The Rhymester, Or, the Rules of Rhyme: A Guide to English Versification. With a Dictionary of Rhymes, an Examination of Classical Measures, and Comments Upon Burlesque, Comic Verse, and Song-writingD. Appleton and Company, 1884 |
Knygos viduje
Rezultatai 1–4 iš 4
37 psl.
... alliteration . It is an artifice that can be overdone , as is often the case in Poe's poems , and those of Mr. Swinburne . Allitera- tion is a means , not an end . So long as alliterative verse pleases the ear , and yet does not betray ...
... alliteration . It is an artifice that can be overdone , as is often the case in Poe's poems , and those of Mr. Swinburne . Allitera- tion is a means , not an end . So long as alliterative verse pleases the ear , and yet does not betray ...
72 psl.
... Alliteration , when not overdone , is an exquisite ad- dition to the charm of verse . The Poet Laureate thor- oughly understands its value . Mr. Swinburne allows it too frequently to run riot . Edgar Allan Poe carried it to extravagance ...
... Alliteration , when not overdone , is an exquisite ad- dition to the charm of verse . The Poet Laureate thor- oughly understands its value . Mr. Swinburne allows it too frequently to run riot . Edgar Allan Poe carried it to extravagance ...
73 psl.
... alliteration is so ingeniously contrived that one scarcely would suppose there are as many as seven repetitions of the " m . " In Poe's , one is sur- prised to find the apparent excess ... alliteration within alliteration , OF FIGURES . 73.
... alliteration is so ingeniously contrived that one scarcely would suppose there are as many as seven repetitions of the " m . " In Poe's , one is sur- prised to find the apparent excess ... alliteration within alliteration , OF FIGURES . 73.
74 psl.
... alliteration within alliteration , and yet the effect is perfect , for there is no sign of labor . Elision must be used with a sparing hand . Gener- ally speaking , a vowel that is so slightly pronounced that it can be elided , as in ...
... alliteration within alliteration , and yet the effect is perfect , for there is no sign of labor . Elision must be used with a sparing hand . Gener- ally speaking , a vowel that is so slightly pronounced that it can be elided , as in ...
Kiti leidimai - Peržiūrėti viską
The Rhymester– Or, The Rules of Rhyme. A Guide to English Versification ... Tom Hood Visos knygos peržiūra - 1919 |
The Rhymester: Or, The Rules of Rhyme– A Guide to English Versification ... Tom Hood Visos knygos peržiūra - 1896 |
The Rhymester– Or, The Rules of Rhyme. A Guide to English Versification ... Tom Hood Visos knygos peržiūra - 1916 |
Pagrindiniai terminai ir frazės
accent ALFRED AYRES anapæst APPLETON Arthur Penn Austin Dobson ballade Behold the deeds blank verse burlesque Bysshe cæsura CHAPTER classic comic verse couplet dactyl decasyllable delight dissyllable English verse envoy essay example feet foot forms of verse French give grammar hand-book hexameter Hood iambic Latin lines rhyme Longfellow lyric measure meter night nouns and third o'er pantoum participles of verbs persons singular present plurals of nouns poem poet poetry Pope preceding present of verbs preterites and participles quatrain Reader refrain repetition rhymes plural Rhymes the plurals rhymes the preterites rhythm rondeau Rules of Rhyme singular of verbs singular present tense song song-writing sonnet sound spondee stanza style sweet tense of verbs Théodore de Banville third line third persons singular thou tion Tom Hood triplet trisyllable trochee unaccented syllables verbs in Ow vers de société versification villanelle vowels words write wrote
Populiarios ištraukos
22 psl. - Christabel is not, properly speaking, irregular, though it may seem so from its being founded on a new principle: namely, that of counting in each line the accents, not the syllables. Though the latter may vary from seven to twelve, yet in each line the accents will be found to be only four.
18 psl. - The sound must seem an echo to the sense : Soft is the strain when Zephyr gently blows, And the smooth stream in smoother numbers flows ; But when loud surges lash the sounding shore, The hoarse, rough verse should like the torrent roar : When Ajax strives some rock's vast weight to throw, The line too labours, and the words move slow ; Not so, when swift Camilla scours the plain, Flies o'er th' unbending corn, and skims along the main.
17 psl. - True ease in writing comes from art, not chance, As those move easiest who have learn'd to dance.
96 psl. - JENNY kissed me when we met, Jumping from the chair she sat in; Time, you thief, who love to get Sweets into your list, put that in! Say I'm weary, say I'm sad, Say that health and wealth have missed me, Say I'm growing old, but add, Jenny kissed me.
17 psl. - whispers through the trees": If crystal streams "with pleasing murmurs creep," The reader's threaten'd (not in vain) with "sleep": Then, at the last and only couplet fraught With some unmeaning thing they call a thought, A needless Alexandrine ends the song, That, like a wounded snake, drags its slow length along.
17 psl. - Though oft the ear the open vowels tire; While expletives their feeble aid do join; And ten low words oft creep in one dull line: While they ring round the same unvaried chimes With sure returns of still expected rhymes: Where'er you find "the cooling western breeze...
26 psl. - Trochee trips from long to short ; From long to long in solemn sort Slow spondee stalks ; strong foot ! yet ill able Ever to come up with Dactyl trisyllable. Iambics march from short to long ; — With a leap and a bound the swift Anapaests throng ; One syllable long, with one short...
63 psl. - I shall never, in the years remaining, Paint you pictures, no, nor carve you statues, Make you music that should all-express me; So it seems: I stand on my attainment. This of verse alone, one life allows me; Verse and nothing else have I to give you Other heights in other lives, God willing: All the gifts from all the heights, your own, love!
61 psl. - If aught of oaten stop, or pastoral song, May hope, chaste eve, to soothe thy modest ear, Like thy own solemn springs, Thy springs, and dying gales...
105 psl. - As commonly used, the refrain, or burden, not only is limited to lyric verse, but depends for its impression upon the force of monotone— both in sound and thought. The pleasure is deduced solely from the sense of identity— of repetition. I resolved to diversify, and so heighten the effect, by adhering in general to the monotone of sound, while I continually varied that of thought: that is to say, I determined to produce continuously novel effects, by the variation of the application of the refrain...