147 Sentences With "caesura" | Random Sentence Generator

Their developments can be linked to the irrevocable caesura of war.

It's a caesura from the work that it otherwise asks me to do.

For just a moment, silence becomes a caesura in the cacophony of catastrophe.

Twitter threads offer a powerful sense of caesura, the pregnant pause between words or phrases.

Here's a terrible piece of evidence showing that caesura in Twitter threads can be powerful.

It's an incredibly active act of reading: you must craft some portion of the narrative yourself, filling in the caesura.

Now tiny living has arrived at the Brooklyn Cultural District with Caesura, a mixed-used building developed by Jonathan Rose Companies.

At the end of the film we are still left with questions, though there is a poetic caesura in the final scene.

Mr. Korstvedt, the Bruckner Society president, pointed to the Fifth as an important caesura, concluding Bruckner's earlier period with its daring fugal finale.

For a musical about a war — or more precisely, a caesura between hostilities — "All Is Calm" is a staunchly apolitical and warily genteel work.

This gap is something like the caesura, or metrical break in a line of poetry, and it has its violent and sexual subtext, too.

The caesura, or poetic line break, becomes a literal break, geologic in form, rising from the piece like a mountain range from a fault line.

Caesura bets that tenants will pay more for small private quarters in exchange for a raft of attractive communal spaces and amenities just beyond their door.

The Living In article last Sunday, about Fort Greene, Brooklyn, described incorrectly the Mark Morris Dance Center's occupancy in its rehearsal space in Caesura, an apartment building.

Andrew Bernheimer, the architect who designed the exterior with Dattner Architects, said he wanted Caesura to stand out among an increasingly dense and weedy patch of new construction.

"This one is a 'caesura,'" the artist Liz Larner says while running her fingertips along a long piece of fired clay in her studio in the Highland Park neighborhood of Los Angeles.

Trump aside (please), the experience of reading a Twitter thread is an exercise of constant caesura, where you fill in the gaps between tweets with your own thoughts and reactions as you read.

The Mark Morris Dance Center, at the corner of Lafayette Avenue and Rockwell Place, owns a rehearsal space in Caesura, a two-year-old apartment building on the block that is also the headquarters of the Center for Fiction.

This is known as Korsch's caesura or the caesura Korschiana, after its discoverer.

The opposite of an obligatory caesura is a bridge where word juncture is not permitted. In modern European poetry, a caesura is defined as a natural phrase end, especially when occurring in the middle of a line. A follows a stressed syllable while a follows an unstressed syllable. A caesura is also described by its position in a line of poetry: a caesura close to the beginning of a line is called an initial caesura, one in the middle of a line is medial, and one near the end of a line is terminal.

A double vertical bar or is the standard caesura mark in English literary criticism and analysis. It marks the strong break or caesura common to many forms of poetry, particularly Old English verse.

Old English poetry, like other Old Germanic alliterative verse, is also commonly marked by the caesura or pause. In addition to setting pace for the line, the caesura also grouped each line into two hemistichs.

Caesura is Keith Kenniff's fourth studio album under his Helios moniker.

There is no braking midline caesura, nor is there Pope's massy orotundity.

In music, a caesura denotes a brief, silent pause, during which metrical time is not counted. Similar to a silent fermata, caesurae are located between notes or measures (before or over bar lines), rather than on notes or rests (as with a fermata). A fermata may be placed over a caesura to indicate a longer pause. In musical notation, a caesura is marked by double oblique lines, similar to a pair of slashes .

The use of caesura is important in regard to the metrical analysis of Classical Chinese poetry forms.

This caesura is sometimes deterred, so as to follow a short syllable at the beginning of the next dipody.

The species name is derived from Latin caesura (meaning a pause or break) and refers to the white mark arising from the forewing anal margin, which forms a narrow, transverse bar in most Xenomigia species but which is interrupted along the anal fold to form two small, white spots in X. caesura.

Cowan, Robert. "Shadow of a Doubt: A Phantom Caesura in Horace Odes 4.14." Classical Journal, The 109.4 (2014): 407-417.

According to Sonata Theory, a piece cannot have a secondary theme without an MC to prepare it (except in highly deformational circumstances): the medial caesura is a necessary generic marker of the second theme. This is the meaning of the term "Two-Part Exposition:" sonata expositions including a medial caesura are articulated into primary and secondary themes. Those without proceed "continuously" from beginning to closure. If prepared by a medial caesura, the secondary theme (S) begins in the exposition's new key (normatively V for major mode sonatas and III or v for minor mode ones).

Apart from a caesura at the end of the fifth quire, the text is written continuously. It is written in Insular script.

Yadav Sumati, 'The Hungry Tide: Climate Sustainability en Route from Ancient Texts to Modern Fiction to Humanity', Caesura 2.1 (2015), 31-54.

In Maghali Shairi, lines are broken into four sections of four syllables, with a caesura after the second section: xxxx xxxx//xxxx xxxx.

Jordain contains 4,245 lines in 165 laisses of varying length. Each line is ten syllables except for the last of each laisse, which has six. The epic caesura after the fourth syllable of each line is indicated by a dot in the manuscript. There are a few irregularities, such as lines of twelve syllables and an epic caesura falling after the sixth.

Much of the poem Alphart's Tod is written in the same stanza as the Nibelungenlied: it consists of four so-called "Langzeilen." The first three "Langzeilen" consist of three metrical feet, a caesura, and an additional three metrical feet. The last line adds a fourth foot after the caesura. Several of the poems are written using a variant of this stanza, known as the "Hildebrandston" for its use in the Jüngeres Hildebrandslied.

Principally a literary term denoting a rhythmical pause and break in a line of verse. In poetry, the caesura is used to diversify rhythmical progress and thereby enrich accentual verse.

Hürnen Seyfrid is written in the so-called "Hildebrandston", a stanzaic metrical form named after its use in the Jüngeres Hildebrandslied that had an accompanying melody. The stanza consists of four "Langzeilen", lines consisting of three metrical feet, a caesura, and three additional metrical feet. Unlike the similar stanza used in the Nibelungenlied, in the "Hildebrandston" all four lines are of the same length. The lines rhyme in couplets, with occasional rhymes across lines at the caesura.

Caesura 24. The Zodiac Conclusion 25. The Zodiac Macros 26. The Terminal Painting 27. Stream 28. The Tributaries 29. The Westerly Sculpture 30. The Books 31. The Segue 32. Pepfog.Charles Clough, Pepfog Clufff, 2007, Lulu.

Wolfdietrich and Ortnit are written in a strophic form called the Hildebrandston (similar to the Nibelungenstrophe used in the Nibelungenlied and Kudrun). It consists of four long-lines: each long-line has three feet with a feminine ending, a caesura, then three feet with a rhymed masculine ending. The strophes are marked in the manuscripts by a Lombardic capital. In the printed Heldenbücher, the Hildebrandston is transformed into the Heunenweise, an eight-line strophe: the long-line is split at the caesura and unrhymed line-endings are given rhymes, with the resulting rhyme scheme ABABCDCD.

All consonants surrounding the main stressed vowel before the caesura must be repeated after it in the same order. However, the final consonants of the final words of each half of the line must be different, as must the main stressed vowel of each half. For example, from the poem Cywydd y Cedor, by the fifteenth-century poet Gwerful Mechain: Here we see the pattern {C L Dd Dd [stress] L} present on both sides of the caesura. The main stressed vowels are ⟨a⟩ (a short monophthong) and ⟨wy⟩ (the diphthong /uj/).

