409:
155:
Dropped lines have a variety of functions and uses. In Robert Denham's words, a dropped line is "a spatial as well as temporal feature, affecting both the eye and ear." It may be used to determine the visual appearance of the line as a whole. Wright, for example, uses dropped lines to reference
164:, explaining why his use of dropped line "can be seen as imitating the sense of horizontal rhythm prevalent in paintings by CĂ©zanne." Modern poets who are known for using dropped lines include Wright,
186:, may also be called dropped lines. In this case, the line is broken to reflect a change in character while preserving a steady
450:
334:
479:
443:
360:
32:
469:
180:
Lines which are broken between two voices, as in the first two lines in the following scene in
474:
116:
39:
436:
204:
and functions "as a means of heightening dramatic tension." It was "frequently utilized by
8:
272:
424:
187:
42:, the first and second lines form a dropped line, as do the fourth and fifth lines:
161:
157:
420:
463:
195:
169:
165:
28:
205:
300:
200:
35:
to the horizontal position it would have had as an unbroken line.
191:
408:
416:
276:
182:
20:
335:"A Way of Happening: Carl Phillips: A Review and an Interview"
322:, Columbia, SC: University of South Carolina Press, p. 8
82:
And all the various things that lock our wrists to the past.
38:
For example, in the poem "The Other Side of the River" by
307:, New York: Columbia University Press, p. 799
461:
84:Something infinite behind everything appears,
444:
299:
262:But answer made it none: yet once methought
451:
437:
268:Itself to motion, like as it would speak;
198:between two or more characters is called
175:
382:McGraw-Hill Encyclopedia of World Drama
332:
317:
305:The Columbia History of American Poetry
150:
462:
358:
265:It lifted up its head and did address
403:
194:this technique of dividing a single
156:landscape paintings, especially by
27:is a line which is broken into two
13:
303:; Millier, Brett Candlish (1999),
14:
491:
333:Hankins, Luke (4 November 2010).
208:dramatists" such as Shakespeare:
407:
46:It's linkage I'm talking about,
31:, but where the second part is
16:Technique in typesetting poetry
387:
374:
352:
326:
311:
293:
1:
359:Hirsch, Edward (April 2000).
286:
119:, The Other Side of the River
64:and harmonies and structures,
423:. You can help Knowledge by
320:Understanding Charles Wright
7:
190:across the entire line. In
10:
496:
402:
384:. Volume 1. 1972, p. 219.
219:Did you not speak to it?
419:-related article is a
284:
148:
318:Moffett, Joe (2008),
210:
176:Use in dramatic texts
44:
480:Literary terminology
393:Eggenberger, p. 219.
380:Eggenberger, David.
151:Use in modern poetry
112:and then disappears.
273:William Shakespeare
339:A Way of Happening
432:
431:
279:, Act I, Scene II
192:classical tragedy
188:iambic pentameter
487:
453:
446:
439:
411:
404:
394:
391:
385:
378:
372:
371:
369:
367:
356:
350:
349:
347:
345:
330:
324:
323:
315:
309:
308:
297:
280:
120:
495:
494:
490:
489:
488:
486:
485:
484:
460:
459:
458:
457:
400:
398:
397:
392:
388:
379:
375:
365:
363:
361:"Borzoi Reader"
357:
353:
343:
341:
331:
327:
316:
312:
298:
294:
289:
281:
271:
245:My lord, I did;
227:
220:
215:
178:
162:Giorgio Morandi
153:
121:
115:
83:
17:
12:
11:
5:
493:
483:
482:
477:
472:
470:Poetic devices
456:
455:
448:
441:
433:
430:
429:
412:
396:
395:
386:
373:
351:
325:
310:
291:
290:
288:
285:
283:
282:
269:
266:
263:
260:
259:
258:
257:
256:
255:
254:
253:
252:
251:
250:
249:
248:
247:
246:
222:
221:
177:
174:
152:
149:
147:
146:
145:
144:
143:
142:
141:
140:
139:
138:
137:
136:
135:
134:
133:
132:
131:
130:
129:
128:
127:
126:
125:
124:
123:
122:
117:Charles Wright
113:
80:
79:
78:
77:
76:
75:
74:
73:
72:
71:
70:
69:
68:
67:
66:
65:
40:Charles Wright
15:
9:
6:
4:
3:
2:
492:
481:
478:
476:
473:
471:
468:
467:
465:
454:
449:
447:
442:
440:
435:
434:
428:
426:
422:
418:
413:
410:
406:
405:
401:
390:
383:
377:
362:
355:
340:
336:
329:
321:
314:
306:
302:
296:
292:
278:
274:
267:
264:
261:
244:
243:
242:
241:
240:
239:
238:
237:
236:
235:
234:
233:
232:
231:
230:
229:
228:
226:
218:
217:
216:
214:
209:
207:
203:
202:
197:
193:
189:
185:
184:
173:
171:
170:Edward Hirsch
167:
166:Carl Phillips
163:
159:
118:
111:
110:
109:
108:
107:
106:
105:
104:
103:
102:
101:
100:
99:
98:
97:
96:
95:
94:
93:
92:
91:
90:
89:
88:
87:
86:
85:
63:
62:
61:
60:
59:
58:
57:
56:
55:
54:
53:
52:
51:
50:
49:
48:
47:
43:
41:
36:
34:
30:
26:
22:
475:Poetry stubs
425:expanding it
414:
399:
389:
381:
376:
364:. Retrieved
354:
342:. Retrieved
338:
328:
319:
313:
304:
295:
224:
223:
212:
211:
199:
181:
179:
158:Paul CĂ©zanne
154:
81:
45:
37:
25:dropped line
24:
18:
301:Parini, Jay
206:Renaissance
464:Categories
366:20 January
344:20 January
287:References
196:verse line
225:MARCELLUS
270:—
201:antilabe
114:—
33:indented
417:poetry
277:Hamlet
213:HAMLET
183:Hamlet
168:, and
21:poetry
415:This
29:lines
421:stub
368:2011
346:2011
160:and
23:, a
19:In
466::
337:.
275:,
172:.
452:e
445:t
438:v
427:.
370:.
348:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
