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Introduction to Meter
Introduction to Meter A stress or accent is the greater amount of force given to one syllable than another. English is a language in which all syllables are stressed or unstressed, and traditional poetry in English has used stress patterns as a fundamental structuring device. Meter is simply the rhythmic pattern of stresses in verse. To scan a poem means to read it for meter, an operation whose noun form is scansion. This can be tricky, for although we register and reproduce stresses in our everyday language, we are usually not aware of what we’re going. Learning to scan means making a more or less unconscious operation conscious. There are four types of meter in English: iambic, trochaic, anapestic, and dactylic. Each is named for a basic foot (usually two or three syllables with one strong stress). Iambs are feet with an unstressed syllable, followed by a stressed syllable. Only in nursery rhymes to do we tend to find totally regular meter, which has a singsong effect, Chidiock Tichborne’s poem being a notable exception. Here is a single line from Emily Dickinson that is totally regular iambic: _ / │ _ / │ _ / │ _ / My life had stood – a loaded Gun – This line serves to notify readers that the basic form of the poem will be iambic tetrameter, or four feet of iambs. The lines that follow are not so regular. Trochees are feet with a stressed syllable, followed by an unstressed syllable. Trochaic meter is associated with chants and magic spells in English: / _ │ / _ │ / _ │ / _ Double, double, toil and trouble, / _ │ / _ │ / _ │ / _ Fire burn and cauldron bubble. -
Lerud Dissertation May 2017
ANTAGONISTIC COOPERATION: PROSE IN AMERICAN POETRY by ELIZABETH J. LERUD A DISSERTATION Presented to the Department of English and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2017 DISSERTATION APPROVAL PAGE Student: Elizabeth J. LeRud Title: Antagonistic Cooperation: Prose in American Poetry This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the English Department by: Karen J. Ford Chair Forest Pyle Core Member William Rossi Core Member Geri Doran Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2017. ii © 2017 Elizabeth J. LeRud iii DISSERTATION ABSTRACT Elizabeth J. LeRud Doctor of Philosophy Department of English June 2017 Title: Antagonistic Cooperation: Prose in American Poetry Poets and critics have long agreed that any perceived differences between poetry and prose are not essential to those modes: both are comprised of words, both may be arranged typographically in various ways—in lines, in paragraphs of sentences, or otherwise—and both draw freely from the complete range of literary styles and tools, like rhythm, sound patterning, focalization, figures, imagery, narration, or address. Yet still, in modern American literature, poetry and prose remain entrenched as a binary, one just as likely to be invoked as fact by writers and scholars as by casual readers. I argue that this binary is not only prevalent but also productive for modern notions of poetry, the root of many formal innovations of the past two centuries, like the prose poem and free verse. -
Rhythm and Meter in Macbeth Iambic Pentameter (Nobles)
Grade 9 Analysis- Rhythm and Meter in Macbeth Iambic Pentameter (Nobles) What is it? Shakespeare's sonnets are written predominantly in a meter called iambic pentameter, a rhyme scheme in which each sonnet line consists of ten syllables. The syllables are divided into five pairs called iambs or iambic feet. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. An example of an iamb would be good BYE. A line of iambic pentameter flows like this: baBOOM / baBOOM / baBOOM / baBOOM / baBOOM. Why does Shakespeare use it? When Shakespeare's characters speak in verse (iambic pentameter), they are usually the noble (aristocratic) characters, and their speech represents their high culture and position in society. It gives the play a structured consistency, and when this is changed in instances of prose such as when Macbeth writes to Lady Macbeth and when Lady Macduff talks with her son, these are normally instances where a situation is abnormal e.g. when the Porter babbles in his drunken haze. Trochaic Tetrameter (Witches) What is it? Trochaic tetrameter is a rapid meter of poetry consisting of four feet of trochees. A trochee is made up of one stressed syllable followed by one unstressed syllable (the opposite of an iamb). Here is the flow of a line of trochaic tetrameter: BAboom / BAboom / BAboom / BAboom. Why does Shakespeare use it? The witches’ speech patterns create a spooky mood from the start of the scene. Beginning with the second line, they speak in rhyming couplets of trochaic tetrameter. The falling rhythm and insistent rhyme emphasize the witchcraft they practice while they speak—boiling some sort of potion in a cauldron. -
Basic Guide to Latin Meter and Scansion
