Musical Backgrounds for English Literature: 1580-1650Rutgers University Press, 1962 - 292 pages The author traces the history of metaphysical ideas about music and explores the place of these in the poetry of Milton. |
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Page 199
... lines with the next five lines of the para- graph , especially with the last three of them : Who would not sing for Lycidas ? he knew Himself to sing , and build the lofty rhyme . He must not flote upon his watry bear Unwept , and ...
... lines with the next five lines of the para- graph , especially with the last three of them : Who would not sing for Lycidas ? he knew Himself to sing , and build the lofty rhyme . He must not flote upon his watry bear Unwept , and ...
Page 199
... lines with the next five lines of the para- graph , especially with the last three of them : Who would not sing for Lycidas ? he knew Himself to sing , and build the lofty rhyme . He must not flote upon his watry bear Unwept , and ...
... lines with the next five lines of the para- graph , especially with the last three of them : Who would not sing for Lycidas ? he knew Himself to sing , and build the lofty rhyme . He must not flote upon his watry bear Unwept , and ...
Page 226
... lines long , than choral speeches one line long . Indeed , there are relatively few Greek plays which have not more ... lines or single lines . Most of the speeches are between two and eight lines . They differ from those in Samson ...
... lines long , than choral speeches one line long . Indeed , there are relatively few Greek plays which have not more ... lines or single lines . Most of the speeches are between two and eight lines . They differ from those in Samson ...
Contents
A World of Instruments | 1 |
A Book of Knowledge | 21 |
A Religious Controversy | 47 |
Copyright | |
7 other sections not shown
Other editions - View all
Musical Backgrounds for English Literature: 1580-1650 (Classic Reprint) Gretchen Ludke Finney No preview available - 2018 |
Common terms and phrases
Adonis ancient Aristotle ayre beauty Ben Jonson body breath catena d'Adone celestial chap choral chorus church classical composed Comus concord cosmic d'Orfeo dance described divine Donne doth ecstasy effects Elizabethan emblem emotions Falsirena Ficino George Wither Greek harmony harp heart heaven heavenly Henry Henry Lawes idea imagery imagined influence Italian John John Donne lines Loeb London lute Lycidas lyrical magic masque melodramma melody Milton mind monody mood motion move musical drama musical instruments musical sound musician nature Neoplatonic Neoplatonists occult oratorio organ Orpheus parallel passage passion pastoral philosophy Phineas Fletcher Plato Plotinus poem poet Poetical poetry proportion Puritan Pythagorean ravish recitative Renaissance rhythm Richard Crashaw Robert Fludd Rome Samson Agonistes sense seventeenth century shepherd singing song soul stanza Stefano Landi strings style sung sweet theory things Thomas thought tion Tronsarelli tune universe verse voice words world spirit writing wrote