When one's speech carries within it holes of silences: hesitations, pauses, caesuras, stutters, and apprehensions?
|
|
Sometimes he pitches language headlong over his line breaks, only to halt it, in the next line, by oddly scattered caesuras and slashes.
|
|
Each dance's current is nonstop (the pauses in her own "Particular Reel" are somewhat illusory, caesuras rather than halts), while its sense of process is constant.
|
|
In terms of Joron's own poetic practice, this musical tuning toward criticality —toward the emergence (and emergency) of ontological lament — plays out on the page through a formidable ensemble of techniques, including the use of densely patterned consonance and assonance, internal rhyming, strategic caesuras, the masterful modulation of vowel sounds, and entrancing homophonic orchestration.
|
|
See Stimson The characters (or syllables) between the caesuras or end stops can be considered to be a metric foot. The caesuras tended to both be fixed depending upon the formal rules for that type of poem and to match the natural rhythm of speech based upon units of meaning spanning the characters.
|
|
The three Burt Bacharach musical sequences in Butch Cassidy and the Sundance Kid (1969) provide contrasting caesuras that separate the major actions of the film. Several intense action sequences in Master and Commander (2003), including a raging sea storm and fight scenes, are followed by caesuras – quiet, scenic interludes that are often accompanied by melodic cello music.
|
|
Rhythm was mostly a matter of tonal variation, line length, caesuras within lines, and end stopping. Variations of rhythm were subtly played off in between the various lines within a poem.
|
|
The term first gained significance in motion-picture art through the editing experiments of Sergei Eisenstein. In applying his concept of montage as the "collision of shots", Eisenstein often included caesuras – rhythmical breaks – in his films. The acts of The Battleship Potemkin (1925) are separated by caesuras that provide a rhythmical contrast to the preceding action. The intense, frenetic action of the mutiny, for example, is followed by the lyrical journey of a dinghy to the shore.
|
|
Bissell, Patricia Melcher (2017). Classroom Keyboard: Play and Create Melodies with Chords, p.41. Rowman & Littlefield. .) is often used in guitar tablature or chord charts to indicate tacets, rests, or caesuras in the accompaniment.
|
|
Each melodic passage centers on a single tone level, but the melodic contour and melodic passages are largely shaped by the reading rules (creating passages of different lengths, whose temporal expansion is defined with caesuras). Skilled readers may read professionally for urban mosques.
|
|
Unlike the Nibelungenlied-stanza, all four lines in the "Hildebrandston" are of the same length: three metrical feet, followed by a caesura, then three additional metrical feet. Both types of stanza rhyme in couplets. Some poems use a variant of the "Hildebrandston" known as the "Heunenweise" or "Hunnenweise" (the Hunnish melody), in which the words before caesuras also rhyme across lines, creating a rhyme scheme of ABABCDCD. The Rabenschlacht uses a unique stanza consisting of three "Langzeilen" with rhymes at the caesuras: in this form, the first line is equivalent to a line of the Hildebrandston, the second adds an additional foot after the caesura, and the third adds two or even three additional feet.
|
|
'In Samarkand' (poems, from UST Publishing House in 2008). 'Caesuras: 155 New Poems' (UST Publishing House 2013). 'Like A Shadow That Only Fits A Figure Of Which It Is Not The Shadow' (UST Publishing House 2014). 'Fire If It Were Ice, Ice If It Were Fire' (Ateneo de Naga Press 2016).
|
|
Line length is the fundamental metrical criterion in classifying Classical Chinese poetry forms. Once the line length is determined, then the most likely of the line by caesuras is also known, since they are as a rule fixed in certain positions. Thus, specifying the line-length of a Chinese poem is equivalent to specifying both the type of feet and the number of feet per line in poetry using quantitative meter.
|
|
The use of caesuras throughout the poem also contributes to the easy reading, giving the reader a chance to slowly read and take in the words and meanings. The repetition words, such as "Father", put an emphasis on the meaning of Father in the piece. The title "Father" serves the use of ambiguity, because one may interpret different meaning from the word. The poem itself is ambiguous, because it has its literal meaning and religious meaning.
