English Verse. Raymond Macdonald Alden

English Verse - Raymond Macdonald  Alden


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       Raymond MacDonald Alden

      English Verse

      Specimens Illustrating its Principles and History

      Published by Good Press, 2019

       [email protected]

      EAN 4064066238513

       PART ONE

       ENGLISH VERSE

       I. ACCENT AND TIME

       II. THE FOOT AND THE VERSE

       III. THE STANZA

       IV. TONE-QUALITY

       PART TWO

       I. FOUR-STRESS VERSE

       II. FIVE-STRESS VERSE

       III. SIX-STRESS AND SEVEN-STRESS VERSE

       IV. THE SONNET

       V. THE ODE

       VI. IMITATIONS OF CLASSICAL METRES

       VII. IMITATIONS OF ARTIFICIAL FRENCH LYRICAL FORMS

       PART THREE

       THE TIME-ELEMENT IN ENGLISH VERSE [49]

       PART FOUR

       THE PLACE AND FUNCTION OF THE METRICAL ELEMENT IN POETRY

       APPENDIX

       TABLE ILLUSTRATING THE HISTORY OF THE HEROIC COUPLET

       INDEX

       Table of Contents

       Table of Contents

       Table of Contents

      A.—KINDS OF ACCENT

      The accents of English syllables as appearing in verse are commonly classified in two ways: according to degree of intensity, and according to cause or significance.

      Obviously there can be no fixed limits to the number of degrees of intensity recognized in syllabic accent or stress. It is common to speak of three such degrees: syllables having accent (stressed), syllables having secondary accent, and syllables without accent (unstressed). Schipper makes four groups: Principal Accent (Hauptaccent or Hochton), Secondary Accent (Nebenaccent or Tiefton), No Accent (Tonlosigkeit), and Disappearance of Sound (Stummheit). In illustration he gives the word ponderous, where the first syllable has the chief accent, the last a secondary accent, the second no accent; while in the verse

      "Most ponderous and substantial things"

      the second syllable is suppressed or silent.

      Of man's first disobedience, and the fruit

       0 2 1 0 0 2 0 0 0 2

       Of that forbidden tree, whose mortal taste

       0 1 0 2 0 1 0 2 0 2

       Brought death into the world, and all our woe,

       1 2 0 0 0 2 0 1 0 2

       With loss of Eden, till one greater man

       0 1 0 2 0 0 0 2 0 2

       Restore us, and regain the blissful seat,

       0 2 0 0 0 2 0 2 0 2

       Sing, heavenly Muse, that, on the secret top

       2 2 0 2 1 0 0 2 0 1

       Of Horeb or of Sinai, didst inspire

       0 2 0 0 0 2 0 1 0 2

       That shepherd, who first taught the chosen seed

       1 2 0 0 2 2 0 2 0 2

       In the beginning, how the heavens and earth

       0 0 0 2 0 1 0 2 0 2

      It is worthy of note that the secondary accent seems originally to have been a more important factor in English verse than it is commonly considered to be in modern periods. In Anglo-Saxon verse the combination of a primary stress, a secondary stress, and an unstressed syllable, is a recognized type. In modern verse the reader is likely to make an effort to reduce all syllables to the type of either stress or no-stress. In such a verse as the following, however (from Matthew Arnold's Forsaken Merman)—

      "And I lose my poor soul, Merman, here with thee,"—

      we may find such a combination as that just referred to as familiar in Anglo-Saxon rhythm. The syllables "soul, Merman" are respectively cases of primary stress, secondary stress, and no-stress. On this matter see further the remark of Luick, cited on p. 156, below.

      The element of Pitch is not ordinarily included in the treatment of versification, as it is not ordinarily recognized as having any significance peculiar to verse. According to Professor


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