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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 masculine caesura follows a stressed syllable while a feminine caesura follows an unstressed syllable.
o o o S | o o ¦ o S | o o o S (e) |=strong caesura; ¦=word break Although generally embraced by the French Romantics and Symbolists , the alexandrin ternaire remained a supplemental line, used within a classical alexandrine context and forming no more than one quarter of the alexandrine lines written during this time. [ 18 ]
The coincidence of word accent and meter in the last two feet could be achieved by restricting the last word to one of two or three syllables. [20] Most lines (about 85% in Virgil) have a caesura or word division after the first syllable of the 3rd foot, as above ca/nō. This is known as a strong or masculine caesura.
Czech alexandrine (in Czech český alexandrín) is a verse form found in Czech poetry of the 20th century. [1] It is a metre based on French alexandrine. [2] [3] The most important features of the pattern are number of syllables (twelve or thirteen) and a caesura after the sixth syllable.
As is typical of Old English verse, the metre of the poem is alliterative and consists of four-stress lines, divided between the second and third stresses by a caesura. Each caesura is indicated in the manuscript by a subtle increase in character spacing and with full stops, but modern print editions render them in a more obvious fashion. It is ...
The foundation of most alexandrines consists of two hemistichs (half-lines) of six syllables each, separated by a caesura (a metrical pause or word break, which may or may not be realized as a stronger syntactic break): o o o o o o | o o o o o o o=any syllable; |=caesura However, no tradition remains this simple.
In Latin and Greek poetry, a caesura is a break within a foot caused by the end of a word. 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,
There is usually a caesura or word-break after either the 5th or the 7th syllable. In later poets, such as Persius , Martial , and Ausonius , resolution was used more freely, in any of the first four longa , and sometimes the first foot might be an anapaest (u u –).