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Excerpt from Prose Rhythm in English
Cicero gives examples of perfect prose, in which it is impossible to vary the order without destroying the rhythm. He also attempted to give rules for composition, distinguishing between good and bad endings. Here he was not so successful. His examples agree but imperfectly with his own practice, and he has no coherent theory to propose. The one statement which is really fruitful, and which tends to emerge more and more clearly in subsequent writers, is that the chief ingredient in prose rhythm is the cretic. He laboured under the same difficulty as we do to-day. We know that, when we write, we choose a word or a collocation, because our ears tell us that it is right. Also, when we read a piece of perfect English, we are con scious of a bewitching rhythm, but we cannot tell wherein the charm resides. It is necessary to insist on this point, since many writers assume that the last word on Latin rhythm was said by Cicero, and turn deaf ears to all the results of modern analysis. They say, I will go as far as Cicero went, and not one step further. The modern method is not that of Cicero.' The answer is, 'quite true, but Cicero failed.'
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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Excerpt from Prose Rhythm in English
Cicero gives examples of perfect prose, in which it is impossible to vary the order without destroying the rhythm. He also attempted to give rules for composition, distinguishing between good and bad endings. Here he was not so successful. His examples agree but imperfectly with his own practice, and he has no coherent theory to propose. The one statement which is really fruitful, and which tends to emerge more and more clearly in subsequent writers, is that the chief ingredient in prose rhythm is the cretic. He laboured under the same difficulty as we do to-day. We know that, when we write, we choose a word or a collocation, because our ears tell us that it is right. Also, when we read a piece of perfect English, we are con scious of a bewitching rhythm, but we cannot tell wherein the charm resides. It is necessary to insist on this point, since many writers assume that the last word on Latin rhythm was said by Cicero, and turn deaf ears to all the results of modern analysis. They say, I will go as far as Cicero went, and not one step further. The modern method is not that of Cicero.' The answer is, 'quite true, but Cicero failed.'
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Reseña del editor
Excerpt from Prose Rhythm in English
The suggestions which I venture to put forward in this lecture occurred to me recently while I was reading Saintsbury's History of English Prose Rhythm. I realize that I am guilty of temerity in writing upon a subject which lies outside the range of my usual work, and can only excuse myself by saying that I have studied similar phenomena in ancient and mediaeval prose. Some three years ago I published a paper upon the mediaeval cursus, which contained a brief introduction to the study of numerous prose. Since, however, I cannot hope that more than a few of my listeners may have seen this, I must begin by repeating a few points.
For the origin of prose rhythm we must go to Cicero. Nature, he tells us, has placed in the cars a register which tells us if a rhythm is good or bad, just as by the same means we are enabled to distinguish notes in music. Men first observed that particular sounds gave pleasure to the ear, then they repeated them for this end. Thus, practice came first and was succeeded by theory. The rhythm of prose is based on the same principle as that of verse. This in ancient prose was the distribution of long and short syllables; in our own longue it is the arrangement of stressed and unstressed syllables. The difference between the rhythms of prose and verse is said to be one of degree. In verse the metre is constant and unbroken, in prose the measures are loose and irregular. In this respect prose is said to resemble lyric poetry, a very suggestive remark.
The theory of ancient writers is, that the whole sentence is pervaded or 'winged' by rhythm, or 'number', but that this number is most noticeable in the cadence, or clausula. The sentence is termed period, and its parts arc called commala and cola. There is a cadence at the end of the colon, and to a less extent at the end of the comma, similar to that at the end of the period. Whenever the speaker paused to draw fresh breath, he punctuated by a numerus, or cadence.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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