Glossary- with Act and Scene references in Hamlet
alexandrine—iambic hexameter, a line of six metrical feet, often rhythmically broken in the middle. (Examples: 1.2.146, 176, 180; 1.5.93; 3.3.73)
anapest—a metrical foot of three syllables, the first two unaccented.
broken line—a line with fewer than expected syllables, affecting the rhythm of the passage. Not the same as a "short line." The implication of great stress. (Examples: 3.3. 38, 49)
caesura—a break in the line of poetry for rhythmical effect.
dactyl—a metrical foot of three syllables, only the first accented.
feminine ending—an extra, unaccented syllable at the end of a line, which gives the rhythm of the line a "falling" feeling and may suggest uncertainty or ambiguity in the character.
hexameter—a line of six metrical feet.
iamb--a metrical foot of two syllables, the first unaccented. This is said to be the basic rhythm of the English language.
long line—see alexandrine. Usually marked for its symmetry; indicates character is emotionally overloaded.
meter—the measurement of the rhythm of a line of traditional poetry by metrical feet, units marked by the relationship of accented and unaccented syllables. The basic metrical feet of English poetry are the iamb, the trochee, the anapest, the dactyl, and the spondee. Free verse attends to rhythm of phrases more than of metrical feet.
pentameter—a line of verse of five metrical feet.
prose—writing without metrical structure. Shakespeare’s prose is not, however, the prose of everyday speech, often approaching or reaching the level of a prose-poem. (Examples: 1.2.190-2; 2.2.171-379; 3.1.104-152)
rhyme—the repetition of identical or very close sounds of accented syllables. (Examples of rhyming couplets: 1.2.262-3; 1.3.43-4; 1.5.197-8; 2.2.605-6; 3.2.397-8; 3.4.97-8; 4.3.71-2; 4.4.66-7; 5.1.301-2)
shared line—characters divide a five-foot line between them. (Examples: 1.1.74; 1.2.185; 1.2.213, 215; 1.5.2, 4)
short line—a line of fewer metrical feet than normal in the passage in which occurs. It is not really a pause, since the actor is expected to fill the space of the line by acting. Used for special emphasis. (Examples: 1.5.9; 25, 27, 41, 53, 58, 159; 3.1.103; 3.4.83)
spondee—a metrical foot in which both syllables are accented.
trochee—a foot of two syllables with only the first accented.
anapest—a metrical foot of three syllables, the first two unaccented.
broken line—a line with fewer than expected syllables, affecting the rhythm of the passage. Not the same as a "short line." The implication of great stress. (Examples: 3.3. 38, 49)
caesura—a break in the line of poetry for rhythmical effect.
dactyl—a metrical foot of three syllables, only the first accented.
feminine ending—an extra, unaccented syllable at the end of a line, which gives the rhythm of the line a "falling" feeling and may suggest uncertainty or ambiguity in the character.
hexameter—a line of six metrical feet.
iamb--a metrical foot of two syllables, the first unaccented. This is said to be the basic rhythm of the English language.
long line—see alexandrine. Usually marked for its symmetry; indicates character is emotionally overloaded.
meter—the measurement of the rhythm of a line of traditional poetry by metrical feet, units marked by the relationship of accented and unaccented syllables. The basic metrical feet of English poetry are the iamb, the trochee, the anapest, the dactyl, and the spondee. Free verse attends to rhythm of phrases more than of metrical feet.
pentameter—a line of verse of five metrical feet.
prose—writing without metrical structure. Shakespeare’s prose is not, however, the prose of everyday speech, often approaching or reaching the level of a prose-poem. (Examples: 1.2.190-2; 2.2.171-379; 3.1.104-152)
rhyme—the repetition of identical or very close sounds of accented syllables. (Examples of rhyming couplets: 1.2.262-3; 1.3.43-4; 1.5.197-8; 2.2.605-6; 3.2.397-8; 3.4.97-8; 4.3.71-2; 4.4.66-7; 5.1.301-2)
shared line—characters divide a five-foot line between them. (Examples: 1.1.74; 1.2.185; 1.2.213, 215; 1.5.2, 4)
short line—a line of fewer metrical feet than normal in the passage in which occurs. It is not really a pause, since the actor is expected to fill the space of the line by acting. Used for special emphasis. (Examples: 1.5.9; 25, 27, 41, 53, 58, 159; 3.1.103; 3.4.83)
spondee—a metrical foot in which both syllables are accented.
trochee—a foot of two syllables with only the first accented.