The normal formal style is for uniform line lengths of 5 or 7 syllables (or characters), with lines in syntactically-paired couplets. Parallelism emphasizing thesis or antithesis is frequently found but is not an obligatory feature. Rhymes generally occur at the ends of couplets, the actual rhyme sound sometimes changing through the course of the poem. Caesura usually occurs as a major feature before the last 3 syllables in any line, with the 7 syllable lines also often having a minor caesura in between the first two pairs of syllables.

This is from a book that was lost in the Cotton Library fire of 1731, but it had been transcribed previously. Rather than being organized around rhyme, the poetic line in Anglo-Saxon is organised around alliteration, the repetition of stressed sounds; any repeated stressed sound, vowel or consonant, could be used. Anglo- Saxon lines are made up of two half-lines (in old-fashioned scholarship, these are called hemistiches) divided by a breath-pause or caesura. There must be at least one of the alliterating sounds on each side of the caesura.

The text is in the form of a poem. The meter is composed of 15 syllables. Each section is separated by a Caesura between the 8th and 9th syllable. There are a total of 1082 verses and 36 stanzas.

Xenomigia caesura is a moth of the family Notodontidae. It is found in north- eastern Ecuador. The length of the forewings is 13-16.5 mm. The ground colour of the forewings is light chocolate brown with orange-yellow veins.

In Buah Rindu, particularly its earlier poems, Amir shows an affinity for using traditional Malay poetic forms such as the quatrain (found in pantun and syair). However, unlike the highly fixed traditional forms, Amir mixes the rhyming patterns; for instance, one quatrain may have a monorhyme (seloka) while the next may have an alternating simple 4-line (pantun) pattern. Lines are generally divided by a clear caesura, and in some cases even two. The caesura may not always be in the centre of a line; it is at times towards the front, and at times towards the rear.

Ortnit and Wolfdietrich are both written in a strophic form called the Hildebrandston (similar to the Nibelungenstrophe used in the Nibelungenlied and Kudrun). It consists of four long-lines: each long-line has three feet with a feminine ending, a caesura, then three feet with a rhymed masculine ending. The strophes are marked in the manuscripts by a Lombardic capital. In the printed Heldenbücher, the Hildebrandston is transformed into the Heunenweise, an eight-line strophe: the long-line is split at the caesura and unrhymed line-endings are given rhymes, with the resulting rhyme scheme ABABCDCD .

Sometimes a natural pause occurs in the middle of a line rather than at a line-break. This is a caesura (cut). A good example is from The Winter's Tale by William Shakespeare; the caesurae are indicated by '/': > :It is for you we speak, / not for ourselves: :You are abused / and by some > putter-on :That will be damn'd for't; / would I knew the villain, :I would > land-damn him. / Be she honour-flaw'd, :I have three daughters; / the eldest > is eleven In Latin and Greek poetry, a caesura is a break within a foot caused by the end of a word.

The first foot has a freer structure, allowing strong syllables in a falling position and weak syllables in a rising position: It is also possible for the first foot to contain three or even four syllables. There are two main types of line: a normal trochaic tetrameter and a broken trochaic tetrameter. In a normal tetrameter, word-stresses and foot-stresses match, and there is a caesura between the second and third feet: A broken tetrameter (Finnish murrelmasäe) has at least one stressed syllable in a falling position. There is usually no caesura: Traditional poetry in the Kalevala meter uses both types with approximately the same frequency.

She was the recipient of over 70 poetry awards, including the 2014 Lyrebird Award, 2012 Aurorean Editor's chapbook prize, 2018 Liakoura Award, the Caesura Award, and the 2016 Crab Creek Poetry Award. She was succeeded as poet laureate by Cher Wollard, Kevin Gunn, and Cynthia Patton.

Kenniff graduated from Berklee College of Music in 2006 with a B.A. in percussion and composition. In 2004 'Unomia', Keith's first album under the moniker 'Helios', was released. This was followed by the critically acclaimed album 'Eingya' in 2006. His third album, 'Caesura', was released in 2008.

The mid-16th-century poet Jan van der Noot pioneered syllabic Dutch alexandrines on the French model, but within a few decades Dutch alexandrines had been transformed into strict iambic hexameters with a caesura after the third foot. From Holland the accentual-syllabic alexandrine spread to other continental literatures.

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.

Overall, it sounds rhythmically straightforward and simple, but the metre will change freely from one measure to the next. While the rhythmic arc in a section is taken as a whole, a measure of five may be followed by one of seven, to one of four, and so on, often with caesura marked between them. These constant rhythmic changes combined with the caesura create a very "conversational" feel – so much so that the rhythmic complexities of the piece are often overlooked. Some of the solo arias pose bold challenges for singers: the only solo tenor aria, Olim lacus colueram, is often sung almost completely in falsetto to demonstrate the suffering of the character (in this case, a roasting swan).

36 et seq., Chapter 2 In some of its sections, the Chu Ci uses a six-character per line meter, dividing these lines into couplets separated in the middle by a strong caesura, producing a driving and dramatic rhythm. Both the Shijing and the Chuci have remained influential throughout Chinese history.

Caesura is very important in Polish syllabic verse (as in French alexandrine).See Summary [in:] Lucylla Pszczołowska, Wiersz polski. Zarys historyczny, Wrocław 1997, p. 398. Every line longer than eight syllables is divided into two half-lines.Wiktor Jarosław Darasz, Mały przewodnik po wierszu polskim, Kraków 2003, p. 14 (In Polish).

It has been very common in Polish poetry for last five centuries. But the metre 13(8+5) occurs only rarely and 13(6+7) can be hardly found. In Polish accentual-syllabic verse caesura is not so important but iambic tetrametre (very popular today) is usually 9(5+4).Lucylla Pszczołowska, o.c.

Bugarštica ( or ), originally known as Bugaršćica, is a form of epic and ballad oral poetry, which was popular among South Slavs mainly in Dalmatia and Bay of Kotor from 15th until the 18th century, sung in long verses of mostly fifteen and sixteen syllables with a caesura after the seventh and eighth syllable, respectively.

The greatest Polish Romantic poet, Adam Mickiewicz, set his poem Grażyna in this measure. The Polish hendecasyllable is widely used when translating English blank verse. The eleven-syllable line is normally defined by primary stresses on the fourth and tenth syllables and a caesura after the fifth syllable. Only rarely it is fully iambic.

The French alexandrine () is a syllabic poetic meter of (nominally and typically) 12 syllables with a medial caesura dividing the line into two hemistichs (half-lines) of six syllables each. It was the dominant long line of French poetry from the 17th through the 19th century, and influenced many other European literatures which developed alexandrines of their own.

With this album, Prigent also affirms his writing style. His verses are mostly octosyllables with, generally, a median caesura. This type of verse is very frequent in Breton, since short words are common, and thus long verses unneeded. He only writes in Breton, a language that, according to Prigent, kept its sacred aspect, contrarily to French.

Similarly, in early 17th-century Germany, Georg Rudolf Weckherlin advocated for an alexandrine with free rhythms, reflecting French practice; whereas Martin Opitz advocated for a strict accentual-syllabic iambic alexandrine in imitation of contemporary Dutch practice — and German poets followed Opitz. The alexandrine (strictly iambic with a consistent medial caesura) became the dominant long line of the German baroque.

