回复：『20110331』【Eternal】永恒 那不变的赤胆仁心~~~再聚7.4盛

   Some later allegorists like Dryden and Orwell used allegory as a method of satire; their hidden meanings are political rather than religious.

the native Germanic tradition of English poetry and the standard form in Old English up to 11th century, recurring in Middle English as a formal alternative to the syllable-counting, rhymed verse borrowed from French.

The Old English line was normally unrhymed, and made up of two distinct half-lines each of which contained two stressed syllables. The alliteration was always on the first stress of the second half-line, which alliterated with either, or both, of the stresses in the first half-line.

Art for art’s sake, a phrase associated with the aesthetic doctrine that art is self-sufficient and need serve no moral or political purpose.

Avant-garde, the French military and political term for the vanguard of an army or political movement, extended since the late 19th century to that body of artists and writers who are dedicated to the idea of art as experiment and revolt against tradition.

l        Ezra Pound’s view, that ‘Artists are the antennae of the race’, is a distinctly modern one, implying a duty to stay ahead of one’s time through constant innovation in forms and subjects.

Ballad, narrative poem of communal origin, transmitted by a process of oral tradition among people usually free from literary influences.

Folk ballads frequently deal with common people, are presented with simplicity, have little description, and depend mainly on dialogue and incremental repetition, i.e. structural repetitions of a preceding stanza with some variation to advance the story. 

Among the classifications of American folk ballads are those dealing with occupations, with regions, with wars, with racial groups, and with desperadoes.

l        Many of the ballads are of English origin, some of these surviving almost intact in the Southern mountains. Variations of the most popular ballads constitute cycles or groups.

Baroque, originally a term of abuse applied to 17th century Italian art and that of other countries, especially Germany, influenced by Italy.

l        It is characterized by the unclassical use of classical forms, and by the interpenetration of architecture, sculpture, and painting to produce grandiose and emotional effects.

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