|
|
Wang Jian had one poem collected in Three Hundred Tang Poems, which was translated by Witter Bynner as "A Bride". He was also known to write in the rare six-syllable line, which is characterized by the presence of two caesuras per line, dividing each line into three parts of two syllables each.Frankel, 153 One of Wang's poems was adapted in the Tune of Li Zhongtang by Li Hongzhang for use as an unofficial national anthem in 1896, (the 22nd year of Guangxu) during a diplomatic visit to western Europe and Russia.
|
|
In most editions, the caesuras are reinterpreted as line-endings, so that the stanza appears as six short lines. Four of the fantastical poems, the Eckenlied, Virginal, the Sigenot, and Goldemar are written in a complex rhyming stanza known as the "Berner Ton." Originally, the stanza mixed "Langzeilen" with shorter lines of four feet known from Minnesang stanzas, but over time it came to be interpreted as 13 short lines. Victor Millet sees the "Berner Ton" as a way for these poems to distance themselves from tradition: the stanza is extremely complex and artistic rather than simple or archaic.
|
|
In England, the poems of the 15th and early 16th centuries are in a wide variety of meters. Thomas Wyatt, for example, often mixed iambic pentameters with other lines of similar length but different rhythm. Henry Howard, Earl of Surrey, on the other hand, used a strict ten- syllable line that was similar to the Old French line, with its pause after the fourth syllable, but typically had a regular iambic pattern, and had many of the modern types of variation. Thomas Sackville, in his two poems in the Mirror for Magistrates, used a similar line but with few caesuras.
|
|
The fourteener is a metrical line of 14 syllables (usually seven iambic feet). Fourteeners typically occur in couplets. Fourteener couplets broken into quatrains (four-line stanzas) are equivalent to quatrains in common metre or ballad metre: instead of alternating lines of tetrameter and trimeter, a fourteener joins the tetrameter and trimeter lines to give seven feet per line. The fourteener gives the poet greater flexibility than common metre, in that its long lines invite the use of variably placed caesuras and spondees to achieve metrical variety, in place of a fixed pattern of iambs and line breaks.
|
|
Visual elements have become an important part of the poet's toolbox, and many poets have sought to use visual presentation for a wide range of purposes. Some Modernist poets have made the placement of individual lines or groups of lines on the page an integral part of the poem's composition. At times, this complements the poem's rhythm through visual caesuras of various lengths, or creates juxtapositions so as to accentuate meaning, ambiguity or irony, or simply to create an aesthetically pleasing form. In its most extreme form, this can lead to concrete poetry or asemic writing.
|
|
The Jakhanke clerical tradition is respected throughout the Muslim world for producing erudite and distinguished Islamic scholars. Their curriculum vitae are considered an excellent quality, nurturing the young with Muslim values while simultaneously encouraging intellectual pursuits in their natural environment. The standard Majalis program offered for Islamic sciences begins by incorporating a formal introduction into the rules governing recitation (tajweed) and memorization of the Qur'an. Recitation should be done according to rules of pronunciation, intonation, and caesuras established by the Prophet Muhammad, though first recorded in the 8th century. There are seven schools of tajwid, the most popular being the school of Hafs on the authority of ‘asim.
|
|
Enjambment "tend[s] to increase the pace of the poem", whereas end-stopped lines, which are lines that break on caesuras (thought-pauses'Classroom synonym'.com often represented by ellipsis), emphasize these silences and slow the poem down. Line breaks may also serve to signal a change of movement or to suppress or highlight certain internal features of the poem, such as a rhyme or slant rhyme. Line breaks can be a source of dynamism, providing a method by which poetic forms imbue their contents with intensities and corollary meanings that would not have been possible to the same degree in other forms of text.
|
|
In addition, he elides caesuras and makes use of the stringed instruments' ability to sustain far longer than a human voice. Among the passages new to the string quartet are measures 17-24, 125-126, and a cello part beginning at measure 63. Some cause of the variation is that the quartet is a celebration of the fall of Nicolae Ceauşescu, whereas Out of the Ruins is an expression of the hopelessness after an earthquake. Siônpp. 174-175 describes numerous places where the accents and descriptors of the work indicate a very different feeling and approach to the music, with the quartet being much more aggravated, while the choral work reflects sorrow without indignation.
