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| 001 | 195106 | ||
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| 005 | 20250106150355.0 | ||
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| 008 | 240625t20212021nju fo d z eng d | ||
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_a9780691212555 _qprint |
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_a9780691215686 _qPDF |
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_a10.1515/9780691215686 _2doi |
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| 035 | _a(DE-B1597)9780691215686 | ||
| 035 | _a(DE-B1597)576311 | ||
| 035 | _a(OCoLC)1193558191 | ||
| 040 |
_aDE-B1597 _beng _cDE-B1597 _erda |
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| 050 | 4 |
_aPR535.R48 _bR87 2021 |
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| 072 | 7 |
_aLIT014000 _2bisacsh |
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| 082 | 0 | 4 |
_a821/.409 _223 |
| 084 | _aonline - DeGruyter | ||
| 100 | 1 |
_aRush, Rebecca M. _eautore |
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| 245 | 1 | 4 |
_aThe Fetters of Rhyme : _bLiberty and Poetic Form in Early Modern England / _cRebecca M. Rush. |
| 264 | 1 |
_aPrinceton, NJ : _bPrinceton University Press, _c[2021] |
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| 264 | 4 | _c©2021 | |
| 300 |
_a1 online resource (304 p.) : _b3 b/w illus. 1 table. |
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| 336 |
_atext _btxt _2rdacontent |
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| 337 |
_acomputer _bc _2rdamedia |
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| 338 |
_aonline resource _bcr _2rdacarrier |
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| 347 |
_atext file _bPDF _2rda |
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| 505 | 0 | 0 |
_tFrontmatter -- _tContents -- _tAcknowledgments -- _tAbbreviations -- _tThe Fetters of Rhyme -- _tIntroduction -- _tChapter 1 Sweet Be the Bands -- _tChapter 2 Licentious Rhymers -- _tChapter 3 An Even and Unaltered Gait -- _tChapter 4 Rhyme Oft Times Overreaches Reason -- _tChapter 5 Milton and the Known Rules of Ancient Liberty -- _tNotes -- _tBibliography -- _tIndex |
| 506 | 0 |
_arestricted access _uhttp://purl.org/coar/access_right/c_16ec _fonline access with authorization _2star |
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| 520 | _aHow rhyme became entangled with debates about the nature of liberty in sixteenth- and seventeenth-century English poetryIn his 1668 preface to Paradise Lost, John Milton rejected the use of rhyme, portraying himself as a revolutionary freeing English verse from “the troublesome and modern bondage of Riming.” Despite his claim to be a pioneer, Milton was not initiating a new line of thought—English poets had been debating about rhyme and its connections to liberty, freedom, and constraint since Queen Elizabeth’s reign. The Fetters of Rhyme traces this dynamic history of rhyme from the 1590s through the 1670s. Rebecca Rush uncovers the surprising associations early modern readers attached to rhyming forms like couplets and sonnets, and she shows how reading poetic form from a historical perspective yields fresh insights into verse’s complexities.Rush explores how early modern poets imagined rhyme as a band or fetter, comparing it to the bonds linking individuals to political, social, and religious communities. She considers how Edmund Spenser’s sonnet rhymes stood as emblems of voluntary confinement, how John Donne’s revival of the Chaucerian couplet signaled sexual and political radicalism, and how Ben Jonson’s verse charted a middle way between licentious Elizabethan couplet poets and slavish sonneteers. Rush then looks at why the royalist poets embraced the prerational charms of rhyme, and how Milton spent his career reckoning with rhyme’s allures.Examining a poetic feature that sits between sound and sense, liberty and measure, The Fetters of Rhyme elucidates early modern efforts to negotiate these forces in verse making and reading. | ||
| 538 | _aMode of access: Internet via World Wide Web. | ||
| 546 | _aIn English. | ||
| 588 | 0 | _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 25. Jun 2024) | |
| 650 | 0 |
_aCouplets, English _xHistory and criticism. |
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| 650 | 0 |
_aEnglish language _xRhyme. |
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| 650 | 0 |
_aEnglish poetry _yEarly modern, 1500-1700 _xHistory and criticism. |
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| 650 | 0 |
_aLiterature _xPhilosophy. |
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| 650 | 0 | _aPoetics. | |
| 650 | 7 |
_aLITERARY CRITICISM / Poetry. _2bisacsh |
|
| 653 | _aAbraham Cowley. | ||
| 653 | _aAmoretti. | ||
| 653 | _aDavid Caplan. | ||
| 653 | _aDonald Wesling. | ||
| 653 | _aDonnean couplet. | ||
| 653 | _aElizabethan. | ||
| 653 | _aEnglish Civil War. | ||
| 653 | _aInns of Court. | ||
| 653 | _aKatherine Philips. | ||
| 653 | _aMilton and the Burden of Freedom. | ||
| 653 | _aMilton and the Poetics of Freedom. | ||
| 653 | _aPoetics. | ||
| 653 | _aRenaissance. | ||
| 653 | _aRhyme’s Challenge. | ||
| 653 | _aRobert Herrick. | ||
| 653 | _aSusanne Woods. | ||
| 653 | _aThe Chances of Rhyme. | ||
| 653 | _aWarren Chernaik. | ||
| 653 | _aanalogy. | ||
| 653 | _abonds of the heart. | ||
| 653 | _ahistory of liberalism. | ||
| 653 | _ahistory of the lyric. | ||
| 653 | _aiambic pentameter. | ||
| 653 | _alove’s bands. | ||
| 653 | _alyric. | ||
| 653 | _ameasure. | ||
| 653 | _amodern song. | ||
| 653 | _amodern verse. | ||
| 653 | _apoetic sublimity. | ||
| 653 | _aprosody. | ||
| 653 | _arhetorical studies. | ||
| 653 | _arhyme’s chime. | ||
| 653 | _aseventeenth-century. | ||
| 653 | _averse culture. | ||
| 850 | _aIT-RoAPU | ||
| 856 | 4 | 0 | _uhttps://doi.org/10.1515/9780691215686?locatt=mode:legacy |
| 856 | 4 | 0 | _uhttps://www.degruyter.com/isbn/9780691215686 |
| 856 | 4 | 2 |
_3Cover _uhttps://www.degruyter.com/document/cover/isbn/9780691215686/original |
| 942 | _cEB | ||
| 999 |
_c195106 _d195106 |
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