The Principles of English Versification

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9780674730694: The Principles of English Versification
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Excerpt: ...Spenserian in artistic merit is the sonnet: but the two are for very different purposes, the one being nearly always used in long, clearly connected series, generally narrative, the other nearly always as an independent poem. Even when sonnets are written in 'sequences, ' the relation of the individual sonnets to each other is rarely very close; the unity of the whole sequence (as in Rossetti's House of Life, for example, or Mrs. Browning's Sonnets from the Portuguese) is one merely of general tone and subject. Some of Shakespeare's sonnets are bound together by an intimate unity like stanzas of one poem; others are completely detached. Occasionally a poem is composed of three or four sonnet-stanzas, as Leigh Hunt's The Fish, the Man, and the Spirit, but even then each sonnet remains an independent whole. The word 'sonnet, ' borrowed with the metrical form from Italy in the late sixteenth century, 61 was at first used loosely for almost any short poem on love not obviously a 'song'; but soon the term became restricted to a poem of fourteen 5-stress iambic lines arranged according to one of two definite rime schemes or their modifications. These two rime schemes are 120 the original Italian abba abba cde cde and the English abab cdcd efef gg. Italian Sonnet. The organization of the subject matter of an Italian sonnet is (at least theoretically) as fixed as that of the rimes. The whole should aim to convey without irrelevant detail a single thought or feeling. The first quatrain, abba, should introduce the subject; the second, abba, should develop it to a certain point, at which a pause occurs; such is the octave. The sestet continues in the first tercet, cde, the thought or feeling in a new direction or from a new point of view, and in the second, cde, brings it to a full conclusion. 62 The rime sounds of the octave and those of the sestet should be harmonious but not closely similar. It stands to reason that very few poets have enslaved themselves to...

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About the Author:

Ernest Belfort Bax was born on 23 July 1854, in Leamington, son of wealthy garment manufacturers and traditionalist nonconformist parents. In his Reminiscences and Reflexions of a Mid and Late Victorian (1918), he describes the narrow Evangelicanism and Sabbatarianism in which he was brought up which he describes as having left "an enduringly unpleasant reminiscence behind it".[1] He was privately educated by tutors between the years 1864–1875, and influenced by George Lewes, William Lecky, Alexander Bain, Herbert Spencer and John Stuart Mill, which contributed to his dedication to rationalism. At the age of sixteen his interest in public affairs was awakened by the Franco-German War, and by its sequel, the Commune. His political ideas during this period amounted to a commonplace radicalism combined with aspirations to economic equality.

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Other Popular Editions of the Same Title

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9781500410766: The Principles of English Versification

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9780742640764: The principles of English versification,

Classi..., 1922
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Book Description HARVARD UNIVERSITY PRESS, United States, 1929. Hardback. Condition: New. Reprint 2013 ed.. Language: English. Brand new Book. Excerpt: .Spenserian in artistic merit is the sonnet: but the two are for very different purposes, the one being nearly always used in long, clearly connected series, generally narrative, the other nearly always as an independent poem. Even when sonnets are written in 'sequences, ' the relation of the individual sonnets to each other is rarely very close; the unity of the whole sequence (as in Rossetti's House of Life, for example, or Mrs. Browning's Sonnets from the Portuguese) is one merely of general tone and subject. Some of Shakespeare's sonnets are bound together by an intimate unity like stanzas of one poem; others are completely detached. Occasionally a poem is composed of three or four sonnet-stanzas, as Leigh Hunt's The Fish, the Man, and the Spirit, but even then each sonnet remains an independent whole. The word 'sonnet, ' borrowed with the metrical form from Italy in the late sixteenth century, 61 was at first used loosely for almost any short poem on love not obviously a 'song'; but soon the term became restricted to a poem of fourteen 5-stress iambic lines arranged according to one of two definite rime schemes or their modifications. These two rime schemes are 120 the original Italian abba abba cde cde and the English abab cdcd efef gg. Italian Sonnet. The organization of the subject matter of an Italian sonnet is (at least theoretically) as fixed as that of the rimes. The whole should aim to convey without irrelevant detail a single thought or feeling. The first quatrain, abba, should introduce the subject; the second, abba, should develop it to a certain point, at which a pause occurs; such is the octave. The sestet continues in the first tercet, cde, the thought or feeling in a new direction or from a new point of view, and in the second, cde, brings it to a full conclusion. 62 The rime sounds of the octave and those of the sestet should be harmonious but not closely similar. It stands to reason that very few poets have enslaved themselves to. Seller Inventory # LIE9780674730694

