sprung rhythm

She loved the English language and taught herself to use it with perfectly sprung rhythms that were hers alone.

Hopkins seems to have invented a new kind of prosody he called "sprung rhythm."

Sprung rhythm, where the stressed syllable begins the foot.

"Now lets take a look at Hopkin's style of sprung rhythm.

(The "sprung rhythm" feel of the prose is characteristic.)

Sprung rhythm is a poetic rhythm designed to imitate the rhythm of natural speech.

Hence the name "sprung rhythm."

The rhyme is organized by its meter, which is in sprung rhythm with trimeter.

Jeffers experimented with sprung rhythm as an alternative to accentual rhythm.

Gerard Manley Hopkins wrote many of his poems in six-foot iambic and sprung rhythm lines.

The professor asked his students to discuss the poet Gerard Manley Hopkins' "sprung rhythm" technique.

"Now... Hopkins' sprung rhythm reached its zenith in...." Two minutes later he was back.

The wingbeats faltered as the immense leathery wings struggled to the sprung rhythm of a suddenly broken cadence.

Reading Hopkins and getting the sprung rhythm right (as I have illustrated in the box below) has always troubled poetry lovers who have no musical ear.

Performances are idiomatic, with well sprung rhythms and sensibly chosen tempi, and benefit from a generally cool and restrained approach.

Hopkins describes the last line as half a line, though in fact it can be shorter than half of one of Hopkins's standard sprung rhythm lines.

Hopkins' poem "The Wreck of the Deutschland", written in 1875, first introduced what Hopkins called "sprung rhythm."

The effect is a kind of "sprung rhythm" applied to music, and Ms. Norman's fastidious insistence on interval and rhythm elevated its essential elegance.

Accentual verse (including sprung rhythm) is a common form in English folk verse, including nursery rhymes and skipping-rope rhymes.

His unusual style (involving what he called "sprung rhythm" and heavy reliance on rhyme and alliteration) had a considerable influence on many of the poets of the 1940s.

I can't claim that it was the world's most inspiring lyric, but I doubt if any of the voters would even notice the sprung rhythm as they listened to the shocking words.

Accentual verse experienced a revival in the 19th century with the development ("discovery") of sprung rhythm by Gerard Manley Hopkins, a form of accentual verse.

The players make clear the difference between Bartok's sprung rhythms and Stravinsky's more rigid ones, which resist any introduction of rubato, a crucial distinction that is not always apparent on the page.

Sprung rhythm is structured around feet with a variable number of syllables, generally between one and four syllables per foot, with the stress always falling on the first syllable in a foot.

While sprung rhythm did not become a popular form in literary poetry, accentual verse did catch on, with some poets flirting with the form, and later poets more strictly following it.