The Sonnet Is a Popular Classical Form That Has Compelled Poets for Centuries
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Jennings on the Trail of Pessoa Or Dimensions of Poetical Music
Jennings on the Trail of Pessoa or dimensions of poetical music Pedro Marques* Keywords Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, translation, versification, musicality, The thing that hurts and wrings, What grieves me is not, What saddens me is not. Abstract Here we present two unpublished essays by Hubert Jennings about the challenges of translating the poetry of Fernando Pessoa: the first one of them, brief and fragmentary, is analyzed in the introduction; the second, longer and also covering issues besides translation, is presented in the postscript. Having as a starting point the Pessoan poem “O que me doe” and three translations compared by Hubert Jennings, this presentation examines some aspects of poetic musicality in the Portuguese language: verse measurement, stress dynamics, rhymes, anaphors, and parallelisms. The introduction also discusses how much the English versions of the poem, which are presented by Jennings, recreate (or not) the musical-poetic dimensions of the original text. Palavras-chave Fernando Pessoa, Hubert Jennings, Roy Campbell, Peter Rickart, tradução, versificação, musicalidade, O que me doe, O que me dói. Resumo Reproduzem-se aqui dois ensaios inéditos de Hubert Jennings sobre os desafios de se traduzir a poesia de Fernando Pessoa: o primeiro deles, breve e fragmentário, é analisado numa introdução; o segundo, mais longo e versando também sobre questões alheias à tradução, é apresentado em postscriptum. A partir do poema pessoano “O que me dói” e de três traduções comparadas por Hubert Jennings, esta apresentação enfoca alguns aspectos da música poética em língua portuguesa: medida do verso, dinâmica dos acentos, rimas, anáforas e paralelismos. -
IMAGES from the POETRY from 9 Apr 2012 to 24 Nov 2012 10:00-18:00
ILLUSTRATING KEATS: IMAGES FROM THE POETRY From 9 Apr 2012 to 24 Nov 2012 10:00-18:00 "ILLUSTRATING KEATS: Images from the Poetry" The Keats-Shelley House's current exhibition presents a selection of images from major illustrated editions of Keats's poems from 1856 to the present day, telling the story of the interpretation of Keats in a fresh and fascinating way. Price: Entrance to the exhibition is included in the museum's normal entrance fee. Location: Salone. "THE BRONTËS AND THE SHELLEYS - CRAFTING STORIES FROM LIVES": A TALK BY JULIET GAEL ON SATURDAY 10 NOVEMBER AT 16.00 10 Nov 2012 from 16:00 to 18:00 Janice Graham, writing as Juliet Gael, is the author of the critically acclaimed historical novel Romancing Miss Brontë, and is currently working on a follow-up novel that deals with the fascinating lives of the Shelleys. Part literary reading, part discussion, and part work-in-progress seminar, Juliet will address the creative problems involved in romanticising the lives of authors, and will give us some tantalising sneak previews into the process of writing her book about the Shelleys. Everyone is welcome and the museum's normal standard entrance fee applies. Please call on 06 678 4235 or email info@keats to reserve a place. Otherwise just come along on Saturday the 10th of November, and enjoy some refreshments after! To know more about Romancing Miss Brontë please click on the following link:http://www.romancingmissbronte.com/book.html Price: The price is included in the normal entrance fee. Location: Salone. -
Lyric Poetry :- the Sonnet
By Dr. Anita Singh, Dept of English, For Part – 1 English Hons. LYRIC POETRY :- Lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person. It is not equivalent to song lyrics, though they are often in the lyric mode. Lyric poetry expresses personal emotions or thoughts of the speaker, just like the songs of today. Also, just like songs, lyric poems always have a musical quality, or a specific melody which makes it easy for you to sing along with. The term 'lyric poetry' actually comes from the ancient Greek word lyre, which refers to the instrument in that era that accompanied the reading of the lyric poem. Almost like the first version of a live concert. Lyric poetry, for the most part, is short and written in first-person point of view. There is always some specific mood or emotion being expressed. Often that mood is about the extremes in life, mostly love or death or some other intense emotional experience. No matter the theme, though, all lyric poems are known for brevity, emotional intensity and musical quality. There are many types of lyric poems, each with their own format and purpose. Let's take a look at some. THE SONNET One type of lyric poem is the sonnet. Overall, sonnets have 14 lines usually written in iambic pentameter, which is five pairs of stressed and unstressed syllables. This overall structure of predetermined syllables and rhyme makes sonnets flow off your tongue in a similar way that a song on the radio does. -
