An abbreviation is a shortened form of a word or phrase. It consists of a group of letters taken from the word or phrase. For example, the word abbreviation can itself be represented by the abbreviation abbr., abbrv., or abbrev.
Alexandrine is a name used for several distinct types of verse line with related metrical structures, most of which are ultimately derived from the classical French alexandrine. The line's name derives from its use in the Medieval French Roman d'Alexandre of 1170, although it had already been used several decades earlier in Le Pèlerinage de Charlemagne. The foundation of most alexandrines consists of two hemistichs (half-lines) of six syllables each, separated by a caesura :
o o o o o o | o o o o o o o=any syllable; |=caesura
In articulatory phonetics, a consonant is a speech sound that is articulated with complete or partial closure of the vocal tract. Examples are, pronounced with the lips;, pronounced with the front of the tongue;, pronounced with the back of the tongue;, pronounced in the throat; and, pronounced by forcing air through a narrow channel (fricatives); and and, which have air flowing through the nose (nasals). Contrasting with consonants are vowels.
In poetry, metre (British) or meter is the basic rhythmic structure of a verse or lines in verse. Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order. The study and the actual use of metres and forms of versification are both known as prosody.
A caesura, also written cæsura and cesura, is a break in a verse where one phrase ends and the following phrase begins. It may be a comma, a tick, or two lines, either slashed (//) or upright (||). In time value this break may vary between the slightest perception of silence all the way up to a full pause. Considered a breath, a caesura in music represents a similar break or pause. The length of a caesura where notated is at the discretion of the conductor. In choral works a brief caesura may be notated where singers are to catch their breath.
Accentual verse has a fixed number of stresses per line regardless of the number of syllables that are present. It is common in languages that are stress-timed, such as English, as opposed to syllabic verse which is common in syllable-timed languages, such as French.
Nâzım Hikmet Ran, commonly known as Nâzım Hikmet was a Turkish poet, playwright, novelist, screenwriter, director and memoirist. He was acclaimed for the "lyrical flow of his statements". Described as a "romantic communist" and "romantic revolutionary", he was repeatedly arrested for his political beliefs and spent much of his adult life in prison or in exile. His poetry has been translated into more than fifty languages.
Articles related to literature include:
Elizabeth Daryush was an English poet.
Canadian Aboriginal syllabic writing, or simply syllabics, is a family of abugidas used to write a number of indigenous Canadian languages of the Algonquian, Inuit, and (formerly) Athabaskan language families. They are valued for their distinctiveness from the Latin script of the dominant languages and for the ease with which literacy can be achieved; indeed, by the late 19th century the Cree had achieved what may have been one of the highest rates of literacy in the world.
Decasyllable is a poetic meter of ten syllables used in poetic traditions of syllabic verse. In languages with a stress accent, it is the equivalent of pentameter with iambs or trochees.
Milton's Prosody, with a chapter on Accentual Verse and Notes is a book by Robert Bridges. It was first published by Oxford University Press in 1889, and a final revised edition was published in 1921.
In his book Milton's Prosody, Robert Bridges undertakes a detailed analysis of the prosody of John Milton's Paradise Lost. Bridges shows that there are no lines in Paradise Lost with fewer than ten syllables, and furthermore, that with a suitable definition of elision, there are no mid-line extra-metrical syllables. He also demonstrates that the stresses may fall at any point in the line, and that although most lines have the standard five stresses, there are examples of lines with only three and four stresses. All this amounts to a statement that Milton was writing a form of Syllabic verse. Bridges explains this in historical terms by observing that Milton followed the practice of Geoffrey Chaucer, who — in Bridges' view — adopted the Romance prosody of French verse, which was syllabic, having itself derived from the practice of Latin poets who through a corruption of Greek quantitative meters also counted syllables. Bridges notes that the approach Milton takes in Paradise Lost represents a certain tightening of the rules, compared to his earlier work, such as Comus, in which he allowed himself the Shakespearian 'liberty' of a feminine ending before a caesura.
Neo-Miltonic Syllabics is a meter devised by Robert Bridges. It was first employed by the poet in a group of poems composed between 1921 and 1925, and collected in his book New Verse (1925). In "Kate's Mother," included in New Verse, Bridges had found that form which he later employed in The Testament of Beauty, a book-length poem written when he was over eighty. He arrived at that syllabic meter used in the New Verse collection by way of his earlier detailed analysis of John Milton’s versification in Milton's Prosody.
"Poor Poll" is a poem written by Robert Bridges in 1921, and first collected in his book New Verse (1925). The poem is the first example of Bridges' Neo-Miltonic Syllabics.
Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza. Accentual-syllabic verse is highly regular and therefore easily scannable. Usually, either one metrical foot, or a specific pattern of metrical feet, is used throughout the entire poem; thus we can talk about a poem being in, for example, iambic pentameter. Poets naturally vary the rhythm of their lines, using devices such as inversion, elision, masculine and feminine endings, the caesura, using secondary stress, the addition of extra-metrical syllables, or the omission of syllables, the substitution of one foot for another.
William Shakespeare's Sonnet 130 mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress.
