Shakespeare's Metrical ArtUniversity of California Press, 2 Agu 1988 - 363 halaman 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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Halaman 3
... appear either in a stressed or in an unstressed " position , " and that acquires interest and emotional resonance by being different from syllables we can more readily identify as either stressed or unstressed . Because the syllables we ...
... appear either in a stressed or in an unstressed " position , " and that acquires interest and emotional resonance by being different from syllables we can more readily identify as either stressed or unstressed . Because the syllables we ...
Halaman 5
... appears that lines of more than five stresses have only a provisional reality . Even when the midline break is accorded minimal value , we are still likely to perceive the lines as compound in nature and to hear distinctly the shorter ...
... appears that lines of more than five stresses have only a provisional reality . Even when the midline break is accorded minimal value , we are still likely to perceive the lines as compound in nature and to hear distinctly the shorter ...
Halaman 7
... continuous negotiation of the stress - values of syllables . Even if , as we said earlier , English syllables mainly alternate between two general levels of stress , as they appear in English words and phrases 7 The Iambic Pentameter Line.
... continuous negotiation of the stress - values of syllables . Even if , as we said earlier , English syllables mainly alternate between two general levels of stress , as they appear in English words and phrases 7 The Iambic Pentameter Line.
Halaman 8
... appear in actual lines ( this could be avoided only by using the crude formula itself as a line ) , for different vowels differ- ently enclosed by consonants will not be given the identical value in speech . Again , this does not mean ...
... appear in actual lines ( this could be avoided only by using the crude formula itself as a line ) , for different vowels differ- ently enclosed by consonants will not be given the identical value in speech . Again , this does not mean ...
Halaman 9
... appear peculiar , since they to some de- gree challenge the stability of iambic meter itself . But the very pattern of iambic verse and the variability of stress in the language insure that they will occur . So long as the iambic foot ...
... appear peculiar , since they to some de- gree challenge the stability of iambic meter itself . But the very pattern of iambic verse and the variability of stress in the language insure that they will occur . So long as the iambic foot ...
Isi
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