usually of an abusive or satirical— burlesque and parodying—character, they were not normally sung. After finishing this I went out for lunch at my favourite restaurant and as the handsome young waiter approached I almost quoted these words of Alcaeus: "Slave-boy, trickle the scent over my long suffering head The fragments reflect the turbulent life of an embittered adventurer. Click on the name of the genre for a definition; click on the texts for an example of that genre. Rating details. Even the notes in the back, which I read rigorously, only helped minimally with certain snippets of writing. Middle Comedy is largely lost i. Homer and others describe different occasions for lyric song which show us the variety of occasions on and audiences for which lyric poems were performed. At the tragic contests at the Dionysia each of three competing poets produced three tragedies and a satyr play , or burlesque, in which there was a chorus of satyrs. Mar 06, Illiterate rated it it was ok. Nov 23, Gabrielle rated it really liked it. Thus choral song came to be conventionally written in a Doric dialect. Download as PDF Printable version. Thespis 6th century bc , possibly combining with dithyrambs something of the Attic ritual of Dionysus of Eleutherae, is credited with having invented tragedy by introducing an actor who conversed with the chorus. About the beginning of the 6th century a new kind of poetry made its appearance in the island of Lesbos. Akin to this kind of comedy seems to have been the mime , a short realistic sketch of scenes from everyday life. The formal rhythm is therefore consistent throughout the poem and yet varied from line to line, making it easier to memorize, while preventing it from becoming monotonous epic poems are often quite long. Lyrical poetry was the dominant form of 17th-century English poetry from John Donne to Andrew Marvell. Aug 29, R. Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. Refresh and try again. However, it may not be a sufficient place to end. Is Archilochus well known? The relevance and acceptability of the lyric in the modern age was, though, called into question by modernist poets such as Ezra Pound , T. Just a moment while we sign you in to your Goodreads account. On the other hand, so little context is provided for many of these fragments that for the scholar of antiquity particularly archaeologists, such as myself, without the skill in ancient Greek to read everything regardless of its relevance to my research the usefulness of the book is limited. Novel Poetry Drama Short story Novella. It is the richest source we have of ancient Greek lyric poetry, as opposed to their more familiar epics, didactic poetry and poetic dramas. Help Learn to edit Community portal Recent changes Upload file. Sophocles introduced three or more actors, allowing still more complexity. West He used to wear a rough cloak, pinched in at the waist, and wooden baubles in his ears, and round his ribs a hairless cowhide, the unwashed covering off a cheap shield; and he used to go with baker-women and with rent-boys on the make, seeking a phony livelihood. Whether the accompaniment was a string or wind instrument, the term for such accompanied lyric was melic poetry from the Greek word for "song" melos. What we have now is a folding together of a number of medieval manuscripts, primary among which are the Planudean Anthology and the Palatine Anthology. Blackwell Publishing, After Menander, the spirit of dramatic creation moved out to other centres of civilization, such as Alexandria, Sicily and Rome. Very early dramas involved just a Chorus representing a group of characters , and then later a Chorus interacting with a single masked actor , reciting a narrative in verse. Facebook Twitter. Archilochus, however, finds writing erotica a better use of time. For example, the poems of Sappho are said to have filled nine papyrus rolls in the Library of Alexandria , with the first book alone containing more than 1, lines of verse. Greek Lyric Poetry Writer There are other women poets in the Anthology. Which playwright is best known for his play Oedipus the King? Elegiac couplets usually consisted of a line of dactylic hexameter, followed by a line of dactylic pentameter. The supreme poet of choral lyric was Pindar from Thebes in Boeotia born or possibly —died after bc , who is known mainly by his odes in honour of the victors at the great games held at Olympia, Delphi, the Isthmus of Corinth , and Nemea. Is Archilochus well known? The formal rhythm is therefore consistent throughout the poem and yet varied from line to line, making it easier to memorize, while preventing it from becoming monotonous epic poems are often quite long. Preview — Greek Lyric Poetry by M. Nearly all the poetry can be grouped into the content areas of the erotic and the political, and while some of the latter is thought- provoking, most of the former is just plain lewd. Its subject was myth —part legend , based sometimes on the dim memory of historical events; part folktale; and part religious speculation. You'd honestly need to know more than the basics of Greek history to comprehend every sly hint and remark and