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Its distinctive sound has appeared particularly in jazz and rock songs of the last fifty years.

But in the end, one may dispense with it." The nonchalance with which Fénelon dismissed revered classical texts exemplifies the growing disenchantment among rhetoricians with figures, tropes, the dispositio, and other aging rhetorical precepts.

Seventeenth-century rhetoricians - among them Fénelon, Bernard Lamy, René Bary, and René Rapin - enacted a radical reinvention of French rhetoric, splintering the discipline into three often conflicting strands: the first continued to reference French versions of classical rhetorical figures; the second melded with these ancient precepts a Cartesian taxonomy of the Passions; and the third sought to abandon artificial precepts altogether in the quest for transparent, or "Natural," representation.

If you would like to support our work writing and maintaining the teaching resources on this site please click on the donate button and follow the online instructions - thank you for your classical Greece, in the fifth and fourth centuries BC and perhaps earlier, a rhapsode was a professional performer of poetry, especially of epic poetry (notably the epics attributed to Homer) but also the wisdom and catalogue poetry of Hesiod and the satires of Archilochus and others.

Plato's dialogue Ion, in which Socrates confronts a star rhapsode, remains our richest source of information on these artists.

The action is similar to that of a conventional piano, but whereas in a conventional piano each key causes felt-covered hammers to strike sets of strings, in a Rhodes piano rubber-tipped hammers strike tuning fork-like constructions to sound the note.

rhotacism refers to several phenomena related to the usage of the consonant r (whether as an alveolar tap, alveolar trill, or the rarer uvular trill): namely, the excessive or idiosyncratic use of the r; conversely, the inability or difficulty in pronouncing r; and the conversion of another consonant, e.g., s, into r.

Each stanza contains nine lines in total: eight lines in iambic pentameter followed by a single 'Alexandrine' line in iambic hexameter.

The rhyme scheme of these lines is ABABBCBCC(Italian, 'third rhyme') used, by the Italian poet Dante, as the basic poetic unit of his trilogy, The Divine Comedy, terza rima is a three-line stanza form with interlocking rhymes that move from one stanza to the next.

From about 1842, in German cities, the 'Scottish' gave way to the quicker 'polka' but in the country it survived into the early 20th-century where it was known as the Rheinländer.

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