The Original Rhythmical Grammar of the English LanguageGeorg Olms Verlag |
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الصفحة ix
... and feeling ; still the music of the piece re- mains the same . 6. By this , and by no other means , we can suc- cessfully destroy those marked peculiarities which are so very general with all readers and speakers , PREFACE . ix.
... and feeling ; still the music of the piece re- mains the same . 6. By this , and by no other means , we can suc- cessfully destroy those marked peculiarities which are so very general with all readers and speakers , PREFACE . ix.
الصفحة x
James Chapman. are so very general with all readers and speakers , but which , according to the present mode of ac- quiring these arts , no teacher can remedy , because there are no visible symbols to direct to the pro- per use of the ...
James Chapman. are so very general with all readers and speakers , but which , according to the present mode of ac- quiring these arts , no teacher can remedy , because there are no visible symbols to direct to the pro- per use of the ...
الصفحة xii
... speakers , will , in this system , find ad- vantages peculiar to their profession ; advantages without which the finest strains of eloquence may be disgusting in the delivery , and the most sublime effusions of oratory tame and insipid ...
... speakers , will , in this system , find ad- vantages peculiar to their profession ; advantages without which the finest strains of eloquence may be disgusting in the delivery , and the most sublime effusions of oratory tame and insipid ...
الصفحة xiii
... speaker is in the con- stant practice of using , though ignorant of the prin- ciples on which he proceeds , every time he reads or speaks . A thorough knowledge of it , therefore , may be acquired by any one who is tolerably master of ...
... speaker is in the con- stant practice of using , though ignorant of the prin- ciples on which he proceeds , every time he reads or speaks . A thorough knowledge of it , therefore , may be acquired by any one who is tolerably master of ...
الصفحة 2
عذرًا، محتوى هذه الصفحة مقيَّد.
عذرًا، محتوى هذه الصفحة مقيَّد.
المحتوى
CHAP I | 1 |
CHAP II | 17 |
CHAP III | 40 |
CHAP IV | 65 |
CHAP V | 82 |
CHAP VI | 91 |
Rhythm Ancient Rhythm whatEssentials | 100 |
CHAP IX | 116 |
Three hundred and eightyeight questions | 232 |
CHAP XV | 251 |
Set to the Music of Specch | 252 |
The Soldiers Dream Ditto | 260 |
The Contented Miller | 266 |
The Swollen Torrent | 274 |
Hohenlinden an Epic Song | 280 |
Set to the Music of Speech | 299 |
CHAP X | 128 |
CHAP XI | 142 |
CHAP XII | 153 |
CHAP XIII | 183 |
CHAP XIV | 222 |
Battle of Waterloo | 325 |
The Rainbow | 332 |
The Temple of Jerusalem | 338 |
Hamlets Directions to the Players | 345 |
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
accidents of language acute accent acute and grave Anapest ancient applied Arsis and Thesis Artificial Feet artificial prosody beauty called circumflex composed dactyl degrees Demosthenes diphthong distinct elocution English English language equal Examples expression eyes force full melody grace notes Grammar grammarians grave accent Greek and Latin Greek language guage heart heaven heavy and light heavy syllables honour iambus inflexions light syllables loud and soft marked meter monosyllables monotone nature nerally never nosyllables o'er organic emphasis organs of speech passion peculiar pleasure poet poetry poize pronounced pronunciation proportion prose prosodians quantity reading and speaking rhetorical pauses rhythm Rhythmical Cadences rules scanning semibrief sense sentence Shakespeare sing Slow song soul sound spoken language spondee sweet syllabic emphasis taste thee thou tion tone triple cadences trochee varieties verse virtue voice vowel words