English Verse: Specimens Illustrating Its Principles and History, 10±ÇRaymond Macdonald Alden H. Holt, 1903 - 459ÆäÀÌÁö |
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... Schipper in his Eng- lische Metrik ) , I have divided the specimens of verse into two main divisions , each of which is suggested by a word in the sub - title of the book . Part One contains specimens designed to illustrate the ...
... Schipper in his Eng- lische Metrik ) , I have divided the specimens of verse into two main divisions , each of which is suggested by a word in the sub - title of the book . Part One contains specimens designed to illustrate the ...
viii ÆäÀÌÁö
... Schipper's monumental works on Eng- lish verse will be obvious to every scholar . They sug- gested many of the specimens of verse - forms , and are also represented by translations or paraphrases in the - notes ; references to Schipper ...
... Schipper's monumental works on Eng- lish verse will be obvious to every scholar . They sug- gested many of the specimens of verse - forms , and are also represented by translations or paraphrases in the - notes ; references to Schipper ...
ix ÆäÀÌÁö
Specimens Illustrating Its Principles and History Raymond Macdonald Alden. - notes ; references to Schipper , without full title , are to the Englische Metrik , the larger work . I have also made thankful use of Mr. John Addington ...
Specimens Illustrating Its Principles and History Raymond Macdonald Alden. - notes ; references to Schipper , without full title , are to the Englische Metrik , the larger work . I have also made thankful use of Mr. John Addington ...
3 ÆäÀÌÁö
... Schipper makes four groups : Principal Accent ( Hauptaccent or Hochton ) , Secondary Accent ( Nebenaccent or Tiefton ) , No Accent ( Tonlosigkeit ) , and Disap- pearance of Sound ( Stummheit ) . In illustration he gives the ponderous ...
... Schipper makes four groups : Principal Accent ( Hauptaccent or Hochton ) , Secondary Accent ( Nebenaccent or Tiefton ) , No Accent ( Tonlosigkeit ) , and Disap- pearance of Sound ( Stummheit ) . In illustration he gives the ponderous ...
16 ÆäÀÌÁö
... free- dom of which it was capable , by calling to mind the liberties allowed its old musical professors the minstrels , and dividing it by time instead into two parts ( which Schipper calls " rhythmical series 16 ENGLISH VERSE.
... free- dom of which it was capable , by calling to mind the liberties allowed its old musical professors the minstrels , and dividing it by time instead into two parts ( which Schipper calls " rhythmical series 16 ENGLISH VERSE.
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accent alexandrine alliteration Altenglische anapestic Anglo-Saxon ballade beauty blank verse called Catalectic century cesura Chaucer classical consonants couplet dactylic Death doth Dryden element Elizabethan English hexameter English poetry English verse Essay expression eyes feet five-stress following specimen foot four-stress French Gosse half-line hand harmony hath heart heaven heroic heroic couplet hexameters iambic imitation Italian King kiss language Latin light syllable long line lyrical measure melody metre metrical metrist Milton modern natural o'er ottava rima pause pleasure poem poet poetic Professor Corson prose prosody quantity quoted reader regular rhyme rhythm rhythmical rime rondeau Rose run-on says Schipper seems sense septenary SHAKSPERE sing song sonnet soul sound Spenser spondees stanza stress strophe sweet SWINBURNE syllables TENNYSON tercet thee thou thought time-intervals translation trochaic trochee unto versification Villanelle vowel W. E. HENLEY wind words Wyatt ©at
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274 ÆäÀÌÁö - Death, be not proud, though some have called thee Mighty and dreadful, for thou art not so ; For, those whom thou think'st thou dost overthrow, Die not, poor Death, nor yet canst thou kill me. From rest and sleep, which but thy pictures...
105 ÆäÀÌÁö - I STOOD in Venice, on the Bridge of Sighs ; A palace and a prison on each hand : I saw from out the wave her structures rise As from the stroke of the enchanter's wand : A thousand years their cloudy wings expand Around me, and a dying Glory smiles O'er the far times, when many a subject land Look'd to the winged Lion's marble piles, Where Venice sate in state, throned on her hundred isles...
312 ÆäÀÌÁö - Heaven lies about us in our infancy. Shades of the prison-house begin to close Upon the growing boy; But he beholds the light and whence it flows, He sees it in his joy. The youth who daily farther from the East Must travel, still is Nature's priest, And, by the vision splendid, Is on his way attended. At length the man perceives it die away And fade into the light of common day.
244 ÆäÀÌÁö - The old order changeth, yielding place to new, And God fulfils Himself in many ways, Lest one good custom should corrupt the world.
222 ÆäÀÌÁö - Ye elves of hills, brooks, standing lakes, and groves ; And ye that on the sands with printless foot Do chase the ebbing Neptune, and do fly him, When he comes back...
66 ÆäÀÌÁö - O wild West Wind, thou breath of Autumn's being, Thou from whose unseen presence the leaves dead. Are driven, like ghosts from an enchanter fleeing...
280 ÆäÀÌÁö - I'd rather be A Pagan suckled in a creed outworn; So might I, standing on this pleasant lea, Have glimpses that would make me less forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathed horn.
193 ÆäÀÌÁö - Of these the false Achitophel was first, A name to all succeeding ages curst : For close designs and crooked counsels fit, Sagacious, bold, and turbulent of wit, Restless, unfixed in principles and place, In power unpleased, impatient of disgrace ; A fiery soul, which working out its way, Fretted the pigmy body to decay And o'cr-informed the tenement of clay.
139 ÆäÀÌÁö - With purple grapes, green figs, and mulberries ; The honey bags steal from the humble-bees, And, for night-tapers, crop their waxen thighs, And light them at the fiery glowworm's eyes...
50 ÆäÀÌÁö - Fear death? — to feel the fog in my throat, The mist in my face, When the snows begin, and the blasts denote I am nearing the place, The power of the night, the press of the storm, The post of the foe; Where he stands, the Arch Fear in a visible form, Yet the strong man must go...