"Belated or Isochronic
? Canadian Writing, Time, and Globalization." Essays on Canadian Writing 71 (Fall 2000): 186-94.
For the same (articulatory and isochronic
) convenience described for "mayst" and "love," prioritizing "thou" in this third line would then displace emphasis onto "true." In any case, "true" has its own claims for attention: emphasis here would imply a negation of the opposite, of the untrue, of love that does not adequately fulfill the category of honest and unconditional devotion (all--love--love--all) with which this love confession has been underwritten.
Such images have effectively become shibboleths, appearing to construe a kind of isochronic
world wherein the constrictions of time and space have been overcome, where the necessary navigational and communicational means are so fully developed and supremely achieved that they can eclipse even reality itself.' To the neo-liberal new cosmopolitans, Gregory Jusdanis notes,
In 1962, Halpern described iambic and strong-stress as the two dominant "modes" of English verse and distinguished them by describing strong-stress as "isoaccentual" and "isochronic." In iambic verse, by contrast, there is--or at least can be--variety among the accents that realize the beat and a varied pace; beats will not necessarily occur at equal intervals of time throughout a poem.
Halpern argued in 1962 that iambic, unlike strong-stress, is not isochronic. The capacity of iambic verse for varied pace was, of course, supremely demonstrated by Pope's tour de force in the "Essay on Criticism":
The verse form is the standard Old English isochronic
: each line contains four stresses; there is a strong caesura in the middle of the lines, and the resultant half lines are bound together by alliteration.
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