APPENDIX B Basic Guide to Latin Meter and Scansion Latin poetry follows a strict rhythm based on the quantity of the vowel in each syllable. Each line of poetry divides into a number of feet (analogous to the measures in music). The syllables in each foot scan as “long” or “short” according to the parameters of the meter that the poet employs. A vowel scans as “long” if (1) it is long by nature (e.g., the ablative singular ending in the first declen- sion: puellā); (2) it is a diphthong: ae (saepe), au (laudat), ei (deinde), eu (neuter), oe (poena), ui (cui); (3) it is long by position—these vowels are followed by double consonants (cantātae) or a consonantal i (Trōia), x (flexibus), or z. All other vowels scan as “short.” A few other matters often confuse beginners: (1) qu and gu count as single consonants (sīc aquilam; linguā); (2) h does NOT affect the quantity of a vowel Bellus( homō: Martial 1.9.1, the -us in bellus scans as short); (3) if a mute consonant (b, c, d, g, k, q, p, t) is followed by l or r, the preced- ing vowel scans according to the demands of the meter, either long (omnium patrōnus: Catullus 49.7, the -a in patrōnus scans as long to accommodate the hendecasyllabic meter) OR short (prō patriā: Horace, Carmina 3.2.13, the first -a in patriā scans as short to accommodate the Alcaic strophe). 583 40-Irby-Appendix B.indd 583 02/07/15 12:32 AM DESIGN SERVICES OF # 157612 Cust: OUP Au: Irby Pg. -
Notes on Prosody
Notes on Middle English Prosody Dr. A Mitchell Sound and Sense Middle English poets typically delight in the accidental harmonies and disharmonies of verbal sounds. Sometimes sound is deliberately made to echoe sense, but more often accoustic patterns do not serve a referential or mimetic function. Syncopated rhythm may just be pleasurable to hear in the voice; variation may aid expressiveness or enhance interest; or sounds may be affective or mnemonic. Sound patterns also function as a sign of the poet’s pedigree, affiliations, or tastes. But in any event critics can probably make only modest claims about the significance of acoustic effects in the vernacular – some measure of irregularity is just a natural consequence of writing in Middle English. Rhyme is the most familiar sound pattern, and it basically demands that the poetic composition be oriented around the music (not the other way around). As a result, the semantic may be subordinated to the sonic or phonetic: e.g., syntax is inverted or contorted so as to get the proper rhyme in place; rhyme words are chosen less for sense than for sound. But of course rhymes may also produce interesting semantic juxtapositions or recapitulations, and occasionally Chaucer among others uses rhyme deftly to produce harmony and discordance, parallelism and antithesis. The main types of rhyme are the following. • end rhyme (most common) • internal rhyme (within a line) • masculine (single-sllable, or when final stressed syllable rhymes as in cat/hat) • feminine (rhymed stressed syllable followed by unstressed as in butter/clutter) • exact rhyme and rime riche (on the same sounds) • near rhyme (not a failed rhyme, it has the salutary effect of avoiding monotony) You will recognize these additional sound effects: • onomatapoia • assonance • alliteration • consonance Metrics: Alliterative and Accentual-Syllabic Some Medieval English verse is alliterative (that of Langland and the so-called poems of the Alliterative Revival), but much is what we call accentual-syllabic. -
Trochees and Iambs2
CHAPTER III. Some Remarks on the Nature of Trochees and Iambs and their Relationship to Other Metres ‘The iambic is the characteristic rhythm of people as they talk […]. The trochaic rhythm, again, is too much akin to the comic dance, as may be seen in tetrameter verse, for the rhythm of tetrameters is light and tripping. (Aristotle, 1932: 3.8, 1408b). The present study assumes that poetic rhythm in the tonic-syllabic system current in English poetry can be best accounted for by three sets of patterns: First, an abstract matrix of expectations consisting of regularly alternating strong and weak positions. Secondly, the stress-pattern of spoken language. Some aspects of this stress pattern confirm the abstract schema (one could even say that it is from these that the reader abstracts the metric pattern); some aspects deviate from it, and produce tension. These deviations, far from being signs of imperfection, of “unmetricality”, are major prosodic and expressive assets. When the reader encounters some deviation from the abstract metric pattern, he makes adjustments in its performance, so as to preserve both his metrical set, that is, his feeling of regularly alternating strong and weak positions and, at the same time, the stress pattern of his spoken language. The adjustment frequently consists in overarticu- lation, overstressing, and additional grouping of stresses. This constitutes the third pattern, the pattern of performance. The greater the deviation, the greater the adjustment required and the tighter the additional grouping, One of the basic assumptions of the present study is, then, that the rhythm of a poem is accessible only through some kind of performance; an adequate account of a poem’s rhythm can be given only by considering the interplay of three patterns: those of metre, stresses and performance. -
An Analysis of Scansion in William Wordsworth's