|
|
The New Poems show Rilke's great sensitivity to the world of representational reality. The ascetic thing-aspect of his verse no longer allowed the frank and open discussion of his soul, or the fine emotional and sensual states, presented clearly in The Book of Hours in the shape of prayer. The poems tend to be stylistically descriptive at the starting point, but the boundary between observer and object soon dissolves via observation and elicits new connections. With this thing-mysticism Rilke did not however want ecstasy to overcome the clarity of consciousness, especially since he frequently made use of the sonnet form, whose caesuras are, however, glossed over by the musical language.
|
|
Les Espaces du sommeil is a work for baritone and orchestra set to a poem of Robert Desnos by the Polish composer Witold Lutosławski. It is in one movement, with a three-section scheme but lacking clearly marked caesuras, about which Lutosławski stated: "Les Espaces is neither a song nor a set of songs, but a symphonic poem with a baritone solo." Composed in 1975, it was first performed on 12 April 1978 in Berlin by the baritone Dietrich Fischer- Dieskau and the Berlin Philharmonic Orchestra under the direction of the composer. The piece is Lutosławski's first composition set to the poetry of Robert Desnos, to which the composer returned in 1990's Chantefleurs et Chantefables.
|
|
Poet on a Mountaintop by Shen Zhou, about 1500 CE (Ming Dynasty). Classical Chinese poetry forms are those poetry forms, or modes which typify the traditional Chinese poems written in Literary Chinese or Classical Chinese. Classical Chinese poetry has various characteristic forms, some attested to as early as the publication of the Classic of Poetry, dating from a traditionally, and roughly, estimated time of around 10th–7th century BC. The term "forms" refers to various formal and technical aspects applied to poems: this includes such poetic characteristics as meter (such as, line length and number of lines), rhythm (for example, presence of caesuras, end-stopping, and tone contour), and other considerations such as vocabulary and style. These forms and modes are generally, but not invariably, independent of the Classical Chinese poetry genres.
|
|
This same pattern is found again in line 41 ("I cannot see what flowers are at my feet") with the "a" of "cannot" linking with the "a" of "at" and the "ee" of "see" linking with the "ee" of "feet". This system of assonance can be found in approximately a tenth of the lines of Keats's later poetry.. When it comes to other sound patterns, Keats relies on double or triple caesuras in approximately 6% of lines throughout the 1819 odes. An example from "Ode to a Nightingale" can be found within line 45 ("The grass, the thicket, and the fruit-tree wild") as the pauses after the commas are a "masculine" pause. Furthermore, Keats began to reduce the amount of Latin-based words and syntax that he relied on in his poetry, which in turn shortened the length of the words that dominate the poem.
|
|
These include one where Muhammad listens to recitations of various companions and approves of each of them; where he corrects Umar's berating another companion's recitation saying the "Quran has been revealed in seven Ahruf"; or claim Muhammad asked the angel Jibreel to teach him different styles of recitation until he had learned seven.narrated by al-Bukhari (Sahih al-Bukhari), 3047; Muslim Sahih Muslim, p. 819. Differences between Qira'at are slight and include differences in stops, vowels, letters, and sometimes entire words. Recitation should be in accordance with rules of pronunciation, intonation, and caesuras established by Muhammad and first recorded during the eighth century CE. The maṣḥaf Quran that is in "general use" throughout almost all the Muslim world today, is a 1924 Egyptian edition based on the Qira'at "reading of Ḥafṣ on the authority of `Asim", (Ḥafṣ being the Rawi, or "transmitter", and `Asim being the Qari or "reader").
|
|
For the purpose of metrically scanning Classical Chinese verse, the basic unit corresponds to a single character, or what is considered one syllable: an optional consonant or glide (or in some versions of reconstructed Old or Middle Chinese a consonantal cluster), an obligatory vowel or vowel cluster (with or without glides), and an optional final consonant. Thus a seven-character line is identical with a seven-syllable line; and, barring the presence of compound words, which were rare in Classical Chinese compared to Modern Chinese (and even people's names would often be abbreviated to one character), then the line would also be a seven words itself. Classical Chinese tends toward a one-to-one correspondence between word, syllable, and a written character. Counting the number of syllables (which could be read as varying lengths, according to the context), together with the caesuras, or pauses within the line, and a stop, or long pause at the end of the line, generally established the meter.
|
|