Caesura in a sentence

The first possible caesura that one encounters in a line is considered the main caesura.

Parveen, Caesura and first starter Sethlans give Godolphin a strong presence in race two, while their stablemate Singing Sand (race five) is better suited dropping back to midweek grade.

This exhibition of artist ’s work, “Caesura Obscura,” allows visitors to interact directly with the banners, moving through them throughout the space.

Almost always 11-syllable line is divided by caesura into 5+6.

Caesura is typical for syllabic metres of French and Polish poetry and for "osmerac" (octosyllable) and "deseterac" (decasyllable) of Serbocroatian folk song.

Catullus, for example, allows an elision across the caesura in 18 cases, a rare flaw in the later poets (Ovid, for example, never does this).

If a poem is written in more than one metre, for example in trochaic eight and seven syllable lines, only one metre may have a caesura as in the example bellow.

In addition to setting pace for the line, the caesura also grouped each line into two couplets.

In english poetry caesura is typical for trochaic octosyllable of church hymns while iambic metres have no caesuras.

It is a decasyllable line, probably borrowed from French and Italian forms, with riding rhyme and, occasionally, a caesura in the middle of a line.

It is also usual for there to be a caesura between the sixth and seventh syllables (as the examples from Pope below illustrate).

No compelling reason is provided for the caesura of persecution, though, unlike in the incident of the satanic verses, where it is the (temporary) fruit of Muhammad's accommodation to Meccan polytheism.

Stated another way, an iambic word (like θεά at Il. 1.1) should not precede the midline caesura.

The line length is scanned by according number of characters (according to the convention that one character equals one syllable), and are predominantly either five or seven characters long, with a caesura before the final three syllables.

There is usually a caesura after the ictus of the third foot.

The third and fourth feet are spondees, the first of which is divided by the main caesura of the verse.

The use of caesura is important in regard to the metrical analysis of Classical Chinese poetry forms.

This line also includes a masculine caesura after θεά main, a natural break that separates the line into two logical parts.

Variations of the sequence from line to line, as well as the use of caesura (logical full stops within the line) are essential in avoiding what may otherwise be a monotonous sing-song effect.