40:
366:
Every syllable pronounced is of nearly equal value but is less strongly accented than in
English; being less intense requires less discipline to mold the accents into the poem's rhythm. This new technique, as defined by Kahn, consists of the denial of a regular number of syllables as the basis for verification; the length of the line is long and short, oscillating with images used by the poet following the contours of his or her thoughts and is free rather than regular.
205:, later remarked that writing free verse was like "playing tennis without a net." Sandburg responded saying, in part, "There have been poets who could and did play more than one game of tennis with unseen rackets, volleying airy and fantastic balls over an insubstantial net, on a frail moonlight fabric of a court."
130:
freedom cadenced verse obtains is a limited freedom from the tight demands of the metered line." Free verse is as equally subject to elements of form (the poetic line, which may vary freely; rhythm; strophes or strophic rhythms; stanzaic patterns and rhythmic units or cadences) as other forms of poetry.
365:
in vers libre is built upon "organic rhythm" or the rhythm of the speaking voice with its necessity for breathing, rather than upon a strict metrical system. For vers libre addresses the ear, not the eye. Vers libre is liberated from traditional rules concerning meter, caesura, and line end stopping.
129:
It is said that verse is free "when it is not primarily obtained by the metered line." Free verse does not "proceed by a strict set of rules … is not a literary type, and does not conform to a formal structure," but it is not considered to be completely free. In 1948, Charles Allen wrote, "The only
311:(the harmony or equilibrium of sensation) and later described as "the moment when French poetry began to take consciousness of itself as poetry." Gustave Kahn was commonly supposed to have invented the term vers libre and according to
319:, but would free it from the encumbrances which usage had made appear indispensable." Thus the practice of vers libre was not the abandoning of pattern, but the creation of an original and complicated metrical form for each poem.
315:, he "was undoubtedly the first theorist of the technique(s)." Later in 1912, Robert de Souza published his conclusion on the genre, voicing that "A vers libre was possible which would keep all the essential characteristics of
391:
Unrestrained by traditional boundaries, the poet possesses more license to express and has more control over the development of the poem. This can allow for a more spontaneous and individualized poetic art product.
369:
Although free verse requires no meter, rhyme, or other traditional poetic techniques, a poet can still use them to create some sense of structure. A clear example of this can be found in
376:
Pattern and discipline are to be found in good free verse: the internal pattern of sounds, the choice of exact words, and the effect of associations give free verse its beauty. With the
113:
movement through Flint's advocacy of the genre. Imagism, in the wake of French
Symbolism (i.e. vers libre of French Symbolist poets) was the wellspring out of which the main current of
213:, the poet and critic, said, "…the greatest fluidity of statement is possible where the greatest clarity of form prevails. … The free verse that is really verse—the best that is, of
342:
gave definition to the whole vers libre movement; he notes that there should arise, at regular intervals, a full and complete line, which reassures the ear and guides the rhythm.
326:(French verse of the late 19th century that liberated itself from classical rules of versification whilst observing the principle of isosyllabism and regular patterned rhyme) and
287:, as well as the appearance of a band of poets unequaled at any one time in the history of French poetry. Their style of poetry was dubbed "Counter-Romanticism" and it was led by
330:(a minor French genre of the 17th and 18th century which conformed to classic concepts, but in which lines of different length were irregularly and unpredictably combined) and
121:
later identified this as "the point de repere usually taken as the starting point of modern poetry," as hundreds of poets were led to adopt vers libre as their medium.
279:
is a free-verse poetic form of flexibility, complexity, and naturalness created in the late 19th century in France, in 1886. It was largely through the activities of
73:
or irregular speech. Free verse encompasses a large range of poetic form, and the distinction between free verse and other forms (such as prose) is often ambiguous.
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suggests, this technique of using more irregular cadences is often said to have its origin in the practices of 19th-century French poets such as
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91:'s poetry, for example), free verse is generally considered an early 20th century innovation of the late 19th-century French
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354:, which may be the whole poem or only a part. Each strophe is a complete circle. Vers libre is "verse-formal based upon
1084:
1256:
Pondrom, Cryrena The Road from Paris, French
Influence on English Poetry 1900-1920 Cambridge University Press 1974
725:
539:
628:
made an important contribution to the development of free verse with 22 poems, written in two-poem cycles, called
1651:
1416:
81:
Though individual examples of
English free verse poetry surfaced before the 20th-century (parts of John Milton's
350:
The unit of vers libre is not the foot, the number of the syllables, the quantity, or the line. The unit is the
1770:
209:
said, "Being an art form, a verse cannot be free in the sense of having no limitations or guiding principles."
194:
1542:
Songs of Love and Grief: A Bilingual
Anthology in the Verse Forms of the ... – Heinrich Heine – Google Books
1104:
296:
214:
206:
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179:
1381:
Pratt, William. The
Imagist Poem, Modern Poetry in Miniature (Story Line Press, 1963, expanded 2001).
