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He told us that he had a grant to go the next year to a Pennsylvania university to undertake a comparative study of some German translations of an important American novel. I'm sorry that I don't remember any more details, but here is an example of a perfectly qualified scholar doing comparative studies of translations.
Comparative Studies of Trends in the Study and Teaching of Poetry As for comparative studies of trends in the study and teaching of poetry, a small number of journal articles talk about how to teach particular Coleridge poems, as do many teaching aids in various forms, and there are many more-or-less heavily annotated editions in English.
There are even some especially heavily annotated editions published abroad, in other languages as well as in English. Of the many possible examples of such publications which could be analyzed in comparative studies of trends in the study and teaching of poetry, I will describe just two, published abroad.
Barbeau treats the life of Coleridge; publishing history, circumstances of composition, and sources of the poem; its language; and its metrics. Included is a full range of explanatory footnotes, exceeding the poem in bulk. Eichler aims to present a critical text with full apparatus, suitable for use in seminars as well as 39 The Rime of the Ancient Mariner on facing pages, Christabel with its preface, and footnotes to both poems listing and analyzing variant readings.
Following the poems are vocabulary and other explanatory notes 27 pages. Eichler's text is in German, Coleridge's in English. Comparative Studies of the Interrelations of Poetry and Music The best, most scholarly, most poetically and musically informed, and most objective study I have seen of the interrelations of poetry and music is Bertrand Bronson's landmark article, "The True Proportions of Gay's Acis and Galatea," MLA, 80 Although he is not writing about a musical setting of a poem written to be a poem and not a song, his general remarks are almost wholly applicable to musical settings of poems.
By the very practice of their craft sensitive judges of poetry are unfitted for a just estimate of the merits of such a text. It is not simply that they continue, as-they do, to evaluate on the same level of poetic excellence as usual, but that they insist on the same kind of superiority as that required for words alone.
Such a procedure is necessarily mistaken, because by the nature of the case other standards are requisite," Bronson insists. After illuminating this problem with reference to other 17th- and 18th-century poems, masques, and pastoral operas, Bronson focuses on the explication de texte of "one," he says, "who can teach us how to read such a 40 document [as Gay's Acis and Galatea] in the spirit in which we may suppose it was intended to be received" -- namely, the composer George Frederick Handel.
I urge you to read this article, preferably with the score in front of you and a recording of the music to listen to at the same time.
Another example, with a different focus, is Ralph Tracy Webb's Handel's Oratorios as Drama, a Master's thesis jointly supervised by a music professor and me at my university. In his analysis of the way Handel's music relates to aspects of drama in selected oratorios, Webb is very specific and objective about the music, somewhat less so about the dramatic aspects.
Both the music professor and I enjoyed enormously working with Webb on this study. He would prepare extremely detailed analytical tables of the musical elements and then in a draft of a chapter discuss their interrelation with aspects of drama in the oratorio.
Then we professors would meet him at his home where we would all -- a score in front of us --listen to and exchange thoughts about the oratorio section-by-section in the light of Webb's analyses and discussion.
A most enjoyable and enlightening experience it was for all! Another example consists of a commentary of my own. Bronson says, speaking of Nahum Tate's text of Dido and Aeneas, "the text is there for the composer, not to change but to fulfill; to express, and to magnify to the measure of its inherent capability.
Robbinsa low baritone setting of lines from The Rime of the Ancient Mariner. Forney and I shared the lectern at this event, featuring the University Collegium Musicum, Women's Chorus, Men's Chorus, and a junior high school 41 chorus, as well as soloists. The Coleridge Collection has both a video and an audio recording of this event.Praxis II English Combination.
STUDY. PLAY. Universal Grammar (UG) "The Rime of the Ancient Mariner" ballad by Coleridge, "albatross round his neck" Edward Lear. expressions such as similes, metaphors, and personifications that make imaginative, rather than literal, comparisons or associations torosgazete.com (The Rime of the Ancient Mariner by Samuel Taylor Coleridge) In the following lines.
nevertheless. and often it compares one concept with another in order to make the first concept easier to torosgazete.com://torosgazete.com Rime of the Ancient Mariner - Rime of the Ancient Mariner By Samuel Taylor Coleridge Important Information from Rime of the Ancient Mariner This was the opening poem from the book he wrote with | PowerPoint PPT presentation | free to torosgazete.com Example of Irony There are many examples of different types of poetry Examples of metaphors in the rime of the ancient mariner.
An example of Irony can be found in the poetic work of Samuel Taylor torosgazete.com · Samuel Taylor Coleridge’s poem ‘The Rime of the Ancient Mariner’ is quite different from the works of other romantic poets.
It is based on a dream of torosgazete.com There are a number of beautiful similes and metaphors in "Rime of the Ancient Mariner," and Coleridge also uses the devices of symbolism and personification. torosgazete.com