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a monosyllable; so also ever, never, over, often written e'er, ne'er, o'er.
The th is often omitted in whether (sometimes written where), rather,
etc.

5. RHYME

According to Mr. Fleay's calculation, there are seventy-four
rhymed lines in King Lear. Shakespeare's use of rhyme gradually
diminished, but he retained throughout his career the couplet at
the end of a scene. There are several instances of it in King Lear,
e.g. i. 2, iv. 7, v. 1, and v. 3. Rhyme also marks the close of a
speech and the exit of an actor, e.g. i. 1. 257-264. In iv. 6. 284,285
it is used to mark a change of subject. It has also the closely
connected purpose of giving point to the expression (e.g. i. 1. 276–
277, i. 4. 338-339); and hence it readily lends itself, by reason of
this epigrammatic force, to clinching the argument and making an
effective ending. The only rhymed passage of any length occurs
at the end of iii. 6. It illustrates the use of rhyme in passages of
moralizing or of “plaintive emotion.” Rhyme is not used in pas-
sages of passionate emotion, the tendency is rather to pass into
prose, - nor for narrative, nor for the development of the action
of the drama.

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like, i. 1. 203; i. 1. 304; iv. 2. 19. | rubb'd, ii. 2. 161.

loathly, ii. 1. 51.

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set, i. 4. 136.

set my rest, to, i. 1. 125.

shealed, i. 4. 219.

names my very deed of love, i. 1. showest, i. 4. 131.

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sliver, iv. 2. 34.

snuffs, iii. 1. 26.

some year, i. 1. 20. soothe, iii. 4. 182.

sop o' the moonshine, ii. 2. 34–35. spherical predominance, i. 2. 133–

134.

square of sense, i. 1. 76.

squiny, iv. 6. 140.

subscribed, i. 2. 24. subscription, iii. 2. 18.

succeed, i. 2. 157.

success, v. 3. 194.

sumpter, ii. 4. 219.

superserviceable, ii. 2. 19.

packings, iii. 1. 26. packs, v. 3. 18.

pelican daughters, iii. 4. 77.

pight, ii. 1. 67.

Pillicock, iii. 4. 78.

poise, ii. 1. 122.

taking, ii. 4. 166.

tender, i. 4. 230.

terrible, i. 2. 32.

thought-executing, iii. 2. 4.

three-suited, ii. 2. 16-17. thwart, i. 4. 305.

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