653:
462:
432:
438:
The sort of cadencing that we now recognize in free verse can be traced back at least as far as the
395:
Technically, free verse has been described as spaced prose, a mosaic of verse and prose experience.
1132:
Scott, Clive, Vers libre: the emergence of free verse in France, 1886-1914 Clarendon Press, Oxford
668:
610:
304:
373:'s poems, where he repeats certain phrases and uses commas to create both a rhythm and structure.
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gave free verse its musical structure to an extent that paradoxically it was no longer free."
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621:'s poetry. Hölderlin also continued to write unmetered poems after discovering this error.
1597:
1307:
Lowell, Amy, Preface, Sword Blades, and Poppy Seed; North
American Review for January 1917
996:
Eliot quote from the essay, "The Music of Poetry" Jackson (1 January 1942) ASIN B0032Q49RO
688:
473:
439:
428:
404:
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39:
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to each spoken syllable, whereas
English syllables vary in quantity according to whether
987:
Donald Hall, in the essay 'Goatfoot, Milktongue, Twinbird' in the book of 0-472-40000-2.
453:, it is possible to argue that free verse in English first appeared in the 1380s in the
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used free verse occasionally, due in part to a misinterpretation of the meter used in
358:
that allows the lines to flow as they will when read aloud by an intelligent reader."
1764:
1298:
Lowes, John
Livingston Conventions and Revolt in Poetry Houghton Mifflin, Boston 1919
1010:
683:
507:
491:
454:
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202:
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of 1890. Taupin, the US-based French poet and critic, concluded that free verse and
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were arranged in manuscript in lines, rather than prose, and in the
Netherlands,
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free verse became a discipline and acquired status as a legitimate poetic form.
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1916, he comments, "Only the name is new, you will find something much like
1163:
Introduction to The Influence of French Symbolism on Modern American Poetry
189:
Some poets have considered free verse restrictive in its own way. In 1922,
1491:
17:
1434:(1986), (translated by William Pratt), Ams Studies in Modern Literature,
1038:. Nancy Lewis Tuten, John Zubizarreta. Greenwood Press (2001). Page 318.
603:
employed the form at least once in his poem "Waterlelie" ("Water Lily").
503:), written some time between 1759 and 1763 but not published until 1939.
442:
377:
673:
351:
110:
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186:; prose may be written as very beautiful free verse. Which is which?"
1522:, vol. 39), New York: The Continuum Publishing Company, 1984, p. XV,
618:
606:
458:
450:
249:
244:, however, the term has a completely different meaning. According to
58:
966:
808:. Ann Arbor (Mich.): the University of Michigan press. p. 10.
427:
are not synonymous, since "the French language tends to give equal
1088:
Primitivism and Decadence: A Study of American Experimental Poetry
496:
446:
248:, "When Welsh poets speak of Free Verse, they mean forms like the
218:
183:
150:
wrote, "No verse is free for the man who wants to do a good job."
66:
38:
1680:
The Road from Paris, French Influence on English Poetry 1900-1920
174:, and the awareness of what French poets had already done to the
522:
all wrote examples of rhymed but unmetered verse, poems such as
1668:(1986),(trans William Pratt) Ams Studies in Modern Literature,
1240:(1986),(trans William Pratt) AMS Studies in Modern Literature,
253:
182:
in 1916 observed "Free verse may be written as very beautiful
599:(i.e., a member of the 1880s generation of innovative poets)
1639:
Missing Measures: Modern Poetry and the Revolt Against Meter
883:
Introduction to The Imagist Poem, modern poetry in miniature
1666:
The Influence of French Symbolism on Modern American Poetry
1432:
The Influence of French Symbolism on Modern American Poetry
1238:
The Influence of French Symbolism on Modern American Poetry
533:
Free verse in English was persuasively advocated by critic
334:(versification derived from oral aspects of popular song).
925:
to Washington University June 1953, Faber & Faber 1965
481:, influenced later American free verse composers, notably
156:, the poet and critic, said the adoption by some poets of
268:
laid down for correct poetic composition 600 years ago."
721:
The Forms of Poetry: A practical study guide for English
1738:
Wallace Stevens reads aloud one of his free verse poems
1733:
Marianne Moore reads aloud an example of her free verse
1694:
Vers libre : the emergence of free verse in France
830:
The Road from Paris, French Influence on English Poetry
783:. Ann Arbor: University of Michigan Press. p. 43.
758:. New York: Appleton-Century-Crofts. pp. 292–293.
162:
arose from "mere desire for novelty, the imitation of
636:) (written 1825–1826). These were first published in
138:
of free verse is as binding and as liberating as the
1232:
1230:
1128:
1126:
471:, who based his long lines in his poetry collection
1101:The Matter of Wales: Epic Views of a Small Country
718:Abbs, Peter; Richardson, John (15 November 1990).