W chorobie (Canto 13. In an Illness) is especially interesting as an early example of enneasyllable with the caesura after the fifth syllable. This metre, introduced into Polish Renaissance verse by Jan Kochanowski but not much used before the 19th century, is extremely popular today.Wiktor Jarosław Darasz, Mały przewodnik po wierszu polskim, Towarzystwo Miłośników Języka Polskiego, Kraków 2003, p.

The play's meter is alexandrine (or vers alexandrin), which was popular in classical French poetry. Each line must contain 12 syllables, and major accents are placed on the 6th and 12th syllables. The caesure (caesura, or pause) occurs after the 6th syllable, halfway through the line. It is frequently used as a strong syntactic break in the wording.

The notation is divided into columns, depending on the structure of the tāḷaṃ. The division between a laghu and a dhrutam is indicated by a।, called a ḍaṇḍā, and so is the division between two dhrutams or a dhrutam and an anudhrutam. The end of a cycle is marked by a॥, called a double ḍaṇḍā, and looks like a caesura.

Liddell, Henry George, & Robert Scott, A Greek-English Lexicon, s.v. "" . A lekythion can appear in several different metric contexts in different types of poetry, either alone as a verse or as the second of two cola following a caesura. A frequent type of occurrence in Greek drama is in lines of iambic trimeter, the most frequent metre used in spoken dialogue, i.e.

In classical Greek and Latin poetry a caesura is the juncture where one word ends and the following word begins within a foot. In contrast, a word juncture at the end of a foot is called a diaeresis. Some caesurae are expected and represent a point of articulation between two phrases or clauses. All other caesurae are only potentially places of articulation.

Despite the division, there is some consensus regarding aspects of the verse's structure. A Saturnian line can be divided into two cola or half-lines, separated by a central caesura. The second colon is shorter than or as long as the first. Furthermore, in any half-line with seven or more syllables, the last three or four are preceded by word-end.

It was Bakathir in fact who had written fractured (caesura) poetry for the first time in Arabic poetry. Bakathir (1910–69), in the second edition of his book "Akhnatun wa Nefertiti", acknowledged the recognition Sayyab had brought him.Qisar M.M. Badawai modern Arabic Literature Cambridge University Press 2006 p.155 In 2014, some of Sayyab's works were banned from the Riyadh International Book Fair by the Saudi authorities.

See also Bostock, King & McLintock 1976, 304–313. Some lines contain rhymes, using a poetic form pioneered in the ninth century by Otfrid of Weissenburg (ca. 790–875).Otfrid still used the traditional long lines divided centrally at a caesura, but with rhymes or assonances at each half-line, and in general no attempt at alliteration. On Otfridian verse, see Bostock, King & McLintock, 322–326.

New York: Garland. . Marged Haycock notes that the poem shares a formal peculiarity with a number of pre-Gogynfeirdd poems found in the Book of Taliesin, that is, the caesura usually divides the lines into a longer and shorter section.Haycock, Preiddeu Annwn, pp. 52-3. She contends, however, that there is no firm linguistic evidence that the poem predates the time of the Gogynfeirdd.

Syllabic length is a factor but accentuation is not. Caesura should occur at the same place in every line; it helps to keep up distinctness and clarity, two virtues of civil language. "Concord, called Symphonie or rime" (76) is an accommodation made for the lack of metrical feet in English versification. The matching of line lengths, rhymed at the end, in symmetrical patterns, is a further accommodation.

He continues on stating that her "intense, [and] unexpected play" with her use of capitalization and dashes makes her poetry "memorable." When reading the poem aloud, the dashes create caesura, causing the brief poem to be read in a staccato'd rhythm. Jung claims that the use of Dickinson's dashes in her poetry creates a "visible breath" to the speaker that is delivering the poetry.

Slashes may be found in early writing as a variant form of dashes, vertical strokes, etc. The present use of a slash distinguished from such other marks derives from the medieval European virgule (, which was used as a period, scratch comma, and caesura mark. (The first sense was eventually lost to the low dot and the other two developed separately into the comma and caesura mark ) Its use as a comma became especially widespread in France, where it was also used to mark the continuation of a word onto the next line of a page, a sense later taken on by the hyphen .. The Fraktur script used throughout Central Europe in the early modern period used a single slash as a scratch comma and a double slash as a dash. The double slash developed into the double oblique hyphen and double hyphen or before being usually simplified into various single dashes.

In English verse, "alexandrine" is typically used to mean "iambic hexameter": × / × / × / ¦ × / × / × / (×) /=ictus, a strong syllabic position; ×=nonictus ¦=often a mandatory or predominant caesura, but depends upon the author Whereas the French alexandrine is syllabic, the English is accentual-syllabic; and the central caesura (a defining feature of the French) is not always rigidly preserved in English. Though English alexandrines have occasionally provided the sole metrical line for a poem, for example in lyric poems by Henry Howard, Earl of Surrey and Sir Philip Sidney, and in two notable long poems, Michael Drayton's Poly-Olbion and Robert Browning's Fifine at the Fair, they have more often featured alongside other lines. During the Middle Ages they typically occurred with heptameters (seven-beat lines), both exhibiting metrical looseness. Around the mid-16th century stricter alexandrines were popular as the first line of poulter's measure couplets, fourteeners (strict iambic heptameters) providing the second line.

The classical alexandrine was early recognized as having a prose-like effect, for example by Ronsard and Joachim du Bellay. This in part explains the strictness with which its prosodic rules (e.g. medial caesura and end rhyme) were kept; they were felt necessary to preserve its distinction and unity as verse. Nevertheless, several strategies for reducing the strictness of the verse form have been employed over the centuries.

She also used its scheme for constructing more complicated stanzas. Felicjan Faleński attempted a Polish Sapphic stanza more closely resembling the Greek and Latin models, and in translating Horace's poetry used a hendecasyllable with the caesura after the fourth, not the fifth syllable.Kazimierz Wóycicki, Forma dźwiękowa prozy polskiej i wiersza polskiego, E. Wende i S-ka, Warszawa 1912, p. 211. His Sapphic stanzas influenced the Czech poet Jaroslav Vrchlický.

The trochaic metre is the most popular, with around 95% of dainas being in it. Characteristic of this metre is that an unstressed syllable follows a stressed syllable, with two syllables forming one foot. Two feet form a dipody and after every dipody there is a caesura, which cannot be in the middle of a word. The dainas traditionally are written down so that every line contains two dipodies.

Bridges notes that in Milton's earlier work, such as Comus, Milton had permitted the use of the feminine ending, mid-line, directly preceding a caesura, (as had Shakespeare). Here is an example: :Root-bound, that fled Apollo. Fool do not boast -- (Comus, 662) However, Bridges holds that in Paradise Lost there are no examples of this. Lines such as: :Of high collateral glorie: him Thrones and Powers (P.

By contrast with caesura, enjambment is incomplete syntax at the end of a line; the meaning runs over from one poetic line to the next, without terminal punctuation. Also from Shakespeare's The Winter's Tale: > :I am not prone to weeping, as our sex :Commonly are; the want of which vain > dew :Perchance shall dry your pities; but I have :That honourable grief > lodged here which burns :Worse than tears drown.

Thus in general, word breaks occur in the middle of metrical feet, while ictus and accent coincide more often near the end of the line. The first line of Homer’s Iliad—"Sing, goddess, the anger of Peleus’ son Achilles"—provides an example: : Dividing the line into metrical units: : dactyl, dactyl, spondee, dactyl, dactyl, spondee. Note how the word endings do not coincide with the end of a metrical foot; for the early part of the line this forces the accent of each word to lie in the middle of a foot, playing against the ictus. This line also includes a masculine caesura after , a break that separates the line into two parts. Homer employs a feminine caesura more commonly than later writers: an example occurs in Iliad I.5 "...and every bird; thus the plan of Zeus came to fulfillment": : : : Homer’s hexameters contain a higher proportion of dactyls than later hexameter poetry.

