Relevant bibliographies by topics / Iambic pentameter

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Iambic pentameter'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Iambic pentameter.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Iambic pentameter"

1

Duffell, Martin J. "Some observations on English binary metres." Language and Literature: International Journal of Stylistics 17, no. 1 (February 2008): 5–20. http://dx.doi.org/10.1177/0963947007082986.

Full text
Abstract:
In an earlier article ( Language and Literature, 11(4)) the author argued that Hanson and Kiparsky's parametric theory failed to account for some statistically verifiable features of the English iambic pentameter, in particular, the far from random distribution of mid-line word boundaries in this metre. The present article argues that there are a series of other features of English binary metres that can only be identified and explained if parametric theory is supplemented by quantitative techniques borrowed from Russian linguistic metrics. It analyses samples of verse in various binary metres by Chaucer, Shakespeare, Milton, Pope, Wordsworth, Tennyson, Longfellow, and Browning, and identifies some peculiar properties of each poet's use of tension. It measures inversion and erosion in iambic pentameters, and in iambic, trochaic and mixed tetrameters, and concludes that: (1) more than 85 percent of strong positions in the English iambic pentameter contain a stressed syllable; (2) English iambic verse contains a constraint against two consecutive strong positions lacking stress; (3) the tetrameter is more regularly iambic than the pentameter; (4) the English trochaic tetrameter allows up to half of its lines to have a non-trochaic opening; and (4) Milton's `L'Allegro' and `Il Penseroso' contain a balanced mixture of the metrical features of iambic and trochaic verse.
APA, Harvard, Vancouver, ISO, and other styles
2

Klenin, Emily. "Russian iambic pentameter." Linguistic Approaches to Poetry 15 (December 31, 2001): 187–203. http://dx.doi.org/10.1075/bjl.15.13kle.

Full text
Abstract:
The Russian pentameter is historically associated with the English and German traditions, but typologically it has with some justice been compared to the French decasyllable. The present article analyzes the structure and cultural context of Russian pentameter and examines in detail the use of caesura in a small corpus of iambic pentameter poems by Afanasy Fet. It is shown that the use of caesura correlates with patterns of word stress. In particular, the appearance of caesuraed lines in poems in which caesura is relatively weak correlates with the stress patterns of the lines in question: caesuraed lines are less heavily stressed than uncaesuraed ones, a correlation that theoretically should promote equalization of line length across the text. Russian poetry has a general tendency to promote equality of line length, and the intrusion of occasional I6 lines into I5 texts, a phenomenon known in many Russian I5 poems, can be viewed as a related strategy for handling ragged I5 lines.
APA, Harvard, Vancouver, ISO, and other styles
3

Roberts-Smith, Jennifer. "Thomas Campion’s iambic and quantitative Sapphic: Further evidence for phonological weight in Elizabethan English quantitative and non-quantitative meters." Language and Literature: International Journal of Stylistics 21, no. 4 (November 2012): 381–401. http://dx.doi.org/10.1177/0963947012444952.

Full text
Abstract:
Fulfilling a central goal of a generation of Elizabethan English metrical theory often referred to as the ‘quantitative movement’, Thomas Campion succeeded in demonstrating the role of syllable quantity, or phonological weight, in Elizabethan iambic pentameter. Following Kristin Hanson (2001, 2006), this article parses Campion’s scansions of Early Modern English syllables, according to moraic theory, into resolved moraic trochees. The analysis demonstrates that (1) Campion distinguished between syllable weight (syllable quantity) and stress or strength (accent) in Early Modern English; (2) Campion prohibited syllabic consonants in English iambic pentameter, despite the fact that they were attested in Early Modern English as a whole; (3) in a successful adaptation of the Latin rule of ‘position’, as described by William Lily and John Colet’s Short Introduction of Grammar (1567), Campion re-syllabified coda consonants followed by vowels; and (4) Campion employed syllabic elision as a means of avoiding pyrrhic syllable combinations that resulted in non-maximal filling of long positions in a line of English iambic pentameter. His two iambic pentameters – the ‘pure’ and the ‘licentiate’ – are both accentual and quantitative meters that, in accordance with moraic theory, integrate stress and strength with syllable weight. He contrasted stress and weight in the quantitative Sapphic lyric ‘Come let us sound with melodie’ (Campion, 1601). Hanson’s (2001, 2006) reconsideration of the role of syllable quantity in Elizabethan metrical theory and Elizabethan poetry should be continued.
APA, Harvard, Vancouver, ISO, and other styles
4

