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 1
... hand , are easily provided not only by iambic words ( alone , sub- mit ) but also by combining a or the or prepositions with monosyllabic nouns , which are also numerous in English , or by combining pronouns with monosyllabic verbs : I ...
... hand , are easily provided not only by iambic words ( alone , sub- mit ) but also by combining a or the or prepositions with monosyllabic nouns , which are also numerous in English , or by combining pronouns with monosyllabic verbs : I ...
Página 2
... hand , poems that use many feminine endings tend to undermine this feature of iambic verse and may have some expressive reason for do- ing so . Although the English syllables we speak can be spoken with many degrees or shades of ...
... hand , poems that use many feminine endings tend to undermine this feature of iambic verse and may have some expressive reason for do- ing so . Although the English syllables we speak can be spoken with many degrees or shades of ...
Página 5
... 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 partly limits their power to seem ...
... 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 partly limits their power to seem ...
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Contenido
1 | |
Early Expressive Pentameters | 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 |
325 | |
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