AN ANALYSIS OF SCANSION IN WILLIAM WORDSWORTH’S POEMS SKRIPSI Submitted Partial Fulfillment of the Requiretments For the Degree of Sarjana Pendidikan (S.Pd) English Education Program BY : HARIANI 1502050280 FACULTY OF TEACHER TRAINING AND EDUCATION UNIVERSITY OF MUHAMMADIYAH SUMATERA UTARA MEDAN 2019 i i ii i ABSTRACT Hariani. 1502050280. An Analysis of Scansion in William Wordsworth’s Poems. Thesis : English Education Program of Teachers’ Training and Education. University of Muhammadiyah Sumatera Utara. Medan. 2019. This study deals with the use of scansion in the William Wordsworth‟s poems. There were two main objectives in this study. The first was to find out the metrical foot and line in William Wordsworth‟s poems. The second was to find out the kind of metrical feet dominantly appeared in William Wordsworth‟s poems. Documentation method was used in collecting the data. This study used descriptive qualitative method for analyzed the data and to describe the findngs. There were 10 poems in this research as the source of data, Surprised by Joy, To a Butterfly, With Ships The Sea Was Sprinkled, Glad Sight Whenever New With Old, It Is a Beauteous Evening, Calm, and Free, The Daffodils, I Travelled Among Unknown Men, Great Men Have Been Among Us, At Furness Abbey, The World Is Too Much With Us. The findings showed there were five kinds of metrical feet found in William Wordsworth‟s poems, Monosyllabic (Masculine or Feminine Ending), Iambic, Trochaic, Dsctylic, and Anapestic.The total number of Monosyllabic (Masculine Ending) was (3), (Feminine Ending) was (12), Iambic was (609), Trochaic was (44), Dactylic was (11), and Anapestic was (8). -
MUS 327 Analysis: Rhythm and Meter Week 5 Vocab 3: Poetic Rhythm
MUS 327 Analysis: Rhythm and Meter Week 5 Vocab 3: Poetic Rhythm Try it yourself: Scansion of Friedrich Schiller, “Ode an die Freude” (Trochaic tetrameter) Freude, schöner Götterfunken, Tochter aus Elysium, Wir betreten feuertrunken, Himmlische, dein Heiligtum! Deine Zauber binden wieder Was die Mode streng geteilt; Alle Menschen werden Brüder Wo dein sanfter Flügel weilt. From Purdue Online Writing Lab, https://owl.english.purdue.edu/owl/resource/570/02/ Syllables can either be accented, meaning they are naturally given more emphasis when spoken, or unaccented, meaning they receive less emphasis when spoken. Signs for accented/unaccented syllables: u = unaccented syllable – = accented syllable / = break between poetic feet A poetic foot is a unit of accented and unaccented syllables that is repeated or used in sequence with others to form the meter. Poetic feet are referred to using these terms: Iambic: u – (destroy) Anapestic: u u – (intervene) Trochaic: – u (topsy) Dactylic: – u u (merrily) An enjambment is the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza. Line Length shows the number of feet per line. In the case of tetrameter, there are basically four feet per line. The types of line lengths are as follows: One foot: Monometer Two feet: Dimeter Three feet: Trimeter Four feet: Tetrameter Five feet: Pentameter Six feet: Hexameter A Stanza is a group of lines, a quatrain is a group of four lines, and a couplet is a pair of lines. Declamatory Schema maps beat numbers in a given musical meter onto accented syllables in the poem in order to provide a basic outline of declamatory rhythm and patterns that recur within the song. -
Chaucer's Prosody
Chaucer’s Prosody and Poetics Dr. A Mitchell The following is meant to remind you of the available technical terminology for analyzing Chaucer’s verse, and can serve as a handy checklist when thinking and writing about his poetry (and many other cultural artefacts besides literary ones). Use this sheet along with my “Checklist for Close Reading” to ask questions about the literature you study. None of this is a substitute for a good dictionary of literary terms, which every student should have on the shelf. Here are just some of the common tools of the trade so that you can consider what needs to be added to your toolkit – so as to enhance your critical capabilities and vocabulary. You need to handle relevant terms when analyzing Chaucer’s writing. So begin here. A. Figurative Language Medieval poets tended to cultivate formal qualities that moderns have not especially prized in their own writing, including mannered forms of address, consistently elevated language, and fixed forms of verse (such as the ballade). Their verse also tends to be greatly ornamented, richly embroidered with rhetorical figures. The thing to look out for in Chaucer is the subtle ways in which he innovates on forms and norms handed down to him. To see how he works, however, you must be able to identify the conventions. Language • concrete and abstract diction • denotation and connotation • register: formal and informal, colloquial, dialect, jargon • syntax (the order of words) Speaker, Persona, Tone • speaker, persona • address: direct address, free indirect • objective or impersonal versus personal voice Figurative Language • imagery (appeal to senses) • simile (using like or as) • metaphor (tenor and vehicle, implied or extended) • metonymy (a thing substituted for another by association) o Pen is mightier than the sword; He’s taken to the bottle • synecdoche (part for whole or vice versa) o Take my hand in marriage; Flesh and blood • oxymoron; puns or syllepsis • personification or prosopopeia; allegory B. -