connection, especially if you want to understand the author's stance in particular. Many of his plays suffer from a certain internal disharmony, yet his sensibilities and his moments of psychological insight bring him far closer than most Greek writers to modern taste. Love shakes my heart like the wind rushing down on the mountain oaks. The traditional sonnet was revived in Britain, with William Wordsworth writing more sonnets than any other British poet. Simonides uses the god's creation of women and ties it to different animals in a very unflattering way. Because they have the luxury of choice, the other two translators can select fragments that mimic some kind of wholeness. I loved the random tidbits of wisdom, but also the hilarity and irony imbibed in so many of the short poems and sayings and proverbs. Open Preview See a Problem? Quotes from Greek Lyric Poetry. Unlike the other two, Rexroth's selection favored the Hellenistic poets over those of the archaic and classical periods. Blackwell Publishing, The Greeks created poetry before they made use of writing for literary purposes, and from the beginning their poetry was intended to be sung or recited. I have read some of these in their original Greek or tried, that Aeolic dialect were too much for me in class. In Russia , Aleksandr Pushkin exemplified a rise of lyric poetry during the 18th and early 19th centuries. To ask other readers questions about Greek Lyric Poetry , please sign up. The dominant form of German lyric poetry in the period was the minnesang , "a love lyric based essentially on a fictitious relationship between a knight and his high-born lady". Britannica Quiz. This book does a good job in making these fragments accessible to the average reader me. University of Rochester Press Rochester , Rarely narrative, they tended towards intense expression. These performances became a regular feature of the great festival of Dionysus at Athens about bc. Archilochus of Paros, of the 7th century bc , was the earliest Greek poet to employ the forms of elegy in which the epic verse line alternated with a shorter line and of personal lyric poetry. I love Sappho, my lesbian goddess. Perhaps what is most surprising is how much we still have today even after the destruction of the library at Alexandria. So if you have read one, you have read all three. No idea. It is primarily associated with the early 7th to the early 5th centuries BC, sometimes called the "Lyric Age of Greece", [1] but continued to be written into the Hellenistic and Imperial periods. All the great events of life as well as many occupations had their proper songs, and here too the way was open to advance from the anonymous to the individual poet. Even when a large proportion of the works here are difficult to understand in their references and assumptions, I found it exhilarating to try and crack the code of the lyrics that jumped out at me. For me this book is most of all a welcome reminder of the many names and actors of general ancient greek history. Views Read Edit View history. Play media. Much of Greek lyric is occasional poetry , composed for public or private performance by a soloist or chorus to mark particular occasions. Like this article? The pursuit of these disciplines was so important to the Ancient Greeks, in fact, that they had several muses to represent them. But since the myths were not associated with any religious dogma , even though they often treated of gods and heroic mortals, they were not authoritative and could be varied by a poet to express new concepts. For to marry or not to marry either is baneful.
Recommended publications
  • Introducing Greek Lyric
    Cambridge University Press 978-0-521-84944-9 - The Cambridge Companion to Greek Lyric Edited by Felix Budelmann Excerpt More information FELIX BUDELMANN Introducing Greek lyric In my eyes he matches the gods, that man who sits there facing you – any man whatever – listening from closeby to the sweetness of your voice as you talk, the sweetness of your laughter: yes, that – I swear it – sets the heart to shaking inside my breast, since once I look at you for a moment, I can’t speak any longer, but my tongue breaks down, and then all at once a subtle fire races inside my skin, my eyes can’t see a thing and a whirring whistle thrums at my hearing, cold sweat covers me and a trembling takes ahold of me all over: I’m greener than the grass is and appear to myself to be little short of dying. But all must be endured, since even a poor [ This is Sappho’s fragment 31 V, in the translation by Jim Powell.1 It has proved to be an engrossing text to many readers, arresting in its physicality yet elusive in its description of what is happening between the speaker, the addressee and the man. A long list of later poets were prompted to write their own versions – Catullus, Philip Sidney, Tennyson, William Carlos Williams, Robert Lowell, Marguerite Yourcenar – to name just a few. Sappho 31 is a text that shows the ability of Greek lyric to fascinate readers throughout the centuries. Yet at the same time as exerting fascination, Greek lyric is sometimes perceived as one of the less easily accessible areas of Greek literature.
