Sir Thomas Norray and Sir Thopas.

Snyder, Franklyn Bliss

doi:10.2307/2916365

Modern Language Notes

1910

DOI: 10.2307/2916365

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Sir Thomas Norray and Sir Thopas.

Franklyn Bliss Snyder¹

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2008

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Scottish Poets and English Stanzas: Schir Thomas Norny and Dunbar’s Use of Tail-Rhyme

Purdie

2008

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It is a tradition almost amounting to a rule for literary critics to praise the late medieval Scottish poet William Dunbar for his great variety and mastery of poetic technique. In terms of his exploration of stanzaic patterns, however, Dunbar is relatively conservative. In his shorter poems, he has a discernible preference for rhymed stanzas of four or five lines, usually made up of the four- or five-stress lines most prevalent in fifteenth-century English and Scottish poetry. He does not invent new metrical schemes nor does he use an especially large range of them, considering the number of poems he wrote. He does, however, show an unusual flair for marrying form and sense. W. H. Auden comments admiringly, “He knows exactly the kind of verse which will suit any given subject, exactly what can be got out of a metre or a stanza form.”.

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Scottish Poets and English Stanzas: Schir Thomas Norny and Dunbar’s Use of Tail-Rhyme

Purdie

2008

Florilegium

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Sir Thomas Norray and Sir Thopas.

Cited by 1 publication

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Scottish Poets and English Stanzas: Schir Thomas Norny and Dunbar’s Use of Tail-Rhyme

Scottish Poets and English Stanzas: Schir Thomas Norny and Dunbar’s Use of Tail-Rhyme

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