The Original Rhythmical Grammar of the English LanguageGeorg Olms Verlag |
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Side 1
... proportion , however varied in their modes , are universal in their influence . These laws prevail in all languages , and extend through every branch of Elocution . The essentials of all music are sound and mea- sure , which , when ...
... proportion , however varied in their modes , are universal in their influence . These laws prevail in all languages , and extend through every branch of Elocution . The essentials of all music are sound and mea- sure , which , when ...
Side 3
... , we shall distinctly feel its vibrations and , in proportion as we give force and energy to the voice , these vibrations become more strongly marked . That state of the voice , in vocal music , RHYTHMICAL GRAMMAR . 3.
... , we shall distinctly feel its vibrations and , in proportion as we give force and energy to the voice , these vibrations become more strongly marked . That state of the voice , in vocal music , RHYTHMICAL GRAMMAR . 3.
Side 8
... proportion of public speakers to public singers be more than a hundred to one , yet the propor- tion of good speakers to good singers is much less than one to a hundred . Where shall we find , at present , one great public orator ...
... proportion of public speakers to public singers be more than a hundred to one , yet the propor- tion of good speakers to good singers is much less than one to a hundred . Where shall we find , at present , one great public orator ...
Side 12
... proportions of those sounds , gave birth to artificial prosody . Artificial prosody , therefore , could never have been made , as some have imagined , with the view to a more intimate union of music and poetry : because if music should ...
... proportions of those sounds , gave birth to artificial prosody . Artificial prosody , therefore , could never have been made , as some have imagined , with the view to a more intimate union of music and poetry : because if music should ...
Side 41
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Innhold
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 |
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The Original Rhythmical Grammar of the English Language: Or, the Art of ... Rev. James Chapman Uten tilgangsbegrensning - 1821 |
Vanlige uttrykk og setninger
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
Populære avsnitt
Side 346 - Who is here so base, that would be a bondman ? If any, speak ; for him have I offended. Who is here so rude, that would not be a Roman ? If any, speak ; for him have I offended. Who is here so vile, that will not love his country? If any, speak ; for him have I offended — I pause for a reply.
Side 346 - Romans, countrymen, and lovers! hear me for my cause ; and be silent that you may hear : believe me for mine honour; and have respect to mine honour, that you may believe: censure me in your wisdom; and awake your senses that you may the better judge. If there be any in this assembly, any dear friend of Caesar's, to him I say, that Brutus' love to Caesar was no less than his.
Side 345 - Nor do not saw the air too much with your hand, thus ; but use all gently : for in the very torrent, tempest, and (as I may say) whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.
Side 346 - As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him; but, as he was ambitious, I slew him.
Side 347 - Here comes his body, mourned by Mark Antony: who, though he had no hand in his death , shall receive the benefit of his dying, a place in the commonwealth ; As which of you shall not ? With this I depart ; That, as I slew my bes't lover" for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death.
Side 344 - She'd come again, and with a greedy ear • Devour up my discourse: which I, observing, Took once a pliant hour, and found good means To draw from her a prayer of earnest heart That I would all my pilgrimage dilate...
Side 345 - Now this overdone, or come tardy off, though it make the unskilful laugh, cannot but make the judicious grieve ; the censure of the which one, must, in your allowance, o'erweigh a whole theatre of others. Oh, there be players, that I have seen play, and heard others praise, and that highly, not to speak it profanely, that, neither having the accent of Christians, nor the gait of Christian, pagan, nor man, have so strutted, and bellowed, that I have thought some of nature's journeymen had made men,...
Side 343 - Their dearest action in the tented field, And little of this great world can I speak, More than pertains to feats of broil and battle, And therefore little shall I grace my cause In speaking for myself.