Journal articles: 'Prose poetry'

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Chun Chun, Ivy Lai. "Literary stylistics: poetry and fictional prose." Journal of Language and Literature 5, no. 3 (August 30, 2014): 329–37. http://dx.doi.org/10.7813/jll.2014/5-3/56.

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Anderson, Charlotte, Gottfried Benn, Volkmar Sander, and Reinhard Paul Becker. "Prose, Essays, Poetry." Die Unterrichtspraxis / Teaching German 21, no. 2 (1988): 244. http://dx.doi.org/10.2307/3530308.

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Figge, Richard C., Heinrich Heine, Jost Hermand, and Robert C. Holub. "Poetry and Prose." Die Unterrichtspraxis / Teaching German 19, no. 2 (1986): 273. http://dx.doi.org/10.2307/3530724.

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Anderson, Charlotte, Rainer Maria Rilke, and Egon Schwarz. "Prose and Poetry." Die Unterrichtspraxis / Teaching German 21, no. 1 (1988): 145. http://dx.doi.org/10.2307/3530767.

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Fayek, Nevine. "Arabic Prose Poetry." Middle East Journal of Culture and Communication 15, no. 1-2 (June 15, 2022): 113–32. http://dx.doi.org/10.1163/18739865-01501011.

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Abstract This article attempts to outline the most significant linguistic and conceptual transformations brought about by the developing periodical press and the translation movement in Egypt toward the beginning of the twentieth century. Both these phenomena entailed the need for new writing practices, which in turn led to intense discussions about the form and status of the literary/poetic text. While poetry constitutes the core of this discussion, the most relevant conceptual transformation that shall be highlighted here is the unprecedented move to involve prose as an equal component or tool of expression into the debate on how to (re)define poetry.

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Latner, Joel. "Prose and Poetry." Gestalt Review 3, no. 4 (January 1, 1999): 348–50. http://dx.doi.org/10.2307/44394152.

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Victoria Chang. "Poetry and Prose." Journal of Asian American Studies 11, no. 2 (2008): 233–34. http://dx.doi.org/10.1353/jaas.0.0012.

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Leong, Russell. "Prose and Poetry." Journal of Asian American Studies 8, no. 2 (2005): 224–25. http://dx.doi.org/10.1353/jaas.2005.0040.

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Palumbo-Liu, David. "Prose and Poetry." Journal of Asian American Studies 9, no. 2 (2006): 206–7. http://dx.doi.org/10.1353/jaas.2006.0019.

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Chu, Patricia P. "Poetry and Prose." Journal of Asian American Studies 10, no. 2 (2007): 196–97. http://dx.doi.org/10.1353/jaas.2007.0012.

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Ha Nina. "Poetry and Prose." Journal of Asian American Studies 12, no. 3 (2009): 351–52. http://dx.doi.org/10.1353/jaas.2009.0003.

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Lee Ann Roripaugh. "Poetry and Prose." Journal of Asian American Studies 13, no. 3 (2010): 394–95. http://dx.doi.org/10.1353/jaas.2010.0016.

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Lewis, Melvin E., Ogonna Agu, Patience Agbadi, Martin Bennett, Fred D'Aguiar, Bahadur Tejani, Dayo Okunlola, and Iyamide Hazeley. "Prose and poetry." Wasafiri 6, no. 12 (September 1990): 27–37. http://dx.doi.org/10.1080/02690059008574221.

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Merrington, Peter, Joan Metelerkamp, Dan Wylie, Wendy Woodward, Chris Mann, and Gus Ferguson. "Prose and poetry." English Academy Review 20, no. 1 (December 2003): 168–86. http://dx.doi.org/10.1080/10131750385310131.

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Merrington, Peter, Geoffrey Haresnape, Evelyn Cresswell, Chris Mann, Damian Garside, Melodie Gray, Werner Ungerer, Elizabeth Trew, and David wa Maahlamela. "Prose and poetry." English Academy Review 21, no. 1 (December 2004): 153–76. http://dx.doi.org/10.1080/10131750485310141a.

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Salvesen, C. "Prose, Politics, Poetry." Cambridge Quarterly XXVIII, no. 3 (March 1, 1999): 248–51. http://dx.doi.org/10.1093/camqtly/xxviii.3.248.

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de Azevedo, Ana Cleyge, João Queiroz, and Angelo Loula. "PROPOE (prose to poetry)." Linguamática 14, no. 2 (January 7, 2023): 3–21. http://dx.doi.org/10.21814/lm.14.2.369.

