Time in English Verse Rhythm: An Empirical Study of Typical Verses by the Graphic MethodScience Press, 1908 - 77 sider |
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2d day 3-syllable 30 1st foot accented syllable actual verse analysis anapæstic ANAPESTIC TETRAMETER AVERAGES centroid compared consonants curve dactyl drum duration elements English verse equal experience experimental fact feet foot 1st day Foot V Ratio give gramophone record graphic method IAMBIC TETRAMETERS iambs intensity intervals irregular latter length less lever long syllable measure metrists movements music theory nonsense verse number of syllables observation ordinary pa'pa pa'pa pa'rst pápa patapa pause Pease porridge Pease porridge hot Phonetics phonograph pitch prose Psychol psychologist quantity reader READINGS BY H recitation record relations rhythmic series rhythmic unit scansion separate syllables short syllables shorter singing speech sounds stress Subject H SYLLABLES IN IAMBIC Table XIV tambour tapping tempo temporal regularity TETRAMETER theory of verse third foot tion trochaic trochee unaccented syllable variability verse rhythm verses of poetry voice vowel Wallin words Yale Studies
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Side 29 - 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.
Side 54 - It is not possible to draw a hard and fast line between the so-called "organic" and "inorganic
Side 27 - ... apt numbers, fit quantity of syllables, and the sense variously drawn out from one verse into another...
Side 49 - The western waves of ebbing day Rolled o'er the glen their level way; Each purple peak, each flinty spire, Was bathed in floods of living fire. But not a setting beam could glow Within the dark ravines below, Where twined the path in shadow hid, Round many a rocky pyramid, Shooting abruptly from the dell Its...
Side 28 - Our English verse, though based on alternations of force, is materially governed by length and pause, is seldom or never unaccompanied by variety of pitch unknown in prose, and is more than all perhaps governed by weight, which is due to expression and mental conceptions of importance, and is distinct from force, length, pitch, and pause or silence ; but results partly from expression in delivery (a very different thing from mere emphasis), produced by quality of tone and gliding pitch, with often...
Side 32 - All speech is quantitative; and the distinction, popularly and confidently posited, between quantitative and non-quantitative verse is grounded upon fallacious assumptions. The question of the quantitative character of poetry or prose, is closed. The only crux of contention that remains affects the character of the laws governing the temporal relation of the components of language. The question contains several phases. "The first determination has settled the fact that...
Side 27 - is based mainly on the natural stress of the language, each strong stress marking the beginning of a foot (bar). But the stress-groups of ordinary speech amount to nothing more than prose : to make these stress groups into metrical feet it is necessary to have them of equal (or proportionate) length, and in English verse we lengthen or shorten syllables without scruple in order to make the feet of the requisite length.
Side 73 - The regularity becomes a matter of recurrence of strain at the end of a definite cycle. The muscles may take a longer or a shorter time to accomplish their cycle and the strain may not come at equal intervals of time, but the swing is there and from one place to the next like place is...
Side 32 - ... pitch changes accompany changes in intensity, so that the subordination of one sound to another and their consequent unification with respect to intensity is always dependent upon pitch and quality changes as well. For this reason it is impossible to treat each properly by itself. Time-relations: — In order for vocal utterances to form a rhythmic series, they must occur at regular intervals of time which cannot exceed or fall much below certain limits.
Side 24 - In a line, every long syllable must of its own accord occupy in its utterance, or must be made to occupy, precisely the time demanded for two short ones.