The Rhythms of English PoetryExamines the way in which poetry in English makes use of rhythm. The author argues that there are three major influences which determine the verse-forms used in any language: the natural rhythm of the spoken language itself; the properties of rhythmic form; and the metrical conventions which have grown up within the literary tradition. He investigates these in order to explain the forms of English verse, and to show how rhythm and metre work as an essential part of the reader's experience of poetry. |
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Page ii
... SYNTAX Rodney Huddleston MEANING AND FORM Dwight Bolinger DESIGNS IN PROSE Walter Nash STYLE IN FICTION Geoffrey N. Leech and Michael H. Short THE RHYTHMS OF ENGLISH POETRY Derek Attridge THE LANGUAGE OF HUMOUR Walter Nash GOOD ENGLISH ...
... SYNTAX Rodney Huddleston MEANING AND FORM Dwight Bolinger DESIGNS IN PROSE Walter Nash STYLE IN FICTION Geoffrey N. Leech and Michael H. Short THE RHYTHMS OF ENGLISH POETRY Derek Attridge THE LANGUAGE OF HUMOUR Walter Nash GOOD ENGLISH ...
Page vii
... syntax, large-scale formal and generic conventions, and structures of meaning. And since my interest is primarily in the singleness of this metrical tradition - in the capacity, that is, of the modern reader to engage directly with ...
... syntax, large-scale formal and generic conventions, and structures of meaning. And since my interest is primarily in the singleness of this metrical tradition - in the capacity, that is, of the modern reader to engage directly with ...
Page xi
... syntax 8.7 Pairing and word-boundaries 8.8 Compounds. Part. Four: Practice. 9 THE FUNCTIONS OF POETIC RHYTHM 9.1 Iconic functions 9.2 Affective functions 9.3 Associative functions 9.4 Emphasis and connection 9.5 Pattern and cohesion 9.6 ...
... syntax 8.7 Pairing and word-boundaries 8.8 Compounds. Part. Four: Practice. 9 THE FUNCTIONS OF POETIC RHYTHM 9.1 Iconic functions 9.2 Affective functions 9.3 Associative functions 9.4 Emphasis and connection 9.5 Pattern and cohesion 9.6 ...
Page 8
... syntax; thus one can say that in (5) the first and the fourth lines have a prominent caesura, the former after the third and the latter after the second syllable. The term does not refer to anything in the structure of most English ...
... syntax; thus one can say that in (5) the first and the fourth lines have a prominent caesura, the former after the third and the latter after the second syllable. The term does not refer to anything in the structure of most English ...
Page 67
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Contents
Rhythm | 57 |
Metre | 145 |
Practice | 283 |
RULES AND SCANSION | 357 |
Bibliography | 363 |
Sources of examples | 376 |
Index | 388 |
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Common terms and phrases
accentual-syllabic verse alternation anapaestic B B B B Ceolred chapter classical approach common metre complex create David Abercrombie deviation discussion distinction double offbeat duple metre duple verse emphasis English metre English verse example falling rhythm five-beat line following line four-beat line four-beat rhythm four-beat verse function iambic pentameter implied offbeat initial inversion initial offbeat language linguistic literary metrical form metrical pattern metrical rules metrical set metrical structure metrical style metrical subordination metrical theory metrist movement nonstresses occur offbeat condition optional pause perceived perception phonetic phonological phrase poem poetic poetry poets promotion pronunciation prosody reader reading rhyme rhythmic form rhythmic structure rhythmic unit scansion semantic sense sequence single offbeat speech rhythms stanza stress contour stress pattern stress-final pairing stress-initial pairing stress-timing stressed and unstressed strong syllable count syntactic break syntax tension tradition triple metre triple rhythm triple verse trochaic trochee underlying rhythm unrealised beat unstressed syllables words