A History of English Versification

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Clarendon Press, 1910 - Language Arts & Disciplines - 390 pages

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Contents

Homilies and lives of the saints in rhythmical prose Poems
52
The origin and structure of the lengthened verse
57
Growing influence of verse formed on foreign models
58
THE FURTHER DEVELOPMENT OF THE FREER FORM
64
Twobeat lines in tailrhyme stanzas
65
Nature
74
THE PROG
82
Entire tailrhyme stanzas
114
Characteristics
118
Examples of the development of the fourbeat allite
120
FOREIGN METFS
126
Heroic verse tailrhyme staves
131
Different kinds of caesura
132
Causes of variation in the structure of metres of equal measures
133
L
135
Effect of diaeresis on modulation
136
Suppression of the anacrusis
137
Level stress or hovering accent
138
Absence of thesis in the interior of a line
139
Use of the septenary in Modern English
140
Lengthening of a word by introduction of unaccented extra syllable
141
Disyllabic or polysyllabic thesis
143
Epic caesura
145
Double or feminine endings
146
Enjambement or runon line
147
Rhymebreaking
148
Alliteration
149
The threefoot line
150
CHAPTER VII
151
Treatment of the unaccented e of words of three and four syllables in Middle English
152
Earliest specimens of this metre
153
Special remarks on individual inflexional endings
154
Treatment of en in Middle and Modern English
155
The comparative and superlative endings er est
156
The ending est
157
The endings eth es s
158
The ending ed od ud of the 1st and 3rd pers sing pret and plur pret of weak verbs
159
The final e in Middle English poetry
160
Examples of the arbitrary use of final e
161
The final e in later poetry of the North
162
Formative endings of Romanic origin
164
Contraction of words ordinarily pronounced in full
165
Amalgamation of two syllables for metrical purposes
166
Examples of slurring or contraction
167
Other examples of contraction apocopation
168
Lengthening of words for metrical purposes
169
WORDACCENT
171
B Romanic words
177
36
179
210
180
212
181
VERSEFORMS COMMON TO THE MIDDLE
183
Twofoot verse
190
211 Elegiac verse the minor Asclepiad the sixfoot iambic line
211
VERSEFORMS OCCURRING IN MODERN ENGLISH POETRY ONLY CHAPTER XII
219
Blank verse first adopted by the Earl of Surrey 162 Characteristics of Surreys blank verse
221
Further development of this metre in the drama
222
The blank verse of Shakespeare 219 219 221
223
Numerical proportion of masculine and feminine endings 167 Numerical proportion of weak and light endings 168 Proportion of unstopt or runon a...
224
Example of the metrical differences between the earlier and later periods of Shakespeares work
232
The blank verse of Massinger
235
The twofoot trochaic line
247
CHAPTER XIV
249
IAMBICANAPAESTIC MEtres 190 Eightfoot iambicanapaestic verse
250
Sixfoot iambicanapaestic verse
251
Fourfoot iambicanapaestic verse
252
Threefoot iambicanapaestic verse
253
Onefoot iambicanapaestic verse
254
Sevenfoot trochaicdactylic verse
255
Fivefoot trochaicdactylic verse
256
Threefoot trochaicdactylic verse
257
Onefoot dactylic verse
258
CHAPTER XV
259
2078 Other anisometrical combinations
260
Sixlined stanzas
261
CHAPTER XVI
262
Structure of the hexameter
263
The bobwheel stanzas in the Middle English period
264
Bobwheel stanzas of fourstressed rhyming verses
265
Modern English bobwheel stanzas
266
267 Sixlined stanzas CHAPTER V
267
Sevenlined stanzas the Rhyme Royal stanza
268
BOOK II
269
Ninelined stanzas
270
Tenlined stanzas
271
Eleven twelve and thirteenlined stanzas
272
2734 Sixlined stanzas
273
Sevenlined stanzas
275
2768 Eightlined stanzas
276
CHAPTER II
279
2801 Tenlined stanzas
280
Elevenlined stanzas
282
STANZAS COMMON TO MIDDLE AND MODERN ENGLISH AND OTHERS FORMED ON THE ANALOGY OF THESE CHAPTER III
288
The double stanza eight lines of the same structure
289
Stanzas of four isometrical lines with intermittent rhyme
290
Stanzas developed from longlined couplets by inserted rhyme
291
Stanzas of eight lines resulting from the fourlined cross rhyming stanza and by other modes of doubling
292
Other examples of doubling fourlined stanzas
293
Sixlined isometrical stanzas
294
Modifications of the sixlined stanza twelvelined and sixteen lined stanzas
295
ANISOMETRICAL STANZAS 240 Chief species of the tailrhyme stanza
296
Enlargement of this stanza to twelve lines
297
Further development of the tailrhyme stanza
298
Tailrhyme stanzas with principal verses shorter than tailverses
299
Other varieties of the tailrhyme stanza
300
Stanzas formed of two septenary verses
301
Analogical developments from this type
302
Other stanzas of similar structure
304
CHAPTER IV
305
Fourlined stanzas of one rhyme
306
Other stanzas connected with the above
307
BIPARTITE UNEQUALmembered IsoMETRICAL STanzas 254 Fourlined stanzas
308
Fourlined stanzas of one rhyme extended by the addition of a couplet
310
Fourteenlined stanzas
344
Stanzas of fifteen to twenty lines
345
FIXED FORM ORIGINATING UNDER THE IN FLUENCE OF THE RENASCENCE OR INTRO DUCED LATER CHAPTER VI
348
Sixlined stanzas 289 Sevenlined stanzas 348
349
CHAPTER VII
358
CHAPTER IX
371
The sonnets of Wordsworth
377
The virelay
385

