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English tellings, such as those of Roger L'Estrange and Samuel Croxall, speak of the ways of 'Providence'. Illustrations of the fable show a wider variety of bird-catching methods than the text, including setting up nets (as in the edition of Osius), using a bow and arrow (Alciato) or even (as in Croxall) a fowling piece. The species of birds ...
Little was known of FitzGerald's character until W. Aldis Wright published his three-volume Letters and Literary Remains in 1889 and the Letters to Fanny Kemble in 1895. These letters reveal FitzGerald as a witty and sympathetic letter writer. [10] George Gissing found them interesting enough to read the three-volume collection twice, in 1890 ...
Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
Snare (software), a group of security tools for logging computer activity The Snares , a group of islands approximately 200 kilometres south of New Zealand Snares penguin , a bird indigenous to the islands
Literary nonsense, as recognized since the nineteenth century, comes from a combination of two broad artistic sources. The first and older source is the oral folk tradition, including games, songs, dramas, and rhymes, such as the nursery rhyme "Hey Diddle Diddle". [3]
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The immediate effect on critics was modest, but it became and remains a landmark, changing the course of English literature and poetry. The 1800 edition is famous for the Preface to the Lyrical Ballads , something that has come to be known as the manifesto of Romanticism.
The Romantic movement in English literature of the early 19th century has its roots in 18th-century poetry, the Gothic novel and the novel of sensibility. [6] [7] This includes the pre-Romantic graveyard poets from the 1740s, whose works are characterized by gloomy meditations on mortality, "skulls and coffins, epitaphs and worms". [8]