But I Digress: The Exploitation of Parentheses in English Printed VerseFor three centuries grammarians have argued about the necessity of parentheses. While some consider them subordinate, additional, irrelevant, and even damaging to the clarity of argument, Lennard's history explores how writers such as Marlowe, Swift, Coleridge, Browning, Derek Walcott, and e.e. cummings used them in their work as vehicles for pointing dramatic gesture, controlling tone, adding humor, and intensifying satire, in addition to contributing to the clarity of argument. Lennard offers both a new history of the poetic use of parentheses from their first appearance in England in 1494 to the present day, and detailed case-studies of five major poets who exploited them. He reveals how in each period the patterns of literary use have reflected, and continue to reflect, technological, philosophical, and political developments. |
Contents
Colluccio Salutati De Nobilitate Legum et Medicine 1399 | 4 |
Samuel Whitgift Defense of the Auns were 1574 1819 | 18 |
William Shakespeare Sonnets 1609 | 42 |
Copyright | |
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Common terms and phrases
allow appear argument attention become beginning Browning Byron century clear close Coleridge Coleridge's commas common complete concerned contains conventions dashes death direct distinction distinguish edition effect Eliot Elizabethan ends English English Studies evidence example exploitation expression eyes figure four function further give graphic hand Ibid importance indicate instance interest italics John Juan kind language later least less letter Library lines London lunulae mark Marvell Marvell's matter meaning mind moon nature notes Oxford parenthesis particular passage perhaps phrase play poem poet poetic poetry possible practice present Press printed probably provides punctuation quoted reader reading reason reference remains remarked rhetorical satire seems sense sentence sententia significant speech stanza suggests Swift syntactical things thought Tiresias true turn typographical University visual voice whole writing written