The Role of Italy in Milton's Early Poetic Development
Italia Conquistata: The Role of Italy in Milton’s Early Poetic Development Submitted by Paul Slade to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English in December 2017 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. Abstract My thesis explores the way in which the Italian language and literary culture contributed to John Milton’s early development as a poet (over the period up to 1639 and the composition of Epitaphium Damonis). I begin by investigating the nature of the cultural relationship between England and Italy in the late medieval and early modern periods. I then examine how Milton’s own engagement with the Italian language and its literature evolved in the context of his family background, his personal contacts with the London Italian community and modern language teaching in the early seventeenth century as he grew to become a ‘multilingual’ poet. My study then turns to his first published collection of verse, Poems 1645. Here, I reconsider the Italian elements in Milton’s early poetry, beginning with the six poems he wrote in Italian, identifying their place and significance in the overall structure of the volume, and their status and place within the Italian Petrarchan verse tradition. -
Elizabethan Sonnet Sequences and the Social Order Author(S): Arthur F
"Love is Not Love": Elizabethan Sonnet Sequences and the Social Order Author(s): Arthur F. Marotti Source: ELH , Summer, 1982, Vol. 49, No. 2 (Summer, 1982), pp. 396-428 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.com/stable/2872989 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to ELH This content downloaded from 200.130.19.155 on Mon, 27 Jul 2020 13:15:50 UTC All use subject to https://about.jstor.org/terms "LOVE IS NOT LOVE": ELIZABETHAN SONNET SEQUENCES AND THE SOCIAL ORDER* BY ARTHUR F. MAROTTI "Every time there is signification there is the possibility of using it in order to lie." -Umberto Ecol It is a well-known fact of literary history that the posthumous publication of Sir Philip Sidney's Astrophil and Stella inaugurated a fashion for sonnet sequences in the last part of Queen Elizabeth's reign, an outpouring of both manuscript-circulated and printed collections that virtually flooded the literary market of the 1590's. But this extraordinary phenomenon was short-lived. With some notable exceptions-such as the delayed publication of Shake- speare's sought-after poems in 1609 and Michael Drayton's con- tinued expansion and beneficial revision of his collection-the composition of sonnet sequences ended with the passing of the Elizabethan era. -
How to Read a Sonnet Two Quatrains Is the Octave; the by a Couplet, As in WS 73 Last Six Lines Is the Sestet
Download this brochure as a PDF from VernBarnet.com 4 pages EXTERNAL SCAFFOLDING INTERNAL STRUCTURES (apart from meaning) (pattern of meaning) he “English” or Shakespearean” Within the external sonnet form, T sonnet consists of 14 lines of William Shakespeare (WS) draws iambic pentameter (you can easily his themes in various ways. speak one line in one breath) with the line end-rimes in a pattern of A. The same idea is pre- sented in three quatrains, abab-cdcd : efef-gg. Each set of four lines is a quatrain and the last two each with a different meta- lines are called a couplet, indented phor, a different angle on How to Read a Sonnet in Shakepeare’s Sonnets. The first the same theme, followed two quatrains is the octave; the by a couplet, as in WS 73 last six lines is the sestet. (dying day, dying year, in Shakespearean form An iamb is a set of two syllables dying fire, love now) and the first of which is unstressed and my 30. which means reading aloud the second stressed. Pentameter is B. The octave presents a a line of five feet. (A unit of rhythm in poetry is called a foot from po- theme, the third quatrain T summarizes it, and the cou- etry’s early association with dance; a line of poetry is like a measure of plet condenses it once again, as in WS 55 (you live in my T music.) Thus a line of iambic pen- tameter sounds lines) and my 15. T da DUM da DUM da DUM da DUM da DUM. -
Cupid's Victimization of the Renaissance Male
