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Gerould, The Ballad of Tradition (1932); W. J. Entwistle, European Balladry (rev. J. C. , 1962); John A. and Alan Lomax, American Ballads and Folk Songs (1934); D. C. Fowler, A Literary History of the Popular Ballad (1968). For the broadside ballad see The Common Muse, eds. V. de Sola Pinto and Allan E. Rodway (1957). 20 BAROQUE · BATHOS AND ANTICLIMAX Baroque is a term applied by art-historians (at first derogatorily, but now merely descriptively) to a style of architecture, sculpture, and painting that developed in Italy at the beginning of the seventeenth century and then spread to Germany and other countries in Europe.

A result of the booming literary market was the increasing (and increasingly successful) appeal by writers for copyright laws that would invest them, instead of the publisher, with the ownership of the works that they composed for public sale. " Historians of authorship point out that the most emphatic claims about the genius, creativity, and originality of authors, which occurred in the Romantic period, coincided with, and was interactive with, the success of authors in achieving some form of copyright protection of an author's proprietaryrightsto the literary work as the unique product of his or her native powers.

It may signify any elaborately formal and magniloquent style in verse or prose—for example, some verse passages in Milton's Paradise Lost (1667) and Thomas De Quincey's prose descriptions of his dreams in Confessions of an English Opium Eater (1822) have both been called baroque. Occasionally—though ottener on the Continent than in England—it serves as a period term for post-Renaissance literature in the seventeenth century. More frequently it is applied specifically to the elaborate verses and extravagant conceits of the late-sixteenth and early seventeenth-century poets Giambattista Marino in Italy and Luis de Gongora in Spain.

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A school dictionary by coll.


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