from The American Heritage® Dictionary of the English Language, 4th Edition
- n. A pause in a line of verse dictated by sense or natural speech rhythm rather than by metrics.
- n. A pause or interruption, as in conversation: After another weighty caesura the senator resumed speaking.
- n. In Latin and Greek prosody, a break in a line caused by the ending of a word within a foot, especially when this coincides with a sense division.
- n. Music A pause or breathing at a point of rhythmic division in a melody.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- n. A pause or interruption in a poem, music, building or other work of art.
- n. In Classical prosody, using two words to divide a metrical foot.
from the GNU version of the Collaborative International Dictionary of English
- n. A metrical break in a verse, occurring in the middle of a foot and commonly near the middle of the verse; a sense pause in the middle of a foot. Also, a long syllable on which the cæsural accent rests, or which is used as a foot.
- n. a pause or interruption (as in a conversation).
from The Century Dictionary and Cyclopedia
- n. etc. See cesura, cesural, etc.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. a break or pause (usually for sense) in the middle of a verse line
- n. a pause or interruption (as in a conversation)
Among occasional variations of the normal strophe as here described may be mentioned the following: The end-rhyme is in a few instances feminine instead of masculine; while on the other hand the ending of the first half-lines is occasionally masculine instead of feminine, that is, the caesura is not "ringing."
Still, he remembers one space offering a welcome caesura from the ormolu and swag: the Blue Room, which the Count used as his personal sitting area.
"Labor Day," from The Triumph of Achilles, is occasion only to remember her father's death a year ago, which the poet processes conclusively with this profound insight about the length of a human life: "Not a sentence, but a breath, a caesura."
Well, there seems to be an intergalactic-sized caesura.
There's a sense of arrival in line seven, but only a moment's hesitation, enacted by the caesura, the full-stop, after "up to the ridge".
And a feeble attempt, given the ongoing lack of an irony font, or a signal for a non-grammatical caesura, or an indicator for unusually quiet or calm speech the way we can signal loud and excited speech!
It is the transcendental event that starts it all; it is the caesura that defines her heroes and heroines 'lives, the way they conceive of their task in this world and their failure to live.
"O" of sheer pre-apostrophic exclamation (at the core of "Lo!" before it) appears to suggest that pure audition might — across the caesura, the epistemological gap itself — become cognition as smoothly as the phonetic ligature at "listen: O" releases the verbal alter ego of "(k) n-ow."
Yet the diffusive linked progress of Victorian perfectibility seems instinct there nonetheless, grammatically as well as rhythmically, overriding the caesura and all the other shocks and setbacks of progression, not only in the emphatic glottal ligature of "growing good" but in the double semantic bond of the words.
The Flavian dynasty marks a caesura in the history of Roman first ladies.