The Writing and Reading of VerseD. Appleton, 1923 - 327ÆäÀÌÁö |
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12 ÆäÀÌÁö
... scheme of a verse passage and the grammatical or sense emphasis of the words which compose it . Lines of perfect regularity like , The curfew tolls the knell of parting day , in which probably all readers will agree as to which five ...
... scheme of a verse passage and the grammatical or sense emphasis of the words which compose it . Lines of perfect regularity like , The curfew tolls the knell of parting day , in which probably all readers will agree as to which five ...
26 ÆäÀÌÁö
... scheme adequate for their study . They may as well skip the next few paragraphs . The usual method of recording the time relation of syllables within a foot is that of musical notation . If one hears verse in three - four time he will ...
... scheme adequate for their study . They may as well skip the next few paragraphs . The usual method of recording the time relation of syllables within a foot is that of musical notation . If one hears verse in three - four time he will ...
29 ÆäÀÌÁö
... meter , without breaking the scheme subjectively established . This 17 This , as an elision of common speech , differs from the two cases of verse elision preceding it . may be shown by reading the same line many times 29 SCANSION.
... meter , without breaking the scheme subjectively established . This 17 This , as an elision of common speech , differs from the two cases of verse elision preceding it . may be shown by reading the same line many times 29 SCANSION.
44 ÆäÀÌÁö
... 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- tack and the second foot of each is always trisyllabic : | Winds that warred ...
... 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- tack and the second foot of each is always trisyllabic : | Winds that warred ...
50 ÆäÀÌÁö
... scheme . But the usual grammatical association of the words that express his thought have a rhythm of their own - a prose rhythm . This does not exactly fit the ideal rhythmical scheme of verse . When we read verse we are conscious of a ...
... scheme . But the usual grammatical association of the words that express his thought have a rhythm of their own - a prose rhythm . This does not exactly fit the ideal rhythmical scheme of verse . When we read verse we are conscious of a ...
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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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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 ÆäÀÌÁö - 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!