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03-Oct-2017 16:48

But in the end, one may dispense with it." The nonchalance with which Fénelon dismissed revered classical texts exemplifies the growing disenchantment among rhetoricians with figures, tropes, the dispositio, and other aging rhetorical precepts.

Seventeenth-century rhetoricians - among them Fénelon, Bernard Lamy, René Bary, and René Rapin - enacted a radical reinvention of French rhetoric, splintering the discipline into three often conflicting strands: the first continued to reference French versions of classical rhetorical figures; the second melded with these ancient precepts a Cartesian taxonomy of the Passions; and the third sought to abandon artificial precepts altogether in the quest for transparent, or "Natural," representation.

It contains a refrain, a strict rhyme scheme and a distinct meter pattern, a Ba ABBa (the lower case a indicates a line repeated verbatim)has only two rhyme sounds - the first and third lines of the first stanza are rhyming refrains that alternate as the third line in each successive stanza and form a couplet at the close.

A villanelle is nineteen lines long, consisting of five tercets and one concluding quatrainthe linking together of stanzas by carrying a rhyme over from one stanza to the next.

The typical pattern is ABA, BCB, CDC, DEDa rhyme scheme, common in Latin, Italian, Arabic, Welsh, and Slav poetry, a poem or section of a poem where all the lines have the same end rhyme.

The rhyming pattern would thus look like this: AAAA AAAA, AAA AAA, or AA AA AA AA, stanza is six lines in length and rhymes AAABAB, with tetrameter A lines and dimeter B lines. A variation on the Burns stanza employs the rhyme scheme AABCCCB, with foreshortened third and seventh linesa brief French form of poetry, consisting of one stanza, made up of seven lines.

The action is similar to that of a conventional piano, but whereas in a conventional piano each key causes felt-covered hammers to strike sets of strings, in a Rhodes piano rubber-tipped hammers strike tuning fork-like constructions to sound the note.

rhotacism refers to several phenomena related to the usage of the consonant r (whether as an alveolar tap, alveolar trill, or the rarer uvular trill): namely, the excessive or idiosyncratic use of the r; conversely, the inability or difficulty in pronouncing r; and the conversion of another consonant, e.g., s, into r.

The 'rhumba box' carries the bass part of some form of Caribbean music, particularly mento(from Old French, rime, 'series', in turn adopted from Latin rithmus and Greek rhythmos) the similarity of sound between two words.From about 1842, in German cities, the 'Scottish' gave way to the quicker 'polka' but in the country it survived into the early 20th-century where it was known as the Rheinländer.



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