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Page 327 - SHE walks in beauty, like the night Of cloudless climes and starry skies ; And all that's best of dark and bright Meet in her aspect and her eyes : Thus mellow'd to that tender light Which Heaven to gaudy day denies.
Page 374 - Shall I compare thee to a summer's day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd...
Page 358 - A GENTLE Knight was pricking on the plaine, Ycladd in mightie armes and silver shielde, Wherein old dints of deepe woundes did remaine, The cruell markes of many a bloody fielde ; Yet armes till that time did he never wield : His angry steede did chide his foming bitt, As much disdayning to the curbe to yield : Full jolly knight he seemd, and faire did sitt, As one for knightly giusts and fierce encounters fitt.
Page 315 - TO HELEN. Helen, thy beauty is to me Like those Nicean barks of yore, That gently, o'er a perfumed sea, The weary, way-worn wanderer bore To his own native shore. On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece And the grandeur that was Rome.
Page 310 - IT was roses, roses, all the way, With myrtle mixed in my path like mad : The house-roofs seemed to heave and sway, The church-spires flamed, such flags they had, A year ago on this very day.
Page 313 - HAPPY the man, whose wish and care A few paternal acres bound, Content to breathe his native air, In his own ground. Whose herds with milk, whose fields with bread, Whose flocks supply him with attire ; Whose trees in summer yield him shade, In winter fire.
Page 363 - Go to the bower of my beloved love, My truest turtle dove ; Bid her awake ; for Hymen is awake, And long since ready forth his mask to move, With his bright Tead that flames with many a flake, And many a bachelor to wait on him, In their fresh garments trim.
Page 354 - A LITTLE WHILE. A LITTLE while a little love The hour yet bears for thee and me Who have not drawn the veil to see If still our heaven be lit above. Thou merely, at the day's last sigh, Hast felt thy soul prolong the tone ; And I have heard the night-wind cry And deemed its speech mine own.
Page 360 - The City's voice itself is soft like Solitude's. I see the Deep's untrampled floor With green and purple seaweeds strown; I see the waves upon the shore, Like light dissolved in star-showers, thrown: I sit upon the sands alone — The lightning of the noontide ocean Is flashing round me, and a tone Arises from its measured motion, How sweet! did any heart now share in my emotion.
Page 378 - This Ship was nought to me, nor I to her, Yet I pursued her with a Lover's look ; This Ship to all the rest did I prefer : When will she turn, and whither ? She will brook No tarrying ; where she comes the winds must stir : On went She, — and due north her journey took.

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