...all these rhythmical effects so as to heighten the imaginative impression of a poem, to vary them " in correspondence with some transition in the nature of the imagery or passion, "as Coleridge says, is one of the poet's most incommunicable secrets, and I for one shall not try to...

...Coleridges : „ this occasional Variation in number of syllables is not introduced wantonly , or for mere ends of convenience, but in correspondence with...transition, in the nature of the imagery or passion" ist sowohl für seine eigenen Dichtungen, als auch für diejenigen seiner Vorgänger und Zeitgenossen...

...variation in the number of syllables ia not introduced wantonly, or for the mere ends of convenience, bnt in correspondence with some transition, in the nature of 'the imagery or passion. PART I. flIS the middle of night by the castle clock, And the owls have awakened the crowing cock ;...

...each line the accents will be found to be only four. Nevertheless this occasional variation in the number of syllables is not introduced wantonly, or...transition, in the nature of the imagery or passion. 1 Poeti.] There is little doubt that Christabel suggested to Scott the series of poem-tales which became...

...changed sometimes to the axx or xxa. But the variation in the number of syllables is not made arbitrarily or for the mere ends of convenience, but in correspondence...transition in the nature of the imagery or passion. The two following xxa verses, descriptive of the castle-gate, are admirably suggestive of the massiveness...

...poorer of the two. ' I have only to add, that the metre of the Christabcl is not, properly speaking, irregular, though it may seem so from its being founded...transition, in the nature of the imagery or passion. ' When this Preface came to be reprinted in the Poetical Works in 1828 (and again in the revised edition...

...implied that it was written in purely stressed verse, whereas it is not. He says that the metre of it is 'founded on a new principle, namely, that of counting...transition in the nature of the imagery or passion.' Now here was, as far as it went, a definite statement of the laws of a stress prosody ; but if we examine...

...each line the accents will be found to be only four. Nevertheless this occasional variation in the number of syllables is not introduced wantonly, or...transition, in the nature of the imagery or passion." Scott uses this license much more freely than Coleridge, both as regards the length of the lines, and...

...Christabel, and like Goethe's Erl King, has several variations introduced (as Coleridge says of his own) 'in correspondence with some transition in the nature of the imagery or passion.' The ' new principle,' in short, was Chatterton's. Again, in the mysterious suggestiveness of remote...

...claims for Cliristabcl that the variation in the number of syllables is ' not introduced wantonly . . . but in correspondence with some transition in the nature of the imagery or passion.' A like freedom was used by our old poets, who at times employed— as in the Csedmonian poems and in...