Shakespeare's Metrical ArtUniversity of California Press, 2 aug. 1988 - 363 pagini This is a wide-ranging, poetic analysis of the great English poetic line, iambic pentameter, as used by Chaucer, Sidney, Milton, and particularly by Shakespeare. George T. Wright offers a detailed survey of Shakespeare's brilliantly varied metrical keyboard and shows how it augments the expressiveness of his characters' stage language. |
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Pagina 8
... pyrrhic in the fourth , a spondee in the last . Nevertheless , when the line is spoken or heard silently by a reader with some auditory experience of the tradition , it does not violate the pattern : enough of the line is still iambic ...
... pyrrhic in the fourth , a spondee in the last . Nevertheless , when the line is spoken or heard silently by a reader with some auditory experience of the tradition , it does not violate the pattern : enough of the line is still iambic ...
Pagina 9
... pyrrhic iamb and a spondaic iamb . For clarity's sake , some critics avoid these terms ; many who retain them do so with the under- standing I have just described . The trochaic pattern in the opening foot is also a standard variation ...
... pyrrhic iamb and a spondaic iamb . For clarity's sake , some critics avoid these terms ; many who retain them do so with the under- standing I have just described . The trochaic pattern in the opening foot is also a standard variation ...
Pagina 10
... ( pyrrhic ) . 4. Combine 2 and 3 ( trochee ) . In a different analysis , there are two principal kinds of variation from iambic rhythm . If the term iambic designates an increase of stress from the first to the second of a pair of ...
... ( pyrrhic ) . 4. Combine 2 and 3 ( trochee ) . In a different analysis , there are two principal kinds of variation from iambic rhythm . If the term iambic designates an increase of stress from the first to the second of a pair of ...
Pagina 11
... pyrrhic foot ( that is , in a foot that lacks a speech stress ) we continue to hear 3 pulse , a metrical stress , just as in a foot that harbors two strong speech stresses we can distinguish the one that receives a metrical pulse from ...
... pyrrhic foot ( that is , in a foot that lacks a speech stress ) we continue to hear 3 pulse , a metrical stress , just as in a foot that harbors two strong speech stresses we can distinguish the one that receives a metrical pulse from ...
Pagina 21
... pyrrhic feet can still be heard as feet , but their effect is usually to make the line move quickly and to direct emphasis to a small number of strongly stressed syllables . or a . In the lines just quoted we can see Chaucer using a ...
... pyrrhic feet can still be heard as feet , but their effect is usually to make the line move quickly and to direct emphasis to a small number of strongly stressed syllables . or a . In the lines just quoted we can see Chaucer using a ...
Cuprins
1 | |
20 | |
Pattern and Variation | 38 |
4 Flexibility and Ease in Four Older Poets | 57 |
Shakespeares Sonnets | 75 |
6 The Verse of Shakespeares Theater | 91 |
7 Prose and Other Diversions | 108 |
8 Short and Shared Lines | 116 |
14 The Play of Phrase and Line | 207 |
15 Shakespeares Metrical Technique in Dramatic Passages | 229 |
16 What Else Shakespeares Meter Reveals | 249 |
17 Some Metrically Expressive Features in Donne and Milton | 264 |
Verse as Speech Theater Text Tradition Illusion | 281 |
Percentage Distribution of Prose in Shakespeares Plays | 291 |
Main Types of Deviant Lines in Shakespeares Plays | 292 |
Short and Shared Lines | 294 |
9 Long Lines | 143 |
More Than Meets the Ear | 149 |
11 Lines with Extra Syllables | 160 |
12 Lines with Omitted Syllables | 174 |
13 Trochees | 185 |
Notes | 297 |
Main Works Cited or Consulted | 325 |
Index | 339 |
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Termeni și expresii frecvente
accentual actors anapests appear beat blank verse broken-backed line caesura Chapter characters Chaucer combinations Coriolanus couplets Cressida Donne Donne's dramatic verse effect elision Elizabethan enjambment epic caesura example expressive extra syllable feeling feet feminine endings foot Gascoigne half-line Hamlet headless hear Henry hexameter iambic line iambic pentameter iambic pentameter line iambs Julius Caesar King Lear language later plays later poets line-types line's Macbeth meter metrical pattern metrical variations metrists midline break minor words monosyllabic normal Othello passage pause phrasal playwrights poems poetic poetry prose punctuation pyrrhic readers regular rhetorical rhyme rhythm rhythmic Richard II scene seems segments sense sentence Shake Shakespeare shared lines short lines Sidney's sonnets sound speak speaker speare's speech speechlike Spenser spoken spondaic spondee stanza stressed position strong structure style syllables syntactical syntax theater thee thou tion trochaic trochee Troilus unstressed syllables usually verb verse lines voice vowels Wyatt