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Three Thousand Years of Hebrew Versification: Essays in by Benjamin Harshav

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By Benjamin Harshav

In this remarkable learn of the different types of Hebrew poetry, preeminent authority Benjamin Harshav examines Hebrew verse in the course of 3 millennia of adjusting ancient and cultural contexts. he is taking us all over the world of the Jewish Diaspora, evaluating the alterations in Hebrew verse because it got here into touch with the Canaanite, Greek, Arabic, Italian, German, Russian, Yiddish, and English poetic forms.
 
Harshav explores the kinds and constraints of unfastened rhythms, the meanings of sound styles, the old and linguistic frameworks that produced the 1st accentual iambs in English, German, Russian, and Hebrew, and the invention of those iambs in a Yiddish romance written in Venice in 1508/09. In every one bankruptcy, the writer provides an cutting edge analytical idea on a selected poetic area, drawing on his shut learn of millions of Hebrew poems.

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The semantic element must be sufficiently important for the global construct of the poem’s meaning and must be capable of being expressed or reinforced by the given sounds. In other words, the semantic element must motivate their dense sound patterning. At this point, the reader transfers a quality, a tone, a connotation, or an intention from the domain of meaning to the established sound pattern. From now on, the whole sound pattern is perceived as expressive of a certain meaning, tone, or mood.

From now on, the whole sound pattern is perceived as expressive of a certain meaning, tone, or mood. The central theme of the first line, “sweet silent thought,” colors the repeated sibilant sounds with a shade of its meaning, and this “coloring” seems to suffuse the lines dominated by the given sound pattern. ” Indeed, “sessions,” as the first lexical word, is the force that establishes the whole sound pattern; it has nothing to do with the content of the word itself. 22 Do Sounds Have Meaning?

But the forward pull encounters another force: the division into cola, which constantly break up and stall the forward drive of our reading. This is the reverse of enjambment. g. the first line starts with “Of ”—we don’t understand what “of ” is of until line 6. ” We move on, but there are further dams on the way. In the end, a whole world opens up for us: the network of a mythological world based on the Bible, to be unfolded and described in detail later (see Chapter 3). At first glance, Milton’s poetics are similar to the Bible’s poetics in that they construct a world: a move from naming a frame of reference, land or sky, to unfolding (through expanding and detailed description).

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