The "Great Summons" and the "Summons for the Soul" poetic form (the other kind of "7-plus") varies from this pattern by uniformly using a standard nonce word refrain throughout a given piece, and that alternating stressed and unstressed syllable finals to the lines has become the standard verse form. The nonce word used as a single-syllable refrain in various ancient Chinese classical poems varies: (according to modern pronunciation), "Summons for the Soul" uses xie and the "Great Summons" uses zhi (and the "Nine Pieces" (Jiu Ge) uses xi). Any one of these unstressed nonce words seem to find a similar role in the prosody. This two line combo: :::[first line:] tum tum tum tum; [second line:] tum tum tum ti tends to produce the effect of one, single seven character line with a caesura between the first four syllables and the concluding three stressed syllables, with the addition of a weak nonsense refrain syllable final :::tum tum tum tum [caesura] tum tum tum ti.

Exceptions are mostly found in Eastern Latvian dialects, which allow words to start one syllable before or after where the caesura normally would be, thus allowing five-syllable combinations.Daži apcerējumi par latviešu tautas dziesmu metriku (Filologu biedrības raksti XVI sējums. R., 1936) This inconsistency is usually found only in one or two lines, most often in the second or fourth. The notion of short and long syllables at the end of lines is retained.

In neo-classicism, the hemistich was frowned upon (e.g. by John Dryden), but Germanic poetry employed the hemistich as a basic component of verse. In Old English and Old Norse poetry, each line of alliterative verse was divided into an "a-verse" and "b-verse" hemistich with a strong caesura between. In Beowulf, there are only five basic types of hemistich, with some used only as initial hemistichs and some only as secondary hemistichs.

The poet lived his entire life near the Lake Van area until his death in 1592. Kuchak was buried in the cemetery of Kharakonis St. Theodoros Church and his grave became pilgrimage site. Kuchak wrote airens (հայրեն) Armenian writing style of songs consisting of quatrains in which each line has fifteen syllables and is divided by a caesura into seven and eight syllables. He brought this ancient form of Armenian verse to its pinnacle.

The textual unit in a naamyam song is a quatrain in verse, with verse structure similar to classical poetry. Each line of the quatrain has the basic pattern of seven syllables, with a caesura occurring after the first four syllables. Often some "padding" syllables are freely added. In the quatrains, the final syllable of each line, in particular lines 2 and 4, exhibits rhyme, both within a quatrain and through a number of them.

The line length is scanned by an according number of characters (according to the convention that one character equals one syllable), and are predominantly either five or seven characters long, with a caesura before the final three syllables. The lines are generally end-stopped, considered as a series of couplets, and exhibit verbal parallelism as a key poetic device.Watson, Burton (1971). Chinese Lyricism: Shih Poetry from the Second to the Twelfth Century.

Each line of traditional Germanic alliterative verse is divided into two half-lines by a caesura. This can be seen in Piers Plowman: > :A fair feeld ful of folk / fond I ther bitwene— :Of alle manere of men / > the meene and the riche, :Werchynge and wandrynge / as the world asketh. > :Somme putten hem to the plough / pleiden ful selde, :In settynge and > sowynge / swonken ful harde, :And wonnen that thise wastours / with glotonye > destruyeth.

The ballad is printed in the so-called "Hildebrandston," a stanzaic metrical form named about another heroic ballad, the Jüngeres Hildebrandslied. No melody has been transmitted with the text, but it was likely meant to be sung. The stanza consists of four "Langzeilen," lines consisting of three metrical feet, a caesura, and three additional metrical feet. Unlike the similar stanza used in the Nibelungenlied, in the "Hildebrandston" all four lines are of the same length.

However, the syllable after a lost caesura is often unstressed as it is in everyday speech. A sound may be added or removed to increase vocabulary there or elsewhere. The addition of sounds is explained with structural changes in the language itself (loss of vowels in word endings). The sound added at the end of a word is usually I, in some rare cases also A, U or E (the last of these mostly in some regions of Courland).

Latin verse included lines of ten syllables. It is widely thought that some line of this length, perhaps in the Alcmanian meter, led to the ten-syllable line of some Old French chansons de geste such as The Song of Roland. Those Old French lines invariably had a caesura after the fourth syllable. This line was adopted with more flexibility by the troubadours of Provence in the 12th century, notably Cercamon, Bernart de Ventadorn, and Bertran de Born.

This is done by capitalization and by placing the text in two distinct columns. In later editions of Historia the hymn is laid out with each verse's first capital written in red, and the end of each verse written in a lighter color. The lighter ink expresses a caesura in the text while the darker ink shows a terminal punctuation. Despite the differences in the Hymn found in the Old English manuscripts, each copy of the hymn is metrically, semantically, and syntactically correct.

As of 2017, Jess teaches poetry and fiction as an associate professor of English at the College of Staten Island of the City University of New York. He is also the faculty adviser for Caesura, the college's literary arts magazine. Jess's first book of poetry, leadbelly (Wave Books, 2005), was chosen by Brigit Pegeen Kelly as a winner in the 2004 National Poetry Series competition. Library Journal and Black Issues Book Review both named it one of the "Best Poetry Books of 2005".

An Old English poem such as Beowulf is very different from modern poetry. Anglo-Saxon poets typically used alliterative verse, a form of verse in which the first half of the line (the a-verse) is linked to the second half (the b-verse) through similarity in initial sound. In addition, the two-halves are divided by a caesura: "Oft Scyld Scefing \\\ sceaþena þreatum" (l. 4). This verse form maps stressed and unstressed syllables onto abstract entities known as metrical positions.

MacDonald writes, "Her ability to show human society without also implying its damaging effects on flora and fauna further underscores the book's felicitous composition and success".MacDonald 1986, p. 98 Literary scholar Humphrey Carpenter writes in Secret Gardens: The Golden Age of Children's Literature the basis for Potter's writing style can be found in the Authorized King James Version of the Bible. Jeremy Fisher reflects the characteristic cadence and "employs a psalm-like caesura in the middle of [a] sentence".

Caesura, by Linda Covit Havre by Linda Covit In 1994 Covit completed Nature Stations, a public artwork installed at the Cite de la Santé de Laval in Laval, Quebec. The 2002 work Circle of Words, Garden of Thought is installed at the Driftwood Community Centre in Toronto, Ontario. Covit's 2009 sculpture Water Garden is installed at the City of Calgary's Water Centre. Her 2015 large-scale work Havre, at 13m by 16m, is permanently installed on the McGill University Health Centre's Glen site in Montreal.

If a caesura is followed by three syllables, the last syllable – i.e. the one at the end of the line – is long; if four syllables follow it is short. A syllable is considered short if it contains a short vowel or a short vowel and S; all other syllables are considered long. This results in a rather limited vocabulary as a dipody can consist of either one four-syllable word, two two-syllable words, one one- syllable and one three-syllable word or two one-syllable words and one two- syllable word.

Occasionally contractions occur and I replaces a diminutive ending in I – i.e. the ending is retained, but separated from the rest of the word by a caesura. This can perhaps be explained by diminutives being so popular in dainas that people didn't find it appropriate to replace one with the same word without it, which would be a syllable shorter. Sometimes a diminutive is added to increase the number of syllables even when the meaning of the word is the opposite of what is usually expressed with the diminutive.

