"Heroic couplet" Quotes from Famous Books
 ... With Dryden began a new school of poetry, which was to be the type of English poetry for a hundred and fifty years to come. This is called the classical school, and the rime which the classical poets used is called the heroic couplet. It is a long ten-syllabled line, and rimes in couplets, ...
— English Literature For Boys And Girls • H.E. Marshall
... the laws and properties of metre is observable in almost every piece in these volumes. Every kind of lyric measure, rhymed and unrhymed, is attempted with success; and we doubt whether, upon the whole, there are many specimens of the heroic couplet or blank verse superior in construction to what Mr. Coleridge has given us. We mention this the rather, because it was at one time, although that time is past, the fashion to say that the Lake school—as two or three poets, essentially unlike to ...
— Famous Reviews • Editor: R. Brimley Johnson
... freedom. The Spenserian stanza, again, is a new and original metre peculiar to our literature; though it is possible that but for the complex structures of Italian lyric verse, it might not have been fashioned for the 'Faery Queen.' Lastly, the so-called heroic couplet is native to England; at any rate, it is in no way related to Italian metre. Therefore the only true Italian exotic adopted without modification into our literature ...
— Sketches and Studies in Italy and Greece, Second Series • John Addington Symonds
... life ... of the day," are full of the license, the tinkle, the German divorce of verb and subject, the twisted grammatical sequence which her soul abhors in verse? Crabbe chose for his vehicle the heroic couplet in which English poetry had jog-trotted ever since the time of Pope, as it often had before; and he made it go as like Pope's couplet as he could, with the same caesura, the same antithetical balance, the same feats of rhetoric, the same inversions, and the same closes ...
— Imaginary Interviews • W. D. Howells
... than it is to resemble them." He loved to employ the standard five-foot measure that has done so much of the best work of English poetry. In The Woman with the Dead Soul, he showed once more the musical possibilities latent in the heroic couplet, which Pope had used with such monotonous brilliance. In Marpessa, he gave us blank verse of noble artistry. But he was far more than a mere technician. He fairly meets the test set by John Davidson. "In the poet the whole ...
— The Advance of English Poetry in the Twentieth Century • William Lyon Phelps |
