Rhymes Of English Poets Of The Xixth Century

Excerpt from Rhymes of English Poets of the Xixth Century The poet of times past long ago, complaining, to make use of his own expression, of that dira necessitas metri intends to hint at all those difficulties, arising to him from the quantity of the vowels in each particular word, and increasing from the fluctuation of this particular word itself (produced by declension for instance), as well as from the influence exerted over the last syllable of this word by the consonants or vowels beginning the following one. As to the poets of many nations of modern times, there has come out by and by another difficulty, which, if not of equal importance, yet, when not sufficiently looked too, may greatly contribute to derogate enormously from the beauties aimed at in composing a poetical production. The difficulty alluded to consists, since rhymes have become almost an indispensable accessory to poesy, in the correctness of the rhyme itself. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Rhymes of English Poets of the Xixth Century Considering the word rhyme in its universal meaning we agree it to represent the consonance existing between the last word or the last words of two ore more verses. This consonance, however, rests not upon an absolute con formity or rather identity of those words, but requires that a certain difference exists, that both these words must not be the same, let the likeness be ever so great between them. The conformity between the words which represent a rhyme, must be thus, that the vowels together with the following consonants in both verses are the same or nearly the same, while the difference exists for the con sonants preceeding the first rhyming vowels. Nothwith standing this diversity of the preceeding consonants, the consonance of the rhyming words is harmonic and can be harmonic only, if especially the vowels in their sound, their quantity and accentuation are reconciled in such a manner as to offer a likeness agreeable to the ear. The harmony required is not gained, when the rhyming syllables are only similar or assonant, when the vowels are of unequal quantity or have a different accentuation. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The rhymes in poems are important to understanding how poets write; and in the nineteenth century, rhyme conditioned the ways in which poets heard both themselves and each other writing. Sound Intentions studies the significance of rhyme in the work of Wordsworth, Keats, Tennyson, Christina Rossetti, Hopkins and other poets, including Coleridge, Byron, Elizabeth Barrett Browning, Swinburne, and Hardy. The book's stylistic reading of nineteenth-century poetry argues for Wordsworth's centrality to issues of intention and chance in poets' work, and offers a reading of the formal choices made in poetry as profoundly revealing points of intertextual relation. Sound Intentions includes detailed consideration of the critical meaning of both rhyme and repetition, bringing to bear an emphasis on form as poetry's crucial proving-ground. In a series of detailed readings of important poems, the book shows how close formal attention goes beyond critical formalism, and can become a way of illuminating poets' deepest preoccupations, doubts, and beliefs. Wordsworth's sounding of his own poetic voice, in blank verse as well as rhyme, is here taken as a model for the ways in which later nineteenth-century poets attend to the most perplexing and important voicings of their own poetic originality.