University of New Orleans ScholarWorks@UNO University of New Orleans Theses and Dissertations Dissertations and Theses Spring 5-18-2013 Cupid's Victimization of the Renaissance Male Wendy B. Withers University of New Orleans, [email protected] Follow this and additional works at: https://scholarworks.uno.edu/td Part of the Comparative Literature Commons Recommended Citation Withers, Wendy B., "Cupid's Victimization of the Renaissance Male" (2013). University of New Orleans Theses and Dissertations. 1679. https://scholarworks.uno.edu/td/1679 This Thesis is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Thesis has been accepted for inclusion in University of New Orleans Theses and Dissertations by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. Cupid's Victimization of the Renaissance Male A Thesis Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in English British Literature by Wendy Withers B.A. University of South Florida, 2008 May, 2013 Copyright 2012, Wendy Withers ii Table -
Transforming the Petrarchan Tradition in the Poetry of Lady Mary Wroth (1587–1631)
Prague Journal of English Studies Volume 5, No. 1, 2016 ISSN: 1804-8722 (print) '2,10.1515/pjes-2016-0001 ISSN: 2336-2685 (online) “The True Forme of Love”: Transforming the Petrarchan Tradition in the Poetry of Lady Mary Wroth (1587–1631) Tomáš Jajtner e following article deals with the transformation of the Petrachan idea of love in the work of Lady Mary Wroth (1587-1631), the fi rst woman poet to write a secular sonnet sequence in English literature, Pamphilia to Amphilanthus. e author of the article discusses the literary and historical context of the work, the position of female poets in early modern England and then focuses on the main diff erences in Wroth’s treatment of the topic of heterosexual love: the reversal of gender roles, i.e., the woman being the “active” speaker of the sonnets; the de-objectifying of the lover and the perspective of love understood not as a possessive power struggle, but as an experience of togetherness, based on the gradual interpenetration of two equal partners. Keywords Renaissance English literature; Lady Mary Wroth; Petrarchanism; concept of love; women’s poetry 1. Introduction “Since I exscribe your Sonnets, am become/A better lover, and much better Poët”. ese words written by Ben Jonson and fi rst published in his Workes (1640) point out some of the fascination, as well as a sense of the extraordinary, if not downright oddity of the poetic output of Lady Mary Wroth (1587-1631), the niece of Sir Philip Sidney and daughter of another English Renaissance poet, Sir Robert Sidney, the fi rst Earl of Leicester (1563-1626). -
Questioning Men's Love in Sir Philip Sidney's Astrophil and Stella and Lady Mary Wroth's Pamphilia to Amphilanthus*1)
ঃਆઽࢂٷணপ࠙ 제13권 1호 (2005): 99-121 Questioning Men's Love in Sir Philip Sidney's Astrophil and Stella and Lady Mary Wroth's Pamphilia to Amphilanthus*1) Ivan Cañadas (Hallym University) It is something of a cliché that the interest of the sonnet sequence form in early modern England lay primarily in the interrogation of the concept of love. Indeed, the achievement of the English sonnet sequences of the period may have been their construction, examination, and redefinition of the nature of love, a process which makes the sonnet sequences discussed here particularly * The current article is a revised―and renamed―version of a paper presented at MEMESAK's 2005 Spring Conference, held at the Hankuk University of Foreign Studies, on 4 June, 2005. I would like to thank those who attended―particularly my respondents, Professors Lee Jin-Ah and Bae Kyeong-Jin―for their invaluable comments, which aided me greatly in preparing my article for publication. 100 Ivan Cañadas fascinating. The current article focuses primarily on Sir Philip Sidney's Astrophil and Stella (c. 1591) and Lady Mary Wroth's Pamphilia to Amphilanthus (1621); representing the best-known and the last such poetic enterprises in early modern England―the former by a man, the latter by a woman―both sequences are united by their similar portrayal of male inconstancy, self-indulgence, and even deviousness and sexualized aggression. In the process, this article will contribute to ongoing work in the areas of gender studies and early modern English poetry, not only with respect to Wroth's poetry, but also by identifying in Sidney a quasi-feminine―if not, indeed, proto-feminist―sensibility, a response contrary, yet, I would contend, linked, to that of misogyny, both elicited by the extraordinary circumstances of a female-centered court in what one critic has labeled a “nation of men” (Levin 89). -
Wordsworth & the Sonnet As Epic Prelude
