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Works such as historical chronicles and annals, which quote poetry previously composed by other authors, are not generally regarded as "true" prosimetra. [8] In the Old Norse-Icelandic tradition, however, vernacular histories and family sagas that quote verses by other authors are commonly accepted as prosimetra . [ 9 ]
The writings of Syrian poet and writer Francis Marrash (1836–73) featured the first examples of prose poetry in modern Arabic literature. [11] From the mid-20th century, the great Arab exponent of prose poetry was the Syrian poet, Adunis (Ali Ahmad Said Esber, born 1930), a perennial contender for the Nobel Prize in Literature. [12]
The rejection of traditional forms and structures for poetry that began in the first half of the 20th century coincided with a questioning of the purpose and meaning of traditional definitions of poetry and of distinctions between poetry and prose, particularly given examples of poetic prose and prosaic poetry.
Prose literature can largely be said to begin with Herodotus. [7] Over time, several genres of prose literature developed, [7] but the distinctions between them were frequently blurred. [7] Among the found papyri, the most frequently found are the works of Homer, in 1680 fragments, Demosthenes, 204 fragments, and Euripides, 170 papyri. [8]
[34] Austen's prose also repeatedly contains "a relatively small number of frequently-used words, mainly epithets and abstract nouns indicating personal qualities—qualities, that is, of character and temperament rather than outward appearance". [35] This allows readers to feel as if they know the characters "intimately as a mind". [36]
Parallelism as a rhetorical device is used in many languages and cultures around the world in poetry, epics, songs, written prose and speech, from the folk level to the professional. An entire issue of the journal Oral Tradition has been devoted to articles on parallelism in languages from all over. [ 3 ]
Nemerov's "Because You Asked about the Line between Prose and Poetry" is frequently taught as an example of an Ars Poetica as it describes the nearly imperceptible change between rain and snow while still maintaining the formal poetic elements of rhyme and meter. A critical review by Mary Kinzie said of it: "the poem imperceptibly thickens ...
Le Spleen de Paris explores the idea of pleasure as a vehicle for expressing emotion. Many of the poems refer to sex or sin explicitly (i.e. "Double Bedroom," "A Hemisphere in a Head of Hair", "Temptations"); others use subtle language and imagery to evoke sensuality (i.e. "the Artist's Confiteor").