    [Show full text]
  • Poetry's Politics in Archaic Greek Epic and Lyric
    Oral Tradition, 28/1 (2013): 143-166 Poetry’s Politics in Archaic Greek Epic and Lyric David F. Elmer In memoriam John Miles Foley1 The Iliad’s Politics of Consensus In a recent book (Elmer 2013) examining the representation of collective decision making in the Iliad, I have advanced two related claims: first, that the Iliad projects consensus as the ideal outcome of collective deliberation; and second, that the privileging of consensus can be meaningfully correlated with the nature of the poem as the product of an oral tradition.2 The Iliad’s politics, I argue, are best understood as a reflection of the dynamics of the tradition out of which the poem as we know it developed. In the course of the present essay, I intend to apply this approach to some of the other texts and traditions that made up the poetic ecology of archaic Greece, in order to illustrate the diversity of this ecology and the contrast between two of its most important “habitats,” or contexts for performance: Panhellenic festivals and the symposium. I will examine representative examples from the lyric and elegiac traditions associated with the poets Alcaeus of Mytilene and Theognis of Megara, respectively, and I will cast a concluding glance over the Odyssey, which sketches an illuminating contrast between festival and symposium. I begin, however, by distilling some of the most important claims from my earlier work in order to establish a framework for my discussion. Scholars have been interested in the politics of the Homeric poems since antiquity. Ancient critics tended to draw from the poems lessons about proper political conduct, in accordance with a general tendency to view Homer as the great primordial educator of the Greeks.
    [Show full text]
  • Poetry That Expresses Thoughts and Emotions of a Single Speaker
    Type of writing done in verse form that Poetry uses figures of speech designed to appeal to emotions and imagination Poetry that expresses Lyric Poetry thoughts and emotions of a single speaker Poetry that tells a story Narrative Poetry Form and Structure Poem that is song-like; usually focuses Ballad on topics such as romance, adventure, and death; and tells a story Sonnet 14 line lyric poem A mourning poem; written for Elegy someone who has died Lyric poem on a serious subject; usually Ode addressed to one person or thing; often celebrates something a repeated sound, word, Refrain phrase, line, or group of lines Japanese 3 lined poem with 5 Haiku syllables in lines 1 and 3 and 7 syllables in line 2 Couplet two consecutive lines of poetry that rhyme Triplets Three lined stanza Quatrains 4 line stanzas poetry that doesn’t have a set Free Verse rhyme scheme or meter A very long narrative poem that tells of Epic the life and journeys of a hero A group of consecutive lines in a Stanza poem that forms a single unit; like paragraphs Figurative Language comparison between two unlike Simile things, using a word such as like, as, than, or resembles comparison between two unlike things that does not use a Metaphor connecting word a group of words not meant to Idiom be taken literally overstating something, usually Hyperbole for the purpose of creating a comic effect giving human characteristics to Personification an object or an animal contradictory elements (two Oxymoron things that do not belong together) use of language that appeals to Imagery
    [Show full text]
  • Greek Lyric Syllabus
    Greek 115 Greek Lyric Grace Ledbetter Fall 2010: Early Greek Poetry and Philosophy This seminar will focus on the development of early Greek poetry and philosophy (including Archilochus, Callinus, Tyrtaeus, Alcaeus, Alcman, Sappho, Hipponax, Mimnermus, Semonides, Solon, Homeric Hymns to Demeter and Apollo, Xenophanes, Heraclitus, Parmenides, and Pindar) paying particular attention to questions of normativity and subversion, exclusivity and inclusion, monstrosity, aristocracy, praise, integration, anxiety, connection, deceit, language, and bees. Required books 1) Hesiod, Theogony. ed. Richard Hamilton, Bryn Mawr Commentary. 2) D. Campbell, Greek Lyric Poetry. 3) Homeric Hymn to Apollo, eds Peter Smith and Lee Pearcy, Bryn Mawr Commentary. 4) Homeric Hymn to Demeter, ed. Julia Haig Gaisser, Bryn Mawr Commentary. 5) Heraclitus: Peri Phuseus, Henry W. Johnston, jr. Bryn Mawr Commentary. 6 Parmenides, eds David Sider and Henry Johnston, Bryn Mawr Commentary. Required work Weekly reading, presentations and discussion Weekly short translation quizzes, marked but not graded Midterm exam Thursday, 10/28 Final exam will be scheduled by registrar (date will be posted Oct. 1) Final Paper due 12/18/10 (topics and drafts due earlier) 1 Week 1 (9/2) Reading: H. Fraenkel, Early Greek Poetry and Philosophy. Individual presentations on Fraenkel Week 2 (9/9) Hesiod. Reading in Greek: Theogony 1‐616 Rest of Theogony in English Works and Days in English M. L. West, Theogony. Introduction + commentary. Week 3 (9/16) Archilochus, Callinus, Tyrtaeus Reading in Greek: all of Archilochus in Campbell + Archilochus, “cologne epode” (text on blackboard) all of Callinus and Tyrtaeus in Campbell Secondary (required) B. Snell, “The Rise of the Individual in the Early Greek Lyric” in his The Discovery of the Mind, ch.
