A History of English Prosody from the Twelfth Century to the Present Day, Volume 2Macmillan and Company, limited, 1908 - English language |
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Page 6
... sense in . Moreover , these plays exhibit something else , not quite so glaringly evident , which will emerge to the attentive reader if he brings his mind's ear to the reading , and still more if he reads aloud . The lines are not ...
... sense in . Moreover , these plays exhibit something else , not quite so glaringly evident , which will emerge to the attentive reader if he brings his mind's ear to the reading , and still more if he reads aloud . The lines are not ...
Page 13
... sense in which we are using that word . The writer does not yet think of his quantities and pauses as keys , by dwelling on which , or not dwelling on them , he can make connection or break it with the next line , and the next , and the ...
... sense in which we are using that word . The writer does not yet think of his quantities and pauses as keys , by dwelling on which , or not dwelling on them , he can make connection or break it with the next line , and the next , and the ...
Page 26
... sense we deem . For trisyllabics see Helena's speech to the widow at the end of Act III.— When I have found it . The count he woos your daughter , Resolved to carry her let her in fine consent , Since the first father wore it : this ...
... sense we deem . For trisyllabics see Helena's speech to the widow at the end of Act III.— When I have found it . The count he woos your daughter , Resolved to carry her let her in fine consent , Since the first father wore it : this ...
Page 31
... sense , what comes after with what comes before . Indeed the rhetorical poetical " colour " which Shakespeare has conveyed to his blank verse in this play , may vie with almost anything later ; though the actual drawing and composition ...
... sense , what comes after with what comes before . Indeed the rhetorical poetical " colour " which Shakespeare has conveyed to his blank verse in this play , may vie with almost anything later ; though the actual drawing and composition ...
Page 35
... sense of the importance of varying them individually . The opening speeches of all Shakespeare's plays , except the very earliest , are almost invariably documents for this process of pause - variation . The " end - stopping , " however ...
... sense of the importance of varying them individually . The opening speeches of all Shakespeare's plays , except the very earliest , are almost invariably documents for this process of pause - variation . The " end - stopping , " however ...
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Common terms and phrases
accent actual admirable Alexandrine amphibrach anapæst appears beautiful better blank verse burlesque Bysshe cæsura certainly chapter charm Chaucer Comus course Cowley curious deal decasyllabic decasyllable diction doggerel doubt Drayton Dryden earlier early eighteenth century Elizabethan English poetry English prosody enjambed example fact fair famous fashion foot give heroic iamb iambic instance interesting Johnson kind later least less licence Lycidas lyric matter merely metre Milton never notice numbers observed octosyllable Odes once Paradise Lost passages pause perfect perhaps piece Pindaric plays poems poet poetic Pope Popian practice pretty probably prose prosodic prosodist quatrain reader redundant syllable remarkable rhyme rhyme-royal rhythm satire scansion seems sense Shakespeare sometimes song sonnet speech Spenser Spenserian spondees stanza syllables thee things thou thought trisyllabic feet trochaic trochee variety versification whole words write written
Popular passages
Page 211 - The lonely mountains o'er, And the resounding shore, A voice of weeping heard and loud lament ; From haunted spring, and dale Edged with poplar pale, The parting Genius is with sighing sent ; With flower-inwoven tresses torn The Nymphs in twilight shade of tangled thickets mourn.
Page 462 - For love, which scarce collective man can fill ; For patience, sovereign o'er transmuted ill ; For faith, that, panting for a happier seat, Counts death kind nature's signal of retreat : These goods for man the laws of Heaven ordain, These goods He grants who grants the power to gain ; With these celestial Wisdom calms the mind, And makes the happiness she does not find.
Page 239 - OF Man's first disobedience, and the fruit Of that forbidden tree, whose mortal taste Brought death into the world, and all our woe, With loss of Eden, till one greater Man Restore us, and regain the blissful seat, Sing, heavenly muse...
Page 22 - Ah. dear Juliet, Why art thou yet so fair? Shall I believe That unsubstantial Death is amorous, And that the lean abhorred monster keeps Thee here in dark to be his paramour?
Page 226 - Yet some there be that by due steps aspire To lay their just hands on that golden key That opes the palace of eternity. To such my errand is ; and, but for such, I would not soil these pure ambrosial weeds With the rank vapours of this sin-worn mould.
Page 381 - Happy the man, and happy he alone, He, who can call to-day his own: He who secure within, can say, To-morrow do thy worst, for I have lived to-day.
Page 228 - And in sweet madness robb'd it of itself ; But such a sacred and home-felt delight, Such sober certainty of waking bliss, I never heard till now.
Page 17 - But love, first learned in a lady's eyes, Lives not alone immured in the brain, But, with the motion of all elements, Courses as swift as thought in every power, And gives to every power a double power, Above their functions and their offices.
Page 462 - Yet when the sense of sacred presence fires, And strong devotion to the skies aspires, Pour forth thy fervours for a healthful mind, Obedient passions, and a will resign'd...
Page 154 - Or leave a kiss but in the cup, And I'll not look for wine. The thirst that from the soul doth rise Doth ask a drink divine ; But might I of Jove's nectar sup, I would not change for thine. I sent thee late a rosy wreath, Not so much honouring thee...