عبدالحميد, اسامه احمد صلاح الدين. "The Iambic Pentameter: Norm and Variation." مجلة کلية الاداب.جامعة المنصورة 71, no. 71 (August 1, 2022): 1. http://dx.doi.org/10.21608/artman.2022.115784.1522.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Fabb, Nigel. "The metres of ‘Dover Beach’." Language and Literature: International Journal of Stylistics 11, no. 2 (May 2002): 99–117. http://dx.doi.org/10.1177/0963947002011002575.

Full text
Abstract:
‘Dover Beach’ is an iambic text which has four different lengths of line. I apply the Bracketed Grid theory of metrical form to the text and show that the four lengths of line can all be generated by a variant form of the iambic pentameter rules, and thus are all related at a more abstract level. I then show that the text is organized in a way which, in relevance theoretic terms, implicates that it is iambic pentameter in the conventional sense, and that this implicated form partially competes with the determinate metrical form generated by the metrical rules. I conclude that the possibility of competition between two distinct kinds of literary form, as illustrated by ‘Dover Beach’, can be a characteristic source of complexity in a literary text.
APA, Harvard, Vancouver, ISO, and other styles
6

Tooming, Aile. "Verse semantics of some metres in Uku Masing's poetry." Sign Systems Studies 40, no. 1/2 (September 1, 2012): 177–91. http://dx.doi.org/10.12697/sss.2012.1-2.09.

Full text
Abstract:
The article introduces the results of a semantic analysis of Uku Masing's (1909– 1985) early poetry (1926–1943). The metres analyzed are syllabic-accentual trochaic tetrameter, trochaic pentameter, iambic pentameter and dactylic, logaoedic and polymetric hexameters. In each text the textual communicative perspective as well as motifs and tropes of each verse line were examined. The semantic differences and colourings of the metres are most evident in the way of expression, in the viewpoint.
APA, Harvard, Vancouver, ISO, and other styles
7

Blackman, Shane. ""Listen to Irene Cara", "Octavio Paz and the Nobel", "The Goals of Diego Maradona"." Latin American Literary Review 49, no. 99 (September 9, 2022): 83–84. http://dx.doi.org/10.26824/lalr.333.

Full text
Abstract:
These 3 sonnets explore the lives of pop-star Irene Cara, author and Nobel Prize winner Octavio Paz, and soccer legend Diego Maradona. Though one major sonnet form from literary history has included iambic pentameter, the sonnets here drop the iambic part, but keep the pentameter. In the history of the sonnet, there traditionally have been rhyme schemes. There is no particular rhyme scheme in these 3 sonnets. They are written with a mixture of free verse and rhyming. The poems span across Latin America -- from Mexico to Argentina and from Cuba to Puerto Rico -- and they celebrate the rich musical, literary, and sporting worlds of three icons and legends. The 3 sonnets employ ordinary language to describe extraordinary people, so that everyone and all readers can be inspired to be creative and to enjoy, shape, and impact the world.
APA, Harvard, Vancouver, ISO, and other styles
8

Tarlinskaja, Marina. "Kyd and Marlowe’s Revolution: from Surrey’s Aeneid to Marlowe’s Tamburlaine." Studia Metrica et Poetica 1, no. 1 (April 22, 2014): 9–27. http://dx.doi.org/10.12697/smp.2013.1.1.02.

