The Rhythms of English Poetry |
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Page 227
The first line of ( 21 ) demands some degree of emphasis on ' me ' , which is a
demoted syllable , and the following example from ' Verses on the Death of Dr
Swift ' is even clearer : ( 27 ) For how can stony bowels melt In those who never
pity ...
The first line of ( 21 ) demands some degree of emphasis on ' me ' , which is a
demoted syllable , and the following example from ' Verses on the Death of Dr
Swift ' is even clearer : ( 27 ) For how can stony bowels melt In those who never
pity ...
Page 254
The repeated injunctions in ( 115 ) must be given strong emphasis , and the use
of pitch as in examples ( 27 ) and ( 28 ) will not serve , while ' Thea ' is obviously
spoken as an unemphatic address to a companion . Similarly , in ( 116 ) the third
...
The repeated injunctions in ( 115 ) must be given strong emphasis , and the use
of pitch as in examples ( 27 ) and ( 28 ) will not serve , while ' Thea ' is obviously
spoken as an unemphatic address to a companion . Similarly , in ( 116 ) the third
...
Page 303
4 EMPHASIS AND CONNECTION Rhythm participates in the greater semantic
density of poetic language not only by establishing its own connections between
the poem and the physical and mental world , but also by functioning within the ...
4 EMPHASIS AND CONNECTION Rhythm participates in the greater semantic
density of poetic language not only by establishing its own connections between
the poem and the physical and mental world , but also by functioning within the ...
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Contents
TRADITIONAL APPROACHES | 3 |
LINGUISTIC APPROACHES | 30 |
THE RHYTHMS OF ENGLISH SPEECH | 59 |
Copyright | |
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Common terms and phrases
acceptable alliteration allow already alternation approach beat beginning chapter classical common complex conventions course create demands demotion deviation discussion distinction double offbeat duple effect emphasis English established example expect experience expressive fact falling final five-beat four four-beat function further give given hand iambic implied offbeat important indicate initial instance inversion kind language less linguistic literary means metre metrical pattern movement natural nonstresses normal noted observed occur opening optional pairing particular pause pentameter perceived perhaps phrase poem poetry poets position possible preference principle produces promotion pronunciation provides reader reading realisation reflect regular relationship result rhyme rhythm rhythmic rising rules scansion semantic sense sequence simple single sounds speech stanza stress strong structure subordination suggest syntactic tension theory third tradition triple trochaic underlying units unstressed syllables usually variation verse