This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1880 Excerpt: ...in 3 t t t t ' seems generally val-ley of death g t t:: Math-el-o-de preferable to the form g " t, 8 p t C Math-el-o-de val-ley of deat and would have been adopted in the foregoing scheme except for the desire to concentrate the student's attention upon the special purpose of the scheme and therefore to avoid all ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1880 Excerpt: ...in 3 t t t t ' seems generally val-ley of death g t t:: Math-el-o-de preferable to the form g " t, 8 p t C Math-el-o-de val-ley of deat and would have been adopted in the foregoing scheme except for the desire to concentrate the student's attention upon the special purpose of the scheme and therefore to avoid all preliminary explanations that could be dispensed-with. It will be hereafter used, except when other forms specially commend themselves. The rhythm revealed by the scheme given for Byrhtnoth's speech is the typic rhythm of Anglo-Saxon poetry, and its typic scheme, g v v I (representing the two typic simple forms of bar which, alternating with each other, largely predominate in every poem) never varies from the beginning to the end of what we may call Anglo-Saxon pc itry, though the number of bars to the line is occasionally different. This may appear in illustrative passages from the Song of the Traveller, probably 6th century; Caedmon's Paraphrase, 7th; Beowulf, 8th; The Wanderer (unknown date; possibly), 9th; the scheme already given from the Battle of Maldon, 10th. From Caedmon (as preserved in King Alfred's AngloSaxon translation of Beda's Ecclesiastical History): Nu we sceol-on her-i-an heo-fon-ric-es Weard, Though belonging more strictly to a monograph on Anglo-Saxon rhythm, it is worth while interrupting this series for a moment in order to call attention to a principle, illustrated in the bars marked 1 and 3 of this Caedmon scheme, which is of application in the proper delivery and notation of almost every line of AngloSaxon poetry. Considering first the bar number 3: p t heo-fon-nc-es, the word is a compound one, of "heo-fon"--which is heaven--and "ric-es," which is the genitive case of Anglo-Sa...
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