Bridges explains this in historical terms by observing that Milton followed the practice of Geoffrey Chaucer, who -- in Bridges' view -- adopted the Romance prosody of French verse, which was syllabic, having itself derived from the practice of Latin poets who through a corruption of Greek quantitative meters also counted syllables. Bridges notes that the approach Milton takes in Paradise Lost represents a certain tightening of the rules, compared to his earlier work, such as Comus, in which he allowed himself the Shakespearian 'liberty' of a feminine ending before a caesura.

A hemistich (; via Latin from Greek , from "half" and "verse") is a half-line of verse, followed and preceded by a caesura, that makes up a single overall prosodic or verse unit. In Latin and Greek poetry, the hemistich is generally confined to drama. In Greek tragedy, characters exchanging clipped dialogue to suggest rapidity and drama would speak in hemistichs (in hemistichomythia). The Roman poet Virgil employed hemistichs in the Aeneid to indicate great duress in his characters, where they were incapable of forming complete lines due to emotional or physical pain.

Most of the poem is in alliterative verse of very uneven quality.Ideally, '[t]he long line is divided into two by a strong caesura, and the halves, each of which has two major stresses, are linked by alliteration—that is, by the identity of initial sounds—in some of these stresses. The most important stress is that on the first beat of the second half-line' (Murdoch 1983, 59). Though found elsewhere in Old High German and Old Saxon, this form is much better represented in Old English and Old Norse.

Unlike other European medieval epics, the tone is realist.El Cid del Cantar: El héroe literario y el héroe épico, Rafael Beltrán There is no magic, even the apparition of archangel Gabriel (verses 404–410) happens in a dream. However, it also departs from historic truth: for example, there is no mention of his son, his daughters were not named Elvira and Sol and they did not become queens. It consists of more than 3,700 verses of usually 14 through 16 syllables, each with a caesura between the hemistiches.

Generally, every other line in a particular fu rhyme;Frankel (1976), 213 that is, fu tend to use rhymed couplets. The complex metering is determined by line-length, caesura, and the use of certain specific particles, in fixed positions. The line-lengths within a particular fu tend to vary, yet remain consistent within each discrete section, so that the lines within each section usually are of equal length to each other.Frankel (1976), 212–213 The use of a luan in the form of an appended lyrical coda, is "not uncommon".

The songs are sung in long verses of mostly fifteen and sixteen syllables with a caesura after the seventh and eighth syllable, respectively. Sometimes have an addition, mostly in six syllables. Although some bugarštica's content is closely related to historiography, especially to the history of Mauro Orbini's Il regno de gli Slavi (1601) and Ludovik Crijević Tuberon's Writings on the Present Age (Commentaria temporum suorum) (1603), they are generally deemed to be oral songs, transmitted orally. The bugarštica's themes vary not only in the scope of this type but also in respect of decasyllabic songs.

In 2003, following the temporary caesura of Desaparecidos, Dalley formed Statistics, an electronic-tinged solo project, and signed onto the Jade Tree Records label. After releasing a self-titled extended play in 2003 and two studio albums titled Leave Your Name and Often Lie in 2004 and 2005, respectively, Dalley chose to focus on other projects, effectively putting Statistics on hiatus. However, in 2013, eight years after Often Lie, Dalley released a new studio album titled Peninsula on Afternoon Records, featuring a collaboration with Minnesota-based singer-songwriter Sean Tillman (a.k.a. Har Mar Superstar).

Less common, but frequently important for the variety and energy they bring to a line, are the monosyllabic foot (weak) and the spondee (STRONG STRONG). The terms for line length follow a regular pattern: a Greek prefix denoting the number of feet and the root "meter" (for "measure"): monometer, dimeter, trimeter, tetrameter, pentameter, hexameter, heptameter, and octameter (lines having more than eight feet are possible but quite rare). Another useful term is caesura, for a natural pause within a line. Meter and line length are not formulas for successful lines of poetry.

As P falls at the beginning of the rotational layout and usually consists of distinctive musical material, every subsequent occurrence of that material suggests the beginning of a new rotation. The transition (TR) follows P, sometimes emerging seamlessly out of it. The chief goal of TR is to build up energy, although TR also frequently modulates away from the tonic to prepare the sonata's secondary key. The most common goal for the transition's energy gain is to drive to the first moment of "structural punctuation," the medial caesura.

Cyrano de Bergerac is a play written in 1897 by Edmond Rostand. There was a real Cyrano de Bergerac, and the play is a fictionalisation following the broad outlines of his life. The entire play is written in verse, in rhyming couplets of twelve syllables per line, very close to the classical alexandrine form, but the verses sometimes lack a caesura. It is also meticulously researched, down to the names of the members of the Académie française and the dames précieuses glimpsed before the performance in the first scene.

It is considered improper for the lesser hendecasyllable to use a word accented on its antepenultimate syllable (parola sdrucciola) for its mid-line stress. A line like "Più non sfavìllano quegli òcchi néri", which delays the caesura until after the sixth syllable, is not considered a valid hendecasylable. Most classical Italian poems are composed in hendecasyllables, including the major works of Dante, Francesco Petrarca, Ludovico Ariosto, and Torquato Tasso. The rhyme systems used include terza rima, ottava, sonnet and canzone, and some verse forms use a mixture of hendecasyllables and shorter lines.

Locksley Hall (illustrated) "Locksley Hall" is a dramatic monologue written as a set of 97 rhyming couplets. Each line follows a modified version of trochaic octameter in which the last unstressed syllable has been eliminated; moreover, there is generally a caesura, whether explicit or implicit, after the first four trochees in the line. Each couplet is separated as its own stanza. The University of Toronto library identifies this form as "the old 'fifteener' line," quoting Tennyson, who claimed it was written in trochaics because the father of his friend Arthur Hallam suggested that the English liked the meter.

Below a droll mask also can provide water. The fountain's location in a narrow alley and the non- potable nature of the water detracts from the potential for either scenography or amenity. The eclectic ensemble with formal elements and marble basins but also with playful decoration, seems as confused as the history of its formulations. It main dignity is found in intimacy, a short caesura on a street that leads to the Loggia del Papa, which like this architectural structure, seems at loss for purpose, but unlike the present fountain, is not adrift in artistic style.

Passacaglia on the Brighton beach Hadcock prefers to work on his own sculpture rather than rely on production facilities so that the eye and hand of the artist is apparent in every work. His belief is that his knowledge, skill and techniques are constantly evolving, informing each piece he makes. Investigating Multiples , a solo exhibition in London at Reed's Wharf Gallery in 1996 followed the siting of Caesura IV at Sculpture at Goodwood. His first monumental public commission in 1997 Passacaglia came after a national competition for a permanent work to be installed on Brighton Beach.

Buddhist authors also wrote on prosody (chandas), offering their own poetic examples for different types of Sanskrit meter. Two notable works on Sanskrit poetry are the Chandoratnākara of Ratnākaraśānti Hahn (1982) and the Vr̥ttamālāstuti of Jñānaśrīmitra, Hahn et al. (2016) by two great contemporary Vikramaśīla masters who were active on several intellectual fronts and well-known exponents of Yogācāra thought. The Vr̥ttamālāstuti is particularly striking: it consists in verses of praise of the Bodhisattva of Wisdom, Mañjuśrī, which at the same time offer information about the verse that is being exemplified, such as its name and the position of the caesura (yati).

