The Technique of the French Alexandrine

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Excerpt from The Technique of the French Alexandrine: A Study of the Works of Leconte De Lisle, Jose Maria De Heredia, Francois Coppee, Sully Prudhomme, and Paul VerlaineAs this monograph deals only with the technique of the French Alexandrine, a discussion of questions, such as, mute e, verse-accent, word-stress, etc., would be out of place. In the First Part I have endeavored to give a general presentation of the rules and principles of versification practiced by the Class ical, Romantic, Parnassian and Symbolistic schools of poetry. In the body of examples I have shown to what extent these rules are followed by the five poets whose works have been examined. It would be out of the sphere of this work to discuss the occasional violations of these principles found in the verses examined, as those referring to the question of hemistich or cesura, rime, over¿ow, mute 6, etc. I have avoided any discussion of these points, noting only the exam ples which are found in the works of the five poets examined. The Third Part deals with a résumé of Part Two and gives the innovations in modern French verse found in Verlaine, some of these may be found occasionally in other poets before Ver laine, but he is the first poet in the nineteenth century to in troduce them as a legitimate form of verse. I have avoided using the terms accent and cesura because the terms pause or rest and hemistich answer the same purpose, and in order to avoid a discussion of the questions of verse-accent and cesura.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis 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.