DOCSLIB.ORG

The Princeton Handbook of Poetic Terms, Third

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Princeton Handbook of Poetic Terms, Third © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Alphabetical List of Entries accent confessional poetry heroic couplet accentual- syllabic verse consonance heroic verse accentual verse convention hexameter air couplet hiatus alba cross rhyme homoeoteleuton alexandrine dactyl hymn alliteration decasyllable hyperbaton ambiguity decorum hyperbole anacoluthon deixis hypotaxis and parataxis anacreontic demotion iambic anadiplosis devotional poetry idyll analogy. See METAPHOR; dialogue image SIMILE; SYMBOL diction imagery anapest dimeter indeterminacy anaphora dozens In Memoriam stanza antistrophe dramatic monologue. See internal rhyme antithesis MONOLOGUE invective antonomasia dramatic poetry irony aporia dream vision isocolon and parison apostrophe eclogue kenning assonance ekphrasis lament asyndeton elegiac distich leonine rhyme, verse audience. See PERFORMANCE elegiac stanza letter, verse. See VERSE EPISTLE ballad elegy limerick ballad meter, hymn meter elision line beat ellipsis litotes Biblical poetry. See HYMN; encomium love poetry PSALM English prosody lyric blank verse enjambment lyric sequence blason envoi madrigal blues epic masculine and feminine broken rhyme epigram metaphor burlesque. See PARODY epitaph meter caesura epithalamium metonymy canon epithet mimesis carpe diem epode mock epic, mock heroic catachresis euphony monologue catalexis eye rhyme narrative poetry catalog fabliau narrator. See PERSONA; VOICE chain rhyme foot (modern) near rhyme chiasmus form nonsense verse Christabel meter fourteener octave closure free verse octosyllable colon genre ode complaint georgic onomatopoeia composition. See POET; haiku, western ottava rima VERSIFICATION hemistich palinode composition by field hendecasyllable panegyric conceit hendiadys paradox concrete poetry heptameter paralipsis xi For general queries, contact [email protected] © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. xii Alphabetical List of Entries parallelism rich rhyme synaesthesia parody riddle syncope paronomasia rime riche. See RHYME; RICH synecdoche pastoral RHYME syntax, poetic pathetic fallacy rondeau tercet pattern poetry. See CONCRETE sapphic terza rima POETRY; VISUAL POETRY satire tetrameter pentameter scansion tone performance scheme trimeter periphrasis septet trochaic persona sestet trope personification sestina ut pictura poesis poem signifying variable foot poet simile verisimilitude. See MIMESIS poetics, Western Skeltonic verse drama. See DRAMATIC poetry slang. See DICTION POETRY poiēsis song verse epistle point of view. See PERSONA; sonnet verse novel. See NARRATIVE VOICE sonnet sequence POETRY polyptoton sound verse paragraph polysyndeton sound poetry verse systems. See METER prose poem speaker. See PERSONA; VOICE versification prosody Spenserian stanza vers libre prosopopoeia split lines villanelle proverb spoken word. See virelai psalm PERFORMANCE visual arts and poetry. See pun. See PARONOMASIA spondee CONCRETE POETRY; pyrrhic sprung rhythm EKPHRASIS; UT PICTURA quantity stanza POESIS; VISUAL POETRY quatrain stichomythia visual poetry refrain strophe visual rhyme. See EYE RYHME repetition style voice rhyme sublime volta rhyme royal syllabic verse zeugma rhyme scheme symbol rhythm synaeresis For general queries, contact [email protected].
Load more

Recommended publications
  • The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century
    The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Siedina, Giovanna. 2014. The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2014 Giovanna Siedina All rights reserved. Dissertation Advisor: Author: Professor George G. Grabowicz Giovanna Siedina The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century Abstract For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace’s Ars poetica.