Connotations Vol. 28 (2019) Wordsworth & the Sonnet as Epic Prelude: A Response to Stephen Fallon and Henry Weinfield* BRIAN BATES Stephen Fallon’s “The Equanimity of Influence: Milton and Words- worth” and Henry Weinfield’s “‘When Contemplation like the Night- Calm Felt’: Religious Considerations in Poetic Texts by Shakespeare, Milton, and Wordsworth” appear together in two bibliographic ways: in volume twenty-six of Connotations and in the journal’s debates sec- tion under the title “Between Shakespeare, Milton and Wordsworth” (https://www.connotations.de/debate/between-shakespeare-milton- and-wordsworth/). While Fallon reexamines “how Wordsworth makes his poetry out of Milton’s poetry, and particularly his Prelude out of Paradise Lost” (126), Weinfield plots a Shakespeare-to-Milton sonnet lineage manifested in Book V of Wordsworth’s The Prelude. Each article concerns authorial influence—for Fallon based on “equa- nimity” and for Weinfield involving a potential “threat” (116)—and focuses on beginnings and endings, making and remaking, echoes and allusions, transience and permanence. Fallon argues that Words- worth discovered in Milton’s epic narrator a lyric model for present- ing the growth of the poet’s mind toward equanimity “in the face of sorrows and adversity” (127). Weinfield contends that Milton’s Sonnet *References: Fallon, Stephen. “The Equanimity of Influence: Milton and Words- worth.” Connotations 26 (2016/2017): 126-40. https://www.connotations.de/article/stephen-m-fallon-equanimity-influence- milton-wordsworth/ Weinfield, -
War Poetry: Impacts on British Understanding of World War One
Central Washington University ScholarWorks@CWU All Undergraduate Projects Undergraduate Student Projects Spring 2019 War Poetry: Impacts on British Understanding of World War One Holly Fleshman Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/undergradproj Part of the European History Commons, Military History Commons, and the Social History Commons Recommended Citation Fleshman, Holly, "War Poetry: Impacts on British Understanding of World War One" (2019). All Undergraduate Projects. 104. https://digitalcommons.cwu.edu/undergradproj/104 This Undergraduate Project is brought to you for free and open access by the Undergraduate Student Projects at ScholarWorks@CWU. It has been accepted for inclusion in All Undergraduate Projects by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. Table of Contents Abstract……………………………………………………………………….. 2 Body………..………………………………………………………………….. 3 Conclusion ……………………………………………………………………. 20 Bibliography ………………………………………………………………….. 24 End Notes ……………………………………………………………………... 28 1 Abstract The military and technological innovations deployed during World War I ushered in a new phase of modern warfare. Newly developed technologies and weapons created an environment which no one had seen before, and as a result, an entire generation of soldiers and their families had to learn to cope with new conditions of shell shock. For many of those affected, poetry offered an outlet to express their thoughts, feelings and experiences. For Great Britain, the work of Rupert Brooke, Siegfried Sassoon, Wilfred Owen and Robert Graves have been highly recognized, both at the time and in the present. Newspaper articles and reviews published by prominent companies of the time make it clear that each of these poets, who expressed strong opinions and feelings toward the war, deeply influenced public opinion. -
Renaissance Texts, Medieval Subjectivities: Vernacular Genealogies of English Petrarchism from Wyatt to Wroth
Renaissance Texts, Medieval Subjectivities: Vernacular Genealogies of English Petrarchism from Wyatt to Wroth by Danila A. Sokolov A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada 2012 © Danila A. Sokolov 2012 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This dissertation investigates the symbolic presence of medieval forms of textual selfhood in early modern English Petrarchan poetry. Seeking to problematize the notion of Petrarchism as a Ren- aissance discourse par excellence, as a radical departure from the medieval past marking the birth of the modern poetic voice, the thesis undertakes a systematic re-reading of a significant body of early modern English Petrarchan texts through the prism of late medieval English poetry. I argue that me- dieval poetic texts inscribe in the vernacular literary imaginary (i.e. a repository of discursive forms and identities available to early modern writers through antecedent and contemporaneous literary ut- terances) a network of recognizable and iterable discursive structures and associated subject posi- tions; and that various linguistic and ideological traces of these medieval discourses and selves can be discovered in early modern English Petrarchism. Methodologically, the dissertation’s engagement with poetic texts across the lines of periodization is at once genealogical and hermeneutic. The prin- cipal objective of the dissertation is to uncover a vernacular history behind the subjects of early mod- ern English Petrarchan poems and sonnet sequences.