Full text
Abstract:
The Early New English iambic pentameter was re-created by Wyatt and Surrey in the first half of the 16th c. Surrey introduced blank iambic pentameter into English poetry, and the first English tragedy, Gorboduc, was written in this versification form. Early New English playwrights were feeling their way into the iambic meter, and wrote “by the foot”: the mean stressing on even syllables reached 90 percent, while on the odd syllables it fell to 5 percent. The authors of first new English tragedies were members of the parliament or the gentlemen of the City Inns, and they wrote for the aristocratic audience and the Court. Their subject matter and their characters matched the verse form: they were stiff and stilted.Marlowe and Kyd represented a new generation of playwrights who wrote for the commercial stage patronized by commoners. Marlowe and Kyd created different sets of plots and personages and a different versification style. Marlowe’s Tamburlaine and Kyd’s The Spanish Tragedy had a powerful impact on generations of English playwrights, from Shakespeare to Shirley. The particulars of the Earlier New English versification style compared to later Elizabethan dramaturgy are discussed in the presentation.
APA, Harvard, Vancouver, ISO, and other styles
9

Tarlinskaja, Marina. "Evolution of Verse Form, Plots and Characters in English Plays (mid-16th to mid-19th centuries)." Studia Metrica et Poetica 6, no. 1 (August 29, 2019): 7–19. http://dx.doi.org/10.12697/smp.2019.6.1.01.

Full text
Abstract:
The aim of this essay is to demonstrate how the rhythmical evolution of English dramatic iambic pentameter parallelled the changes of aesthetic tastes and social values of English society from the mid-sixteenth to mid-nineteenth century. During 250 years the evolution of such features as the abundance or absence of enjambments, the use of constrained or loose iambs, and some others corresponds to the changes in the architecture of the theaters, the social structure of the audience, the manners of declamation, the complexity of poetic language, and the types of characters and plots the playwrights used.
APA, Harvard, Vancouver, ISO, and other styles
10

Powell, Grosvenor. "The Two Paradigms for Iambic Pentameter and Twentieth-Century Metrical Experimentation." Modern Language Review 91, no. 3 (July 1996): 561. http://dx.doi.org/10.2307/3734084.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Iambic pentameter"

1

Myklebust, Nicholas. "Misreading English meter : 1400-1514." 2012. http://hdl.handle.net/2152/19527.

Full text
Abstract:
This dissertation challenges the standard view that fifteenth-century poets wrote irregular meters in artless imitation of Chaucer. On the contrary, I argue that Chaucer’s followers deliberately misread his meter in order to challenge his authority as a laureate. Rather than reproduce that meter, they reformed it, creating three distinct meters that vied for dominance in the first decades of the fifteenth century. In my analysis of 40,655 decasyllables written by poets other than Chaucer, I show that the fifteenth century was not the metrical wasteland so often depicted by editors and critics but an age of radical experimentation, nuance, and prosodic cunning. In Chapter One I present evidence against the two standard explanations for a fifteenth-century metrical collapse: cultural depression and linguistic instability. Chapter Two outlines an alternative framework to the statistical and linguistic methods that have come to dominate metrical studies. In their place I propose an interdisciplinary approach that combines the two techniques with cognitive science, using a reader-oriented, brain-based model of metrical competence to reframe irregular rhythms as problems that readers solve. Chapter Three applies this framework to Chaucer’s meter to show that the poets who inherited his long line exploited its soft structure in order to build competing meters; in that chapter I also argue that Chaucer did not write in iambic pentameter, as is generally assumed, but in a “footless” decasyllabic line modeled on the Italian endecasillibo. Chapter Four explores metrical reception; by probing scribal responses to Chaucer’s meter we can gain insight into how fifteenth-century readers heard it. Chapters Five through Seven investigate three specific acts of reception by poets: those of John Walton, Thomas Hoccleve, and John Lydgate. I conclude the dissertation by tracing the influence of Hoccleve and Lydgate on the later fifteenth-century poets George Ashby, Osbern Bokenham, and John Metham, and by identifying the eclipse of fifteenth-century meter with the Tudor poets Stephen Hawes and Alexander Barclay, who replaced a misreading of Chaucer’s meter with a misreading of Lydgate’s, inadvertently returning sixteenth-century poets to an alternating decasyllable reminiscent of Chaucer’s own meter.
text
APA, Harvard, Vancouver, ISO, and other styles
2

Psonak, Kevin Damien. "The long line of the Middle English alliterative revival : rhythmically coherent, metrically strict, phonologically English." Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5044.