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A geração computacional do que pode ser concebido e reconhecido como "poesia verbal" é explorada, há muitas décadas, em muitas línguas naturais. Mas apenas projetos recentemente desenvolvidos possuem aplicação intensiva da computação, considerando muitos níveis de organização, linguísticos e paralinguísticos, fonológicos, rítmicos, sintáticos, semânticos, e até pragmáticos. O que apresentamos aqui é um sistema de geração computacional de poemas, o PROPOE (Prose to Poem). Ele trabalha em conjunto com uma ferramenta de "mineração" de estruturas de versificação na prosa de língua portuguesa, o MIVES (Mining Verse Structure). O PROPOE gera poemas em língua portuguesa a partir de sentenças versificadas (estruturas heterométricas de versificação) identificadas e classificadas pelo MIVES, e extraídas da prosa literária. O PROPOE combina sentenças, gerando poemas baseados na otimização de critérios rítmicos e fonológicos. É aplicado um "algoritmo guloso" (greedy algorithm) cujo propósito é identificar a melhor combinação das sentenças, considerando normas rítmicas estabelecidas para o português. Em uma etapa final, realiza-se uma avaliação automatizada do resultado, atribuindo uma pontuação de acordo com a identificação de algum padrão considerado ótimo em poemas com métricas regulares, tendo como base esquema rítmico e adequação a estruturas rímicas.

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Bonca, Teddi Chichester, Nicholas Halmi, Paul Magnuson, and Raimonda Modiano. "Coleridge's Poetry and Prose." Modern Language Studies 33, no. 1/2 (2003): 103. http://dx.doi.org/10.2307/3195314.

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19

Meldrum, Barbara K. "ROSES, POETRY AND PROSE." Journal of Progressive Human Services 16, no. 1 (August 30, 2005): 93–95. http://dx.doi.org/10.1300/j059v16n01_06.

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Morton, Leith. "Japanese Prose Poetry (review)." Journal of Japanese Studies 34, no. 1 (2008): 208–12. http://dx.doi.org/10.1353/jjs.2008.0021.

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21

Mazor, Yair. "Hebrew Prose and Poetry." Digest of Middle East Studies 5, no. 2 (April 1996): 84–87. http://dx.doi.org/10.1111/j.1949-3606.1996.tb00648.x.

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22

McLeod, Russell E., Wen Yiduo, and Catherine Yi-Yu Cho Woo. "Selected Poetry and Prose." World Literature Today 66, no. 1 (1992): 205. http://dx.doi.org/10.2307/40148101.

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Moyo, Otrude Nontobeko. "Roses, Poetry and Prose." Journal of Progressive Human Services 20, no. 2 (November 30, 2009): 183–85. http://dx.doi.org/10.1080/10428230903301469.

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Salvesen, C. "Review. Prose, politics, poetry." Cambridge Quarterly 28, no. 3 (March 1, 1999): 248–51. http://dx.doi.org/10.1093/camqtly/28.3.248.

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Ramakrishnan, E. V., Sarojini Naidu, and Makarand Paranjape. "Selected Poetry and Prose." World Literature Today 68, no. 2 (1994): 431. http://dx.doi.org/10.2307/40150337.

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26

McCain, Joseph P. "Some prose about poetry." Journal of Oral and Maxillofacial Surgery 46, no. 7 (July 1988): 532–625. http://dx.doi.org/10.1016/0278-2391(88)90141-3.

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Rainero, David M. "Some prose about poetry." Journal of Oral and Maxillofacial Surgery 46, no. 7 (July 1988): 625. http://dx.doi.org/10.1016/0278-2391(88)90158-9.

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Pagar, David M. "Some prose about poetry." Journal of Oral and Maxillofacial Surgery 46, no. 7 (July 1988): 625. http://dx.doi.org/10.1016/0278-2391(88)90159-0.

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29

Frank, Richard. "Fracastoro: Poetry vs. prose." International Journal of the Classical Tradition 9, no. 4 (March 2003): 524–34. http://dx.doi.org/10.1007/s12138-003-0002-4.

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30

Scudeller, Gustavo. "O grito do 'griot' e o serviço da palavra: declamação e oratória na poesia de Abdias do Nascimento." Elyra, no. 19 (2022): 67–87. http://dx.doi.org/10.21747/21828954/ely19a5.

