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Published in 1969, his Six Glasgow Poems has been called 'epoch-making'. [1] The poems were first published as an insert in Glasgow University Magazine. [9]In 1984, he released Intimate Voices, a selection of his work from 1965 onwards including poems and essays on William Carlos Williams and "the nature of hierarchical diction in Britain."
The Glasgow dialect, also called Glaswegian, varies from Scottish English at one end of a bipolar linguistic continuum to the local dialect of West Central Scots at the other. [ 1 ] [ 2 ] Therefore, the speech of many Glaswegians can draw on a "continuum between fully localised and fully standardised". [ 3 ]
Ah've heard folk use 'rocket' tae mean 'mento' but ah've also heard enough folk use it tae mean 'stupit' tae say it means baith, at least in some areas. Plus folk say "in ma puff" aw the time here in Maryhill. As for 'jeg', its a bit ay an older word and 'click', as far as ah know, is an older word meanin 'git aff wae'.
His poem (and song) "Auld Lang Syne" is often sung at Hogmanay (the last day of the year), and "Scots Wha Hae" served for a long time as an unofficial national anthem of the country. [50] Burns's poetry drew upon a substantial familiarity with and knowledge of Classical, Biblical, and English literature, as well as the Scottish Makar tradition ...
Scots commonly say I was waiting on you (meaning "waiting for you"), which means something quite different in Standard English. [citation needed] In colloquial speech shall and ought are scarce, must is marginal for obligation and may is rare. Here are other syntactical structures:
A characteristic of Homer's style is the use of epithets, as in "rosy-fingered" Dawn or "swift-footed" Achilles.Epithets are used because of the constraints of the dactylic hexameter (i.e., it is convenient to have a stockpile of metrically fitting phrases to add to a name) and because of the oral transmission of the poems; they are mnemonic aids to the singer and the audience alike.
The World Is Too Much With Us" is one of those works. It reflects his view that humanity must get in touch with people to progress spiritually. [1] The rhyme scheme of the poem is ABBA ABBA CDCD CD. This Italian or Petrarchan sonnet uses the last six lines to answer the first eight lines (octave). The octave is the problems and the sestet is ...
The poem was set to music for low male voice and orchestra by "P. J. McCall", and recorded in 1929 by Australian bass-baritone Peter Dawson. McCall was Dawson, publishing under a pseudonym. That setting was soon recorded by other singers, but seems largely to have fallen out of fashion, possibly because of World War II.