English Verse: Specimens Illustrating its Principles and History
Free

English Verse: Specimens Illustrating its Principles and History

By Raymond MacDonald Alden
Free
Book Description
Table of Contents
  • ENGLISH VERSE
    • PREFACE
    • CONTENTS
    • PART ONE
  • ENGLISH VERSE
    • I. ACCENT AND TIME
      • A.—KINDS OF ACCENT
        • B.—TIME-INTERVALS
        • FOOTNOTES:
      • B.—TIME-INTERVALS
      • FOOTNOTES:
      • II. THE FOOT AND THE VERSE
        • COMBINATIONS AND SUBSTITUTIONS
        • FOOTNOTES:
      • COMBINATIONS AND SUBSTITUTIONS
      • FOOTNOTES:
      • III. THE STANZA
        • TERCETS
        • QUATRAINS
        • REFRAIN STANZAS
        • FOOTNOTES:
      • TERCETS
      • QUATRAINS
      • REFRAIN STANZAS
      • FOOTNOTES:
    • A.—KINDS OF ACCENT
      • B.—TIME-INTERVALS
      • FOOTNOTES:
    • B.—TIME-INTERVALS
    • FOOTNOTES:
    • II. THE FOOT AND THE VERSE
      • COMBINATIONS AND SUBSTITUTIONS
      • FOOTNOTES:
    • COMBINATIONS AND SUBSTITUTIONS
    • FOOTNOTES:
    • III. THE STANZA
      • TERCETS
      • QUATRAINS
      • REFRAIN STANZAS
      • FOOTNOTES:
    • TERCETS
    • QUATRAINS
    • REFRAIN STANZAS
    • FOOTNOTES:
    • IV. TONE-QUALITY
      • A. AS A STRUCTURAL ELEMENT
        • B. AS A SPORADIC ELEMENT (TONE-COLOR)
        • FOOTNOTES:
      • B. AS A SPORADIC ELEMENT (TONE-COLOR)
      • FOOTNOTES:
    • A. AS A STRUCTURAL ELEMENT
      • B. AS A SPORADIC ELEMENT (TONE-COLOR)
      • FOOTNOTES:
    • B. AS A SPORADIC ELEMENT (TONE-COLOR)
    • FOOTNOTES:
    • PART TWO
      • I. FOUR-STRESS VERSE
        • A.—NON-SYLLABLE-COUNTING
        • B.—SYLLABLE-COUNTING (OCTOSYLLABIC COUPLET)
        • FOOTNOTES:
      • A.—NON-SYLLABLE-COUNTING
      • B.—SYLLABLE-COUNTING (OCTOSYLLABIC COUPLET)
      • FOOTNOTES:
      • II. FIVE-STRESS VERSE
        • A.—THE DECASYLLABIC COUPLET
        • B.—BLANK VERSE
        • FOOTNOTES:
      • A.—THE DECASYLLABIC COUPLET
      • B.—BLANK VERSE
      • FOOTNOTES:
      • III. SIX-STRESS AND SEVEN-STRESS VERSE
        • A.—THE ALEXANDRINE (IAMBIC HEXAMETER)
        • B.—THE SEPTENARY
        • C.—THE "POULTER'S MEASURE."
      • A.—THE ALEXANDRINE (IAMBIC HEXAMETER)
      • B.—THE SEPTENARY
      • C.—THE "POULTER'S MEASURE."
