Shakespeare's Metrical ArtUniversity of California Press, 1988 M08 2 - 363 páginas 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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Página 8
... feet will determine the contour of the line . So long as the variation is minimal , hardly perceptible , and does not change the basic relationship between the two syllables of any so - called foot , the reader is likely to take it in ...
... feet will determine the contour of the line . So long as the variation is minimal , hardly perceptible , and does not change the basic relationship between the two syllables of any so - called foot , the reader is likely to take it in ...
Página 9
... feet of the line are , essentially , a 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 ...
... feet of the line are , essentially , a 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 ...
Página 11
... feet involve a pulse on " of " but not on " sweet , " though " sweet " is stressed more strongly than “ of ” : When to the sessions of | sweet sillent thought Phrasalists maintain that poets from Chaucer to Shakespeare fre- quently ...
... feet involve a pulse on " of " but not on " sweet , " though " sweet " is stressed more strongly than “ of ” : When to the sessions of | sweet sillent thought Phrasalists maintain that poets from Chaucer to Shakespeare fre- quently ...
Página 21
... 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 high ...
... 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 high ...
Página 23
... feet but combines with other kinds of feet to provide a rich storehouse of differently shaped and sounded phrases.2 The rareness of this kind of spondee in Chaucer , which is directly attributable to his phonetic treatment of -e , helps ...
... feet but combines with other kinds of feet to provide a rich storehouse of differently shaped and sounded phrases.2 The rareness of this kind of spondee in Chaucer , which is directly attributable to his phonetic treatment of -e , helps ...
Contenido
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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Términos y frases comunes
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