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In the middle, the best English prose has Longinus appreciated the power which harmonious rhythm has in raising style, but he held that the introduc-Īnd double trochees gave a " tripping " From these remarks it may be gathered that a definite metrical effect in prose ought to be avoided, but that rhythm must not be banished, and that the secret of its beauty lies in tion of pyrrhics, trochees, effectĪUTHORS OF THE NINETEENTH CENTURY variety of rhythm.įrench prose in this respect, that begin pr end emphatically and are Two Enghsh writers who seem to have made rhythm in prose a special study, until quite recently. Longinus was one of the favourite authors studied in the eighteenth century, and possibly influenced Hurd and Mason, the only Rhetorical writers such as Burke, Mackintosh,
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Cicero, being an orator, paid great attention to the end of his sentences. The following important remarks were made by Quintilian, viz., " that the appearance of an entire verse in prose is the ugliest fault of all, that even part of one risks inelegance, and still, actual verses often escape us without our perceiving them," and, '' though the whole body and course of prose is pervaded by number, and we cannot even speak except in longs and shorts, the materials of feet, yet prose must, above all, be varied in composition," and " no system will be good if it go always on the same feet." Many writers of modern prose, such as Ruskin, Coleridge, and Wilham Morris, have frequently introduced blank verses and fragments of other metres, but with such skill that they added to the beauty of their compositions.
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Dionysius went further and declared that no rhythm whatsoever should be banished sidered the pseon orįrom " unmetred " composition, and in this respect modern English prose agrees with Dionysius. Demetrius thought there should be more variety. Have adopted this method, and some made may be useful in the examination of modern English reference to the sugges-Īristotle said that prose must be neither " emmetric " nor " arrhythmic," that is to say, that while it should not be written in oneīe the base-rhythni. Ing to scan it as Professor Saintsbury has done. Rhythm of prose than by attemptSeveral of the ancients special any bearing without grouped together It is not easy to give not foUow does ear the which ways in resolve blend and "plain" from distinguished be also must prose" "Rhythmic are words of numbers because melody, no or little has prose, which seems There emphasis.
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certain obeys which and heard, distinctly where many sounds harmony, to compared be can prose Rhythmic so readily. But it may be hear can which ear alone a form of composition which is not bound as poetry from distinguished metre, but is the harmonious comspecial some of Umitations by the likened to a melody which is be may Poetry many. correct the tendency of modern journalism to ignore harmonious composition.Ī definition of rhythmic prose, because it is the and recognise its music. But since Professor Saintsbury has done so much to show us the way, there is no longer any excuse for being indifferent on the score of the difficulty of the It is also a very necessary and useful exercise in order to subject. Poetry has generally aroused in lovers of literature. Until recently no elaborate criticism of prose rhythm has appeared, the neglect being due probably to the greater interest which The attempt to analyse the rhythm of different styles will enable them to distinguish and appreciate more clearly the effects aimed at by the authors. Those who study it from this point of view will find that prose. Pater, "it is, however, prose which has asserted itself as the special and privileged artistic faculty of the present day," and so the study of Rhythmic Prose has now become important. Nineteenth century has been one of the most briUiant periods of EngUsh Uterature, rich ahke in the amount of itsĪccording to Mr. The United States on the use of the text.