    [Show full text]
  • Lyric Poetry and the Music of Words
    3 ᪏᪎ The Birth of Tragedy Lyric Poetry and the Music of Words he stylistic role of music in The Birth of Tragedy1 presupposes the Trelation Nietzsche had uncovered between “music and words” in his theory of meter and rhythm in ancient Greek.2 This is Nietzsche’s architectonically 3 quantitative, measured and timed, theory of words and music for his courses on rhythm and meter as well as his discussion of tragedy and music in his first book.4 A recollection of the meaning of the spirit of music also reviews the logical questions of metaphor and truth and invites a parallel with The Gay Science with regard to language and the alchemical art of love, likewise in terms of both music and science. This inquiry entails the purely philosophical questions of knowl- edge and truth yet the discussion to follow takes its point of departure from classical philology, reviewing what Nietzsche himself held to have been his most scientific “discovery” on the terms of his own discipline: a discovery never disputed by Nietzsche’s arch-critic, Ulrich von Wilamowitz-Möllendorff. Indeed, and although we have become ac- customed to view Nietzsche as the perfect embodiment of the academic outsider, his discovery is now taken as the standard in his field (so standard as to be received without fanfare or routine acknowledgment as such).5 What was that discovery? 37 38 Words in Blood, Like Flowers Music and Words: The Influence of Modern Culture I. On Modern Stress and the Language of Ancient Greece Nietzsche had argued against the accent-based or stressed theory of Greek prosody that was the “received view” in nineteenth-century philology.
    [Show full text]
  • The Poet's Corpus WILFRED OWEN WAS AN
    CHARLES HUNTER JOPLIN The Poet’s Corpus Meter, Memory, and Monumentality in Wilfred Owen’s “The Show” The treatment worked: to use one of his favorite metaphors, [Owen] looked into the eyes of the Gorgon and was not turned to stone. In due course the nightmares that might have destroyed him were objectified into poetry. —Dominic Hibberd, Wilfred Owen: A New Biography WILFRED OWEN WAS AN ENGLISH POET who wrote his best work during the autumn of 1917 while recovering from shell shock in Craiglockhart War Hospital for Neurasthenic Officers. Although a few of his poems were published during his short lifetime, Owen died on November 8, 1918 in the Sambre-Oise Canal, before he could publish his book of war poetry. Owen’s body of work was collected by his mother and seven of those poems were edited by Edith Sitwell and published in a special edition of the avant-garde art magazine Wheels: 1919, which was dedicated to the memory of “Wilfred Owen, M.C.” (Stallworthy 81; v.). Following the Wheels edition, Owen’s war poetry spread slowly throughout the Western world. His work appeared in two separate collections in 1920 and 1931, saw widespread circulation during World War II, formed the basis for Benjamin Britten’s War Requiem in 1962, circulated in two more collections in 1963 and 1983, and rose to become a staple of twentieth century poetry anthologies (Stallworthy 81). Although there are other “trench poets” who achieved notoriety after the war’s end, the gradual canonization of Owen’s corpus has entrenched his life and works as a literary monument to our prevailing myths, feelings, and narratives of the First World War.1 Owen’s monumental status in English literature is appropriate because, during his time as a war poet, he carried a monumental mission.
