Shakespeare's Metrical ArtUniversity of California Press, 2. 8. 1988 - 363 strán (strany) 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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Výsledky 1 - 5 z 79.
Strana 2
... foot " in iambic verse , too , is frequently reversed , so that we start the line with a stressed syllable . The last foot , however , is rarely reversed , and the pattern we come to know as we keep listening to iambic meter is one that ...
... foot " in iambic verse , too , is frequently reversed , so that we start the line with a stressed syllable . The last foot , however , is rarely reversed , and the pattern we come to know as we keep listening to iambic meter is one that ...
Strana 5
... foot iambic lines , on the other hand , though they constitute a significant resource for poets writing in English , lack the amplitude of the five - foot line and seem as a rule unable to survive the absence of rhyme , a defect which ...
... foot iambic lines , on the other hand , though they constitute a significant resource for poets writing in English , lack the amplitude of the five - foot line and seem as a rule unable to survive the absence of rhyme , a defect which ...
Strana 7
... foot , of lip , of eye , of brow " ( Shakespeare , Sonnet 106 : 6 ) represents only an extreme possibility , not an average pattern for English iambic pentameter , and even this line's rhythm can be shaded by a resourceful voice . On ...
... foot , of lip , of eye , of brow " ( Shakespeare , Sonnet 106 : 6 ) represents only an extreme possibility , not an average pattern for English iambic pentameter , and even this line's rhythm can be shaded by a resourceful voice . On ...
Strana 8
... foot , the reader is likely to take it in stride , will probably not much notice the small differences between strong or between weak syllables and will keep on hearing the iambic current . But when a syllable that appears to be in one ...
... foot , the reader is likely to take it in stride , will probably not much notice the small differences between strong or between weak syllables and will keep on hearing the iambic current . But when a syllable that appears to be in one ...
Strana 9
... foot be pronounced more strongly than the first . It is only that the differences here seem minimal , that “ -tune and ” seem almost equal in value , though both are lightly stressed , and that “ men's eyes ” seem al- most equal ...
... foot be pronounced more strongly than the first . It is only that the differences here seem minimal , that “ -tune and ” seem almost equal in value , though both are lightly stressed , and that “ men's eyes ” seem al- most equal ...
Obsah
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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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