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This article aims to discuss the relationship between poetry and prose in the works of Abdias Nascimento. The analysis focuses on some audio recordings made by the author months before the publication of Axés do Sangue e da Esperança. (Orikis), his first book of poetry. Those readings stress some discursive and colloquial core aspects of his poems. Neither prose poems nor poetic prose, the recorded readings place the poems between one form and other, creating a sort of oratory poetry that, through declamation, takes part in both poetry and prose values.

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Hikmawati, Farida, Irfai Fathurohman, and Erik Aditia Ismaya. "ANALISIS KESULITAN KETERAMPILAN MENULIS PARAFRASE PUISI KE PROSA SISWA KELAS VI SEKOLAH DASAR." INOPENDAS: Jurnal Ilmiah Kependidikan 6, no. 1 (February 20, 2023): 10–17. http://dx.doi.org/10.24176/jino.v6i1.7726.

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This research is motivated by the low learning outcomes of language skills, especially the skills of writing paraphrasing poetry into elementary school prose. This study aims to obtain the results of the analysis of students' difficulties in writing skills. Paraphrasing poetry to prose for sixth grade elementary school students. The causes are, among others, the teaching methods of teachers who are less diverse, boring, lack of teacher skills that are not suitable for anticipating the difficulties experienced by students, students' lack of understanding of the diction contained in poetry, and lack of writing skills and developing story sentences. The analysis of the difficulties experienced by students in Paraphrasing material converting poetry into prose has never been done, so this affects the score of students who do not meet the KKM set by the school, which is 70. This observation uses a qualitative approach with data collection techniques carried out through observation, interviews and work results. Student. The object of this observation is a grade VI student at SD Negeri 3 Menawan and a document Paraphrasing poetry into prose written by a grade VI student at SD Negeri 3 Menawan. The number of students observed was 23 students. The result of this observation is to find out the students' difficulties in writing paraphrasing poetry to prose. These difficulties include students' difficulties in converting poetry into stories, conveying their thoughts into prose, assembling sentences, and the lack of understanding of the meaning of words in the poetry presented due to the lack of students' vocabulary. Based on the results of the analysis of students' difficulties in paraphrasing poetry, the teacher can determine the steps to teach Indonesian, especially Paraphrasing poetry to prose in elementary schools well.

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32

J, Jeya Aananthi. "Poet Mitra's Prose Prowess." International Research Journal of Tamil 4, no. 3 (July 28, 2022): 236–41. http://dx.doi.org/10.34256/irjt22334.

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Our forefathers gave our mother Tamil as Muthamil. Among them, the prose flourished and became influential in both the prose and poetry. The effects of the changes brought about by the dominance of the highlanders were also seen in the literature. Prose arose from the syllabic form, just as new poetry arose from traditional poetry. This prose is based on the method of revealing the material as it is without concealing it. After the development of prose, fields like religion, history, medicine were written in prose. Thus the poet Mitra is a modern literary creator. His prose works are based on research skills. He did not limit his knowledge with literature and broadened his knowledge in the world of research and prose. The purpose of this article is to examine the prose skills of the poet Mitra whose real name is V. Unnamalai.

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33

Klein, Lucas. "Inside the History of the World: Syntheses of Literary Form between Prose Poetry and China." PMLA/Publications of the Modern Language Association of America 138, no. 3 (May 2023): 666–81. http://dx.doi.org/10.1632/s0030812923000469.

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AbstractWhat is the international literary history behind Xi Chuan's Chinese prose poems, and what is the literary history behind translating them into English as prose poems? Did Hegel's belief that poetry can be “translated into other languages without essential detriment to its value” contribute to the birth of prose poetry, through a synthesis with poetic form? If so, what does this notion say about Hegel's idea that China lies “outside the World's History”? In the light of the historical association between China and prose poetry in the literary history of French (Judith Gautier, Victor Segalen, Henri Michaux) and English (Allen Upward, Nathaniel Tarn, Ron Silliman, Bob Perelman, Joan Retallack, Mei-mei Berssenbrugge, Tammy Lai-Ming Ho, Sarah Howe, Ken Chen, Cathy Park Hong, Eleanor Goodman, Jennifer Kronovet, and Nick Admussen), I discuss prose poetry as an outcome of what Joyelle McSweeney and Johannes Göransson call a translational “deformation zone,” to argue that translating Chinese prose poetry demonstrates China to be inside, not outside, the history of the world.

