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Accentual Verse
Accentual verse has a fixed number of stresses per line regardless of the number of syllables that are present. It is common in languages that are stress-timed, such as English, as opposed to syllabic verse which is common in syllable-timed languages, such as French. Children's poetry Accentual verse is particularly common in children's poetry; nursery rhymes and the less well-known skipping-rope rhymes are the most common form of accentual verse in the English Language. The following poem, "Baa Baa Black Sheep," has two stresses in each line but a varying number of syllables. Bold represents stressed syllables, and the number of syllables in each line is noted. Baa, baa, black sheep, (4) Have you any wool? (5) Yes sir, yes sir, (4) Three bags full; (3) One for the mas-ter, (5) And one for the dame, (5) And one for the lit-tle boy (7) Who lives down the lane. (5) Accentual verse derives its musical qualities from its flexibility with unstressed syllables and tends to follow ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Line (poetry)
A line is a unit of language into which a poem or play is divided. The use of a line operates on principles which are distinct from and not necessarily coincident with grammatical structures, such as the sentence or single clauses in sentences. Although the word for a single poetic line is '' verse'', that term now tends to be used to signify poetic form more generally. A line break is the termination of the line of a poem and the beginning of a new line. The process of arranging words using lines and line breaks is known as ''lineation'', and is one of the defining features of poetry. A distinct numbered group of lines in verse is normally called a ''stanza''. A title, in some poems, is considered a line. General conventions in Western poetry Conventions that determine what might constitute line in poetry depend upon different constraints, aural characteristics or scripting conventions for any given language. On the whole, where relevant, a line is generally determined either b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Middle English
Middle English (abbreviated to ME) is a form of the English language that was spoken after the Norman conquest of 1066, until the late 15th century. The English language underwent distinct variations and developments following the Old English period. Scholarly opinion varies, but the ''Oxford English Dictionary'' specifies the period when Middle English was spoken as being from 1150 to 1500. This stage of the development of the English language roughly followed the High to the Late Middle Ages. Middle English saw significant changes to its vocabulary, grammar, pronunciation, and orthography. Writing conventions during the Middle English period varied widely. Examples of writing from this period that have survived show extensive regional variation. The more standardized Old English language became fragmented, localized, and was, for the most part, being improvised. By the end of the period (about 1470) and aided by the invention of the printing press by Johannes Gutenberg in 14 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jan Kasprowicz
Jan Kasprowicz (12 December 1860 – 1 August 1926) was a poet, playwright, critic and translator; a foremost representative of Young Poland. Biography Kasprowicz was born in the village of Szymborze (now part of Inowrocław) within the Province of Posen, to an illiterate peasant family. From 1870 he studied in Prussian '' gymnasia'' in Inowrazlaw (Inowrocław), Posen (Poznań), Oppeln (Opole), Ratibor (Racibórz), and in 1884 graduated from Saint Mary Magdalene Gymnasium in Poznań. He studied philosophy and literature in German universities in Leipzig and Breslau. During his studies he began having articles and poetry published, working with various Polish magazines. For his activities in socialist circles he was twice arrested by Prussian police and spent half a year in prison. After his release from prison, at the age of 28 Kasprowicz moved to Lwów, where he spent the next 35 years of his life. He worked as a journalist and critic of literature and theatre, working fo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sprung Rhythm
Sprung rhythm is a poetic rhythm designed to imitate the rhythm of natural speech. It is constructed from feet in which the first syllable is stressed and may be followed by a variable number of unstressed syllables. The British poet Gerard Manley Hopkins said he discovered this previously unnamed poetic rhythm in the natural patterns of English in folk songs, spoken poetry, Shakespeare, Milton, et al. He used diacritical marks on syllables to indicate which should be stressed in cases "where the reader might be in doubt which syllable should have the stress" (acute, e.g. shéer) and which syllables should be pronounced but not stressed (grave, e.g., gleanèd). Some critics believe he merely coined a name for poems with mixed, irregular feet, like free verse. However, while sprung rhythm allows for an indeterminate number of syllables to a foot, Hopkins was very careful to keep the number of feet per line consistent across each individual work, a trait that free verse does not shar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accentual-syllabic Verse
Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza. Accentual-syllabic verse is highly regular and therefore easily scannable. Usually, either one metrical foot, or a specific pattern of metrical feet, is used throughout the entire poem; thus one can speak about a poem being in, for example, iambic pentameter. Poets naturally vary the rhythm of their lines, using devices such as inversion, elision, masculine and feminine endings, the caesura, using secondary stress, the addition of extra-metrical syllables, or the omission of syllables, the substitution of one foot for another. Accentual-syllabic verse dominated literary poetry in English from Chaucer's day until the 19th century, when the freer approach to meter championed by poets such as Samuel Taylor Coleridge and Ralph Waldo Emerson and the radically experimental verse of Gerard Manley Hopkins and Walt Whitman began to challenge its dominan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accentual-syllabic Verse
Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza. Accentual-syllabic verse is highly regular and therefore easily scannable. Usually, either one metrical foot, or a specific pattern of metrical feet, is used throughout the entire poem; thus one can speak about a poem being in, for example, iambic pentameter. Poets naturally vary the rhythm of their lines, using devices such as inversion, elision, masculine and feminine endings, the caesura, using secondary stress, the addition of extra-metrical syllables, or the omission of syllables, the substitution of one foot for another. Accentual-syllabic verse dominated literary poetry in English from Chaucer's day until the 19th century, when the freer approach to meter championed by poets such as Samuel Taylor Coleridge and Ralph Waldo Emerson and the radically experimental verse of Gerard Manley Hopkins and Walt Whitman began to challenge its dominan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cowboy Poetry
Cowboy poetry is a form of poetry that grew from a tradition of cowboys telling stories. Authorship Contrary to common belief, cowboy poetry does not actually have to be written by cowboys, though adherents would claim that authors should have some connection to the cowboy life such that they can write poetry with an "insider's perspective". One example of a popular "cowboy poem" written by a non-cowboy is "The Ride of Paul Venarez" by Eben E. Rexford, a 19th-Century freelance author. Style Newcomers are surprised to hear that cowboy poetry is contemporary. Many poets tend to focus on the historic cowboy lifestyle, historical events and the humorous aspects of the cowboy life style. However, the work that cowboys do continues. The cowboy lifestyle is a living tradition that exists in western North America and other areas, thus, contemporary cowboy poetry is still being created, still being recited, and still entertaining many at cowboy poetry gatherings, around campfires and cow ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Milton's Prosody (book)
''Milton's Prosody, with a chapter on Accentual Verse and Notes'' is a book by Robert Bridges. It was first published by Oxford University Press in 1889, and a final revised edition was published in 1921. Bridges begins with a detailed empirical analysis of the blank verse of ''Paradise Lost'', and then examines the changes in Milton's practice in his later poems ''Paradise Regained'' and ''Samson Agonistes.'' A third section deals with 'obsolete mannerisms'. The final section of the book presents a new system of prosody for accentual verse. Writing of the book Bridges had been asked by Henry Beeching, his local vicar, to write a preface for an edition of ''Paradise Lost'' that Beeching was preparing for sixth-form pupils. Beeching wanted something to counter the prevailing da-DUM-da-DUM style of reading, that artificially distorted words to fit the regular pattern of the iambic pentameter rhythm. When Gerard Manley Hopkins visited Bridges in mid August 1886, they discussed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bridges' Prosody Of Accentual Verse
''Milton's Prosody, with a chapter on Accentual Verse and Notes'' is a book by Robert Bridges. It was first published by Oxford University Press in 1889, and a final revised edition was published in 1921. Bridges begins with a detailed empirical analysis of the blank verse of ''Paradise Lost'', and then examines the changes in Milton's practice in his later poems ''Paradise Regained'' and ''Samson Agonistes.'' A third section deals with 'obsolete mannerisms'. The final section of the book presents a new system of prosody for accentual verse. Writing of the book Bridges had been asked by Henry Beeching, his local vicar, to write a preface for an edition of ''Paradise Lost'' that Beeching was preparing for sixth-form pupils. Beeching wanted something to counter the prevailing da-DUM-da-DUM style of reading, that artificially distorted words to fit the regular pattern of the iambic pentameter rhythm. When Gerard Manley Hopkins visited Bridges in mid August 1886, they discussed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Bridges
Robert Seymour Bridges (23 October 1844 – 21 April 1930) was an English poet who was Poet Laureate from 1913 to 1930. A doctor by training, he achieved literary fame only late in life. His poems reflect a deep Christian faith, and he is the author of many well-known hymns. It was through Bridges's efforts that Gerard Manley Hopkins achieved posthumous fame. Personal and professional life Bridges was born at Walmer, Kent, in England, the son of John Thomas Bridges (died 1853) and his wife Harriett Elizabeth, daughter of the Rev. Sir Robert Affleck, 4th Baronet. He was the fourth son and eighth child. After his father's death his mother married again, in 1854, to John Edward Nassau Molesworth, vicar of Rochdale, and the family moved there. Bridges was educated at Eton College and Corpus Christi College, Oxford. He went on to study medicine in London at St Bartholomew's Hospital, intending to practise until the age of forty and then retire to write poetry. He practised a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gerard Manley Hopkins
Gerard Manley Hopkins (28 July 1844 – 8 June 1889) was an English poet and Jesuit priest, whose posthumous fame placed him among leading Victorian poets. His prosody – notably his concept of sprung rhythm – established him as an innovator, as did his praise of God through vivid use of imagery and nature. Only after his death did Robert Bridges publish a few of Hopkins's mature poems in anthologies, hoping to prepare for wider acceptance of his style. By 1930 Hopkins's work was seen as one of the most original literary advances of his century. It intrigued such leading 20th-century poets as T. S. Eliot, Dylan Thomas, W. H. Auden, Stephen Spender and Cecil Day-Lewis. Early life and family Gerard Manley Hopkins was born in Stratford, EssexW. H. Gardner (1963), ''Gerard Manley Hopkins: Poems and Prose'' Penguin p. xvi. (now in Greater London), as the eldest of probably nine children to Manley and Catherine Hopkins, née Smith. He was christened at the Anglican church of S ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sprung Rhythm
Sprung rhythm is a poetic rhythm designed to imitate the rhythm of natural speech. It is constructed from feet in which the first syllable is stressed and may be followed by a variable number of unstressed syllables. The British poet Gerard Manley Hopkins said he discovered this previously unnamed poetic rhythm in the natural patterns of English in folk songs, spoken poetry, Shakespeare, Milton, et al. He used diacritical marks on syllables to indicate which should be stressed in cases "where the reader might be in doubt which syllable should have the stress" (acute, e.g. shéer) and which syllables should be pronounced but not stressed (grave, e.g., gleanèd). Some critics believe he merely coined a name for poems with mixed, irregular feet, like free verse. However, while sprung rhythm allows for an indeterminate number of syllables to a foot, Hopkins was very careful to keep the number of feet per line consistent across each individual work, a trait that free verse does not shar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
