The Original Rhythmical Grammar of the English LanguageGeorg Olms Verlag, 1976 - 348 páginas |
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Página xiii
... begin to learn the English Grammar , they are perfectly qualified to begin this Book . This is not , as many may be apt to suppose , a new mode of reading ; it is in fact nothing more than an attempt at a complete elucidation , by ...
... begin to learn the English Grammar , they are perfectly qualified to begin this Book . This is not , as many may be apt to suppose , a new mode of reading ; it is in fact nothing more than an attempt at a complete elucidation , by ...
Página 104
... begin with half a bar or cadence , which deficiency is filled up with a pause , rhythm not being necessarily connect- ed with sound and supposing a line to consist of five feet , or rather of five cadences of musical time , ex- clusive ...
... begin with half a bar or cadence , which deficiency is filled up with a pause , rhythm not being necessarily connect- ed with sound and supposing a line to consist of five feet , or rather of five cadences of musical time , ex- clusive ...
Página 107
... begin with a heavy syl- lable , or a pause supplying its place , which is the na- tural order in which all spoken language must be arti- culated , whereas their meters , though nominally under the same rhythm , are not always of equal ...
... begin with a heavy syl- lable , or a pause supplying its place , which is the na- tural order in which all spoken language must be arti- culated , whereas their meters , though nominally under the same rhythm , are not always of equal ...
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Términos y frases comunes
accidents of language acute accent acute and grave Anapest ancient applied Arsis and Thesis Artificial Feet artificial prosody beauty called circumflex composed dactyl degrees Demosthenes diphthong distinct elocution English English language equal Examples expression eyes force grace Grammar grammarians grave accent Greek and Latin Greek language guage heart heaven heavy and light heavy syllable honour iambus inflexions light syllables loud and soft marked meter monosyllables monotone nature nerally never nosyllables notes o'er organic emphasis organs of speech passion peculiar pleasure poet poetry poize pronounced pronunciation proper proportion prose prosodians quantity reader reading and speaking rhetorical pauses rhythm Rhythmical Cadences rules scanning semibrief sense sentence Shakespeare sing Slow song soul sound speaker spoken language spondee sweet syllabic emphasis taste thee thou tion tone triple cadences trochee varieties verse virtue voice vowel words