They rise to the challenge of discovering that Plato is using the aorist optative
part of fepe/fero (meaning to bear), an irregular verb, in 'The Crito' that tells of the death of Socrates; or when Virgil, describing 'The Death of Dido' writes fando.
It invokes the optative
mode--in the words of Andrew H.
However, there is another way of making sense of this sentence: let us consider firstly that [phrase omitted] can refer to something the subject has not previously known-meaning 'to concede' (52)-and secondly that in (the rather rare) combination with an imperative, [phrase omitted] plus optative
refers to an imaginary event in the future; (53) in light of these points, it is perfectly possible to understand this sentence as one which expresses that for Theagenes, it is just a vague possibility that Charicles should acknowledge Charicleia's royal ancestry: 'Give her back, unless even this man should concede that Charicleia is your daughter [scil.
puella; the indicative is usually less complex than conditional, optative
and other moods (see I say vs.
(11) Further, Whitman's use of the apostrophic O elevates the trope of the apostrophe beyond rhetorical and lyrical modes of expression and into a political if not religious domain of optative
hopefulness for American unity, democratic fullness, and national cohesion in the ensuing threat of national fragmentation.
Isomorphic with the difference Matthiessen divined between the constative and optative
moods of thought in postwar America's ancestor renaissance, The American Renaissance, (11) postwar identity does not--cannot--differentiate the labor of description and the affects of sociological expectation.
The sonically dramatic form of response follows a crash of a cymbal and performs the optative
function of willing and wishing South Africa (Azania) into becoming another name in the list of newly-liberated countries.
Of course, much of <i>DY</i> is still in what Emerson called "the optative
mood." Despite the extravagance of our ambitions, which this short piece can only begin to articulate, the results of our experiment are far from in.
The poem makes nine optative
("Let ...") statements that almost literally "build" a visual--not to mention tactile, kinesthetic--image of a castle and "the young queen inside." (16) "The Postcards: A Triptych" (17) (Poems 219-20 ), begins by describing a series of images arranged as if to form a triptych in a museum: "The Minoan Snake Goddess is flanked by a Chardin still-life, somber / and tranquil, and by Mohammedan angels ..The poem then turns to the two "side figures," ending with a return to the Minoan Snake Goddess.
153), seems to be used in contrast to the optative
[TEXT NOT REPRODUCIBLE IN ASCII] (v.
(for) we have in the English "might" at once the form might and might as power, the verb and the noun, the optative
subjunctive and the magic power to make or let it happen.