Clive Scott's A Question of Syllables: Essays in Nineteenth-Century French PDF
By Clive Scott
Dr Scott argues that basically via getting to the fitting destinations of phrases in line or stanza, and to the categorical worth of syllables, or by means of knowing the customarily conflicting calls for of rhythm and metre, can the reader of poetry collect a true seize of the intimate lifetime of phrases in verse with all their fluctuations of that means, temper and tone. The analyses wherein the ebook pursues its argument tackle important issues: the way syllabic place initiatives phrases and colors their complex and challenged by means of the connection of rhythm to metre.
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Extra info for A Question of Syllables: Essays in Nineteenth-Century French Verse
There can be no further stipulations about accent, no stipulations about the degrees of rhythmic juncture, that is to say, no coupe is necessarily structurally pre-eminent within the line by virtue of position, nor, where there is more than one coupe within the line, can one be called major and the others The octosyllable, rhythmicity and syllabic position minor by reference to any metrical principle. Furthermore, it is extremely rare that sequences of octosyllables set up their own prosodic norms by installing a rhythmic regularity from line to line, partly because in units so small, and so recurrently rhyme-marked, regularity quickly becomes over-insistent, and partly because, as we shall see, the rhythmic segmentation of the octosyllable is extremely difficult to control.
Arguing that in two instances some form of punctuation mark could be easily imagined (lines 1,7), that in two other instances inversion created a 'false' enjambement (3, 11), that one of the lines in question was in any case syntactically complete (9) and that, in the final case, though verb and subject were separated, they were not so much separated by the line-ending as by an extended parenthesis (5). The high incidence of non-enjambing lines, lines which are nonetheless no more than syntactical fragments, encloses the rhythmic ambivalence of the line in its own play and underlines the sense of enigma generated by the line's tantalising glimpse of a wholeness; it is the rhythmic ambivalence which interrogates that enigma.
Le deuil de la nature 2+4+2+4 ('L'Automne') Glided over like this, the sense of loss no longer competes with or heightens the physical sensation or phenomenon under threat; instead the experience hidden in 'dernier' remains unexpressed, subliminal even, and perception remains in the world of the purely sensory. Finally, and briefly, I would like to give some consideration to two other words, thematically important, whose meaning oscillates between two poles, namely 'deja' and 'seuT. 'Deja' is either the 'already' of 'too late' or the 'already' of 'at last', the arrival of the ardently desired.
A Question of Syllables: Essays in Nineteenth-Century French Verse by Clive Scott