A History of English Versification |
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Page xiii
... rhyme according to the number of the rhyming syllables : ( 1 ) the monosyllabic or masculine rhyme ; ( 2 ) the disyllabic or feminine rhyme ; ( 3 ) the trisyllabic , triple , or tumbling rhyme . · 217. Classification according to the ...
... rhyme according to the number of the rhyming syllables : ( 1 ) the monosyllabic or masculine rhyme ; ( 2 ) the disyllabic or feminine rhyme ; ( 3 ) the trisyllabic , triple , or tumbling rhyme . · 217. Classification according to the ...
Page 62
... rhyme , which serves to accentuate the lyrical tone of the passages . Monosyllabic rhymes such as nān : tān ( Rhym . Poem 78 ) , rād : gebád ( ib . 16 ) , onláh : onwráh ( ib . 1 ) are called masculine , and disyllabic rhymes like ...
... rhyme , which serves to accentuate the lyrical tone of the passages . Monosyllabic rhymes such as nān : tān ( Rhym . Poem 78 ) , rād : gebád ( ib . 16 ) , onláh : onwráh ( ib . 1 ) are called masculine , and disyllabic rhymes like ...
Page 131
... masculine endings or rhymes , but like their French models , admit also of disyllabic or feminine rhymes . Further , the caesura , where it occurs at all , may be masculine as well as feminine . The septenary line , however , in its ...
... masculine endings or rhymes , but like their French models , admit also of disyllabic or feminine rhymes . Further , the caesura , where it occurs at all , may be masculine as well as feminine . The septenary line , however , in its ...
Page 132
... masculine or with feminine line - endings or rhymes , or the reverse , are , of course , allowed and of frequent Occurrence . We quote in the first place some Middle English and Modern English examples of masculine caesura in the ...
... masculine or with feminine line - endings or rhymes , or the reverse , are , of course , allowed and of frequent Occurrence . We quote in the first place some Middle English and Modern English examples of masculine caesura in the ...
Page 184
Jakob Schipper. The lines are always connected in couplets by rhyme , but masculine and feminine rhymes need not alternate with one another . It is exactly the same with the Middle English four - foot line , except that the rising iambic ...
Jakob Schipper. The lines are always connected in couplets by rhyme , but masculine and feminine rhymes need not alternate with one another . It is exactly the same with the Middle English four - foot line , except that the rising iambic ...
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Common terms and phrases
A₁ acatalectic accented syllable Alexius áll álle alliteration alliterative sound alliterative verse anacrusis anapaestic Annd assonance beats Beow Beowulf blank verse C₁ caesura cauda century Chauc Chaucer chief accent chiefly consonant couplets disyllabic thesis English alliterative line English period epic caesura even-beat feminine endings feminine rhymes four-foot frequently German gód gódes iambic iambic-anapaestic inflexional endings kinds of verse King Horn last syllable Layamon's Brut lengthened level stress licence long lines Luick lyric masculine endings masculine rhymes metre metrical Middle English Modern English poetry monosyllabic Moral Ode occur Old English Old High German Paul's Grundriss poems poets polysyllabic Prof Prol quoted rarely regular resolution rhyme rhythm rhythmical accent root-syllable rule SCHIPPER second arsis second hemistich secondary accent Septenary short lines Sievers slurring stanza structure Surrey trisyllabic trochaic two-beat types unaccented syllables verb versification vowel wás word-accent words Wright's Wyatt þat
Popular passages
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.