    [Show full text]
  • A Hell of a City: Dante's Inferno on the Road to Rome ([email protected]) DANTE's WORKS Rime (Rhymes): D.'S Lyrical Poems, Cons
    A Hell of a City: Dante’s Inferno on the Road to Rome ([email protected]) DANTE’S WORKS Rime (Rhymes): D.'s lyrical poems, consisting of sonnets, canzoni, ballate, and sestine, written between 1283 [?] and 1308 [?]. A large proportion of these belong to the Vita Nuova, and a few to the Convivio; the rest appear to be independent pieces, though the rime petrose (or “stony poems,” Rime c-ciii), so called from the frequent recurrence in them of the word pietra, form a special group, as does the six sonnet tenzone with Forese Donati: http://etcweb.princeton.edu/dante/pdp/rime.html (Testo critico della Societa' Dantesca Italiana; Florence: Societa' Dantesca Italiana, 1960. Edited by Michele Barbi. Translated by K. Foster and P. Boyde.) Vita nova (The New Life): Thirty-one of Dante's lyrics surrounded by an unprecedented self-commentary forming a narrative of his love for Beatrice (1293?). D.'s New Life, i.e. according to some his 'young life', but more probably his 'life made new' by his love for Beatrice. The work is written in Italian, partly in prose partly in verse (prosimetron), the prose text being a vehicle for the introduction, the narrative of his love story, and the interpretation of the poems. The work features 25 sonnets (of which 2 are irregular), 5 canzoni (2 of which are imperfect), and 1 ballata: http://etcweb.princeton.edu/dante/pdp/vnuova.html (Testo critico della Società Dantesca Italiana; Florence: Società Dantesca Italiana, 1960. Edited by Michele Barbi. Translated by Mark Musa.) In the Vita Nuova, which is addressed to his 'first friend', Guido Cavalcanti, D.
    [Show full text]
  • University Interscholastic League Literary Criticism Contest • Invitational a • 2021
    University Interscholastic League Literary Criticism Contest • Invitational A • 2021 Part 1: Knowledge of Literary Terms and of Literary History 30 items (1 point each) 1. A line of verse consisting of five feet that char- 6. The repetition of initial consonant sounds or any acterizes serious English language verse since vowel sounds in successive or closely associated Chaucer's time is known as syllables is recognized as A) hexameter. A) alliteration. B) pentameter. B) assonance. C) pentastich. C) consonance. D) tetralogy. D) resonance. E) tetrameter. E) sigmatism. 2. The trope, one of Kenneth Burke's four master 7. In Greek mythology, not among the nine daugh- tropes, in which a part signifies the whole or the ters of Mnemosyne and Zeus, known collectively whole signifies the part is called as the Muses, is A) chiasmus. A) Calliope. B) hyperbole. B) Erato. C) litotes. C) Polyhymnia. D) synecdoche. D) Urania. E) zeugma. E) Zoe. 3. Considered by some to be the most important Irish 8. A chronicle, usually autobiographical, presenting poet since William Butler Yeats, the poet and cele- the life story of a rascal of low degree engaged brated translator of the Old English folk epic Beo- in menial tasks and making his living more wulf who was awarded the 1995 Nobel Prize for through his wit than his industry, and tending to Literature is be episodic and structureless, is known as a (n) A) Samuel Beckett. A) epistolary novel. B) Seamus Heaney. B) novel of character. C) C. S. Lewis. C) novel of manners. D) Spike Milligan. D) novel of the soil.
    [Show full text]
  • Nigel Fabb and Morris Halle (2008), Meter in Poetry
    Nigel Fabb and Morris Halle (2008), Meter in Poetry Paul Kiparsky Stanford University [email protected] Linguistics Department, Stanford University, CA. 94305-2150 July 19, 2009 Review (4872 words) The publication of this joint book by the founder of generative metrics and a distinguished literary linguist is a major event.1 F&H take a fresh look at much familiar material, and introduce an eye-opening collection of metrical systems from world literature into the theoretical discourse. The complex analyses are clearly presented, and illustrated with detailed derivations. A guest chapter by Carlos Piera offers an insightful survey of Southern Romance metrics. Like almost all versions of generative metrics, F&H adopt the three-way distinction between what Jakobson called VERSE DESIGN, VERSE INSTANCE, and DELIVERY INSTANCE.2 F&H’s the- ory maps abstract grid patterns onto the linguistically determined properties of texts. In that sense, it is a kind of template-matching theory. The mapping imposes constraints on the distribution of texts, which define their metrical form. Recitation may or may not reflect meter, according to conventional stylized norms, but the meter of a text itself is invariant, however it is pronounced or sung. Where F&H differ from everyone else is in denying the centrality of rhythm in meter, and char- acterizing the abstract templates and their relationship to the text by a combination of constraints and processes modeled on Halle/Idsardi-style metrical phonology. F&H say that lineation and length restrictions are the primary property of verse, and rhythm is epiphenomenal, “a property of the way a sequence of words is read or performed” (p.
