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Journal Article
Modern Language Quarterly (1942) 3 (1): 5–8.
Published: 01 March 1942
...,, syllabic sounds). Such a liquid or nasal is con- sonantal in the presence of a tautosyllabic sonant; otherwise, it is sonantal. A tautosyllabic sonant is regularly present in a strong syllable; hence, the liquids and nasals of strong syllables are regu- larly consonantal. A tautosyllabic sonant...
Journal Article
Modern Language Quarterly (1972) 33 (3): 227–239.
Published: 01 September 1972
... of all understand that a possible reading, and one more regularly iambic, would stress the first syllables of profuse and supreme. This possibility granted, it is the second possibility I am concerned with, the one I have marked above, the one that is less regularly iambic but wholly...
Journal Article
Modern Language Quarterly (1946) 7 (1): 21–33.
Published: 01 March 1946
... make difficult the transference of the Spanish ballad form to English, if due attention be given to the two other requisites of a good translation. In traditional English poetry each line has a definite number of metrical feet, composed of two or more syllables, with a more or less definite...
Journal Article
Modern Language Quarterly (1947) 8 (3): 267–289.
Published: 01 September 1947
... follow one another without interruption. All words in Pennsylvania German have one syllable whose stress dominates that of all the rest. Ordinarily, this is the first syllable (sometimes the only syllable). The syllable of loudest stress may be indicated as having high stress. Many words have...
Journal Article
Modern Language Quarterly (1940) 1 (1): 3–6.
Published: 01 March 1940
.... Thus, in early Old French, the Vulgar Latin open o (Q), under the accent in an open syllable, breaks to the diphthong t&. This shows for the 14 high back position of the tongue and for the a mid back position, while rounding of the lips or labialisation occurs for both. It is obvious...
Journal Article
Modern Language Quarterly (1953) 14 (2): 184–198.
Published: 01 June 1953
... I. KG [i:] is derived from: (1) MHG i in open syllables : Jbi:la “to play”, etc. (2) MHG i before final [a] (MHG r) : mi:a “(to) me”, di:a “ (to) you”. (3) MHG ie: di:f “deep”. (4) MHG iie : fi:s “feet”. In umlauted plurals of nouns having in the singular a short vowel...
Journal Article
Modern Language Quarterly (1947) 8 (4): 401–407.
Published: 01 December 1947
... be a betrayal to neglect rhythmic considerations in translating the poem of his friend Valery, and he renders the French ten-syllable line by the Spanish endecasilabo. Since this count of 1 G. Cohen, Essai d’explication du Cimetihe Marin, prCcCdC d’un avant- propos de Paul ValCry (Paris...
Journal Article
Modern Language Quarterly (1959) 20 (4): 339–343.
Published: 01 December 1959
...-verse are bound by a single Occurrence in each of the stave h. It should be noted, on the other hand, that the alliteration in the off-verse falls on the sixth syllable of that half-line, if h is the stave. Yet with the other 121 Occurrences of the three-word X ond x construction...
Journal Article
Modern Language Quarterly (1948) 9 (4): 389–393.
Published: 01 December 1948
.... Even so, his meter is rough : the accent is usually (but not always) on the stressed syllables; some of the feet are irregular; and the last couplet seems to be a pentameter, perhaps influenced by the Anglo-Saxon hyper- metric line. The first few lines are the most regular, but the rhythm...
Journal Article
Modern Language Quarterly (1943) 4 (3): 372–374.
Published: 01 September 1943
.... The results are presented in four chapters: 1. Introduction. 2. The Vowel Sounds of Stressed Syllables. 3. The Vowel Sounds of Unstressed and Partially Stressed Syllables. 4. The Consonants. Mr. Hall is careful not to present his findings as a complete and exhaustive record, yet it is difficult...
Journal Article
Modern Language Quarterly (1967) 28 (4): 405–412.
Published: 01 December 1967
... normally seen as characteristic of it; it rests, too, on a norm of iambic segmentation. The experienced reader grows accustomed to a poetry in which the syllables are more readily grouped into iambic phrases than into any other configuration.6 The gestaltists point out that we tend...
Journal Article
Modern Language Quarterly (1950) 11 (1): 124–125.
Published: 01 March 1950
...“ as in pas, which has acquired the vowel in patte, he still prescribes that we distinguish en, an, from on, as in the cultured tradition. Further, positional variation in /e/ and (open in closed syllables, close in open syllables) is duly noted, but the /o/ phoneme, which belongs with them (cor...
Journal Article
Modern Language Quarterly (1961) 22 (1): 32–36.
Published: 01 March 1961
... to force identical quantitative values on syllables in the illustrative poems of the Observations in the Art of English Poesie. Take, for example, these lines from “Rose-cheekt LuwruJJ: El& musick,-w either-w- other w - w Sweetly gracing,-v...
Journal Article
Modern Language Quarterly (1945) 6 (4): 479–494.
Published: 01 December 1945
... for many later translations. The trochaic meter, in lines of seven and eight syllables with a strong stress on the seventh, imitates the rhythm of the original ; consonantal rime replaces the assonance, h-u, of the romance. The smooth-flowing verses present the content of the ballad with notable...
Journal Article
Modern Language Quarterly (1943) 4 (1): 87–91.
Published: 01 March 1943
... was included in my Introduction ($43 c). The prefix un- is unaccented if the following syllable is accented in the non-compound form, e.g., un-rkht, un-nzatre, un-dbnc, un-gkrne, un-mbzen, un-triziwe, etc. It is accented if the next syllable has no stress of its own, e.g., zin-verdaget, zin...
Journal Article
Modern Language Quarterly (2007) 68 (3): 345–362.
Published: 01 September 2007
...,” The Year That Was, Reprise Records R/RS 6179 (1965). Wilson-Okamura Spenser’s Feminine Rhyme 347 accent falls on the penultimate syllable. Safer/wafer is a feminine rhyme de stricte observance, and the rest are what the Italians call sdrucciole, “slippery” rhymes, in which...
Journal Article
Modern Language Quarterly (1940) 1 (2): 266–267.
Published: 01 June 1940
... they have pointed out the need for coijrdination of materials and techniques, and have demonstrated a method for such coordination in terms of a specific problem : The Problem: Does variation in stress upon the second syllable of a dissyllabic containing a single intervocalic...
Journal Article
Modern Language Quarterly (1975) 36 (4): 428–431.
Published: 01 December 1975
... D1 l\2\3\4 D2, E I 3/4 In ;i final chapter Cable discusses “The Melody of BeowuEf.” rI’he crux of‘ this chapter is simple: “I would expect syllables with greater ictus to occur on notes of higher musical pitch” (p. 102). We are treated on page 105...
Journal Article
Modern Language Quarterly (1963) 24 (3): 307–308.
Published: 01 September 1963
... to have four lifts, sometimes five or even seven. All these lines, she argues, have four major stresses, two in each half-line. She holds that there are three levels of stress: “unstressed,” and “minor” and “major chief syllables” (the latter marked “c” and “C “Extended” lines with five...
Journal Article
Modern Language Quarterly (1966) 27 (1): 3–17.
Published: 01 March 1966
... not.” In this impure poem we watch the resistance of the natural prose rhythm against the same disciplined pattern it tries to imitate, a tension often referred to as counterpoint. Rhythm is the mixture of stressed and slack syllables of the language when read as prose; meter is the theoretic pattern...