Full text
Abstract:
This study contributes to the search for metrical order in the 90,000 extant long lines of the late fourteenth-century Middle English Alliterative Revival. Using the 'Gawain'-poet's 'Patience' and 'Cleanness', it refutes nineteenth- and twentieth-century scholars who mistook rhythmic liveliness for metrical disorganization and additionally corrects troubling missteps that scholars have taken over the last five years. 'Chapter One: Tame the "Gabble of Weaker Syllables"' rehearses the traditional, but mistaken view that long lines are barely patterned at all. It explains the widely-accepted methods for determining which syllables are metrically stressed and which are not: Give metrical stress to the syllables that in everyday Middle English were probably accented. 'Chapter Two: An Environment for Demotion in the B-Verse' introduces the relatively stringent metrical template of the b-verse as a foil for the different kind of meter at work in the a-verse. 'Chapter Three: Rhythmic Consistency in the Middle English Alliterative Long Line' examines the structure of the a-verse and considers the viability of verses with more than the normal two beats. An empirical investigation considers whether rhythmic consistency in the long line depends on three-beat a-verses. 'Chapter Four: Dynamic "Unmetre" and the Proscription against Three Sequential Iambs' posits an explanation for the unusual distributions of metrically unstressed syllables in the long line and finds that the 'Gawain'-poet's rhythms avoid the even alternation of beats and offbeats with uncanny precision. 'Chapter Five: Metrical Promotion, Linguistic Promotion, and False Extra-Long Dips' takes the rest of the dissertation as a foundation for explaining rhythmically puzzling a-verses. A-verses that seem to have excessively long sequences of offbeats and other a-verses that infringe on b-verse meter prove amenable to adjustment through metrical promotion. 'Conclusion: Metrical Regions in the Long Line' synthesizes the findings of the previous chapters in a survey of metrical tension in the long line. It additionally articulates the key theme of the dissertation: Contrary to traditional assumptions, Middle English alliterative long lines have variable, instead of consistent, numbers of beats and highly regulated, instead of liberally variable, arrangements of metrically unstressed syllables.
text
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Iambic pentameter"

1

Horace's iambic criticism: Casting blame (iambike poiesis). Leiden: Brill, 2012.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Tarlinskaja, Marina. Shakespeare's verse: Iambic pentameter and the poet's idiosyncrasies. New York: P. Lang, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Harvey, M. L. Iambic pentameter from Shakespeare to Browning: A study in generative metrics. Lewiston, N.Y: Edwin Mellen Press, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Alighieri, Dante. The divine comedy of Dante Alighieri: A poetic translation in iambic pentameter and terza rima. Lewiston: E. Mellen Press, 1994.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

The strict metrical tradition: Variations in the literary iambic pentameter from Sidney and Spenser to Matthew Arnold. Montreal: McGill-Queen's University Press, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Landau, John. Spiderman in Iambic Pentameter. lulu.com, 2016.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Loungers, Faculty. Hey Girl: I Hear You Like Iambic Pentameter. Independently Published, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Guyton, Daniel. Mother of God Visits Hell (A Play in Iambic Pentameter). Lulu Press, Inc., 2009.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Harvey, M. The Natural Health for Women: Iambic Pentameter from Shakespeare to Browning. Keats Pub, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Keppel-Jones, David. Strict Metrical Tradition: Variations in the Literary Iambic Pentameter from Sidney and Spenser to Matthew Arnold. McGill-Queen's University Press, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Iambic pentameter"