Poetic Technique in Vikram Seth's the Golden Gate
Poetic Technique in Vikram Seth's The Golden Gate by June Edvenson Thjømøe A Thesis presented to the Department of Humanities University of Oslo in partial fulfillment of the requirements for the Master of Arts degree in English Literature September, 2008 Oslo, Norway Table of Contents Acknowledgements i Dedication and Foreword ii 1. Introduction 1 2. Analytical Tools 4 3. Analysis and Comment to Date 11 4. Analysis 14 A. Beginnings: Sonnet 1.1 14 B. Dialogues 19 1. Voicemail and Phone Chat 20 2. Context and Conversation at a Chinese Restaurant 21 C. Party Contexts 31 1. Cocktail Party Culture 31 2. The Wedding Party 41 3. The Last Party 44 D. Nature 48 1. Characters in Nature 48 2. Seth Characterizing Nature 51 E. Activism and Acts 56 1. Speech and Social Activism: The Priest's Speech 56 2. Acts of Prayer & Salvation 63 a. Prayer to Saint Francis 63 b. Endings 65 5. Conclusion 69 APPENDIX A: Synopsis of The Golden Gate 80 BIBLIOGRAPHY 107 Primary Bibliography Secondary Bibliography Acknowledgements I would like to thank my advisor, Juan Christian Pellicer, for his insightful direction and support. I would also like to thank Professor Jakob Lothe for his guidance in the Thesis Writing seminar. i Dedication To my husband, Hans Mathias Thjømøe, for his steadfast belief in me and his support of my efforts in Norway Foreword Also born in '52, She grew up in Chicago, Hometown of gangsters, cronies, blues. To the Illinois forests and plains she moves. There, studied literature and law, Landscapes, philosophy, played in a band. -
SHAKESPEARE's SONNETS
PROSODY: Rudiments Del Bello 2017 PROSODY: OED DEFINITION The science of versification; that part of the study of language which deals with the forms of metrical composition; OED v. prosody One way to approach English verse ACCENTUAL-SYLLABIC PROSODY from Classical Latin Some scholars (eg: Derek Attridge The Rhythms of English Poetry) feel that classical prosody applied to English is inadequate and should be replaced. IDEAS and METER • In the moment of composition, one of the central concerns of the poet is arrangement of metric pattern to achieve some kind of musicality. • Impulse toward order while allowing deviation WHY METER? WHO CARES ABOUT METER? 3 objectives: (1) increase your sensitivity to the formal properties of poetry (i.e. what sounds do) (2) heighten your pleasure and illumination in reading poetry (3) understand PROSODY (=features that have to do with how you read out verses) How does meter work? How does it mean/create meaning? • It is often a sort of ritualistic framing (metered language is different from ordinary language and thus “framed” as an artistic artifice) • It often presents variations. Departure from expected metrical norms can create an emotional effect or possibly estrangement. • It may create PROSODIC TENSION (between perfect or ideal metrical pattern and the actual rhythm) • It may have HISTORICAL MEMORY. Having been associated to a certain genre of poetry, a given meter may retain some of the meaning(s) associated to that poetry. What does meter do? • Focuses reader’s attention and refines awareness • Induces hypnosis (meter in most accentual poetry is slightly faster than the normal heart beat exhilarating effect) • Has physiological or possibly sexual overtones. -
English Metres
Cornell University Library The original of tliis bool< is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924026355879 Cornell University Library PE 1509.S92 English metres. 3 1924 026 355 879 Copyright ^A^ 1922 By William Strunk, Jr. CONTENTS Chapter I: The Nature of Verse 7 Chapter II : Metrical and Free Verse 13 Chapter III: The Line and the Foot 17 Basic Feet 20 Number of Feet 24 Excess and Defect 24 Substitutions 26 The Caesura 30 Final Stress 31 Pinal Pause 32 Chapter IV: Rhyme 33 Chapter V: The Chief Metres of English Verse 38 Continuous Metres Iambic Tetrameter Couplet 38 Trochaic Tetrameter Couplet 39 Iambic Pentameter Couplet (Heroic Couplet) 39 Blank Verse 40 Dactylic Hexameter 45 Terza Hima 46 Stanzas The Ballad Stanza 47 Iambic Tetrameter Quatrains 47 Iambic Pentameter Quatrains 47 Ottava Rima 48 The Spenserian Stanza 49 The Pindaric Ode 50 The Sonnet 50 Chapter VI: Relations between Sound and Sense 54 Exercises 60 3 PREFACE The aim of this book is to provide a brief explanation of the nature of English verse and of the means used to analyze and describe it, together with a description and history of the more frequent metrical forms. The ex- amples are for the greater part from poems common- ly studied in courses in English and American literatiure. It has seemed best to recognize that many points in met- rical theory are still debatable. The method of marking scansion that has been employed is, of com'se, only one of many, but is that which, on the whole, most commends itself to the writer.