A History of English Prosody From the Twelfth Century to the Present Day
A History of English Prosody From the Twelfth Century to the Present Day
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Other freaks.
CHAP. IV ELIZABETHAN LYRIC AND SONNET 151 which do not even attempt to usurp the name of Sonnet, but frankly call themselves Madrigals, Canzons, or simply Songs.
The chief example of this, after Sidney himself (or Canzons, even, though with much less mastery and still lesser |l^g^J.^gs^' ^"^' critical power, in advance of him), is the already-mentioned Barnabe Barnes. His Madrigals (which, be it remembered, cannot be later than i S93, and may be some years earlier) actually antici...pate Spenser, though, of course, they are practically far below him, in the use of carefully strophic compositions of varied line-length. Barnes's great prosodic fault here — a fault into which, no doubt, he was allured by the false analogy of his Italian models — is his prodi- gality of double rhymes, which, in such measures, and with no trisyllabic feet preceding them in the body of the line, always have an awkward effect in English. But when he gets free of this, as in 10 and 1 1 , he sometimes achieves quite charming things prosodically, and he deserves the high praise of having quite evidently sought words that will suit or give his prosodic effect.
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To quickly assess the difficulty of the text, read a short excerpt:
Other freaks.
CHAP. IV ELIZABETHAN LYRIC AND SONNET 151 which do not even attempt to usurp the name of Sonnet, but frankly call themselves Madrigals, Canzons, or simply Songs.
The chief example of this, after Sidney himself (or Canzons, even, though with much less mastery and still lesser |l^g^J.^gs^' ^"^' critical power, in advance of him), is the already-mentioned Barnabe Barnes. His Madrigals (which, be it remembered, cannot be later than i S93, and may be some years earlier) actually antici...pate Spenser, though, of course, they are practically far below him, in the use of carefully strophic compositions of varied line-length. Barnes's great prosodic fault here — a fault into which, no doubt, he was allured by the false analogy of his Italian models — is his prodi- gality of double rhymes, which, in such measures, and with no trisyllabic feet preceding them in the body of the line, always have an awkward effect in English. But when he gets free of this, as in 10 and 1 1 , he sometimes achieves quite charming things prosodically, and he deserves the high praise of having quite evidently sought words that will suit or give his prosodic effect.
What to read after A History of English Prosody From the Twelfth Century to the Present Day?
You can find similar books in the "Read Also" column, or choose other free books by Saintsbury George to read onlineMoreLess
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