..., 1969) 135-36. 12 Earl R. A nderson, A Grammar of Iconism (London: Fairleigh Dickinson UP, 1998) 291. 13A nderson 298. 14Q uoted in M. C. Bradbrook, The School o fNight (Cam bridge: Cam bridge UP, 1936) 12. DONNE S A NOCTURNALL UPON S. LUCIES DAY, STANZA 5 No holograph survives for A N octurnal...

... on the Spring. 1 Gray s ode ends with the following two stanzas: To C ontem plation s sober eye Such is the race of Man: A nd they th a t creep, an d they th a t fly Shall end where they began. Alike the busy and the gay But flutter th r o life s little day, In F o rtu n e s varying colours drest: O r chill d...

... space and time in part II of Memorial for the City. When we reach the first of nine stanzas from part II of the poem, A uden s first reference is to Pope Gregory VII and his struggle for power in 1075 with H enry IV, the Holy Roman Em peror (191). Gregory VII, who was Pope from 1073 to 1086, managed...

... allow him to love correctly. T he puns u p o n stere and sterre and upon w ord and w erd reinforce the p o em s reconciliation of divine and earthly love. The m ore obvious o f the two puns is that u p o n sterre and stere. These words occur in stanzas 1, 15, 16, 17, 99, 130, 194, and 195...

... a struggle. Morris continued, then over him comes a strange feeling; he does n o t know, it is all so blissful, so calm: She has n o t spoke so long; suppose it be th a t it was Heaven now at this m om ent! (344). In the second stanza o f the poem , Browning s speaker gains his wish for one last ride...

... in sen tim en tal m odes. T he first, Stanzas A d d ressed to Miss L andon, appeared in the Septem ber 1835 New Monthly Maga­ zine and was suggested by L an d o n s Stanzas on the D eath of Mrs. H em ans, published in that same m agazine two m onths earlier. L andon s elegy had incorporated...

... experience, rather than describe it, recreating fo r the reader the disorientation the speaker experiences in looking at certain images and recall­ ing incidents o f travel.The poem is built o f tw o long stanzas, and a shorter concluding third. In the first, a speaker describes illustrations o f the holy...

... than in dialogue. Notice the disappearance of the regular past tense suffix /-ššy-/ on verbs after line 11. The story can be broken down largely into three- or four-line stanzas. Little California oral narrative has been examined from this type of ethnopoetic perspective, though Bright provides...

... the ballad stages. M ost readings o f the ballad have co n ­ centrated, im plicitly or explicitly, on the ninth and sixteenth stanzas; the parts of the poem in w h ic h th e ordinal and a rith m e tica l op e ra tio n s o f th e narrator, w h o c o u n ts o u t th e co tta g e girl's siblings and finds...

... ofArchery 64. 24See Note 15. 25 Herrigel, Zen in the Art ofArchery 10. UNICORN EVILS AND INEFFECTUALITY IN DYLAN THOMAS S AND DEATH SHALL HAVE NO DOM INION In the middle stanza of And Death Shall Have No Dominion is an image of ineffectual wounding by a unicorn, which has never been adequately...

... offered a sufficient inducem ent for the valu­ able commodity he seeks (her body). O ne of the speaker s underlying propositions in the first stanza is sexual intercourse involves the mingling of our blood, which Renaissance beliefwould support. But clearly all mingling of blood is not coitus...

... calls, literally, for a rereading. Because thirty-one of the poem’s forty stanzas were produced while John of the Cross was imprisoned in Toledo, this text is often associated with rebellious heterodoxy. Indeed, its exclusion from the first edition of John of the Cross’s Obras espirituales , published...

... of the phosphorescence of the shoals offish (1.2), unable at first to determ ine where to cast their purse-seine sug­ gests the limitations with which hum ans apprehend the natural world. Having at last located and circled a shoal, the fisherm en close the circle and haul in the n et (11.5-6). T he next stanza is m...

... is evident since, far from being an imaginative, ethnographical, as well as historical mini-epic only, it may also be understood as a poetic manifesto. He also adopts, in stanza XII of his verse epistle to Home, a scene from Edward Fairfax s translation of Torquato Tasso s Gerusalemme Liberata (1576-93...

...Liam O. Purdon Copyright © 2002 Regents of the University of Colorado 2002 Decem ber 2002 47 15Letitia Elizabeth L andon, Stanzas o n the D eath o f Mrs. H em ans. New Monthly Magazine (July 1835). 16L andon, Stanzas, 11. 37-40 17M R M 1: 235. 18L etitia Elizabeth L andon, O n the C...

..., namely from the first three stanzas of the poem The B urden, which follows the story in Debits and Credits. O ne grief on m e is laid Each day of every year, W herein no soul can aid, W hereof no soul can hear: W hereto no en d is seen Except to grieve again Ah, Mary Magdalene, W here is th e re...

... that the Vernal Ode internalizes Wordsworth s conservative political stand into its pastoral mode. Both the bee and the vo­ tary in the poem are anticipated notjust by the pastoral picture that its original introductory stanza contains ( though here the Listener lay / Couch d on green herbage mid the warmth...

... strangles the rope.1 How did this volte-face come about? Here is his central stanza: Schwärzer im Schwarz; bin ich nackter. A btrü nnig erst bin ich treu. Ich bin du, wenn ich ich bin. Early on I tried it this way: Blacker in black, I am more naked. Faithless only am I true. I am you, when I am I...

... , underlying the policy is a norm ative assumption o f a link between a person and a particular dwelling place.26W ordsworth establishes a strong con­ nection in the second stanza w ith the label "cottage g irl"; the poem explicitly settles an issue that was as yet unsettled. II: Wordsworth's Poetic Juris...

... regularities, the line and stanza breaks, the intensity of imagery and aural effects and the text would indeed look out of place in a course on m odern fiction. Yet it deserves to be called, as Bakhtin would p u t it, a novelized poem , one arising from th e kind of heteroglossia that he sees...