SYLLA BI FI CA TI ON A ND A C C ENT I N THE PA RA DI SE LOST A D I S S ERTA T I O N P R E S E NT E D TO T H E B O A RD O F U N IV ER S I TY S TU D I E S O F T H E JOH N S HO P KI N S U N IV ER S I TY F O R T H E D E E E P I L S P Y G R O F D O C TOR O F H O O H . EOR E DOBB N BRO N G G I W . n m : B A L T I M O R E JOH N M U RP HY C O M P A NY 1 90 1 C O N T EN TS . INTRODUCTION. P A GE. M etrical views of 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 Masson A b bo tt and Seeley Symonds — A R I SY A IFICA I N. P T . LL B T O A . WI THI N A WOR D . a . S nizesis and d r i y w es s . a 1. before or after tonic vowel 2 . a atonic vowel 6 r 3 . befo e or after tonic vowel 4. e atonic vo wel 5 i be ore o r a r i . f fte ton c vowel i a i l 6. + ton c vowe . 7 0 be ore or a ter toni v l . f f c owe 8 . o atonic vowel u r r a t r t ni l 9. befo e o f e o c vowe 10. u atonic vowel 1 h r i m inati n 1 . Ot e ton c co b o s 1 1 7 3 2 1 i N EN v CO T TS . 1? o s llabic n als and li uidsand conse ue'rit mzesis with con B. t f y as q q sy ti u llab 40 g ous sy les . Th lla i na al r li i n r i ith atonic owel I . e sy b c s o q u d u de goes syniz es s w v bordemng bordg-i ng boraring II a l b d m vowel li uid or nasal and . eve o ment of s lla ic li ui or nasal ro D p y q f + q , conseq uent syniz esis with tonic syllable : fallen >fallgi 43 44 44 m l n ent s niz esis II b . evelo ent of s l abic r rom r vowel and co se u D p y f , q y with tonic vowel : lomi shin > u- -shin > owrshin 40 46 f g flo g g fl g , ‘ 46 r . 46 . Y L A B FI E E B S L I CA TI ON B TW EN WORDS. Customary elisions Less usual elisions A p ocop e and apheresis — A R N M A N N F A CCEN S. P T II . U BER D POSITIO O T ’ Professor Bri ght s metrical th eory - 1 4 i h a H a . L g t nd e vy iambs Heavy iamb — Light heavy iamb Conflict of stresses a . Conflict between two words . nfli b. Co ct between two syllables of one word List of words like agains t used in descending rhythm c. The relati n f li h h a mb i l h h o o t e v ia tr r t m . g y to p e y . 4 Erroneous scansion of li ht h a i m ment . g e vy a b by anapaestic postpone of arsis roch aic substitution 5 . T Troch ee h eavy iamb compared to E N EN CO T TS . - l iam in n rmal n ir nm nt . 6 8 . Unstab e b o e v o e n l bl iamb 6. Fi a unsta e Th n n- aesural unsta l iam rm b n r 7 . e o c b e b fo ed y o e wo d List of unstable iambs Th l iam r 8 . e unstab e b formed by two wo ds — 1 9 1 . The unstable iamb in combination with other feet ha a m t n st ble ia bs. n 9. Troch ee + u stable iamb 1 n a l a 0. U st b e i mb + heavy iamb 11. Unstable iamb + unstable iamb — 12 13 i ht iamb ns abl iamb . L g u t e 12 i h i . L g t amb unstable iamb stable iamb i 13 . L ght iamb unstable iamb heavy iamb The accent of various words RODUCTION . ves s n v ” I n r n n m he em Mr L e Gallienne re rets a ece t u ber of T A ca d y . g that Sidney L ani er spent his precious time and energy in the ” m t n f The ien e o En lish Verse w n er he o s o o S . c po i i c c f g I o d , “ sa s wh m these learne treat ses on metre ene t. Not the y , o d i b fi m th n n n t Mr Ste hen P h ll k ma hat . s ets a . e po , I i i g I i gi p i ip oul h r n lank rse th u h Mr R ert w d ave w i tte as good b ve o g . ob ’ B ridg es s treatise on Miltonic blank verse had never seen that ” h hn l m t r dim lig t of publicity vouchsafed to tec ica as e pieces . ’ are n t n rn th th t r Mr L e all enne s We o co ce ed wi a pa t of . G i r t sm wh h ex resses ntem t of learne treat ses on metre c i ici ic p co p d i . Such d eli verances on the part of critics of the class to which Mr L e Gallienne b el n s u n the ut l t of the s ent stu . o g po f i i y ci ific dy aesthet hen mena el ht o urse the art- amateur for of ic p o d ig , of c , h m the are es e all o m se B ut the ons ent us w o y p ci y c po d . c ci io i nvestig ator ag ainst whom they are di rected is to an even reate r e tent amuse A nd so no harm is ne g x d . do . The part of the criticism to which I would call attention is ’ its est mate of B rid es s essa f r Mr L e allienne x r o . G e esses i g y, p the eneral u ment wh h has een asse u n that w rk g j dg ic b p d po o . ’ ’ Mr B rid s s tr t s Milton s P roso Oxf r 18 94 is n . e ea e co g i , dy, o d , , sidered an excellent exposition o f the underlying principles of lt n blank rs hat then it ma b e aske is th ve e . W e nee Mi o ic , , y d , d of another such study ? ' Metr ans are a ree u n the t e- l ne in lank verse ici g d po yp i b . Dramatic blank verse differs from thi s norm often ver wid el y y, m there re b e terme ree th su h var at n and ay fo d f . Wi c i io s we are N n- r ma n n t n e rne . o a t bla k verse on the o ther h n o co c d d ic , a d , as in lton W r sw rth Tenn son a heres mu h more closel Mi , o d o , y , d c y m el and ma b e terme stri t Even in r t l to the od y d c . st ic b ank h w v er var at ns fr m the n rm re re uent I t is verse e . , o , i io o o a f q 1 e L ost 2 Syllabifica tion and A ccent in the P aradis . ’ with the nature of these vari ations from the norm in Milton s 7—45 blank verse (both epic and d ramatic) that the nucleus (pp. ) ’ B rid es s a er als all the un am ntal uest ns e n Mr . e e of g p p d , f d q io b i g n h n n o 7 touched upo in t e part concer i g P a ra dise L st (pp.