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Anadiplosis (/ æ n ə d ɪ ˈ p l oʊ s ɪ s / AN-ə-di-PLOH-sis; Greek: ἀναδίπλωσις, anadíplōsis, "a doubling, folding up") is the repetition of the last word of a preceding clause. [1] The word is used at the end of a sentence and then used again at the beginning of the next sentence, [2] often to create climax. [3]
The employment of unusual forms of language cannot be considered as a sign of ancient Hebrew poetry. In Genesis 9:25–27 and elsewhere the form lamo occurs. But this form, which represents partly lahem and partly lo, has many counterparts in Hebrew grammar, as, for example, kemo instead of ke-; [2] or -emo = "them"; [3] or -emo = "their"; [4] or elemo = "to them" [5] —forms found in ...
Epanadiplosis is a figure of repetition affecting syntactic position (the order of words in the sentence). [2] For César Chesneau Dumarsais, the figure appears “when, of two correlative propositions, one begins and the other ends with the same word”, [3] or when, according to Henri Suhamy, [4] only two propositions are involved.
"A Psalm of Life" is a poem written by American writer Henry Wadsworth Longfellow, often subtitled "What the Heart of the Young Man Said to the Psalmist". [1] Longfellow wrote the poem not long after the death of his first wife and while thinking about how to make the best of life.
Fredmans epistlar (English: Fredman's Epistles) is a collection of 82 poems set to music by Carl Michael Bellman, a major figure in Swedish 18th century song. Though first published in 1790, it was created over a period of twenty years from 1768 onwards.
The eighth song, In a Grove Most Rich of Shade, was set by Charles Tessier. The sixth and tenth songs were set by William Byrd in Psalmes, Sonnets and Songs and Songs of sundrie natures, respectively. The second song, Have I caught my Heavenly Jewel, was set anonymously for lute and voice in British Library Add. MS 15117, c.1614-1630.
The melody of the song is recorded, alongside its lyrics, in ancient Greek musical notation. While older music with notation exists (e.g. the Hurrian songs or the Delphic Hymns), all of it is in fragments; the Seikilos epitaph is unique in that it is a complete, though short, composition.
In a 1980 interview for Playboy magazine, Lennon described it as "one of my favourite songs of the Beatles". [5] In 2000, Mojo placed "Here, There and Everywhere" at number 4 on its list of the greatest songs of all time. [6] In April 2004, Rolling Stone ranked it 25th out of the "100 Greatest Beatles Songs". [8]