The Writing and Reading of VerseD. Appleton, 1918 - 327 pages |
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Page 11
... usually by a strong emphasis . A metrical reading of the line , of the line , The curfew tolls the knell of parting day , ( Gray : Elegy . ) divides it into time parts by the reader's emphasis of sylla- bles made important by the sense ...
... usually by a strong emphasis . A metrical reading of the line , of the line , The curfew tolls the knell of parting day , ( Gray : Elegy . ) divides it into time parts by the reader's emphasis of sylla- bles made important by the sense ...
Page 17
... usually been avoided by the best poets , apparently gave a quaint pleasure to Morris and Rossetti . Another similar point to be noted in reading is that Shakespeare seems to have shifted the accent of certain dissyllabic words according ...
... usually been avoided by the best poets , apparently gave a quaint pleasure to Morris and Rossetti . Another similar point to be noted in reading is that Shakespeare seems to have shifted the accent of certain dissyllabic words according ...
Page 25
... usually read ) have pauses after the monosyllabic feet to make them fill the same time as the trisyllabic : Kentish Sir | Byng ( ) stood for his | King ( Bidding the crop - headed | Parliament | swing ( ) ) So far , we have considered ...
... usually read ) have pauses after the monosyllabic feet to make them fill the same time as the trisyllabic : Kentish Sir | Byng ( ) stood for his | King ( Bidding the crop - headed | Parliament | swing ( ) ) So far , we have considered ...
Page 33
... usually either two or three ; but one , four , and even five ( " slombered in a , " 1. 19 ) are allowable . Lines may begin with direct attack , Wonderes to | here , ( line 8 ) or , with either one , two , or three unstressed syllables ...
... usually either two or three ; but one , four , and even five ( " slombered in a , " 1. 19 ) are allowable . Lines may begin with direct attack , Wonderes to | here , ( line 8 ) or , with either one , two , or three unstressed syllables ...
Page 36
... Usually the rhythmical pattern of a poem ought to be clearly established in its first line . The poet may then be allowed to introduce any variation in the number of syllables to a foot , or in strength of stresses , which does not ...
... Usually the rhythmical pattern of a poem ought to be clearly established in its first line . The poet may then be allowed to introduce any variation in the number of syllables to a foot , or in strength of stresses , which does not ...
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Common terms and phrases
alexandrine Alfred Noyes alliteration anapestic antistrophe ballade blank verse Browning century cesura chapter consonants couplet dactylic dactylic movement dimeter direct attack dissyllabic divisions duple duple rhythm duple-triple rhythm effect emphasis English verse enjambment example extra accents eyes foot four free verse give heart heptameter heroic hexameter iambic movement iambic pentameter iambic-anapestic imitative Keats light stresses line stanzas melody meter metrical Milton monotony night o'er occur octameter odes Paradise Lost passage pause pentameter phrasing Pindaric poem poetry poets Pope quatrains quoted reader refrain repetition rhythmical pattern rhythmical prose rime rime scheme Rossetti scansion sense Shelley Song sonnet sound stanza stanza form sweet Swinburne Swinburne's syllables Tennyson tetrameter thee themes thou thought tone-color trimeter triple rhythm trisyllabic feet trochaic trochaic movement tune unrimed unstressed syllable variation varied vers libre vowel wind words writing written X X X
Popular passages
Page 128 - I CHATTER over stony ways, In little sharps and trebles, I bubble into eddying bays, I babble on the pebbles. With many a curve my banks I fret By many a field and fallow, And many a fairy foreland set With willow-weed and mallow. I chatter, chatter, as I flow To join the brimming river, For men may come and men may go, But I go on for ever.
Page 305 - I BRING fresh showers for the thirsting flowers, From the seas and the streams ; I bear light shade for the leaves when laid In their noonday dreams. From my wings are shaken the dews that waken The sweet buds every one, When rocked to rest on their mother's breast, As she dances about the sun.
Page 98 - Thou wilt not leave us in the dust: Thou madest man, he knows not why, He thinks he was not made to die; And thou hast made him: thou art just.
Page 100 - THE skies they were ashen and sober; The leaves they were crisped and sere, The leaves they were withering and sere; It was night in the lonesome October Of my most immemorial year ; It was hard by the dim lake of Auber, In the misty mid region of Weir: It was down by the dank tarn of Auber, In the ghoul-haunted woodland of Weir.
Page 243 - From God, who is our home: Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing Boy, But he beholds the light, and whence it flows, He sees it in his joy; The Youth, who daily farther from the east Must travel, still is Nature's Priest, And by the vision splendid Is on his way attended; At length the Man perceives it die away, And fade into the light of common day.
Page 161 - I STOOD in Venice, on the Bridge of Sighs ; A palace and a prison on each hand : I saw from out the wave her structures rise As from the stroke of the enchanter's wand : A thousand years their cloudy wings expand Around me, and a dying Glory smiles O'er the far times, when many a subject land Look'd to the winged Lion's marble piles, Where Venice sate in state, throned on her hundred isles...
Page 311 - And the sun went down, and the stars came out far over the summer sea, But never a moment ceased the fight of the one and the fifty-three. Ship after ship, the whole night long, their high-built galleons came, Ship after ship, the whole night long, with her battle-thunder and flame: Ship after ship, the whole night long, drew back with her dead and her shame.
Page 82 - And thinking of the days that are no more. Fresh as the first beam glittering on a sail That brings our friends up from the underworld, Sad as the last which reddens over one That sinks with all we love below the verge; So sad, so fresh, the days that are no more.
Page 88 - Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; vainly I had sought to borrow From my books surcease of sorrow — sorrow for the lost Lenore, For the rare and radiant maiden whom the angels name Lenore, Nameless here for evermore.
Page 279 - Eske river where ford there was none; But, ere he alighted at Netherby gate, The bride had consented, the gallant came late; For a laggard in love, and a dastard in war, Was to wed the fair Ellen of brave Lochinvar.