![]() Optional event and could occur at unexpected intervals to stress In Old and Middle English, the metrical and medial caesuraīecame more evident as scaffolding to the form of the poem itself: anĪudible pause predictable through the meter. Greek and Latin poetry, the audible pause was used for rhetoricalĮffect, punctuation between metrical feet, or the result of phoneticĬonstruction. Overall composition of meaning, rhythm, and sound. A BRIEF HISTORY OF CAESURAĬaesura helps to distinguish poetry from prose by contributing to the Poems, like music, need silence toĪccentuate the stresses. Theory: tension and suspense build, then a shoal of release comes upon The same token, those elements can be manipulated in reverse to achieveĪ disconcerting effect, not dissimilar from tension and release in music This is the same with line spacing and kerning: If the linesĪre too close or the text too tightly jammed, it can be off-putting. Of text are broken into two and three columns to provide visual and Of copy is interpreted by the brain as just that-a wall. Good typography depends upon balance between words and space. Matter of loss it's a matter of semiotics, or making meaning of Person to talk after a big question loses. Wants to rush in and fill the gap, an innate reaction, to make the Try asking someone for something, especially involving time or money,Īnd then be quiet. Saying much without saying anything, silence Introduction of space or pause to theīody of a poem-boundary, void, or medial-creates a spatial caesura,Īnd the silence becomes an operating component of the work. Space can be employed actively as an antisymbol for The pacing of a poem is also impacted by the time it takes a reader to Phonetics create natural caesura within both poetry and prose however, ![]() The same white space can also provide aĬaesura: an interruption or break, a breath and pause. Instance, space is bounded with suggestion, limited only by the The reader participates in the experience, as always, but in this Represent a blank to fill, no longer passive, but active and wanting. Visual demarcation and shape to the words themselves. Or negative space, is geography, through boundary and organization, andĪllows the white to flood and create a moat, providing the reader with a Page, but it is also the silence." In a holographic sense, no spaceĮxists between elements the apparent void is always full. The typographer Jan Tschichold, "White space is to be regarded asĪn active element, not a passive background. White space within a poem engages the reader on a visual level andĮvokes an aesthetic impression before the words are read. APA style: THE SPACE BETWEEN: Spatial caesura within a poem.THE SPACE BETWEEN: Spatial caesura within a poem." Retrieved from MLA style: "THE SPACE BETWEEN: Spatial caesura within a poem." The Free Library.
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