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1. (in modern prosody) a pause, esp for sense, usually near the middle of a verse line.
2. (in classical prosody) a break between words within a metrical foot, usually in the third or fourth foot of the line



in poetry, a regular break between words in a poem.

In classical poetry, a caesura usually occurred within a foot; in accentual-syllabic verse it usually coincides with the foot ending. The caesura occurs after the second foot in the iambic pentameter line, as in “Eshche odno ∥ poslednee skazan’e” (“Yet one last tale,” Pushkin); after the third foot in iambic and trochaic hexameter lines, for example, “Dni pozdnei oseni ∥ braniat obyknovenno” (“The days of late autumn are usually cursed,” Pushkin); and occasionally after the second foot in the amphibrachic tetrameter line, as in “Gliazhu kak bezumnyi, ∥ na chernuiu shal’” (“I gaze like a madman upon the black shawl,” Pushkin). The longer the line, the greater the need for a caesura. Usually a strong intonational pause, a caesura approaches the strength of a line ending. As with a clausula, the foot preceding a caesura may by truncated or augmented; it may also rhyme, for example, “Tri u Budrysa syna, ∥ kak i on, tri litvina” (“Budrys has three sons, like him, Lithuanians,” Pushkin).



in music, a division between sections of a musical work. Together with other factors, a caesura ensures the perception of the articulation of a work and its structure. There are no special markings to indicate a caesura; in part, phrasing ligatures permit their location to be judged. In a number of instances, a caesura coincides with natural pauses between notes; they always appear after melodic and harmonic cadences, after a hold, and at transitions to a repeat. The significance, or impact, of a caesura is proportional to the scale of the sections it divides and the degree to which they appear a completed entity. In a number of instances, varying opinions concerning the location and significance of a caesura are possible; together with other features, such differences mold the distinctiveness of individual interpretations.

References in periodicals archive ?
This is certainly true with respect to caesuras, which are centered mid-line, and to enjambed lines, which are mostly absent.
immediately preceding the caesura and the end of the line.
While Townend, 127, notes the absence of post-Aratea spondaic fifths and Courtney, 151, notes the absence of both the spondaic hexameter and the trochaic fourth, one must note that there is, in fact, only one spondaic hexameter in the Aratea and only two trochaic fourth caesuras.
Such caesuras in Blow up the trumpet in Sion at (e.
caesura or cesura plural caesuras or caesurae Late Latin, literally, the act of cutting or felling; a calque of Greek tomecaesura, literally, cutting
In support of these delineations we might observe that Mendelssohn himself seems to have been aware of several caesuras in his compositional growth, at least within the context of certain genres.
Their work importantly revealed aesthetic continuities across the political caesuras of 1933 and 1945, and between writers across the geographically and politically fragmented literary landscape of the Nazi era.
Temporal shifts and caesuras between narrative events are abrupt, unmarked, or provisory.
Thus we find unusual forms such as what Adamson calls "lozenges," squares of writing turned on edge to suggest abstract paintings by Mondrian; or the poem "Francis Webb 1994," which has a serpentine space running through it, as if indicating medial caesuras or alluding to Anglo-Saxon alliterative verse.
The temporal imprecision in this book's title is not reflected in the chronological caesuras (1903, 1914, and 1918) its analyses set, but indicates more generally the book's examination of those mindsets that found expression in print and film media 'around' the turn of the century.
are often suspicious of meaning as it is produced through narration; indeed they could be said to introduce caesuras of nonmeaning and blankness into the thick web of sense.
Pope wrote this poem in imitation of the poet Horace, skillfully modulating the natural tempo of the rhymed couplets with enjambment, caesuras, and other forms of varied rhythm.