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| | Cywydd and Cynghanedd, 06/03/07, Zoë Brigley |
 | | The content of the cywydd was preoccupied with, ‘lighter and more personal themes, the vicissitudes of love, the celebration of nature, petitions to a patron, elegies for the departed’ (143). |
 | | This is intensified in the cywydd due to its short lines (7 syllables) and its use of cynghanedd. |
 | | Allchin sees comparisons between the cywydd and the icon, since the painter of an icon, ‘forces his lines to practice a certain self denial, so that the whole picture may become the vehicle of some “overall hidden idea binding it” ’ (144). |
| blogs.warwick.ac.uk /zoebrigley/entry/the_knowledge_which (471 words) |
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