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They were responsible for celebrating national events such as heroic actions and victories.(2) The word in modern usage has become a synonym for any poet.

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Key instances are the legends of consort-deities like Adonis in ancient Greece or Tammuz in the ancient Middle East, or in the New Testament tradition, the sacrificial death of Christ. As an atheist before his conversion, Lewis struggled with the fact that precursors and analogues to the Christian narrative long predated the New Testament account, which made Lewis doubt the historicity of the Gospel narratives. Tolkien's argument was basically that, while it was historically certain that analogues to the Christ-tale preexisted (and may have influenced) the accounts in the gospels, God took the human myths and made them literally real in the story of Christ, i.e, that the older myths were symptomatic of human desires for forgiveness, grace, and wondrous resurrection, and that God took the human stories, with their archetypes, symbols, and wish fulfillment, and designed his plan for salvation as a literal enactment of these older myths, finally giving us what humans had always sought in the pagan legends.

One of the most important anthologies of ballads is F. More recent ballads from the 18th century and the Scottish borderlands include "Sir Patrick Spens," "Tam Lin," and "Thomas the Rhymer." See also ballade and common measure., "Mais ou sont les nieges d'antan? ") The ballade first rose to prominence in the 14th and 15th centuries, popularized by French poets like Guillaume de Machaut and Eustache Deschampes. Works written in ballad measure often include such quatrains.

It was perfected in the 16th century by François Villon, but it later fell into disrepute when 17th century poets like Moliere and Boileau mocked its conventions. As an example, the opening stanza to "Earl Brand" illustrates the pattern.

An example of a phrase that corresponds in meter to the Bachic foot is "BAD QUARTO: In the jargon of Shakespearean scholars, a "bad quarto" is a copy of the play that a disloyal actor would recreate from memory and then submit for publication in a rival publishing house without the consent of the author.

These bad quartos are often grossly inaccurate, but may contain useful stage directions not included in the original.

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