| Bridges' Analysis Of Milton's Later Work |
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Information AboutBridges' Analysis Of Milton's Later Work |
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RELAXATION OF THE RULES OF ELISION See Also: Robert Bridges' Theory of Elision Bridges notes that Milton allows himself a wider range of elisions in the later poems. In particular he finds one instance apiece of elisions through ''SH'' and ''ST'' which he states are 'abhorrent' to the prosody of ''Paradise Lost.'' THE PROSODY AND RHYTHM OF ''SAMSON AGONISTES'' Inversions of the first two feet Bridges notes Milton's increasing freedom with inversions. He cites a number of lines where both the first and second foot are inverted. Line 81 is particularly noteworthy, as it contains inversions of the first, second and fourth feet: :Irrecoverbly dark, total Eclipse Twelve Syllable Lines The twelve syllable, six stress line— also known as the Alexandrine —only appears in the lyrical sections of the poem. Milton breaks with the traditional entirely regualr caesura between syllables six and seven (that is, the 6 + 6 line). Bridges lists Milton's breaks:
Bridges goes on to remark that some of these lines could be regarded as Iambic Pentameter with two extra-metrical syllables at the end, such as: :The Image of thy strength, and mighty minister (line 706, 6+6) |
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