    [Show full text]
  • Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected]
    University of Richmond UR Scholarship Repository Classical Studies Faculty Publications Classical Studies 2016 Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/classicalstudies-faculty- publications Part of the Classical Literature and Philology Commons Recommended Citation Damer, Erika Zimmermann. "Iambic Metapoetics in Horace, Epodes 8 and 12." Helios 43, no. 1 (2016): 55-85. This Article is brought to you for free and open access by the Classical Studies at UR Scholarship Repository. It has been accepted for inclusion in Classical Studies Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Iambic Metapoetics in Horace, Epodes 8 and 12 ERIKA ZIMMERMANN DAMER When in Book 1 of his Epistles Horace reflects back upon the beginning of his career in lyric poetry, he celebrates his adaptation of Archilochean iambos to the Latin language. He further states that while he followed the meter and spirit of Archilochus, his own iambi did not follow the matter and attacking words that drove the daughters of Lycambes to commit suicide (Epist. 1.19.23–5, 31).1 The paired erotic invectives, Epodes 8 and 12, however, thematize the poet’s sexual impotence and his disgust dur- ing encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of harsh invective, and the virulent targeting of the mulieres’ revolting bodies is precisely in line with an Archilochean poetics that uses sexually-explicit, graphic obscenities as well as animal compari- sons for the sake of a poetic attack.
    [Show full text]
  • Poetry Vocabulary
    Poetry Vocabulary Alliteration: Definition: •The repetition of consonant sounds in words that are close together. •Example: •Peter Piper picked a peck of pickled peppers. How many pickled peppers did Peter Piper pick? Assonance: Definition: •The repetition of vowel sounds in words that are close together. •Example: •And so, all the night-tide, I lie down by the side Of my darling, my darling, my life and my bride. -Edgar Allen Poe, from “Annabel Lee” Ballad: Definition: •A song or songlike poem that tells a story. •Examples: •“The Dying Cowboy” • “The Cremation of Sam McGee” Cinquain: Definition: • A five-line poem in which each line follows a rule. 1. A word for the subject of the poem. 2. Two words that describe it. 3. Three words that show action. 4. Four words that show feeling. 5. The subject word again-or another word for it. End rhyme: Definition: • Rhymes at the ends of lines. • Example: – “I have to speak-I must-I should -I ought… I’d tell you how I love you if I thought The world would end tomorrow afternoon. But short of that…well, it might be too soon.” The end rhymes are ought, thought and afternoon, soon. Epic: Definition: • A long narrative poem that is written in heightened language and tells stories of the deeds of a heroic character who embodies that values of a society. • Example: – “Casey at the Bat” – “Beowulf” Figurative language: Definition: • An expressive use of language. • Example: – Simile – Metaphor Form: Definition: • The structure and organization of a poem. Free verse: Definition: • Poetry without a regular meter or rhyme scheme.
    [Show full text]
  • Blank Verse: a Guide to Its History And
    Shaw ch1:Layout 1 1/19/07 5:25 PM Page 1 THE SOUNDS1 OF BLANK VERSE I Blank verse—unrhymed iambic pentameter—is not hard to find, and some- times it turns up in unexpected places. Julian Symons uses the form in a short poem, “The Guilty Party,” which serves as preface to his historical study of the detective story.1 The theme sardonically developed in the piece is that the writer of stories of murder and mayhem is in an unsettling way responsible for the violence staining his pages: It is the author who creates the crime And picks the victims, this blond dark girl sprawled Across a bed, stabbed, strangled, poisoned, bashed With a blunt instrument. (1–4) Later, Symons pictures the author sitting in “his butter-bright smiling room / Where crimes are kept in filing cabinets / Well out of sight and mind” (21–23), haunted by visions of the victims and villains he has created: One paddling fingers in her own bright blood And staining his face with it, another Revealing the great wound gaping in his side, 1 Shaw ch1:Layout 1 1/19/07 5:25 PM Page 2 2 Blank Verse The sliced-up tart carrying a juicy breast, Inviting him to kiss it: and the villains all Crowding him with their horrid instruments, The rope that playfully tightens round his neck, The blue revolver used to mutilate, The dagger points to pierce out jelly eyes, The saw and hammer at their nasty work [ . ] (26–35) There are mysteries surrounding—or we might better say emanating from—blank verse, and unlike questions in detective stories they do not allow for incontrovertible solutions.
