The Writing and Reading of VerseD. Appleton, 1923 - 327페이지 |
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22개의 결과 중 1 - 5개
4 페이지
... fixed verse depended upon rhythm and free verse upon cadence , but no definition was given for either of these words , which are sometimes used synonymously . The mathematician demands that 1 See C. W. Cobb : " A Scientific Basis for ...
... fixed verse depended upon rhythm and free verse upon cadence , but no definition was given for either of these words , which are sometimes used synonymously . The mathematician demands that 1 See C. W. Cobb : " A Scientific Basis for ...
7 페이지
... fixed sound rela- tions , time being the basis , just as in dancing or music . mere : Poetics , p . 136. ) " Of course some readers may prefer : • . " ( Gum- 3 And A J breathe short · wind ed ac d · cents J of new | broils . d ...
... fixed sound rela- tions , time being the basis , just as in dancing or music . mere : Poetics , p . 136. ) " Of course some readers may prefer : • . " ( Gum- 3 And A J breathe short · wind ed ac d · cents J of new | broils . d ...
10 페이지
... fixed require- ment of syllables , twelve , variously distributed among four , or occasionally three , time divisions , e . g . Je veux , sans que la mórt | óse | me secourir , Toujours aimér , | toujours souffrír , | toujours mourir ...
... fixed require- ment of syllables , twelve , variously distributed among four , or occasionally three , time divisions , e . g . Je veux , sans que la mórt | óse | me secourir , Toujours aimér , | toujours souffrír , | toujours mourir ...
44 페이지
... fixed se- quence of variation may be taken as a pattern , for instance , the scheme , | X X │x x x x x | x x represents the rhythmic pattern of Swinburne's Lines on the Death of Trelawney , i . e . , each line begins with direct at ...
... fixed se- quence of variation may be taken as a pattern , for instance , the scheme , | X X │x x x x x | x x represents the rhythmic pattern of Swinburne's Lines on the Death of Trelawney , i . e . , each line begins with direct at ...
45 페이지
... fixed rhythmic pattern is not only characteristic of classical imitations in English , but of many other exquisitely musical poems of Swinburne and a number of other modern poets.12 A simple pattern is that of William Watson's England ...
... fixed rhythmic pattern is not only characteristic of classical imitations in English , but of many other exquisitely musical poems of Swinburne and a number of other modern poets.12 A simple pattern is that of William Watson's England ...
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alexandrine Alfred Noyes alliteration anapestic antistrophe ballade blank verse Browning century cesura Chapter consonants couplet dactylic dactylic movement dimeter direct attack dissyllabic divisions duple duple rhythm duple-triple rhythm effect emphasis English verse enjambment example extra accents eyes foot four free verse give heptameter heroic hexameter iambic movement iambic pentameter iambic-anapestic imitative Keats light stresses line stanzas melody meter metrical metrist Milton monotony night o'er occur octameter odes Paradise Lost passage pause pentameter phrasing Pindaric poem poetry poets Pope quatrains quoted reader refrain repetition rhythmical pattern rhythmical prose rime scheme Rossetti scansion sense Shelley Song sonnet sound stanza stanza form sweet Swinburne Swinburne's syllables Tennyson tetrameter thee thou thought tone-color trimeter triple rhythm trisyllabic feet trochaic trochaic movement tune unrimed unstressed syllable variation varied vers libre vowel wind words writing written X X X X X
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305 페이지 - I BRING fresh showers for the thirsting flowers, From the seas and the streams ; I bear light shade for the leaves when laid In their noonday dreams. From my wings are shaken the dews that waken The sweet buds every one, When rocked to rest on their mother's breast, As she dances about the sun.
82 페이지 - Tears, idle tears, I know not what they mean, Tears from the depth of some divine despair Rise in the heart, and gather to the eyes, In looking on the happy Autumn-fields, And thinking of the days that are no more.
98 페이지 - Thou wilt not leave us in the dust: Thou madest man, he knows not why, He thinks he was not made to die; And thou hast made him: thou art just.
100 페이지 - THE skies they were ashen and sober; The leaves they were crisped and sere, The leaves they were withering and sere; It was night in the lonesome October Of my most immemorial year ; It was hard by the dim lake of Auber, In the misty mid region of Weir: It was down by the dank tarn of Auber, In the ghoul-haunted woodland of Weir.
313 페이지 - When did music come this way? Children dear, was it yesterday? Children dear, was it yesterday (Call yet once) that she went away? Once she sate with you and me, On a red gold throne in the heart of the sea, And the youngest sate on her knee. She combed its bright hair, and she tended it well, When down swung the sound of a far-off bell.
88 페이지 - Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; vainly I had sought to borrow From my books surcease of sorrow — sorrow for the lost Lenore, For the rare and radiant maiden whom the angels name Lenore, Nameless here for evermore.
229 페이지 - A Sonnet is a moment's monument, — Memorial from the Soul's eternity To one dead deathless hour. Look that it be. Whether for lustral rite or dire portent, Of its own arduous fulness reverent : Carve it in ivory or in ebony, As Day or Night may rule ; and let Time see Its flowering crest impearled and orient. A Sonnet is a coin : its face reveals The soul, — its converse, to what Power 'tis due ; — Whether for tribute to the august appeals Of Life, or dower in Love's high retinue.
153 페이지 - When Earth's last picture is painted, and the tubes are twisted and dried, When the oldest colors have faded, and the youngest critic has died, We shall rest, and, faith, we shall need it — lie down for an aeon or two, Till the Master of All Good Workmen shall set us to work anew!
128 페이지 - I CHATTER over stony ways, In little sharps and trebles, I bubble into eddying bays, I babble on the pebbles. With many a curve my banks I fret By many a field and fallow, And many a fairy foreland set With willow-weed and mallow.
312 페이지 - COME, dear children, let us away; Down and away below! Now my brothers call from the bay, Now the great winds shoreward blow, Now the salt tides seaward flow; Now the wild white horses play, Champ and chafe and toss in the spray. Children dear, let us away! This way, this way! Call her once before you go. — Call once yet! In a voice that she will know: "Margaret! Margaret!