Forms of English PoetryAmerican Book Company, 1904 - 368 páginas |
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Página 13
... falls y sum on cas tle walls – mits oĺd — in sto ― - ry , and the unaided ear detects that the vowels in " snow , " " old , " and " sto " are lengthened . Should we prolong them unduly , we should fall into chant- ing ; but should we ...
... falls y sum on cas tle walls – mits oĺd — in sto ― - ry , and the unaided ear detects that the vowels in " snow , " " old , " and " sto " are lengthened . Should we prolong them unduly , we should fall into chant- ing ; but should we ...
Página 14
... strumen Wort r manner antiqua gestion of ord poetry . cately , wise th Lin are ma lines their the to In bla may b fall at emph Ter at th is sul identi rules in the middle of a word . In reading it 14 THE FOOT , THE LINE , AND THE STANZA TH.
... strumen Wort r manner antiqua gestion of ord poetry . cately , wise th Lin are ma lines their the to In bla may b fall at emph Ter at th is sul identi rules in the middle of a word . In reading it 14 THE FOOT , THE LINE , AND THE STANZA TH.
Página 15
... falls to pieces . In nearly all modern poetry the ends of the lines are marked by rhyme , and the danger is that the ... fall at the end of the line , unless care is taken to emphasize the final accent delicately . → Terminal rhyme , or ...
... falls to pieces . In nearly all modern poetry the ends of the lines are marked by rhyme , and the danger is that the ... fall at the end of the line , unless care is taken to emphasize the final accent delicately . → Terminal rhyme , or ...
Página 16
Charles Frederick Johnson. the syllables on which the rhythmical accent falls . 2d . The vowel sounds of the rhyming syllables must be identical . 3d . The consonant sounds which precede the vowel sounds must be different , and those ...
Charles Frederick Johnson. the syllables on which the rhythmical accent falls . 2d . The vowel sounds of the rhyming syllables must be identical . 3d . The consonant sounds which precede the vowel sounds must be different , and those ...
Página 24
... fall with the uniformity of the strokes of the metronome , and the vowel sequences though vigorous are harsh , and show that the writer lacked the instinctive appreciation of the " concord of sweet sounds 24 THE FOOT , THE LINE , AND ...
... fall with the uniformity of the strokes of the metronome , and the vowel sequences though vigorous are harsh , and show that the writer lacked the instinctive appreciation of the " concord of sweet sounds 24 THE FOOT , THE LINE , AND ...
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Termos e frases comuns
accents Adonais amphibrach anapest antistrophe artistic ballad Battle of Maldon beauty blank verse century chant royal character Chaucer Coleridge couplet Cymbeline dead death dirge doth embodied emotion English epic expression fair feeling flower FORMS OF ENG give grief hath heart heaven heroic age hither human iambic Iliad irregular Italian Judas Iscariot Keats King lady lament language light lines literary literature Lycidas lyric manner melody meter metrical Milton mind modern musical nature never night o'er octave phrase Pindaric pleasure poem poet poetic poetry popular race rhymes romantic Sadko says sense sentiment sestina sextette Shakespeare Shelley sing society verse song sonnet soul of Judas sound spirit stanzas strophe Svyatogor sweet syllables Tennyson terminal thee things thou thought tion tone trochee Troilus and Criseyde true Twas the soul vers de société vowel wind words Wordsworth writer written wrote
Passagens mais conhecidas
Página 269 - The breath whose might I have invoked in song Descends on me; my spirit's bark is driven, Far from the shore, far from the trembling throng Whose sails were never to the tempest given; The massy earth and sphered skies are riven! I am borne darkly, fearfully, afar; Whilst burning through the inmost veil of Heaven, The soul of Adonais, like a star, Beacons from the abode where the Eternal are.
Página 207 - He is made one with Nature : there is heard His voice in all her music, from the moan Of thunder, to the song of night's sweet bird ; He is a presence to be felt and known In darkness and in light, from herb and stone, Spreading itself where'er that Power may move Which has withdrawn his being to its own ; Which wields the world with never wearied love, Sustains it from beneath, and kindles it above.
Página 207 - His part, while the one Spirit's plastic stress Sweeps through the dull dense world, compelling there All new successions to the forms they wear...
Página 206 - He has outsoared the shadow of our night; Envy and calumny and hate and pain, And that unrest which men miscall delight, Can touch him not and torture not again...
Página 123 - No longer mourn for me when I am dead Than you shall hear the surly sullen bell Give warning to the world that I am fled From this vile world, with vilest worms to dwell : Nay, if you read this line, remember not The hand that writ it ; for I love you so That I in your sweet thoughts would be forgot, If thinking on me then should make you woe.
Página 124 - That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs where late the sweet birds sang. In me thou seest the twilight of such day As after sunset fadeth in the west, Which by and by black night doth take away, Death's second self that seals up all in rest.
Página 49 - A THING of beauty is a joy for ever: Its loveliness increases ; it will never Pass into nothingness ; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing.
Página 261 - When lovely woman stoops to folly. And finds, too late, that men betray. What charm can soothe her melancholy, What art can wash her guilt away? The only art her guilt to cover. To hide her shame from every eye, To give repentance to her lover, And wring his bosom, — is to die.
Página 124 - Lest the wise world should look into your moan And mock you with me after I am gone.
Página 118 - Since there's no help, come, let us kiss and part! Nay, I have done. You get no more of me! And I am glad, yea, glad with all my heart, That thus so cleanly I myself can free. Shake hands for ever! Cancel all our vows! And when we meet at any time again, Be it not seen in either of our brows That we one jot of former love retain.