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34

LeRud, Lizzy. "Against Prose: Poetry's Defense, Definition, and Dichotomization." Genre 56, no. 2 (July 1, 2023): 179–207. http://dx.doi.org/10.1215/00166928-10581132.

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Abstract Uses of “poetry” and “prose” as literary categories have shifted dramatically over the last two or three centuries: a dichotomy emerged between these two that had not existed before, at least not in quite the same way. Attention to this shift has focused primarily on the rise of prose fiction, especially the novel, leading many to overemphasize the role prose genres played in this paradigm shift. In fact, an emergent poetry-prose dichotomy enabled and was enabled by a wide range of discourses about art, culture, politics, and ethics as well as sciences. Exploring a range of such discourses, this essay argues that the modern poetry-prose dichotomy facilitated several key debates focused less on prose and more on poetry's cultural value, ultimately enabling some of poetry's defenders to project their anxieties about Western cultural decline on the perceived deteriorating status of what's classed as “poetry.”

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35

Van Oostendorp, Marc. "Introducing a scansion machine for Dutch poetry and prose." Loquens 1, no. 1 (June 30, 2014): e002. http://dx.doi.org/10.3989/loquens.2014.002.

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36

Kytsan, Olena. "Між віршем і прозою: специфіка перехідних жанрів в сучасній українській літературі." Studia Ucrainica Varsoviensia 5, no. 5 (May 8, 2017): 0. http://dx.doi.org/10.5604/01.3001.0009.9112.

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The article analyses the poetry where verse and prose, two varieties of artistic language organization, cooperate closely. Modern poetry is open for experiments. For this reason many authors allow themselves to combine poetic and prosaic elements in one text. As a result, we get texts that carry a double emotional loading. Among such texts there are rhyme metrical prose, strophic prose, verse in prose, vers libre and pollymetric constructions that combine verse and prose.

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37

Boullata, Issa J. "World of Poetry and Prose." Journal of Palestine Studies 22, no. 3 (1993): 122–23. http://dx.doi.org/10.2307/2537577.

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38

Schmid, Wolf. "Prose and Poetry inPovesti Belkina." Canadian Slavonic Papers 29, no. 2-3 (June 1987): 210–27. http://dx.doi.org/10.1080/00085006.1987.11091858.

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39

Gandhi, Ela. "Reflections - in Prose and Poetry." Journal of Natal and Zulu History 31, no. 2 (January 2013): 169–79. http://dx.doi.org/10.1080/02590123.2013.11964201.

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40

Martin-Sardesai, Ann, and Lyn Daff. "Poetry, prose, literature and insights." Accounting, Auditing & Accountability Journal 32, no. 6 (August 23, 2019): 1858–59. http://dx.doi.org/10.1108/aaaj-12-2018-3775.

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41

Meserve, Harry C. "Religion as prose and poetry." Journal of Religion & Health 28, no. 2 (1989): 91–96. http://dx.doi.org/10.1007/bf00996066.

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42

Shafranskaya, Eleonora F. "Armenian text: Poetry and prose." Philological Sciences. Scientific Essays of Higher Education, no. 6s (November 2022): 135–43. http://dx.doi.org/10.20339/phs.6s-22.135.

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The article continues the analysis of the Armenian text — the phenomenon of Russian culture and literature, which we presented in the previous article “The Armenian text: the Children of Job” (Polylinguality and Transcultural Practices. 2022. No. 3). The algorithm for analyzing the Armenian text is presented on the basis of prose texts of the last third of the 20th century (and a dotted line of the 21st), as well as poetic texts of modern poets (Liana Shahverdyan, Maxim Amelin, Alessio Gaspari, Georgy Kubatyan). The article examines the patterns associated with the key names, attributes and space of the Armenian picture of the world — as it develops in Russian literary reception. These are such patterns as Ararat, Sevan, sea, lavash, Armenian patio. Hrant Matevosyan. We offer a new pattern of the Armenian text — the personality and creativity of G. Kubatyan. The study is an attempt to oppose the Armenian text to a simple mention of Armenian attributes in literature. The author also offers an indispensable “ingredient” for the emergence of a local text as such, in particular, an Armenian one. The hierarchy between verses and prose in the process of the birth of a local text is indicated, albeit controversial.