The mono version (with different vocals and no tambourine) was included on the Beatles' Rarities LP and in The Beatles in Mono collection. The American soundtrack album included a James Bond-type introduction to the song, followed by a caesura just before the opening lyric. No such introduction appeared on the British soundtrack album, nor was it included in the released single in either country. Although Lennon was proud of "Help!" and the honesty it conveyed, he expressed regret that the Beatles had recorded it at such a fast tempo in the interests of giving the track more commercial appeal.

Juvenal, for example, was fond of occasionally creating verses that placed a sense break between the fourth and fifth foot (instead of in the usual caesura positions), but this technique—known as the bucolic diaeresis—did not catch on with other poets. In the late empire, writers experimented again by adding unusual restrictions to the standard hexameter. The rhopalic verse of Ausonius is a good example; besides following the standard hexameter pattern, each word in the line is one syllable longer than the previous, e.g.: : : : Also notable is the tendency among late grammarians to thoroughly dissect the hexameters of Virgil and earlier poets.

Chaucer uses the same meter throughout almost all of his tales, with the exception of Sir Thopas and his prose tales. It is a decasyllable line, probably borrowed from French and Italian forms, with riding rhyme and, occasionally, a caesura in the middle of a line. His meter would later develop into the heroic meter of the 15th and 16th centuries and is an ancestor of iambic pentameter. He avoids allowing couplets to become too prominent in the poem, and four of the tales (the Man of Law's, Clerk's, Prioress', and Second Nun's) use rhyme royal.

The hendecasyllable () is the principal metre in Italian poetry. Its defining feature is a constant stress on the tenth syllable, so that the number of syllables in the verse may vary, equaling eleven in the usual case where the final word is stressed on the penultimate syllable. The verse also has a stress preceding the caesura, on either the fourth or sixth syllable. The first case is called endecasillabo a minore, or lesser hendecasyllable, and has the first hemistich equivalent to a quinario; the second is called endecasillabo a maiore, or greater hendecasyllable, and has a settenario as the first hemistich.

And here are, one by one, The lashes of that eye and its white lid. Buttel continues:Buttel, pp. 209-10 > [T]he reversed initial foot and the following caesura help draw specific > attention to the eye; the following three iambic feet maintain the pace of > the procession; and the spondees on `that eye' and `white lid' substantiate > the reflective consideration of Badroulbadour's exquisite beauty. In the > next-to-last line of the poem, Stevens did not hesitate to give full stress > to the three main words and let very light accents fall on the preposition > and conjunction: The bundle of the body and the feet.

Imminet imminet, ut mala terminet, æqua coronet, Recta remuneret, anxia liberet, æthera donet. ::(These current days are the worst of times: let us keep watch. Behold the menacing arrival of the Supreme Judge. He is coming, He is coming to end evil, crown the just, reward the right, set the worried free and grant eternal life.) As this example of tripartiti dactylici caudati (dactylic hexameter rhyming couplets divided into three) shows, the internal rhymes of leonine verse may be based on tripartition of the line (as opposed to a caesura in the center of the verse) and do not necessarily involve the end of the line at all.

Considering them conceptually, Leah Ollman wrote, "Throughout this body of work, the paper's surface does double duty as object and subject, material and image. The literal and the abstract merge." Carey's "Caesura" series (2016–18) features vertical breaks in color along central axes with fine, radiating vein-like fissures that she creates by creasing or accordion-folding the paper. The "Dings & Shadows" series (2010– ) introduces greater compositional range with dense surfaces of wrinkles and crumples ("dings") occurring at all angles, which Carey draws out with a penlight to create shadow and depth; she has often exhibited them in installations of up to twenty panels.

Shairi (Georgian: შაირი, ), also known as Rustavelian Quatrain, is a monorhymed quatrain used by Shota Rustaveli in The Knight in the Panther's Skin. It consists of four 16-syllable lines, with a caesura between syllables eight and nine. While there are stanzas with as many as five syllables rhyming, generally shairi uses either feminine or dactylic rhyme. It is worth noticing that despite the feminine and dactylic forms of rhyme, in Georgian shairi stress is very weak due to the nature of the Georgian language, which is characterized by dynamic and very weak stress placed on antepenultimate syllable in words longer than two syllables and on penultimate in two syllable words.

Muhammad is persecuted by the Meccans after attacking their idols, during which time a group of Muslims seeks refuge in Abyssinia. After the cessation of this first round of persecution (fitna) they return home, but soon a second round begins. No compelling reason is provided for the caesura of persecution, though, unlike in the incident of the satanic verses, where it is the (temporary) fruit of Muhammad's accommodation to Meccan polytheism. Another version attributed to 'Urwa has only one round of fitna, which begins after Muhammad has converted the entire population of Mecca, so that the Muslims are too numerous to perform ritual prostration (sūjud) all together.

Accentual-syllabic verse is an extension of accentual verse which fixes both the number of stresses and syllables within a line or stanza. Accentual- syllabic verse is highly regular and therefore easily scannable. Usually, either one metrical foot, or a specific pattern of metrical feet, is used throughout the entire poem; thus one can speak about a poem being in, for example, iambic pentameter. Poets naturally vary the rhythm of their lines, using devices such as inversion, elision, masculine and feminine endings, the caesura, using secondary stress, the addition of extra-metrical syllables, or the omission of syllables, the substitution of one foot for another.

Much Cretan music is improvisational, especially in terms of its "lyrics." Typically, the lyrics of Cretan instrumental music take the form of mantinadas (): fifteen-syllable rhyming (or assonant) couplets which have their origins in medieval Cretan poetry (as rhyming couplets) as well as in earlier (non- rhyming) forms of Greek verse (in the same fifteen-syllable form). Each line of a mantinada is divided into two hemistichs (), the first of eight syllables and the second of seven, and separated by a caesura. For this reason, sometimes when mantinadas are transcribed, they are broken into four shorter lines in a rhyme scheme of ABCB as opposed to the traditional form of a couplet.

At other times, to suit the context of events like the death of King Théoden, Tolkien wrote what he called "the strictest form of Anglo-Saxon alliterative verse".Letters, #187 to H. Cotton Minchin, April 1956 That strict form means that each line consists of two half-lines, each with two stresses, separated by a caesura, a rhythmic break. Alliteration is not constant, but is common on the first three stressed syllables within a line, sometimes continuing across several lines: the last stressed syllable does not alliterate. Names are constantly varied: in this example, the fallen King of the Rohirrim is named as Théoden, and described as Thengling and "high lord of the host".

Decasyllable (Italian: decasillabo, French: décasyllabe, Serbian: десетерац, deseterac) is a poetic meter of ten syllables used in poetic traditions of syllabic verse. In languages with a stress accent (accentual verse), it is the equivalent of pentameter with iambs or trochees (particularly iambic pentameter). Medieval French heroic epics (the chansons de geste) were most often composed in 10 syllable verses (from which, the decasyllable was termed "heroic verse"), generally with a regular caesura after the fourth syllable. (The medieval French romance (roman) was, however, most often written in 8 syllable (or octosyllable) verse.) Use of the 10 syllable line in French poetry was eclipsed by the 12 syllable alexandrine line, particularly after the 16th century.

The metre of this poem is no less remarkable than its diction; it is a dactylic hexameter in three sections, with mostly bucolic caesura alone, with tailed rhymes and a feminine leonine rhyme between the two first sections; the verses are technically known as leonini cristati trilices dactylici, and are so difficult to construct in great numbers that the writer claims divine inspiration (the impulse and inflow of the Spirit of Wisdom and Understanding) as the chief agency in the execution of so long an effort of this kind. The poem begins: :Hora novissima, tempora pessima sunt -- vigilemus. Ecce minaciter imminet arbiter ille supremus. Imminet imminet ut mala terminet, æqua coronet, Recta remuneret, anxia liberet, æthera donet.