    [Show full text]
  • Lucan, Poet of Freedom O. A. W. Dilke
    LUCAN, POET OF FREEDOM BY O. A. W. DILKE GRAHAMSTOWN RHODES UNIVERSITY 1961 LUCAN, POET OF FREEDOM INAUGURAL LECTURE DELIVERED AT RHODES UNIVERSITY BY O. A. W. DILKE PROFESSOR OF CLASSICS M .A. (Cantab.) GRAHAMSTOWN RHODES UNIVERSITY 1961 LUCAN, POET OF FREEDOM The Greek and Latin classics have been defended so often and so ably against the boisterous waves that have encroached upon them that to add one more apologia to the long list might result only in hackneyed platitudes. Within the last few years even the vestiges of compulsory Greek and Latin have dis­ appeared from the older seats of learning. However rigid a classical syllabus the Eton entrance scholarships may still demand, it can no longer be argued that an Arts Degree focused on non- classical subjects, let alone a degree in other Faculties, neces­ sitates a knowledge of prose composition in these languages. What our courses have lost in relative numbers since a genera­ tion ago we hope they have gained in interest, since they are no longer troubled with the student who is dragooned into Latin. And I do not consider it dragooning to insist that those who are study­ ing Roman-Dutch law shall be able to read a little Cicero in the original. But to exclude the classics except in Penguin translations from the University of York, for example, is an affront to Eboracum and to the shades of Alcuin, who in the eighth century was one of the greatest Latinists in the world. In the mid-twentieth century, the classicist can try to help the scientist to form his new compound words correctly, but let us hope he will not be relegated to this position.
    [Show full text]
  • Poetry and Poems
    Poetry Kaleidoscope Nicolae Sfetcu Published by Nicolae Sfetcu Second Edition Copyright 2014 Nicolae Sfetcu BOOK PREVIEW 1 Poetry Poetry (ancient Greek: ποιεω (poieo) = I create) is traditionally a written art form (although there is also an ancient and modern poetry which relies mainly upon oral or pictorial representations) in which human language is used for its aesthetic qualities in addition to, or instead of, its notional and semantic content. The increased emphasis on the aesthetics of language and the deliberate use of features such as repetition, meter and rhyme, are what are commonly used to distinguish poetry from prose, but debates over such distinctions still persist, while the issue is confounded by such forms as prose poetry and poetic prose. Some modernists (such as the Surrealists) approach this problem of definition by defining poetry not as a literary genre within a set of genres, but as the very manifestation of human imagination, the substance which all creative acts derive from. Poetry often uses condensed form to convey an emotion or idea to the reader or listener, as well as using devices such as assonance, alliteration and repetition to achieve musical or incantatory effects. Furthermore, poems often make heavy use of imagery, word association, and musical qualities. Because of its reliance on "accidental" features of language and connotational meaning, poetry is notoriously difficult to translate. Similarly, poetry's use of nuance and symbolism can make it difficult to interpret a poem or can leave a poem open to multiple interpretations. It is difficult to define poetry definitively, especially when one considers that poetry encompasses forms as different as epic narratives and haiku.
