catalexis


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Related to catalexis: Acatalexis
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Words related to catalexis

the absence of a syllable in the last foot of a line or verse

References in periodicals archive ?
It seems, rather, that the line is composed of four anapests, the final one implied by a catalexis.
But though catalexis may irritate the pedants, it is not (as it would be in French) a metrical defect, since meter-in English is based in the first instance on a count not of syllables but of beats.
Catalexis, though it can arise from inadvertence in a poet who wishes to observe the shibboleth that forbids it, (4) may also be a stylistic tool: whether or not it is consciously registered, it is experienced by the reader or listener as a gap, an absence of something expected: thus headlessness creates a kind of initial abruptness that mirrors, for example, the suddenness of King Richard's volte-face in the first line of item 2a, or the explosive anger or exasperation of the speakers in the second two:
One naturalistic device that Larkin takes further than Lowell (as Table 1 shows) is medial catalexis.
More interestingly, the catalexis can point a rhetorical pause of some kind: it can suggest a slight hesitation, mirroring the poet's mild disappointment at the dull predictability of the interior in "Church Going," for example, or his surprise at "finding out how much had gone of life,/How widely from the others" in "Dockery and Son"; alternatively, it can register the anxious hiatus that follows the nurse's beckoning in "The Building":
Where the catalexis does not coincide with an existing major syntactic break, the tiny ungrammatical pause or deceleration it intrudes can suggest a typically Larkinesque hesitation over le mot juste:
The fifth-foot catalexis seen in 20 and in the last examples of 19 (often combined, as here, with harsh mapping) became with its sombre or musing cadence a trademark of Larkin's style right up to the last great poem that he wrote:
Each line of dimeter has four complete verse feet except for the last line, which has three and a half, due to the catalexis.
We understand catalexis to be the metrical counterpart: of rest in music (Burling 1966).
As we have said, it is hard to know exactly which metrical position is the catalectic one, so we follow traditional analyses and assume it is the last, since catalexis (like extrametricality) seems to target final constituents rather than initial ones, at least in phonology (Kiparsky 1991).
For one thing, the clearest case of catalexis in Greek stichic meter, iambic tetrameter catalectic, has initial catalexis, not final.
31) Knights 773-776 (assuming that catalexis is initial) (--H)(H L L)(H H)(H L L)(H H)(H L kai po:s an e.
that catalexis in this meter is either initial or final.
For, given his poem's theme of marital haunting, Hardy has with characteristic ingenuity made feminine endings an earnest of uncanny wifely initiatives; acephalous catalexis becomes a prosodic trope for the absence/presence of a remarried widower's paranormal experience.
Line 1 must be just what it looks like, a dactylic tetrameter; and so then must line 2, whose double-slack catalexis belongs at the end and not, where I had wanted to put it, at the beginning.