It can be compared to the alternation of stressed and unstressed syllables in sonnets. A poet writing a jueju or similar lüshi-style poem needs to alternate level and oblique tones both between and within lines. Some of the formal rules of the regulated verse forms were applied in the case of the jueju curtailed verse, these rules as applied to the jueju include regular line length, use of a single rhyme in even-numbered verses, strict patterning of tonal alternations, use of a major caesura before the last three syllables, optional parallelism and grammaticality of each line as a sentence. Each couplet generally forms a distinct unit, and the third line generally introduces some turn of thought or direction within the poem.

Another minor adjustment is that Bach applies a caesura in the music between the end of the Gospel text and the start of the doxology, so that the composition has ten movements ("Gloria Patri" becoming the ninth, and the fugal "Sicut erat" as the tenth and last movement). Whether by omission or because he didn't know, Bach did not mention the composer of the original on his copy. Antonio Caldara's , which Bach copied and arranged around the same time (BNB I/C/1 and BWV 1082), carries the name of the original composer in the header of Bach's manuscript. By 1841 Bach's manuscript was owned by the Royal Library at Berlin (later converted to the Berlin State Library), where it was classified as Mus.ms.

On the return trip to Severen, one of the mercenaries, an Adem warrior named Tempi, is ordered to stand trial for teaching Kvothe the Ketan, a secretive form of martial arts; Kvothe accompanies Tempi to the distant country of Ademre, where he completes his training in the Ketan and in the Lethani philosophy to justify Tempi's teaching him. Upon passing a series of final tests, Kvothe is rewarded with an ancient sword he names Caesura, and an Adem legend regarding the names and signs of the "Rhinta"—known to Kvothe as the Chandrian. Again on the road to Severen, Kvothe kills a troupe of robbers who pose as Edema Ruh after having murdered the original troupers. He then returns to the Maer and presents the waylaid taxes.

Hadcock's monumental bronze Caesura VI was installed and remains in situ in Holland Park, London. At this time Hadcock moved his studio from London to Lancashire when the scale of his work required additional space and facilities to enable the production of the monumental works being frequently commissioned for locations around the country. Hadcock has on occasion produced commissions to brief, such as a monument to commemorate film director James Whale, erected in 2001 on the grounds of a multiplex cinema in Whale's home town of Dudley, and the installation of a sculptural gate and railings around a development in Central London. Hadcock's exhibiting programme continued with a solo show at Canary Wharf in 2003, followed by a second larger solo show in 2011.

Don Michael Randel, Belknap Press See also: Capriccio (disambiguation) ; capriccioso : Capricious, unpredictable, volatile ; cavalleresco : Chivalrous (used in Carl Nielsen's violin concerto) ; cédez (Fr.) : Yield, give way ; cesura or caesura (Lat.) : Break, stop; (i.e. a complete break in sound) (sometimes nicknamed "railroad tracks" in reference to their appearance) ; chiuso : Closed (i.e. muted by hand) (for a horn, or similar instrument; but see also bocca chiusa, which uses the feminine form) ; coda : A tail (i.e. a closing section appended to a movement) ; codetta : A small coda, but usually applied to a passage appended to a section of a movement, not to a whole movement ; or : with the (col before a masculine noun, colla before a feminine noun); (see next for example) ; col legno : With the wood (i.e.

In reported speech, the ellipsis can be used to represent an intentional silence. In poetry, an ellipsis is used as a thought-pause or line break at the caesura or this is used to highlight sarcasm or make the reader think about the last points in the poem. In news reporting, often put inside square brackets, it is used to indicate that a quotation has been condensed for space, brevity or relevance, as in "The President said that [...] he would not be satisfied", where the exact quotation was "The President said that, for as long as this situation continued, he would not be satisfied". Herb Caen, Pulitzer-prize-winning columnist for the San Francisco Chronicle, became famous for his "three-dot journalism".

Since 2005 known as The Center for Fiction, the organization presents a diverse program of free or low-cost public events, featuring over 100 authors, translators, and critics each year. The Center also offers reading groups and writing workshops, open to the public, led by writers and scholars. In May 2018, the organization announced that it would be moving its headquarters to a new building in Downtown Brooklyn called Caesura and designed by Dattner Architects, a The space includes a library, classrooms, a writers studio, an auditorium for 160 people, a bookstore and a cafe. The three-story building will be co-owned with the Mark Morris Dance Group and a real estate company, which will have their own spaces there.

The rules by which alliterative verse was composed in Middle English are unclear and have been the subject of much debate. No metrical rules were written down at the time, and their details were quickly forgotten once the form died out: Robert Crowley, in his 1550 printing of Piers Plowman, simply stated that each line had "thre wordes at the least [...] whiche beginne with some one letter", assuring readers that "this thinge noted, the miter shal be very plesaunt to read".Cornelius, 2017, p.55 Verse of the Alliterative Revival broadly adheres to the same pattern shown in Old English poetry; a four-stress line, with a rhythmic pause (or caesura) in the middle, in which three of the stresses alliterate, i.e.

The cantar is composed of approximately 30 series of monorhyming heterosyllabic verses which predominate in absolute mode the assonance in á-o, which appear in fifteen series, that is, a total of 972 verses. The number of verses per series oscillates between the 264 of the number XVII and the two verses from various others (II, V, V, etc.). It is possible that many of these cases are regarding remains of incomplete series, because the text contains many holes. As in many Spanish cantares de gesta, there is no fixed number of syllables for each verse, even though there exists a tendency for these to measure between 14 and 16 metric syllables with a pronounced caesura, that divides the verse in two hemistiches, of which the first tends to be octosyllabic.

Fortunately, the family had taken the precaution at the outbreak of war to donate part of its valuable collections to the Ossolineum in Lwów and to take other parts to their chalet in Zakopane. The gamble paid off, as most of the archive managed to survive in scattered form. Pawlikowska and the family never returned to Medyka after the war to see the devastation of the place where they had spent the happiest time of their lives. It was a fate shared by the totality of Polish landowners in the Kresy region of Poland and marked a "caesura" in history and the obliteration not only of a way of life, but also of a centuries-old hugely rich and diverse cultural heritage centred on the city of Lwów.

If this option is chosen, a Two-Part Exposition is produced; if not, TR leads directly to the essential expositional closure (described below), producing a Continuous Exposition. The medial caesura (MC or ’), if present, is an abrupt gap in the musical texture, either a complete gap in sound or covered over by light "filler" material. The MC is often triggered by repeated, declamatory ("hammer blow") chords and follows either a half cadence or authentic cadence in the tonic or secondary key. (The first level default is to build an MC around a half cadence in the new key; by far the least common option is to set the MC up by an authentic cadence in the tonic.) This moment of punctuation serves one purpose: to announce the impending arrival of the sonata's secondary theme.

The Evangelienbuch is written in rhyming couplets. The layout of the manuscripts shows that the couplets are paired to make, effectively, a four-line stanza, though each couplet is laid out as a single line with a caesura. The poem opens: > Lúdowig ther snéllo, \ thes wísduames fóllo, > er óstarrichi ríhtit ál, \ so Fránkono kúning scal; > Ubar Fránkono lant \ so gengit éllu sin giwalt, > thaz ríhtit, so ih thir zéllu, \ thiu sin giwált ellu. Ludwig the bold \ > full of wisdom > He rules the whole eastern kingdom \ as befits a king of the Franks > over the land of the Franks \ extends all his power > As I tell you, that is ruled by all his power > The bold letters in the manuscript, the first and last in each pair of couplets, here mark an acrostic on the name of Louis.