    [Show full text]
  • Narration in Poetry and Drama
    Published on the living handbook of narratology (http://www.lhn.uni-hamburg.de) Narration in Poetry and Drama Peter Hühn Roy Sommer Created: 6. December 2012 Revised: 1. November 2013 Roy Sommer 1 Definition Narration as a communicative act in which a chain of happenings is meaningfully structured and transmitted in a particular medium and from a particular point of view underlies not only narrative fiction proper but also poems and plays in that they, too, represent temporally organized sequences and thus relate “stories,” albeit with certain genre-specific differences, necessarily mediating them in the manner of presentation. Lyric poetry in the strict sense (and not only obviously narrative poetry like ballads or verse romances) typically features strings of primarily mental or psychological happenings perceived through the consciousness of single speakers and articulated from their position. Drama enacts strings of happenings with actors in live performance, the presentation of which, though typically devoid of any overt presenting agency, is mediated e.g. through selection, segmentation and arrangement. Thanks to these features characteristic of narrative, lyric poems as well as plays performed on the stage can be profitably analyzed with the transgeneric application of narratological categories, though with poetry the applicability of the notion of story and with drama that of mediation seems to be in question. 2 Explication Transgeneric narratology proceeds from the assumption that narratology’s highly differentiated system of categories can be applied to the analysis of both poems and plays, possibly opening the way to a more precise definition of their respective generic specificity, even though (lyric) poems do not seem to tell stories and stories in dramas do not seem to be mediated (but presented directly).
    [Show full text]
  • (POETRY MANUSCRIPT) by JEFF NEWBERRY
    TRANSPOSING THE TRADITION: JAZZ, LYRIC POETRY, AND THE INDIVIDUAL TALENT & BRACKISH (POETRY MANUSCRIPT) by JEFF NEWBERRY (Under the Direction of Edward Pavlić) ABSTRACT Brackish is a collection of poems preceded by the critical introduction, “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent.” Brackish explores the writer’s experiences coming of age on the coast of Northwest Florida, using brackish water as its central metaphor. Neither fresh nor salty, brackish water is a mixture of both. It retains elements of salt water and fresh water and finds identity in the fact that it is neither. The lyric voice in Brackish moves in this way: it is neither a child’s voice nor an adult’s voice, but a voice that stands between those two poles, retaining a child’s sense of discovery and mystery and an adult’s awareness of the larger world. In this way, the poems explore the tenuous gap between innocence and experience. “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent” develops the theory of lyric transposition, a way of understanding jazz-influenced poetry. Like jazz standards, poems often cover familiar territory; and like a jazz musician, a poet develops an individual voice in the context of familiar material. What separates a poem from others on similar subjects or themes is the poet’s voice. Lyric transposition describes the movement from subject matter to the poet’s register, the way that musical transposition describes the movement from a song’s original key to another key, more appropriate for a particular musician. This theoretical perspective frames a discussion and reading of three jazz-influenced works of poetry: Michael S.
    [Show full text]
  • Examples of Lyrical Poetry
    Name: ____________________________Section: ________________________Date: _______ Assignment #1: Examples of Lyrical Poetry Lyric – poetry that expresses the poet’s thoughts and feelings. It does not tell a complete story, as narrative poetry does, but creates a mood through vivid images. It uses very descriptive language and often the lyric poem has a “musical” quality. Often sensory images are used. Lyric poems can be made up of even stanzas or uneven stanzas. The majority of poetry is lyrical; however, there are also many subcategories of lyrical poetry. Rhyming, with even stanzas and parallelism “Four Little Foxes” “When Sue Wears Red” Rhyme by Lew Sarett scheme by Langston Hughes uses end Speak gently, Spring, and make no sudden sound; a rhyme & imperfect When Susanna Jones wears red For in my windy valley, yesterday I found a rhyme Her face is like an ancient cameo New-born foxes squirming on the ground— a (gently, Turned brown by the ages. softly, Come with a blast of trumphets, Jesus! Speak gently. b lightly) for the last word When Susanna Jones wears red Walk softly, March, forbear the bitter blow; c in each A queen from some time-dead Egyptian night Her feet within a trap, her blood upon the snow, c stanza. Walks once again. The four little foxes saw their mother go— c Blow trumphets, Jesus! Walk softly. b And the beauty of Susanna Jones in red Burns in my heart a love-fire sharp like a pain. Go lightly, Spring, oh, give them no alarm; d Sweet silver trumphets, Jesus! When I covered them with boughs to shelter them from harm, d The thin blue foxes suckled on my arm— d No set rhyme, but strong figurative Go lightly.
