Metrical Rhythm: Being An Examination of a Recent Attempt to Determine the Basis of English Rhythm in Verse And Prose
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To quickly assess the difficulty of the text, read a short excerpt:
Not that it makes the time triple, or even infallibly demonstrates this, but that it " tells us " a fact which becomes certain as we go on, and to which our ear responds at once. On the strength of this misconception, Mr. Thomson brackets me with writers who think a triple-time foot must contain three syllables, though this is entirely contrary to all I have said on the subject.
I might with much more justice retort on Mr. Thomson the charge which he brings against me. I might say that it is he..., not I, who make syllables constitute rhythm. He uses terms which point that way. He speaks (e.g. p. 38, second line from foot) of dissyllabic and trisyllabic rhythms ; which, to my mind, is like speaking of three-quaver-rhythms and two-crotchet-rhythms. But I do not judge him by such isolated expressions. I read his essay as a whole, and know that he distinguishes syllables from time-beats — though I think, and shall presently contend, that he mistakes the metrical relations between these two.
What to read after Metrical Rhythm: Being An Examination of a Recent Attempt to Determine the Basis of English Rhythm in Verse And Prose?
You can find similar books in the "Read Also" column, or choose other free books by Omond, T. S. (Thomas Stewart), 1846-1923 to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Not that it makes the time triple, or even infallibly demonstrates this, but that it " tells us " a fact which becomes certain as we go on, and to which our ear responds at once. On the strength of this misconception, Mr. Thomson brackets me with writers who think a triple-time foot must contain three syllables, though this is entirely contrary to all I have said on the subject.
I might with much more justice retort on Mr. Thomson the charge which he brings against me. I might say that it is he..., not I, who make syllables constitute rhythm. He uses terms which point that way. He speaks (e.g. p. 38, second line from foot) of dissyllabic and trisyllabic rhythms ; which, to my mind, is like speaking of three-quaver-rhythms and two-crotchet-rhythms. But I do not judge him by such isolated expressions. I read his essay as a whole, and know that he distinguishes syllables from time-beats — though I think, and shall presently contend, that he mistakes the metrical relations between these two.
What to read after Metrical Rhythm: Being An Examination of a Recent Attempt to Determine the Basis of English Rhythm in Verse And Prose?
You can find similar books in the "Read Also" column, or choose other free books by Omond, T. S. (Thomas Stewart), 1846-1923 to read onlineMoreLess
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