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(without typos) from the publisher. 1918. Excerpt: ... NOTES
Introduction The Metre Of The Play.-- It should be understood at
the outset that metre, or the mechanism of verse, is something
altogether distinct from the music of verse. The one is matter of
rule, the other of taste and feeling. Music is not an absolute
necessity of verse; the metrical form is a necessity, being that
which constitutes the verse. The plays of Shakespeare (with the
exception of rhymed passages, and of occasional songs and
interludes) are all in unrhymed or blank verse; and the normal form
of this blank verse is illustrated by the first line of the second
scene in this play: "What bloody man is that? He can report." This
line, it will be seen, consists of ten syllables, with the even
syllables (2d, 4th, 6th, 8th, and 10th) accented, the odd syllables
(1st, 3d, etc.) being unaccented. Theoretically, it is made up of
fire feet of two syllables each, with the accent on the second
syllable. Such a foot is called an iambus (plural, iambuses, or the
Latin iambi), and the form of verse is called iambic. This
fundamental law of Shakespeare's verse is subject to certain
modifications, the most important of which are as follows: -- 1.
After the tenth syllable an unaccented syllable (or even two such
syllables) may be added, forming what is sometimes called a female
line; as in line 8 of the second scene: "As two spent swimmers that
do cling together." The rhythm is complete with the second syllable
of together, the last syllable being an extra one. Other examples
in the same scene are lines 9, 11, 14, and 52. In ii. 4. 10 we have
two extra syllables, the rhythm being complete with the second
syllable of unnatural. 2. The accent in any part of the verse may
be shifted from an even to an odd syllable; as in lines 6 and 10 of
the second scene: "Say to the king the knowled...
General Books LLC
|Country of origin:
William James Rolfe
||246 x 189 x 4mm (L x W x T)
||Paperback - Trade
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