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Melnyk, "Hemans's Later Poetry: Religion and the Vatic Poet," in Felicia Hemans: Reimagining Poetry, 90.
Loping along the world of the text, the jaguar nudges the limit of harmonics, challenging the classical opposition between harmony and melody by joining an ensemble of voices--human, animal, and vegetal--that gather in Waldman's capacious but singular vatic utterance.
The Biblical intertext, thematizing transcendence over spatial constraints as a signifier of power and control, thus confers a vatic dimension upon the "Valediction," which accords with Donne's emphasis on the holy nature of his love, which transcends the "dull, sublunary" love of ordinary individuals (l.
Marsilio Ficino and the Vatic Myth", Renaissance Quarterly, vol.
1995) take issue with highly specialized approaches to literature and approaches that jettison skepticism in favor of a vatic and oracular critical voice.
Stylistically, there are occasional lapses, which are characterised by a postmodern 'fruitiness' (45) or a vatic terseness.
Among his clues are Eclogue two: new Roman myth frames restless song in love; Eclogue four: full vatic song, Eclogue six: freed singer-slave put down; and Eclogue nine: Roman mythic frame and vatic song dispelled.
IL VATIC ANO CADE: The English title of this play by American writer Frank J.
On this traditional account, the Pentateuch was not to be read primarily as an account of Israelite history, but rather as an allegorized prophecy of Jesus's birth, death, and resurrection; its laws were not to be studied as the regulations of an actual human community, but rather as vatic intimations of the Christian sacraments.
the poet's melic and vatic abilities (resources unfortunately not
I'm less enchanted when she tries for a vatic quality by making lists of single words: "but blinded / guilty/ orphaned/ or crushed of bound but witnessed / Or failed / or foretold.
In "The Vatic Penitent: John Audelay's Self-Representation," Meyer-Lee draws out the details of Audelay's scant biography further and argues that "Audelay's book, therefore, in aim, literary form, and material realization may be understood as the codicological equivalent of a perpetual chantry chapel, although with two crucial changes: in the codex he takes the place of Lord Lestrange, and the reader takes his place" (67).