    [Show full text]
  • P U B L I C E N E M I E S Transience, Lyric, and Sociality in American
    PUBLIC ENEMIES Transience, Lyric, and Sociality in American Poetry By Christopher Patrick Miller A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English with a Designated Emphasis in Critical Theory in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor C. D. Blanton (Chair) Professor Charles Altieri Professor Anthony Cascardi Summer 2017 ABSTRACT Public Enemies: Transience, Lyric, and Sociality in American Poetry By Christopher Patrick Miller Doctor of Philosophy in English with a Designated Emphasis in Critical Theory Professor C. D. Blanton, Chair A shadowy double to infrastructure expansion, resettlement, and urban development, the "transient" has long been a contradictory figure of permission and repression in imaginations of America, be it as Emerson's idealized "being-in-transience," the romantic freedoms of the "hobohemian," or the criminalized "stranger." What Public Enemies argues is that a crucial genealogy of thinking about transience and its antagonistic relationship to existing concepts of democracy has been carried out in the most local, seemingly private of scenes: lyric encounters between an “I” and a “you.” While Walt Whitman was the first to put serial pressure on the relation between transient persons and lyric formation, a long history of twentieth-century poetic interlocutors—Robert Frost, Hart Crane, George Oppen, Robert Creeley, and Amiri Baraka—adapt his experiments in transient speech acts to challenge normative conceptions of personhood, masculinity, affiliation, publicity, and national belonging. To understand the social character and content of lyric speech, Public Enemies situates current debates in literary formalism and lyric theory within political, juridical, sociological, and queer theoretical accounts of transience in America.
    [Show full text]
  • Introduction: Ancient Lyric Poetry Marianina Olcott
    Humanities 1A Reader Introduction: Ancient Lyric Poetry Marianina Olcott ncient lyric poetry, as its name in Greek implies, was originally intended to be accompanied, usually, by the lyre, a stringed instrument shaped like a small harp. Unlike the stately A dactylic hexameters of the Homeric epics, the Iliad and Odyssey, the meters of lyric poetry are more varied and thus well-suited to the more personal themes and intimate psychological states of the short lyric stanza. Thus, the majority of our poems celebrate themes of every day life — love poems, drinking songs , songs of farewell, odes to spring — rather than the heroic exploits of the epics and the tragic situations of the drama, another complex poetic form. As with other poetic forms, the original musical accompaniment, in addition to the complex metrical patterns of the original Greek and Latin lyrics, is but a small part of what has been lost both through time and translation into a modern language. Moreover, many of the longer lyric poems were meant for choral performance. Thus, another dimension, that of the dance, has also been lost to us. The so-called Age of Lyric Poetry in Greece followed the period of Homeric composition, but unlike the Homeric epic, the period of lyric poetry's creative growth, the seventh and sixth centuries BCE, coincided with the widespread adoption and use of writing in Greece. Thus, the Greek lyric poems were written down and spread the fame of their composers throughout Greece of the Archaic Period (circa 650 - 500 BCE). When we turn our attention to Roman lyric poetry, it is generally agreed that the period of its greatness dates from the first century BCE to the end of the first century CE.
    [Show full text]
  • Poema Vs. Cycle in the Context of Cvetaeva's Definition of Lyric Verse
    Poèma vs. Cycle in Cvetaeva's Definition of Lyric Verse Olga Peters Hasty The Slavic and East European Journal, Vol. 32, No. 3. (Autumn, 1988), pp. 390-398. Stable URL: http://links.jstor.org/sici?sici=0037-6752%28198823%291%3A32%3A3%3C390%3APVCICD%3E2.0.CO%3B2-I The Slavic and East European Journal is currently published by American Association of Teachers of Slavic and East European Languages. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/aatseel.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected].
    [Show full text]