English Verse: Voice and Movement from Wyatt to Yeats, Volume 2Cambridge U.P., 1967 - 324 pages Every poet has a characteristic tone of voice, and his own rhythm. The author's chief interest is this 'sound poems make in the head', and his particular gift is to help us to hear what is going on in the individual poem, and to catch the poet's individuality. We also hear how each poet develops the forms his predecessors have used. In this way, we move from a consideration of single voices to the development of particular forms (like the couplet or blank verse) and the characteristics of whole periods. This book, then, has several uses. While verse as sound is its main concern, it can be read as an introductory history of English verse from the sixteenth to the twentieth century. Since the author quotes generously, he also provides as he goes along an unhackneyed anthology in chronological order. In addition, he comments in detail on many of the poems, so that the book is a demonstration of the methods and uses of practical criticism. |
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Page 63
... movement of the spheres to do with parting lovers ? The former are , like floods and tempests , disturbances in the natural order , and they were thought to be evidences of God's wrath , which is why men inquire into their meaning , as ...
... movement of the spheres to do with parting lovers ? The former are , like floods and tempests , disturbances in the natural order , and they were thought to be evidences of God's wrath , which is why men inquire into their meaning , as ...
Page 221
... movement . The hare limps , the Beadsman tells his rosary , his breath moves upwards , and the verse moves too , with slow fluent grace , through to the end of the stanza , whose culminating alexandrine draws our eyes after the thin ...
... movement . The hare limps , the Beadsman tells his rosary , his breath moves upwards , and the verse moves too , with slow fluent grace , through to the end of the stanza , whose culminating alexandrine draws our eyes after the thin ...
Page 295
... movement of the sea , and to convey its mystery , silence and sinister power . We are not aware of any standard metrical pattern , and yet to call this verse ' free ' would seem to be a misnomer . It does not , for example , sound at ...
... movement of the sea , and to convey its mystery , silence and sinister power . We are not aware of any standard metrical pattern , and yet to call this verse ' free ' would seem to be a misnomer . It does not , for example , sound at ...
Contents
Blank Verse | 25 |
The Seventeenth Century | 58 |
The Eighteenth Century | 117 |
Copyright | |
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Common terms and phrases
A. E. Housman alliteration Balaam beauty Blake blank verse Boston Evening Transcript breath called Comus couplet dark dead death Donne Donne's doth dramatic dream Dryden earth eternal eyes fall feel flowers Gorboduc GUIDERIUS hath hear heart heaven Henry Purcell heroic couplet Hopkins human imagination inscape Keats kind King lady lines living look Lord lyric man's meaning melody Milton mind Muses nature nature's never night o'er passage play pleasure poem poet poet's poetic poetry Pre-Raphaelite Prufrock quotation reader rhetoric rhyme rhythm romantic Samian wine sense Shakespeare sing sleep smile song sonnet sort soul sound speech Spenser spirit spring sprung rhythm stanza stresses sweet syllables symbol T. S. Eliot taste thee theme thine things thou thought trees truth tune turn verb voice wind words Wordsworth writing Yeats