als mephor actly ee nies Sinan er sry. te oe he We speci of the ngs pals ber the cee about cxprening deep comin conten” cen she setena formula reenact he metaphors vi the igure of Wal “bt mae, on pty a ne ee wo efoto den that the We tra Wolfe ido more tent on pee ease taal emp del ae into dena hgh ai single dette wg sade ts avid seule oro ‘ahem per ean Seah fy ‘Ava recai, he hed topo Poetry by preicing de pe ‘ts en ping romney an accompaniment stable forts nde) a ndepend vie, Wo wou in effec stage the el a tod franc teem iscompaiten ns amecton Nonetheless, the Woltlefend con ial weak pout the ome heared cae a Jent to the vie of he text and eats his personified textoice on ot Wagram muses. He envelop te oie of the singer va tatenual nowrvocal music that may inconporat, Dut abe nthe pon of vew embodied i that voice renee Povtac the moxie fr this songwriting practice in ase Joliet netic oF an dea yphere of timeless vestes and deep emotive Hin eC omentalze the lest terms and eat them 3 vet, their bearing on Woi's practice (and ot just en 1s) eee bea The historical and ultra contextsof te time need Penna more cisely the texte of deseipon fis 10 come erence twa often went nspoken in contemporary soil ntllerualdiscaure, or was spoken i OD € enorhens The resale should belong a mode of understanding Se eae pea within linited domain, powers a grain of et cant be smoothed over or transferred casi Tom ome evo ashe. Tamang poetic genres of the nineteenth century, the 1 ad dramatic mole, thee hy definition has no woke ea her than speak fo vel represents roman ese speai ream wterance i aays distanced raed av aspeceh act re dintancng, howener, depen ai. which itieg 1 encase ic of, Tennyson and Seubert ends Meee of dinance a to sve the reader of Kistner 10 re nc apes By contrat, dhe bay eolouia of Browning Fr sanctity between vice aid piano spical of Wolt Moe Sentage datance and vite reflection on the motives behind speech act. re te they embrace an see of stance and election, both purreprniaces key practice of nineteenth i Pesto mental cence” ast wa called For Engi aca an het Fass (1988) has shown, his “itedciptinasy ro tick revegized bya wide cle of pets ad citi, A it Fe cede fr pmehoanay, erate formed a bx of evidence roa ence the practice of which turn overipped with Herity ples, nen kaw "aliens psd anaes eee poet im oder wo ikstate the workings of de dwordcred aed exemple ins governing ment ie. Poets Began ri a ahs pe oF reading im mind, which ext, juraias, ad ere tall supplied eventual ging ise 40 the fist waves of pnchubiography and modern pop payeholon Soi sy fart avert obec of dy, a Geriany oss nan nan ut eomemporarysuhors aso mde @ good showing, The at ures Back or example, drawing, 8 the work of Bi earnest Gustin, developed theory ofthe “pachopac origi ere Jom pubnhed reading of both Shakespeare and Teno cy fe Rdinge Shakespeare's King Ler showed how “mobi Pri nt chery es history af the ed of which Waite litle (Wilh a Seingtrnm te aha Senne tea nm ‘No ea about the Hed ie w nen rate, hough, ke sppicaon peer nly a nie a ft ether poetry le vale for sting inter {ia er i cia a sve Scher sn Schamarn ie nn soa tay en the prea song eq Wha pen ifthe expen We ae a benional practice dow no em to Wiis Se eee tear io the song wth minimal vert tneakage Dk ‘ting sot ony thighs the Sneath al capa continues betwen the woke itoning ne the tn aed ene inal ex rated ys pay Wo ds not so mae caine ta explained below. He tet te sing vice