Controversial initially, Passacaglia is now an iconic feature of the Brighton beachfront. A 1999 exhibition of Hadcock's drawings and maquettes 'If in doubt, ask' at London's Imperial College was part of a drive by the University to encourage engineering students to learn about the Arts. "There is 1 in all of us" was a collaboration with soundscape engineers at the Gardner Arts Centre, University of Sussex, whilst the Peter Scott Gallery at Lancaster University had to find additional exhibition space outside the gallery in 2006. Caesura VI in Holland Park, London Hadcock was included in the 1999 exhibition of British sculptors 'Shape of the Century' at Salisbury Cathedral and Canary Wharf which was followed by inclusion in Bronze: Contemporary British Sculpture a group show to celebrate the millennium and the tradition of siting Bronze sculpture in London parks.

He soon worked his way up through the ranks to a management position and became a partner in the company in 1919. Despite the fact that the German cement industry found itself in a deep and sustained crisis after the First World War, Curt von Grueber Technisches Bureau managed to stay afloat by supplying new coal-fired power stations with mills. In 1927, Ernst Curt Loesche developed the Loesche mill for the Klingenberg power station in Berlin-Rummelsburg and in 1937, Ernst Curt Loesche bought Curt von Grueber’s share in the company and became sole owner. The outbreak of the Second World War was a caesura in the history of Ernst Curt Loesche’s company. As was the case with many other machine manufacturers, the company was obliged to produce armaments for the German war effort: the Reich Air Ministry soon replaced the cement industry as the company’s largest customer.

Nearly all Old English poetry (whether or not it was written or sung) follows the same general verse form, its chief characteristic being alliteration. As was common with poetry of the period, the nine lines of the Hymn are divided into eighteen half-lines by a medial caesura (pause or break in the middle of the line); the four principal stresses of each line are in turn divided evenly, allotting each half line with two stresses. It is generally acknowledged that the text can be separated into two rhetorical sections (although some scholars believe it could be divided into three), based on theme, syntax and pacing; the first being lines one to four and the second being lines five to nine. Bede himself stated (in regards to his own Latin translation of Cædmon's Hymn) that "it is impossible to make a literal translation, no matter how well written, of poetry into another language without losing some of the beauty and dignity" of the piece.

Verso de arte mayor (Spanish for 'verse of higher art', or in short 'arte mayor') refers to a multiform verse that appeared in Spanish poetry from the 14th century and has 9 or more syllables. The term 'verso de arte mayor' is also used for the 'pie de arte mayor', which is a verse composed of two hemistiches, each of which has a rhythmic accent at the beginning and the end, separated by two unstressed syllables. Originally, it was - in contrast to the shorter 'verso de arte menor' (Spanish for 'verse of lower art') – a long verse of eight to 16 syllables, which later developed into a regular 12-syllable verse with four stressed syllables and a medial caesura. The verso de arte mayor came to maturity in the 15th century with Juan de Mena’s didactical-allegorically epic poem “Laberinto de Fortuna” (1444). The couplets of this poem, the so-called “Octavas de Juan de Mena”, consisted each of eight arte mayor verses.

Like a growing number of translations, the LSV uses a name, rather than a title, in translating the Tetragrammaton. However, the transliterated Tetragrammaton (YHWH) is used instead of Yahweh out of respect for the differing bodies of research on the pronunciation of the unpointed name. Besides the Tetragrammaton, the two most distinctive features of the LSV include its use of justified text blocks throughout mimicking the style of the ancient manuscripts and as an attempt to regard the entirety of Scripture as equally important, and the use of the caesura mark to distinguish lines of poetic literature. Given its highly literal nature, the translation has been described as mechanically word-for-word, which inclines it towards a higher reading level, ideal for deeper research into the meaning of the original languages and the study of biblical idioms and intra-biblical cross references, although it is significantly easier to read than Robert Young's 1862 translation.

Most carols follow a more or less standard format: they begin by exalting the relevant religious feast, then proceed to offer praises for the lord and lady of the house, their children, the household and its personnel, and usually conclude with a polite request for a treat, and a promise to come back next year for more well-wishing. Almost all the various carols are in the common dekapentasyllabos (15-syllable iamb with a caesura after the 8th syllable) verse, which means that their wording and tunes are easily interchangeable. This has given rise to a great number of local variants, parts of which often overlap or resemble one another in verse, tune, or both. Nevertheless, their musical variety remains very wide overall: for example carols from Epirus are strictly pentatonic, in the kind of drone polyphony practised in the Balkans, and accompanied by C-clarinets and fiddles; just across the straits, on Corfu Island, the style is tempered harmonic polyphony, accompanied by mandolins and guitars.

Apart from Ottoman poetry, which was heavily influenced by Persian traditions and created a unique Ottoman style, traditional Turkish poetry features a system in which the number of syllables in each verse must be the same, most frequently 7, 8, 11, 14 syllables. These verses are then divided into syllable groups depending on the number of total syllables in a verse: 4+3 for 7 syllables, 4+4 or 5+3 for 8, 4+4+3 or 6+5 for 11 syllables. The end of each group in a verse is called a "durak" (stop), and must coincide with the last syllable of a word. The following example is by Faruk Nafiz Çamlıbel (died 1973), one of the most devoted users of traditional Turkish metre: In this poem the 6+5 metre is used, so that there is a word-break (durak = "stop" or caesura) after the sixth syllable of every line, as well as at the end of each line.

Two centuries later, in his "On First Looking into Chapman's Homer," John Keats expressed his appreciation for what he called the "loud and bold" quality of Chapman's translation, which he implicitly contrasted with the more prestigious but more tightly controlled heroic couplets of Alexander Pope's 18th-century translation, thereby using one type of fourteener (a sonnet) to comment on the other (iambic heptameter). Samuel Johnson in his Lives of The English Poets comments upon the importance of fourteeners to later English lyric forms saying "as these lines had their caesura always at the eighth syllable, it was thought in time commodious to divide them; and quatrains of lines alternately consisting of eight and six syllables make the most soft and pleasing of our lyric measures".Johnson, Samuel, Lives of the English Poets—Dryden, 1779 These quatrains of eight and six syllables (or more loosely, lines of 4, 3, 4, and 3 beats) are known as common meter. C. S. Lewis, in his English Literature in the Sixteenth Century, castigates the 'lumbering' poulter's measure (p. 109).

Whoever the author may have been, there is no doubt about the importance of the work, which is the most systematic and comprehensive treatise of the time on its subject. It is "contrived into three books: the first of poets and poesies, the second of proportion, the third of ornament." Puttenham's book covers a general history of the art of poetry, and a discussion of the various forms of poetry; the second treats of prosody, dealing in turn with the measures in use in English verse, the caesura, punctuation, rhyme, accent, cadence, proportion in figure, which the author illustrates by geometrical diagrams, and the proposed innovations of English quantitative verse; the section on ornament deals with style, the distinctions between written and spoken language, the figures of speech; and the author closes with lengthy observations on good manners. He deprecates the use of archaisms, and although he allows that the purer Saxon speech is spoken beyond the Trent, he advises the English writer to take as his model the usual speech of the court, of London and the home counties.