The Original Rhythmical Grammar of the English LanguageGeorg Olms Verlag |
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Page v
... melody , either of a sentence in prose , or a passage of poetry . - Examples : A sentence from Addison , where Mr Walker's Rule directs only to one accent or inflexion , while the full Melody requires ninety - three accents , Three ...
... melody , either of a sentence in prose , or a passage of poetry . - Examples : A sentence from Addison , where Mr Walker's Rule directs only to one accent or inflexion , while the full Melody requires ninety - three accents , Three ...
Page 2
... Melody of Speaking . Here the voice moves rapidly up or down by slides , properly called ac- cents , and never dwells distinctly for any percep- tible space of time on any certain or uniform tone : as , b á í é á , à ò bà : á ì è à é ...
... Melody of Speaking . Here the voice moves rapidly up or down by slides , properly called ac- cents , and never dwells distinctly for any percep- tible space of time on any certain or uniform tone : as , b á í é á , à ò bà : á ì è à é ...
Page 3
... melody of speech , instead of dwell- ing on the note with which any syllable may begin , slide either upwards or downwards , without any percep tible rest at any given note . From these undulations of the speaking tones , and the total ...
... melody of speech , instead of dwell- ing on the note with which any syllable may begin , slide either upwards or downwards , without any percep tible rest at any given note . From these undulations of the speaking tones , and the total ...
Page 10
... melody , he is much mistaken ; for no language can be spoken without accents or inflexions of voice , which are the constituents of the melody of language . The grammatical rules for fixing the accents in Greck words , even scanty as ...
... melody , he is much mistaken ; for no language can be spoken without accents or inflexions of voice , which are the constituents of the melody of language . The grammatical rules for fixing the accents in Greck words , even scanty as ...
Page 15
... melodies , were never led astray ; but by habit came to know as familiarly the accentual and rhythmical properties of every word , as we do at present the quantities of every common hackneyed tune ; in which no one , who has any ear for ...
... melodies , were never led astray ; but by habit came to know as familiarly the accentual and rhythmical properties of every word , as we do at present the quantities of every common hackneyed tune ; in which no one , who has any ear for ...
Contents
1 | |
CHAP II | 17 |
CHAP III | 40 |
CHAP IV | 65 |
CHAP V | 82 |
CHAP VI | 91 |
Rhythm Ancient Rhythm whatEssentials | 100 |
CHAP IX | 116 |
Three hundred and eightyeight questions | 232 |
CHAP XV | 251 |
Set to the Music of Specch | 252 |
The Soldiers Dream Ditto | 260 |
The Contented Miller | 266 |
The Swollen Torrent | 274 |
Hohenlinden an Epic Song | 280 |
Set to the Music of Speech | 299 |
CHAP X | 128 |
CHAP XI | 142 |
CHAP XII | 153 |
CHAP XIII | 183 |
CHAP XIV | 222 |
Battle of Waterloo | 325 |
The Rainbow | 332 |
The Temple of Jerusalem | 338 |
Hamlets Directions to the Players | 345 |
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Common terms and phrases
accidents of language acute accent acute and grave Anapest ancient applied Arsis and Thesis Artificial Feet artificial prosody beauty called circumflex composed dactyl degrees Demosthenes diphthong distinct elocution English English language equal Examples expression eyes force full melody grace notes Grammar grammarians grave accent Greek and Latin Greek language guage heart heaven heavy and light heavy syllables honour iambus inflexions light syllables loud and soft marked meter monosyllables monotone nature nerally never nosyllables o'er organic emphasis organs of speech passion peculiar pleasure poet poetry poize pronounced pronunciation proportion prose prosodians quantity reading and speaking rhetorical pauses rhythm Rhythmical Cadences rules scanning semibrief sense sentence Shakespeare sing Slow song soul sound spoken language spondee sweet syllabic emphasis taste thee thou tion tone triple cadences trochee varieties verse virtue voice vowel words
Popular passages
Page 346 - Who is here so base, that would be a bondman ? If any, speak ; for him have I offended. Who is here so rude, that would not be a Roman ? If any, speak ; for him have I offended. Who is here so vile, that will not love his country? If any, speak ; for him have I offended — I pause for a reply.
Page 346 - Romans, countrymen, and lovers! hear me for my cause ; and be silent that you may hear : believe me for mine honour; and have respect to mine honour, that you may believe: censure me in your wisdom; and awake your senses that you may the better judge. If there be any in this assembly, any dear friend of Caesar's, to him I say, that Brutus' love to Caesar was no less than his.
Page 345 - Nor do not saw the air too much with your hand, thus ; but use all gently : for in the very torrent, tempest, and (as I may say) whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.
Page 346 - As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him; but, as he was ambitious, I slew him.
Page 347 - Here comes his body, mourned by Mark Antony: who, though he had no hand in his death , shall receive the benefit of his dying, a place in the commonwealth ; As which of you shall not ? With this I depart ; That, as I slew my bes't lover" for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death.
Page 344 - She'd come again, and with a greedy ear • Devour up my discourse: which I, observing, Took once a pliant hour, and found good means To draw from her a prayer of earnest heart That I would all my pilgrimage dilate...
Page 345 - Now this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve ; the censure of the which one, must, in your allowance, o'erweigh a whole theatre of others. Oh, there be players, that I have seen play, and heard others praise, and that highly, not to speak it profanely, that, neither having the accent of Christians, nor the gait of Christian, pagan, nor man, have so strutted, and bellowed, that I have thought some of nature's journeymen had made men,...
Page 343 - Their dearest action in the tented field, And little of this great world can I speak, More than pertains to feats of broil and battle, And therefore little shall I grace my cause In speaking for myself.