The Original Rhythmical Grammar of the English Language |
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Página 44
For this reason we find no difficulty in giving to a trochee , that is , in prosodial
language , a long and a short syllable ; or to an ianbus , that is , a short and a
long syllable , the same entire quantity with a spondee , that is , two long
syllables ...
For this reason we find no difficulty in giving to a trochee , that is , in prosodial
language , a long and a short syllable ; or to an ianbus , that is , a short and a
long syllable , the same entire quantity with a spondee , that is , two long
syllables ...
Página 161
The other English sound of u , as in the words UGLY , UNDONE , BUT , and Gut ,
is composed of the English sounds A u and oo ; but they require to be
pronounced so extremely short and close together , that in the cudeavour to
prolong the ...
The other English sound of u , as in the words UGLY , UNDONE , BUT , and Gut ,
is composed of the English sounds A u and oo ; but they require to be
pronounced so extremely short and close together , that in the cudeavour to
prolong the ...
Página 237
When the standard or preponderate cadences are made up of long and short
syllables , called trochees , or of short and long syllables , called iambuses , what
character do they give the verse ? 30. Should two long syllables succeed each ...
When the standard or preponderate cadences are made up of long and short
syllables , called trochees , or of short and long syllables , called iambuses , what
character do they give the verse ? 30. Should two long syllables succeed each ...
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Contenido
Music Its original use Equally applicable | 1 |
CHAP II | 17 |
CHAP III | 40 |
Derechos de autor | |
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accent accidents according acute applied artificial beauty begin cadence called common composed consequence considered distinct effect elocution emphasis English equal examples expression eyes fall feeling feet force four give grace Grammar grave Greek hand heart heaven heavy kind language learned length light light syllables look loud manner marked means measure melody meter mind mode monotone nature necessary never notes o'er object observed organs passion pauses poetry present principles produce pronounced proper properly proportion prose prosody quantity reader reading and speaking reason require rest rhetorical rhythm rhythmical rising rules sense sentence short sing soft song sound speaker speaking speech spoken sweet syllables taste thing thou thought tion tone triple varieties verse voice written