1728:Free verse read aloud by William Carlos Williams
953:Allen, Charles (1948). "Cadenced Free Verse".
105:first introduced the form to the London-based
1165:by René Taupin, AMS Press Inc, New York 1985
8:
1457:. University of Michigan Press. p. 44.
1073:Princeton Encyclopedia of Poetry and Poetics
903:The Imagist Poem, modern poetry in miniature
109:in 1909. This later became the heart of the
1054:Lingeman, Richard. "A Poet for the People:
461:and was repeated in different form in most
61:which does not use a prescribed or regular
1005:Introductory Note by Kenneth Allott (ed.)
832:1900-1920 Cambridge University Press 1974
1402:. Routledge & Kegan Paul, London 1957
485:. One form of free verse was employed by
948:
946:
944:
754:DeFord, Sara; Harriss, Clarinda (1971).
749:
747:
745:
1647:Mysterious Music: Rhythm and Free Verse
1492:"De waterlelie < Frederik van Eeden"
1198:, Philosophical Library, New York, 1955
710:
322:The formal stimuli for vers libre were
256:, which obey the same rules as English
1120:Interview with Boston Record Sept 1898
1090:. Arrow Editions, New York, 1937. p. 7
1007:The Penguin Book of Contemporary Verse
193:voiced his reservations in the essay "
1641:, University of Arkansas Press, 1990.
1587:Northwestern University Press, 1980.
861:Jones Peter (editor) Introduction to
7:
1696:, 1886-1914 Clarendon Press, Oxford
1539:Heine, Heinrich (22 November 1995).
1514:in Robert Marcellus Browning (ed.):
938:Harcourt Brace& Co New York 1950
804:Kirby-Smith, Henry Tompkins (1996).
756:Forms of verse: British and American
384:, however, noted that "the Imagist
1372:, Routledge&Kegan, London 1953
233:—is, in its peculiar fashion, the
69:and tends to follow the rhythm of
25:
1545:. Northwestern University Press.
1682:Cambridge University Press 1974
1318:Conventions and Revolt in Poetry
543:(1908). Later in the preface to
178:in France." The American critic
134:goes as far as to say that "the
1516:German poetry from 1750 to 1900
1185:, Lear Publisher, New York 1925
1710:, Paris, 1923 ASIN: B008XZTTY2
1346:, Paris, 1923 ASIN: B008XZTTY2
934:Untermeyer, Louis, Preface to
609:in some early poems, such as "
510:experimented with free verse.
283:, a weekly journal founded by
1:
1411:Patterson, William Morrison,
1320:Houghton Mifflin, Boston 1919
1183:The Foundations of Aesthetics
1181:I A Richards & C.K.Ogden
1036:The Robert Frost Encyclopedia
1013:, Harmondsworth, England 1950
1747:– Essay by T. S. Eliot, 1916
1211:, The Poetry Review Aug 1912
852:Essay in The Egoist May 1915
1359:, Kensington Town Hall 1914
1196:The Situation of Poetry Now
1152:, Kensington Town Hall 1914
779:Kirby-Smith, H. T. (1996).
581:In France, a few pieces in
50:, an example of free verse.
1792:
1757:, an example of vers libre
1618:The Origins of Free Verse,
1451:H. T. Kirby-Smith (1998).
1398:Read, Herbert Ezra Pound,
1209:Contemporary French Poetry
1056:Carl Sandberg: A Biography
726:Cambridge University Press
540:A Lecture on Modern Poetry
526:'s "Discharged" (from his
29:
1652:Stanford University Press
1454:The Origins of Free Verse
1417:Columbia University Press
901:Pratt William Preface to
806:The origins of free verse
781:The origins of free verse
201:, in a comment regarding
1605:, Rhythm and Verse Form,
1581:Free Verse: An Essay on
1357:Lecture on Modern Poetry
1316:Lowes, John Livingston
1148:Hulme, T. E. Lecture on
1022:Lowes, Livingston John,
264:verse still honours the
195:Humdrum and Harum-Scarum
30:Not to be confused with
1105:Oxford University Press
923:To Criticize the Critic
905:Uno Press 1963 edition
885:Uno Press 1963 edition
477:on the phrasing of the
266:immensely complex rules
207:William Carlos Williams
1621:University of Michigan
1415:(Preface 2nd edition)
936:Modern American Poetry
850:The History of Imagism
449:. By referring to the
433:stressed or unstressed
307:It was concerned with
51:
1755:by Charles Baudelaire
1715:The Approach to Paris
1331:Du Rythme en Francais
1222:Du Rythme en Francais
463:biblical translations
180:John Livingston Lowes
42:
1717:The New Age Sep 1913
1368:Boulton, Marjories,
1333:, Welter, Paris 1912
1287:Le Probleme du Style
1224:, Welter, Paris 1912
921:Eliot T. S. Address
569:, and the oldest in
557:Threnodia Augustalis
328:vers libre Classique
1509:Michael Hamburger:
1099:Jan Morris (1984),
669:Confessional poetry
501:Rejoice in the Lamb
457:translation of the
117:in English flowed.
