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As inaugurators of it are generally considered Yannai and especially his disciple Eleazar ha-Ḳalir (comp.
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The sphere in which rime first appears as an essential element is that of the liturgical productions of the geonic period. 116a, b etc.), nor any of the few lyric pieces preserved in it (Suk. None of the portions of the liturgy quoted or indicated in the Talmud (Ber. Brody, in his edition of Immanuel Francis' "Meteḳ Sefatayim," p. 114a etc.) do not justify the supposition of intentional use of the rime (H. The few rimed rules, proverbial phrases, and incantations scattered through the Talmud (Ber. What has been said of the Old Testament is in substance applicable to the compositions of the Talmudic period also. 16), do not stand at the end of corresponding lines.īut those rimes that are found in the Old Testament show the adaptability of Hebrew to this device and the parallelism of clauses in Old Testament elevated diction must have suggested the use of parallelism of sound, or rime, when once had been awakened through contact with other literatures the sense of the beauty and necessity of externally marking off thought-complexes into symmetrical groups. 4) are few and far between and, with rare exceptions (Ps. Cases in which the rime extends to stem-syllables (as Gen. 10, 17) can not be considered as an organic element of composition, as it is the result of grammatical congruence and, besides, through any lengthy poem the assonances are not introduced with consistency (not even in Lam. The agreement in terminal sounds of parallel lines (as in Gen. It is, however, generally agreed that rime, i.e., the correspondence in sound of word-endings, did not attain in the Old Testament the importance of a formal principle of poetry, or of a device of style in general. Kautzsch, "Die Poesie und Poetischen Bücher des Alten Testaments," p. der Heiligen Schriften des Alten Testaments," § 125 Brunswick, 1881 comp. Of modern writers who attribute an important part to rime in the composition of the Old Testament may be mentioned E. 112, Venice, 1602) argues that rime and meter existed in the Old Testament, but were not fully developed while Moses ibn Ḥabib assumes their use in extra-Biblical Hebrew poetry contemporaneous with the Bible, basing this view upon the rimed epitaph of the alleged general of King Amaziah, for which see Jew. Samuel Archevolti ("'Arugat ha-Bosem," xxxii. Judah Provencal, according to Azariah dei Rossi ("Me'or 'Enayim," v.), considered Hebrew poetry the mother of all other poetries, so that in adopting the poetic forms of other peoples the Jews received back from them what they had given long before. Many of the terms defined beloAv are susceptible of wider application, but through out this article they will be limited to the meanings given.The early Hebrews have been credited with the knowledge and use of rime. liv-lvii, may also be consul ted with interest. The introduction to Morel-Fatio's édition of Culderón's El Mágico prodigioso (Heilbronn, 1877) pp. A more complete account may be found in the introduction to Ford's Spanish Anthology (New York, 1901) where the more exhaustive treatises on Spanish prosody are named. It will be necessary first to recapitúlate in the briefest possible way the names of the common Spanish verse-forms, of which there is such an unusual variety for dramatic composition. The internai structure of the line (hiatus, synaloepha, etc.), is not studied hère. The results cannot be called conclusive in that respect, but they furnish an inference of some weight, and besides are not wholly barren of interest in themselves, inasmuch as they serve to ¡Ilústrate the methods of composition of the dramatists of the. It was originally undertaken with the hope of casting some light upon certain plays of disputed authorship, notably El Condenado por desconfiado. This investigation consists in an attempt to note the différent forms of verse employed by the friar-dramatist, Gabriel Téllez, or Tirso de Molina, as he is more commonly known, and the proportion in which they appear in his plays and in particular to discover, if possible, any characleristic use which might serve to distinguish his tvork from that of other con- temporary play-wrights. THE USE OF VERSE-FORMS (STROPHES) BY TIRSO DE MOLINA