"Every child is born curious and inquisitive—and more or less cheeky, in one way or another; but I believe every child has some curiosity. If you feed it, it'll grow, and if you don't, it'll be ...stunted. But without thought and imagination, man, I believe, is just a traffic light, programmed to turn from red to orange to green and left to stand there and light up. Can you imagine a traffic light strolling around and flashing all its three colors at the same time?"
"Every child is born curious and inquisitive—and more or less cheeky, in one way or another; but I believe every child has some curiosity. If you feed it, it'll grow, and if you don't, it'll be ...stunted."
"Every child is born curious and inquisitive—and more or less cheeky, in one way or another; but I believe every child has some curiosity. If you feed it, it'll grow, and if you don't, it'll be ...stunted."
In their efforts to spread religious teachings, 16th-century Slovene Protestant writers published several hymnals; with the tunes adapted from the hymnals by German & Czech Protestants, they ...introduced into Slovene spiritual poetry numerous new stanza forms. The verse of 16th-century Protestant versification was chanted, hence it was governed by the rhythm of the tune, which in turn has a direct correlation with the stanza formulas. Among many of these formulas found in the Protestant versifications, of particular interest are the following: the very common Lutherstrophe (I8/7 aBaBeex); the vagrant stanza, which was in its long disjunctive variant used once (I8/7 AbAbCdCdX), but was in its short disjunctive variant (I8/7 AbAb) used in numerous stanzas; the Heldebrand stanza (I7/6aBaBeDeD); & the 10-line stanza (I8/7 AbAbCCdEEd), which does not have a specific name. These four stanza forms are only a part of the extensive stanzaic repertoire of 16th century Protestant versification. Adapted from the source document
Slovene folk & authorial Protestant songs & pre-Reformation texts adopted by the Protestants for their songbooks are analyzed for word-melodic stress congruence; it is found that such an agreement is ...more frequent in folk than Protestant songs, where the accent is usually placed on syllables unstressed in speech. The verse composition in the authorial Protestant songs focuses more on the melodic than textual rhythm (word stress). A similar melodic accentuation can be attested in the pre-Reformation songs adopted by Slovene Protestants. 6 References. Adapted from the source document
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