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43

Manin, Dmitrii Yurievich. "The right word in the left place." Scientific Study of Literature 2, no. 2 (December 31, 2012): 273–300. http://dx.doi.org/10.1075/ssol.2.2.05man.

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This work describes a large-scale empirical study that quantifies two aspects of lexical foregrounding in literary texts: the unpredictability (unexpectedness) and constrainedness (irreplaceability) of individual words in context. The data are generated by a Web-based literary game where players guess words in fragments of real texts. The results shed new light on the nature of the distinction between poetry and prose and on the role of formal constraints in poetry. In particular, traditional poetry tends to have higher constrainedness than prose and comparable unpredictability, while avant-garde poetry is characterized by higher unpredictability than prose and comparable constrainedness.

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Dr Ali Kavousi Nejad. "Prose Translations of Ghalib’s Persian Poetry." Tasdiqتصدیق۔ 3, no. 01 (September 27, 2021): 1–19. http://dx.doi.org/10.56276/tasdiq.v3i01.56.

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Mirza Asadullah Khan Ghalib is amongst the most eminent poets & writers of India. His poetry & letters, both in Persian & Urdu, remain a significant part of India’s literary history. Ghalib not only proved his command in Urdu poetry but also showed his abilities and mastery in Persian verse. He was proud of his Persian poetry and is rightfully considered amongst the most prominent Persian poets of his time. Many translators and critics have attempted to translate & write commentaries on his Persian poetry, both in prose and versified. Amongst these critics & translators, several individuals had the potential of taking forward the translations of Ghalib’s Persian Poetry into Urdu and produced many notable translations. In This study, we shall first introduce their translations and then present a comparative analysis of their prose translations to determine which translator was more successful in terms of considering all the minute textual details.

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45

Milaneze, Erica. "Da poesia à prosa: a influência da releitura de Baudelaire e Rimbaud na pós-poesia de Jean-Marie Gleize." Caligrama: Revista de Estudos Românicos 20, no. 1 (December 16, 2015): 17. http://dx.doi.org/10.17851/2238-3824.20.1.17-31.

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No cenário da poesia francesa contemporânea, a pós-poesia representa a busca por novas formas experimentais que se constituem por meio de uma escrita em prosa literal, que tenta efetuar uma “saída” dos modelos tradicionais da poesia, encontrando em Jean-Marie Gleize seu grande animador e teórico. Os diversos textos pós-poéticos gleizeanos são representativos, particularmente, Les chiens noirs de la prose (1999), desta vertente experimental que encontra suas origens na leitura da modernidade poética, destacando-se seu diálogo com as obras de Charles Baudelaire e de Arthur Rimbaud.In the literary scene of contemporary French poetry, the postpoetry represents a search for new experimental forms that constitute by means of a written literal prose, that tries to make an “exit” of the traditional models of poetry, found into Jean-Marie Gleize his great animator theoretical. The various postpoetic texts gleizean are representative particularly, Les chiens noirs de la prose (1999), this experimental poetry, that fi nds its origins in the reading of modernity poetry, standing out its dialogue with the work of Charles Baudelaire and Arthur Rimbaud.

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46

Milaneze, Erica. "Da poesia à prosa: a influência da releitura de Baudelaire e Rimbaud na pós-poesia de Jean-Marie Gleize." Caligrama: Revista de Estudos Românicos 20, no. 1 (December 16, 2015): 19. http://dx.doi.org/10.17851/2238-3824.20.1.19-33.

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No cenário da poesia francesa contemporânea, a pós-poesia representa a busca por novas formas experimentais que se constituem por meio de uma escrita em prosa literal, que tenta efetuar uma “saída” dos modelos tradicionais da poesia, encontrando em Jean-Marie Gleize seu grande animador e teórico. Os diversos textos pós-poéticos gleizeanos são representativos, particularmente, Les chiens noirs de la prose (1999), desta vertente experimental que encontra suas origens na leitura da modernidade poética, destacando-se seu diálogo com as obras de Charles Baudelaire e de Arthur Rimbaud.In the literary scene of contemporary French poetry, the postpoetry represents a search for new experimental forms that constitute by means of a written literal prose, that tries to make an “exit” of the traditional models of poetry, found into Jean-Marie Gleize his great animator theoretical. The various postpoetic texts gleizean are representative particularly, Les chiens noirs de la prose (1999), this experimental poetry, that fi nds its origins in the reading of modernity poetry, standing out its dialogue with the work of Charles Baudelaire and Arthur Rimbaud.