      • IV. THE SONNET
        • A.—THE REGULAR (ITALIAN) SONNET
        • B.—THE ENGLISH (SHAKSPERIAN) SONNET
        • FOOTNOTES:
      • A.—THE REGULAR (ITALIAN) SONNET
      • B.—THE ENGLISH (SHAKSPERIAN) SONNET
      • FOOTNOTES:
      • V. THE ODE
        • A.—REGULAR PINDARIC
        • B.—IRREGULAR (COWLEYAN)
        • C.—CHORAL
        • FOOTNOTES:
      • A.—REGULAR PINDARIC
      • B.—IRREGULAR (COWLEYAN)
      • C.—CHORAL
      • FOOTNOTES:
      • VI. IMITATIONS OF CLASSICAL METRES
        • A.—LYRICAL MEASURES
        • B.—DACTYLIC HEXAMETER
        • FOOTNOTES:
      • A.—LYRICAL MEASURES
      • B.—DACTYLIC HEXAMETER
      • FOOTNOTES:
      • VII. IMITATIONS OF ARTIFICIAL FRENCH LYRICAL FORMS
        • A.—THE BALLADE
        • B.—THE RONDEAU AND RONDEL
        • C.—THE VILLANELLE
        • D.—THE TRIOLET
        • E.—THE SESTINA
        • FOOTNOTES:
      • A.—THE BALLADE
      • B.—THE RONDEAU AND RONDEL
      • C.—THE VILLANELLE
      • D.—THE TRIOLET
      • E.—THE SESTINA
      • FOOTNOTES:
    • I. FOUR-STRESS VERSE
      • A.—NON-SYLLABLE-COUNTING
      • B.—SYLLABLE-COUNTING (OCTOSYLLABIC COUPLET)
      • FOOTNOTES:
    • A.—NON-SYLLABLE-COUNTING
    • B.—SYLLABLE-COUNTING (OCTOSYLLABIC COUPLET)
    • FOOTNOTES:
    • II. FIVE-STRESS VERSE
      • A.—THE DECASYLLABIC COUPLET
      • B.—BLANK VERSE
      • FOOTNOTES:
    • A.—THE DECASYLLABIC COUPLET
    • B.—BLANK VERSE
    • FOOTNOTES:
    • III. SIX-STRESS AND SEVEN-STRESS VERSE
      • A.—THE ALEXANDRINE (IAMBIC HEXAMETER)
      • B.—THE SEPTENARY
      • C.—THE "POULTER'S MEASURE."
    • A.—THE ALEXANDRINE (IAMBIC HEXAMETER)
    • B.—THE SEPTENARY
    • C.—THE "POULTER'S MEASURE."
    • IV. THE SONNET
      • A.—THE REGULAR (ITALIAN) SONNET
      • B.—THE ENGLISH (SHAKSPERIAN) SONNET
      • FOOTNOTES:
    • A.—THE REGULAR (ITALIAN) SONNET
    • B.—THE ENGLISH (SHAKSPERIAN) SONNET
    • FOOTNOTES:
    • V. THE ODE
      • A.—REGULAR PINDARIC
      • B.—IRREGULAR (COWLEYAN)
      • C.—CHORAL
      • FOOTNOTES:
    • A.—REGULAR PINDARIC
    • B.—IRREGULAR (COWLEYAN)
    • C.—CHORAL
    • FOOTNOTES:
    • VI. IMITATIONS OF CLASSICAL METRES
      • A.—LYRICAL MEASURES
      • B.—DACTYLIC HEXAMETER
      • FOOTNOTES:
    • A.—LYRICAL MEASURES
    • B.—DACTYLIC HEXAMETER
    • FOOTNOTES:
    • VII. IMITATIONS OF ARTIFICIAL FRENCH LYRICAL FORMS
      • A.—THE BALLADE
      • B.—THE RONDEAU AND RONDEL
      • C.—THE VILLANELLE
      • D.—THE TRIOLET
      • E.—THE SESTINA
      • FOOTNOTES:
    • A.—THE BALLADE
    • B.—THE RONDEAU AND RONDEL
    • C.—THE VILLANELLE
    • D.—THE TRIOLET
    • E.—THE SESTINA
    • FOOTNOTES:
    • PART THREE
      • THE TIME-ELEMENT IN ENGLISH VERSE[49]
        • FOOTNOTES:
      • FOOTNOTES:
    • THE TIME-ELEMENT IN ENGLISH VERSE[49]
      • FOOTNOTES:
    • FOOTNOTES:
    • PART FOUR
      • THE PLACE AND FUNCTION OF THE METRICAL ELEMENT IN POETRY
        • FOOTNOTES:
      • FOOTNOTES:
    • THE PLACE AND FUNCTION OF THE METRICAL ELEMENT IN POETRY
      • FOOTNOTES:
    • FOOTNOTES:
    • APPENDIX
      • TABLE ILLUSTRATING THE HISTORY OF THE HEROIC COUPLET
        • FOOTNOTES:
      • FOOTNOTES:
    • TABLE ILLUSTRATING THE HISTORY OF THE HEROIC COUPLET
      • FOOTNOTES:
    • FOOTNOTES:
    • INDEX
      • Transcriber's Notes:
    • Transcriber's Notes:
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