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In the second example, the text before the line break retains a meaning in isolation from the contents of the new line. This meaning is encountered by the reader before it being modified by the text after the line break, which clarifies that, instead of "I, as a person, as a mind, am 'absolute,'" it 'really' means: "I am absolutely sure it was ...
For example, the Odin article links to a list of names of Odin, which include kennings. A few examples of Odin's kennings are given here. A few examples of Odin's kennings are given here. For a scholarly list of kennings see Meissner's Die Kenningar der Skalden (1921) or some editions of Snorri Sturluson 's Skáldskaparmál .
The English word "trapeze" is an example of an iambic pair of syllables, since the word is made up of two syllables ("tra-peze") and is pronounced with the stress on the second syllable ("tra-PEZE", rather than "TRA-peze"). A line of iambic pentameter is made up of five such pairs of short/long, or unstressed/stressed, syllables.
Enjambment: incomplete syntax at the end of a line; the meaning runs over from one poetic line to the next, without terminal punctuation. Epigraph: a quotation from another literary work that is placed under the title at the beginning of a poem or section of a poem. Hemistich: a half of a line of verse.
Another important metre in English is the common metre, also called the "ballad metre", which is a four-line stanza, with two pairs of a line of iambic tetrameter followed by a line of iambic trimeter; the rhymes usually fall on the lines of trimeter, although in many instances the tetrameter also rhymes. This is the metre of most of the Border ...
In modern English poetry, it refers to a line consisting of four iambic feet. The word "tetrameter" simply means that there are four feet in the line; iambic tetrameter is a line comprising four iambs, defined by accent. The scheme is thus: x / x / x / x /
This line includes a masculine caesura after θεὰ, a natural break that separates the line into two logical parts. Homeric lines more commonly employ feminine caesurae; this preference is observed to an even higher degree among the Alexandrian poets. [3] An example of a feminine caesura is the opening line of the Odyssey:
The source of Clarke's first example line is unknown, but the same line is also one of Burles's examples of the golden line. Burles's discussion of the golden line is clearly based upon this tradition concerning the position of epithets. Burles's golden line is a narrow application of the principles outlined by Bede almost a millennium earlier.