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47

Graff, Richard. "Prose versus Poetry in Early Greek Theories of Style." Rhetorica 23, no. 4 (2005): 303–35. http://dx.doi.org/10.1525/rh.2005.23.4.303.

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Abstract The rise of prose in Greece has been linked to broader cultural and intellectual developments under way in the classical period. Prose has also been characterized as challenging poetry's traditional status as the privileged expression of the culture. Yet throughout the classical period and beyond, poetry was still regularly invoked as the yardstick by which innovation was measured. This paper investigates how poetry figures in the earliest accounts of prose style. Focusing on Isocrates, Alcidamas, and Aristotle, it argues that although each author distinguishes between the styles of prose and poetry, none is able to sustain the distinction consistently. The criteria for what constitutes an acceptable level of poeticality in prose were unstable. The diverse conceptions of poetic style were tied to intellectual polemics and professional rivalries of the early- to mid-fourth century bce and reflect competing aims and ideals for rhetorical performance in prose.

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48

Šimić, Krešimir. "On the Newer Literary-Critical Approach to Biblical Poetry." Kairos 17, no. 2 (December 8, 2023): 149–62. http://dx.doi.org/10.32862/k.17.2.3.

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This presentation discusses the views of three renowned authors – James Kugel, Robert Alter, and Jan Fokkelman – known for their literary-critical approach to the Bible, concerning biblical poetry. According to Kugel, looking at the Bible through the lens of division into poetry and prose (lyrical and epic literature) means looking at it wrongly. He maintains that even meticulous analyses of parallelism can be distorted if viewed through this lens. Therefore, Kugel asserts that there is no poetry in the Bible but rather a “continuum” of loosely connected parallel structures in what we see as prose sections and “heightened rhetoric” in what we often erroneously consider verses. According to Alter, biblical poetry is based on semantic parallelism. However, he points out that poetic expression deliberately avoids complete parallelism, just as language resists mere synonyms by introducing subtle differences between related terms. In contrast, Fokkelman believes that combining prose and poetry, and even transitioning between them, is possible because most Hebrew sentences contain two to eight words and are usually linked in sequences through parataxis (using “… and… and… but… and then”). All three opinions lead to the conclusion that biblical poetry, like prose, is to a large extent sui generis, and that any distinction between poetry and prose, if it exists at all, is not of the same nature as in Western literary culture and it is, therefore, inappropriate to refer to prosimetrum in the Bible.

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49

Klein, Lucas. "Same Difference: Xi Chuan’sNotes on the Mosquitoand the Translation of Poetry, Prose Poetry, and Prose." Translation Review 93, no. 1 (September 2, 2015): 41–50. http://dx.doi.org/10.1080/07374836.2015.1138077.

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50

JIA, Zhihao. "An Aesthetic Research into the Contrastive Styles on the Translations of Shakespeare’s Works." Asia-Pacific Journal of Humanities and Social Sciences 3, no. 1 (March 15, 2023): 141–49. http://dx.doi.org/10.53789/j.1653-0465.2023.0301.015.p.

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There exist debates about “poetry” and “prose” styles in the translations of Shakespeare’s works continuously, and there are the circumstances of one sticking to its own style, partializing and belittling the other. The “verse” school of Shakespeare translation maintains that Shakespeare’s original plays are verse, unique to 16th and 17th-century English poetic dramas (blank verse), which does not rhyme but has a distinct rhythm different from that of prose, typically an iambic five steps per line, capable of both impounding and crooning. Even the prose part of Shakespeare’s plays is also rhythmless verse, which can go into the realm that prose cannot go into. But some point out that translating Shakespeare’s works should base on the principle that “there is no fixed style, but a general style” the “general style” can have different expression styles under the concession of a certain style and the subjects, contents and the different characters of the translators. Besides, the early Shakespearean works were written in blank verse, and in the middle and late periods, they were written in prose. There are also other styles and variants, for example, the “prose-verse-couplet” in Timon of Athens and “syneathetic rhyme” in Winter’s Tale. Consequently, the translations of Shakespeare’s works should be “there is the beauty of poetry and fluency of the prose; meanwhile, poetry and prose should be combined.” Poetry and prose should permeate and converge. “The translations should not hold shape and lose the true conditions, mud the skin and misplace the temperament.”

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Journal articles on the topic 'Prose poetry'

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