from The American Heritage® Dictionary of the English Language, 4th Edition
- n. The character or quality of subjectivity and sensuality of expression, especially in the arts.
- n. The quality or state of being melodious; melodiousness.
- n. An intense outpouring of exuberant emotion.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. Great enthusiasm.
- n. Suitability to be sung or used as lyrics.
from the GNU version of the Collaborative International Dictionary of English
- n. A lyric composition.
from The Century Dictionary and Cyclopedia
- n. A lyrical composition.
- n. A lyrical utterance or mode of expression.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. the property of being suitable for singing
- n. unrestrained and exaggerated enthusiasm
Sorry, no etymologies found.
On the other end, there's the opening movement of Faschingsschwank aus Wien, where the lyricism is always being interrupted by a boisterous beer-hall ritornello: Florestan suddenly showing up to shake Eusebius out of his reverie and drag him back to the party.
But then, I am notably lacking in lyricism, myself.
Can one fail to see that lyricism is the diametric opposite to the cult of strength and power and, in an utterly natural manner, offers itself as a corrective to our tendency to resolve society's problems by forcible means and through power struggles, through technological, financial, organizational, political, and physical power - power that, in any case, is ultimately merely a product of incomplete insight («ein Produkt unvollständiger Einsicht»)?
All that's left is a pained lyricism, which is sometimes brilliant, but can also feel so self-regarding and wet.
He does frequently employ the declarative mode, but this approach also prompts Kerouac to long, cumulative sentences that invoke a kind of lyricism:
It wasn't just the overheated, nonsensical "lyricism," which vito_excalibur mentions here.
This kind of lyricism has come to define what Marjorie Perloff has called “official verse-culture,” and indeed this kind of “sentiment” does in fact seem to confront every “crisis of subjectivity” with a reassuring return to the normality of thoughtful meditation.
His "lyricism" is by no means what we understand by that term.
"What could we have sent?" he went on, in the kind of lyricism Danes fall into when discussing the mermaid.
Sharp replaces the dominant pastoral image of the English countryside, not with a deflated quotidian realism, but with a different kind of lyricism, one coloured by revolt: fields and ditches become hiding places or battlegrounds; landscapes that on the surface seem tranquil still reverberate with the unavented spectral rage of murdered working class martyrs.
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