English Verse

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Raymond Macdonald Alden. English Verse

English Verse

Table of Contents

PART ONE

ENGLISH VERSE

I. ACCENT AND TIME

A.—KINDS OF ACCENT

B.—TIME-INTERVALS

i. Verse showing fairly regular intervals between accents

ii. Verse showing irregular intervals between accents

iii. Silent Time-intervals between Syllables (Pauses)

FOOTNOTES:

II. THE FOOT AND THE VERSE

One-stress iambic

Two-stress iambic

Two-stress trochaic

Two-stress anapestic

Two-stress dactylic

Two-stress irregular

Three-stress iambic

Three-stress trochaic

Three-stress anapestic

Three-stress dactylic

Four-stress iambic

Four-stress trochaic

Four-stress anapestic

Four-stress dactylic

Five-stress iambic

Five-stress trochaic

Five-stress anapestic

Five-stress dactylic

Six-stress iambic

Six-stress trochaic

Six-stress anapestic

Six-stress dactylic

Seven-stress iambic

Seven-stress trochaic

Seven-stress anapestic

Seven-stress dactylic

Eight-stress iambic

Eight-stress trochaic

Eight-stress anapestic

Eight-stress dactylic

COMBINATIONS AND SUBSTITUTIONS. i. Verses in which different sorts of feet are more or less regularly combined

ii. Verses in which individual feet are altered from the metrical scheme

Deficiency in accent (substituted pyrrhic)

Excess of accent (substituted spondee)

Inversion of accent (substituted trochee)

Hypermetrical syllable (substituted anapest)

Omitted syllable (substituted iambus)

FOOTNOTES:

III. THE STANZA

Terza rima (aba, bcb, etc.)

QUATRAINS. aaaa

aabb

abcb

abab

abba

aaba

REFRAIN STANZAS

abccb

ababb

aabbb

aabcdd

aaaabb

ababab

ababcc

ababbcc ("Rime royal")

ababcca

ababccb

abababab

ababbaba

ababbcbc

ababccdd

abababcc (ottava rima)

aabaabbab

ababcccdd

ababbcbcc ("Spenserian stanza")

abababccc

aabaabcc

ababbcbcdd

aabbbcc

ababababbcbc

aabccbddbeebffgggf

ababccdeed

aabccbddbeeb

abcbdcdceccce

FOOTNOTES:

IV. TONE-QUALITY

A. AS A STRUCTURAL ELEMENT

i. Assonance

ii. Alliteration

iii. Rime (i.e. end-rime)

Double and triple rime

Broken rime

Internal rime

B. AS A SPORADIC ELEMENT (TONE-COLOR)

FOOTNOTES:

PART TWO

I. FOUR-STRESS VERSE

A.—NON-SYLLABLE-COUNTING

B.—SYLLABLE-COUNTING (OCTOSYLLABIC COUPLET)

FOOTNOTES:

II. FIVE-STRESS VERSE

A.—THE DECASYLLABIC COUPLET

B.—BLANK VERSE

FOOTNOTES:

III. SIX-STRESS AND SEVEN-STRESS VERSE

A.—THE ALEXANDRINE (IAMBIC HEXAMETER)

B.—THE SEPTENARY

C.—THE "POULTER'S MEASURE."

IV. THE SONNET

A.—THE REGULAR (ITALIAN) SONNET

B.—THE ENGLISH (SHAKSPERIAN) SONNET

FOOTNOTES:

V. THE ODE

A.—REGULAR PINDARIC

C.—CHORAL

FOOTNOTES:

VI. IMITATIONS OF CLASSICAL METRES

A.—LYRICAL MEASURES

B.—DACTYLIC HEXAMETER

FOOTNOTES:

VII. IMITATIONS OF ARTIFICIAL FRENCH LYRICAL FORMS

A.—THE BALLADE

B.—THE RONDEAU AND RONDEL

i. "Rondel" Type

ii. "Rondeau" Type

C.—THE VILLANELLE

D.—THE TRIOLET

E.—THE SESTINA

FOOTNOTES:

PART THREE

THE TIME-ELEMENT IN ENGLISH VERSE[49]

FOOTNOTES:

PART FOUR

THE PLACE AND FUNCTION OF THE METRICAL ELEMENT IN POETRY

FOOTNOTES:

APPENDIX

TABLE ILLUSTRATING THE HISTORY OF THE HEROIC COUPLET

FOOTNOTES:

INDEX

Отрывок из книги

Raymond MacDonald Alden

Specimens Illustrating its Principles and History

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(b) Pauses filling the time of syllables.

A second class of silent time-intervals, or pauses, is to be distinguished from the cesural pause by the fact that in this case the time of the pause is counted in the metrical scheme. Pauses of this class correspond to rests in music; and as in the case of such rests, their occurrence is exceptional.

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