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Book Description Harvard University Press. Hardcover. Condition: New. This item is printed on demand. 228 pages. Dimensions: 8.0in. x 5.0in. x 0.6in.This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1922 edition. Excerpt: . . . gave it a peculiar melody, and, partly for this reason and partly from the length and subject of the poem, almost preempted it for elegiac purposes. 1 Characteristic stanzas metrically are these: Calm and deep peace in this wide air, These leaves that redden to the fall; And in my heart, if calm at all, If any calm, a calm despair. And all we met was fair and good, And all was good that Time could bring, And all the secret of the Spring Moved in the chambers of the blood. 1 On its origin and the twenty-five poems in it by seventeen different poets, from Ben Jonson to Clough and Rossetti, before the publication of In Memoriam, see E. P. Morton in Modern Language Notes, 24 (1909), pp. 67 ff. Now fades the last long streak of snow, Now burgeons every maze of quick About the flowering squares, and thick By ashen roots the violets blow. One of the peculiarities of the stanza is the increased emphasis which the rime of the third verse receives from its proximity to that of the second; and this is noticeable both when there is a logical pause after the third verse and when there is none: Thou makest thine appeal to me: I bring to life, I bring to death: The spirit does but mean the breath: I know no more. And he, shall he. . . I sometimes hold it half a sin To put in words the grief I feel; For words, like Nature, half reveal And half conceal the Soul within. Run-on stanzas are very frequent; especially remarkable is the periodic movement of the four stanzas of I LXXXVI, leading up to the last line--A hundred spirits whisper Peace. By the rhyme-scheme of the quatrain, says Corson, the terminal rhyme-emphasis of the stanza is reduced, the second and third verses being the most closely braced by the rhyme. The stanza is thus admirably adapted to the. . . This item ships from La Vergne,TN. Hardcover. Seller Inventory # 9780674730694

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Book Description HARVARD UNIVERSITY PRESS, United States, 1929. Hardback. Condition: New. Reprint 2013 ed.. Language: English. Brand new Book. Excerpt: .Spenserian in artistic merit is the sonnet: but the two are for very different purposes, the one being nearly always used in long, clearly connected series, generally narrative, the other nearly always as an independent poem. Even when sonnets are written in 'sequences, ' the relation of the individual sonnets to each other is rarely very close; the unity of the whole sequence (as in Rossetti's House of Life, for example, or Mrs. Browning's Sonnets from the Portuguese) is one merely of general tone and subject. Some of Shakespeare's sonnets are bound together by an intimate unity like stanzas of one poem; others are completely detached. Occasionally a poem is composed of three or four sonnet-stanzas, as Leigh Hunt's The Fish, the Man, and the Spirit, but even then each sonnet remains an independent whole. The word 'sonnet, ' borrowed with the metrical form from Italy in the late sixteenth century, 61 was at first used loosely for almost any short poem on love not obviously a 'song'; but soon the term became restricted to a poem of fourteen 5-stress iambic lines arranged according to one of two definite rime schemes or their modifications. These two rime schemes are 120 the original Italian abba abba cde cde and the English abab cdcd efef gg. Italian Sonnet. The organization of the subject matter of an Italian sonnet is (at least theoretically) as fixed as that of the rimes. The whole should aim to convey without irrelevant detail a single thought or feeling. The first quatrain, abba, should introduce the subject; the second, abba, should develop it to a certain point, at which a pause occurs; such is the octave. The sestet continues in the first tercet, cde, the thought or feeling in a new direction or from a new point of view, and in the second, cde, brings it to a full conclusion. 62 The rime sounds of the octave and those of the sestet should be harmonious but not closely similar. It stands to reason that very few poets have enslaved themselves to. Seller Inventory # APC9780674730694

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Book Description HARVARD UNIVERSITY PRESS, United States, 1929. Hardback. Condition: New. Reprint 2013 ed.. Language: English. Brand new Book. Excerpt: .Spenserian in artistic merit is the sonnet: but the two are for very different purposes, the one being nearly always used in long, clearly connected series, generally narrative, the other nearly always as an independent poem. Even when sonnets are written in 'sequences, ' the relation of the individual sonnets to each other is rarely very close; the unity of the whole sequence (as in Rossetti's House of Life, for example, or Mrs. Browning's Sonnets from the Portuguese) is one merely of general tone and subject. Some of Shakespeare's sonnets are bound together by an intimate unity like stanzas of one poem; others are completely detached. Occasionally a poem is composed of three or four sonnet-stanzas, as Leigh Hunt's The Fish, the Man, and the Spirit, but even then each sonnet remains an independent whole. The word 'sonnet, ' borrowed with the metrical form from Italy in the late sixteenth century, 61 was at first used loosely for almost any short poem on love not obviously a 'song'; but soon the term became restricted to a poem of fourteen 5-stress iambic lines arranged according to one of two definite rime schemes or their modifications. These two rime schemes are 120 the original Italian abba abba cde cde and the English abab cdcd efef gg. Italian Sonnet. The organization of the subject matter of an Italian sonnet is (at least theoretically) as fixed as that of the rimes. The whole should aim to convey without irrelevant detail a single thought or feeling. The first quatrain, abba, should introduce the subject; the second, abba, should develop it to a certain point, at which a pause occurs; such is the octave. The sestet continues in the first tercet, cde, the thought or feeling in a new direction or from a new point of view, and in the second, cde, brings it to a full conclusion. 62 The rime sounds of the octave and those of the sestet should be harmonious but not closely similar. It stands to reason that very few poets have enslaved themselves to. Seller Inventory # APC9780674730694

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Book Description Harvard University Press. Hardcover. Condition: New. 0674730690 Special order direct from the distributor. Seller Inventory # ING9780674730694

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