87:or the majority of
57:is an open form of
1577:Charles O. Hartman
1520:The German Library
1479:Some Imagist Poets
1285:Remy de Gourmand,
1220:de Souza, Robert,
828:Pondrom, Cryrena
601:Frederik van Eeden
559:; a great deal of
545:Some Imagist Poets
512:Christina Rossetti
506:Many poets of the
346:Form and structure
52:
1702:978-0-19-815159-3
1688:978-0-521-13119-3
1678:Pondrom, Cryrena
1644:G. Burns Cooper,
1614:H. T. Kirby-Smith
1481:, Constable, 1916
1370:Anatomy of Poetry
1329:de Souza Robert,
1262:978-0-521-13119-3
1194:Maritain Jaques,
1138:978-0-19-815159-3
1060:Los Angeles Times
911:978-0-9728143-8-6
891:978-0-9728143-8-6
838:978-0-521-13119-3
735:978-0-521-37160-5
724:(15th ed.).
654:Abbaye de Créteil
489:in his long poem
487:Christopher Smart
340:Livre des Masques
16:(Redirected from
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679:Modernist poetry
624:The German poet
566:Samson Agonistes
516:Coventry Patmore
479:King James Bible
336:Remy de Gourmont
84:Samson Agonistes
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1771:Types of verses
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1753:Correspondances
1743:Reflections on
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1706:Kahn, Gustave,
1661:
1598:Philip Hobsbaum
1573:
1571:Further reading
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1062:. 14 July 1991.
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728:. p. 137.
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689:Poetry analysis
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638:Buch der Lieder
474:Leaves of Grass
440:Biblical Hebrew
405:French-language
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348:
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227:Wallace Stevens
166:, the study of
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1692:Scott, Clive,
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1400:The Tenth Muse
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1355:Hulme, T. E.,
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1274:The Tenth Muse
1272:Read, Herbert
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1207:Flint, F. S.,
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863:Imagist Poetry
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583:Arthur Rimbaud
483:Allen Ginsberg
445:poetry of the
417:Jules Laforgue
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347:
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332:vers Populaire
317:vers Classique
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223:Marianne Moore
191:Robert Bridges
154:Kenneth Allott
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27:Poetic style
1477:Preface to
1107:. Page 152.
659:Blank verse
644:) in 1827.
630:Die Nordsee
613:" and also
589:collection
535:T. E. Hulme
530:sequence).
528:In Hospital
520:T. E. Brown
399:Antecedents
324:vers libéré
313:F. S. Flint
309:synaethesis
176:alexandrine
172:blank verse
148:T. S. Eliot
132:Donald Hall
119:T. S. Eliot
107:Poets' Club
103:F. S. Flint
99:T. E. Hulme
32:Blank verse
1765:Categories
1745:Vers Libre
815:0472106988
790:0472106988
765:0390260002
705:References
611:Prometheus
587:prose poem
549:vers libre
425:vers libre
409:vers libre
386:Ezra Pound
277:Vers libre
272:Vers libre
246:Jan Morris
237:of free."
235:antithesis
231:Ezra Pound
159:vers libre
125:Definition
93:vers libre
55:Free verse
18:Free Verse
1608:Routledge
699:Symbolism
615:Hölderlin
597:tachtiger
571:Chaucer's
419:, in his
361:Unrhymed
305:Corbière.
170:dramatic
115:Modernism
1623:, 1996.
1558:23 April
1511:Foreword
1496:4umi.com
1419:, 1916.
1026:Feb 1916
648:See also
443:psalmist
378:Imagists
301:Laforgue
297:Mallarmé
289:Verlaine
281:La Vogue
168:Jacobean
1654:, 1998.
1610:, 1996.
1583:Prosody
674:Imagism
664:Cadence
537:in his
403:As the
363:cadence
356:cadence
352:strophe
293:Rimbaud
252:or the
164:Whitman
146:," and
144:rondeau
111:Imagist
77:History
71:natural
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619:Pindar
607:Goethe
561:Milton
553:Dryden
518:, and
459:Psalms
451:Psalms
429:weight
250:sonnet
229:, and
59:poetry
1603:Metre
971:JSTOR
497:Latin
447:Bible
407:term
258:poesy
219:H. D.
184:prose
142:of a
67:rhyme
63:meter
1698:ISBN
1684:ISBN
1670:ISBN
1625:ISBN
1589:ISBN
1560:2013
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887:ISBN
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