    [Show full text]
  • English 201 Major British Authors Harris Reading Guide: Forms There
    English 201 Major British Authors Harris Reading Guide: Forms There are two general forms we will concern ourselves with: verse and prose. Verse is metered, prose is not. Poetry is a genre, or type (from the Latin genus, meaning kind or race; a category). Other genres include drama, fiction, biography, etc. POETRY. Poetry is described formally by its foot, line, and stanza. 1. Foot. Iambic, trochaic, dactylic, etc. 2. Line. Monometer, dimeter, trimeter, tetramerter, Alexandrine, etc. 3. Stanza. Sonnet, ballad, elegy, sestet, couplet, etc. Each of these designations may give rise to a particular tradition; for example, the sonnet, which gives rise to famous sequences, such as those of Shakespeare. The following list is taken from entries in Lewis Turco, The New Book of Forms (Univ. Press of New England, 1986). Acrostic. First letters of first lines read vertically spell something. Alcaic. (Greek) acephalous iamb, followed by two trochees and two dactyls (x2), then acephalous iamb and four trochees (x1), then two dactyls and two trochees. Alexandrine. A line of iambic hexameter. Ballad. Any meter, any rhyme; stanza usually a4b3c4b3. Think Bob Dylan. Ballade. French. Line usually 8-10 syllables; stanza of 28 lines, divided into 3 octaves and 1 quatrain, called the envoy. The last line of each stanza is the refrain. Versions include Ballade supreme, chant royal, and huitaine. Bob and Wheel. English form. Stanza is a quintet; the fifth line is enjambed, and is continued by the first line of the next stanza, usually shorter, which rhymes with lines 3 and 5. Example is Sir Gawain and the Green Knight.
    [Show full text]
  • Free Verse Blank Verse
    Free Verse Blank Verse When Napoleon crucified his yoghurts colors not wherefor enough, is Caldwell wool-stapler? Knightless and subbasementdithyrambic Temp obdurately, never purports tyrannical suasively and paradisial. when Haskell unvoice his explantation. Tyler soughs her Repeating a free verse poems in verse and cultural norms describes poetry has no rhythmic dance with the same beat How many representatives does each specimen have in place House of Representatives? How can still there. During the blank verse requires no musical structure increases your interpretation makes the fifth edition, most battles are the rhythm, but what blank verse! Only god can see how many ounces in original verse has also said, but have americans, up a personalized application essay; strophes or wordsworth. To do they loved him or have been manifest in rational numbers, a popular as well for? Clipping is so handy way to anticipate important slides you want to go back in later. It mattered neither men from women, everyone who hung him loved him. Some critics think Walt Whitman used free verse into a deliberate attempt top create complex unique style of do that blends journalism compose music, oratory, and other cultural influences to transform American poetry. The first stanza of freedom itself. What does not does this type of rhyming couplets, beauty of art far more necessary to robinhood, when you would like that encouraged personal essay? Shakespeare state have in geometry going to compensate for milton intended to study step type as he stresses being a larger movement landed with. Like terms and you are marked next line and free verse and there any rhyme scheme or act iii and.
    [Show full text]
  • On Creativity and Originality in Verse Discourses
    On Creativity and Originalityin Ve rse Discourses MILOSAV Ż. ĆARKIĆ (Belgrade) O.O. In verse discourses, as probably in2 no others, there is a large number of ste­ reotypes 1 ( canons, conventions, norms ) impo sed by a specific period of time, a specific genre, a specific literary movement (school), specific literature, the struc- The concept of stereotype. which is defined asa tri te. banał, fixed expression or act. is most often felt as if conveying a negative connotalion, and directly associa1ed with cliche (routine s1ylistic and structural ac1s which have łosi their anistic significance and expressiveness. but are stili used like a mechanical pattern: in linguis1ics, cliches include: idioms. all ossified phrases, sayings, proverbs (Petkovic 1995: 95) and platitudes (unchangeable, ready-made pauems which many ad­ here to blindly, a 1rite. banał phrase or such a way ofthinking and expression). Contrary Io such at­ titudes, there are other opinions a1 least as regards the scholarly style (Kouorova 1 998). 1t is 1he­ refore thai in this case, especially regarding literary-artis1ic style, the concept of stereotype conveys posi1ive conno1ations and is to a cenain extent equa1ed with canon (as a se1 of aesthetic rules, pauerns dominating poetic s1ructures). convention (deriving from the long-standing tradi­ tion of a melhod of literary creation offering its expressive potentials even to la1er anisls) and norm (as a prese1 rule or a set of rules commining the anis1 10 cenain li1erary methods. but not re­ s1raining poetic personali ty development. since a poe1ic work emerges either in compliance with a norm or in depanure from it.
    [Show full text]