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Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
Iambic pentameter (/ aɪ ˌ æ m b ɪ k p ɛ n ˈ t æ m ɪ t ər / eye-AM-bik pen-TAM-it-ər) is a type of metric line used in traditional English poetry and verse drama.The term describes the rhythm, or meter, established by the words in each line.
Dactylic pentameter; Dactylic hexameter. Golden line; Iambic meter: any meter based on the iamb as its primary rhythmic unit. Alexandrine (iambic hexameter): a 12-syllable iambic line adapted from French heroic verse. Example: the last line of each stanza in “The Convergence of the Twain” by Thomas Hardy. [1] Czech alexandrine; French ...
Furthermore, iambic pentameter (despite its name) may be better described as a series of 10 positions than of 5 feet, especially since the sequence ××// may be interpreted as the swapping of ictic and non-ictic positions across feet, suggesting that if feet constitute any kind of boundary at all, it is a porous one indeed.
Like many of the others in the sequence, it is written in a type of metre called iambic pentameter, which is based on five pairs of metrically weak/strong syllabic positions per line. Typically English sonnets present a problem or argument in the quatrains, and a resolution in the final couplet. [2]
In reasoning and argument mapping, a counterargument is an objection to an objection. A counterargument can be used to rebut an objection to a premise, a main contention or a lemma. Synonyms of counterargument may include rebuttal, reply, counterstatement, counterreason, comeback and response.
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Generative metrics [a] is the collective term for three distinct theories of verse structure (focusing on the English iambic pentameter) advanced between 1966 and 1977.. Inspired largely by the example of Noam Chomsky's Syntactic Structures (1957) and Chomsky and Morris Halle's The Sound Pattern of English (1968), [1] these theories aim principally at the formulation of explicit linguistic ...