Dulce amargo by Dulce Maria Espinosa

By Dulce Maria Espinosa

L. a. vida de un adolescente es como una montana rusa con subidas y bajadas: lentas, rapidas, suaves, trepidantes, tristes, felices, sorprendentes, dolorosas, emotivas Asi es l. a. revelacion, transparente y honesta, de Dulce Maria en este libro. / The lifetime of is sort of a curler coaster with ups and downs: sluggish, quick, delicate, exciting, unhappy, chuffed, remarkable, painful, emotional... this is often the revelation, obvious and sincere, of Dulce Maria during this e-book.

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Does Đȝ ĈǗǹɌμƫ DŽǹǚȝǗȂłɍ, “single” and “continuous” mean, as Heath has suggested, “formally connected,” and is this phrase therefore a description of the Aetia? As stated earlier it is doubtful that Đȝ ĈǗǹɌμƫ DŽǹǚȝǗȂłɍ should or can be separated from the rest of the sentence, especially “many thousands of lines” which has undoubtedly negative connotations. Furthermore, none of Callimachus’ predecessors use the modifier to mean what Heath has suggested. ǃǹǚȝǗȂłɍ does not mean, as Wilamowitz and Pohlenz proposed, “narrative”, which offers the noun ĈǗǹɌμƫ little additional meaning.

13-18);14 fat versus slender (Fr. 23-24);15 the well-worn path versus narrow, unworn ones (Fr. 25-29);16 the clear voice of the ——— 11 Knox (1986), 9-10. or heroes in many thousands of lines, but I roll out a short tale”. 13 Fr. …] ĕ μǗǢŀȉǚ DŽ’ ȧĭȂ čDŽņDŽƫáǗ Ǣɧȝń. ]ȧȝ čÌŅ ɘȽńǻȂƫɍ ĄÌ’ ƪĝǢŊÌɑȧǹȧ [Ìłɑȧǹɑȧ ƫĢμƫɑ]ǹ ȯɧǢμƫņȥȝ ĕDŽȧμłȝǚ [Ǣ]łȽƫ[ȝȧɍ, ȒƫɌɌƫǢłɑƫǹ ȂƫŅ μƫȂȽŇȝ ĦǻɌɑǗŊȧǹǗȝ čÌ’ ĈȝDŽȽƫ ȒŹDŽȧȝ]Ʈ Ą[ǚDŽȧȝņDŽǗɍ] DŽ’ ĽDŽǗ μǗȉǹƾȽ[ň]ɑǗȽƫǹ. đȉȉǗɑǗ ƳƫɌȂƫȝņǚɍ ĦȉȧŇȝ ǢłȝȧɍƮ ƫijəǹ DŽŁ ɑłƾȝŷ ȂȽņȝǗɑǗ,] μŃ Ɍƾȧņȝƙ ȯǗȽɌņDŽǹ ɑŃȝ ɌȧȮņǚȝƮ “Let the crane, delighting in the blood of the Pygmies, fly (far) from Eygpt to the land of the Thracians and let the Massagetae shoot their arrows at the Medes from a great distance; but poems are sweeter for being short.

390-391): ĄȉȉĿ ɑņǚ μǗ Ìŀȉǹȝ ƾȽǗǹŋ ĄȉǹɑłɌəƫǹ μƫȝɑȧɌŊȝŷ ɑĿ ĒȂƫɌɑƫ DŽǹǚȝǗȂŁɍ čáǗȝłÌȧȝɑƫ. But why do I need to sin again by telling you in detail all with my gift of divination? The use of forms of DŽǹǚȝǗȂŁɍ in the extant poetry prior to and contemporaneous with Callimachus demonstrates that the poet most likely uses the adjective to denote more than simply a “long” or “continuous” poem. The poet may also be drawing upon the connotation of “lofty” or “heroic” inherent in contexts of the adjectival use of his predecessors with perhaps the idea to give more dimension to the following ƴƫɌǹȉ[ǚ.

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