1

Koelb, Clayton. "The Iambic Pentameter Revisited." In A Reader in the Language of Shakespearean Drama, 433. Amsterdam: John Benjamins Publishing Company, 1987. http://dx.doi.org/10.1075/sihols.35.41koe.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Rothman, David J., and Susan Delaney Spear. "Blank Verse/Unrhymed Iambic Pentameter." In Learning the Secrets of English Verse, 69–90. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-53096-9_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

"Iambic pentameter." In The Craft of Poetry, 36. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1hztrbd.27.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

"Iambic pentameter." In Poetry as Discourse, 58–84. Routledge, 2013. http://dx.doi.org/10.4324/9780203708743-11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

"1. The Iambic Pentameter Line." In Shakespeare's Metrical Art, 1–19. University of California Press, 2019. http://dx.doi.org/10.1525/9780520911932-002.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"Nonlexical Word Stress in the English Iambic Pentameter." In The Nature of the Word. The MIT Press, 2008. http://dx.doi.org/10.7551/mitpress/7894.003.0006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Hanson, Kristin. "Nonlexical Word Stress in the English Iambic Pentameter: A Study of John Donne." In The Nature of the Word, 21–58. The MIT Press, 2008. http://dx.doi.org/10.7551/mitpress/9780262083799.003.0003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Attridge, Derek. "Chaucer, Gower, and Fifteenth-Century Poetry in English." In The Experience of Poetry, 228–54. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833154.003.0011.

Full text
Abstract:
By the end of the fourteenth century, a sizeable audience for poetry in English among the gentry and the commercial classes had emerged. Chaucer wrote for this readership, and his poetry shows a successful absorption of French and Italian models. This chapter scrutinizes his work for evidence of the manner in which it was performed and received. Throughout his oeuvre, Chaucer appeals to both hearers and readers, using images both of books and of oral performers. His invention of the English iambic pentameter made possible a fuller embodiment in verse of the speaking voice, unlike Gower, who chose to write his major work, Confessio Amantis, in strict tetrameters. In the fifteenth century, the changing pronunciation of English made writing in metre a challenge, as is evident in the work of Hoccleve and Lydgate. The chapter ends with a consideration of the Scottish poets Henryson, Dunbar, and Douglas.
APA, Harvard, Vancouver, ISO, and other styles
9

Hopkins, David, and Tom Mason. "The Father of Poetry and the Father of Criticism." In Chaucer in the Eighteenth Century, 48–74. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192862624.003.0003.

Full text
Abstract:
Abstract This chapter examines the criticism of Chaucer by John Dryden, famously described by Samuel Johnson as ‘the father of English criticism’. Dryden’s remarks on Chaucer in the Preface to his Fables Ancient and Modern are discussed in detail, with particular attention being paid to the paradoxical and apparently contradictory suggestions that they contain, and to the seemingly rambling and unmethodical style of Dryden’s exposition. Dryden’s understanding of Chaucer’s metre and versification are examined and compared with those of Chaucer’s editors, Urry and Thomas Morell. It is argued that contrary to the suggestions of some later commentators, Dryden’s remarks about the imperfections of Chaucer’s metrics are perfectly understandable in the light of the texts of Chaucer that were available to him, since no form of pronunciation could have made those texts scan consistently as iambic pentameter. Dryden’s larger suggestion that Chaucer is both antiquated and comparable to Virgil is explored. Dryden’s admiration for Chaucer’s good sense, comprehensive soul, descriptions of human nature, and perpetual paternal place in the course of English poetry is described in relation to Dryden’s master paradox: that the laws governing human nature are inescapably permanent, while every single aspect of their manifestations changes continually and inexorably.
APA, Harvard, Vancouver, ISO, and other styles
10

"Verse and Prose: Iambic pentameters all the time?" In Shakespeare's English, 203–42. Routledge, 2014. http://dx.doi.org/10.4324/9781315833033-16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Iambic pentameter' for particular source types:
Journal articles Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography