Types of Poems
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Greek Epigram and Byzantine Culture Steven D
Cambridge University Press 978-1-108-48023-9 — Greek Epigram and Byzantine Culture Steven D. Smith Frontmatter More Information GREEK EPIGRAM AND BYZANTINE CULTURE Sexy, scintillating, and sometimes scandalous, Greek epigrams from the age of the Emperor Justinian commemorate the survival of the sensual in a world transformed by Christianity. Around 567 ce, the poet and historian Agathias of Myrina published his Cycle, an anthol- ogy of epigrams by contemporary poets who wrote about what mattered to elite men in sixth-century Constantinople: harlots and dancing girls, chariot races in the hippodrome, and the luxuries of the Roman bath. But amid this banquet of worldly delights, ascetic Christianity – pervasive in early Byzantine thought – made sensual pleasure both more complicated and more compelling. In this book, Steven D. Smith explores how this miniature classical genre gave expression to lurid fantasies of domination and submission, con- straint and release, and the relationship between masculine and feminine. The volume will appeal to literary scholars and historians interested in Greek poetry, late antiquity, Byzantine studies, early Christianity, gender, and sexuality. steven d. smith is Professor of Classics and Comparative Literature at Hofstra University, New York. His publications include Greek Identity and the Athenian Past in Chariton: The Romance of Empire (2007) and Man and Animal in Severan Rome: The Literary Imagination of Claudius Aelianus (Cambridge University Press, 2014). © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48023-9 — Greek Epigram and Byzantine Culture Steven D. Smith Frontmatter More Information greek culture in the roman world Editors susan e. -
MLA In-Text Citations
1 MLA In-Text Collin College–Frisco, Lawler Hall 141 972-377-1080 ▪ [email protected] Citations Appointments: collin.mywconline.net Short Quotations Prose: Less than four (4) typed lines of prose is considered to be a short quotation. • Quotations should always be incorporated into a sentence of your original prose. A quotation should never stand alone in a sentence. • Follow each quotation with a parenthetical in-text citation containing: o Author’s last name (unless the author is introduced in your sentence) o Page number from which the quotation was taken. • The period comes after the parenthetical citation. A question mark or exclamation point should be placed within the quotation if it is part of the quoted section, with a period following the parenthetical citation. Example: According to John Brown, the writing center proves to be a “calm and quiet area to learn more about writing techniques” (22). Poetry: Three (3) lines or less of a poem is a short quotation. • In the parenthetical citation, use line number(s) instead of page numbers • The first time you quote a poem, use the word “line” or “lines.” In subsequent references, only include the actual line numbers. • Indicate each line break with a slash (/), placing a space both before and after it. • Use two slashes to indicate a stanza break. • A verse play, such as those written by Shakespeare, follows the rules for poetry. Example: The closing lines of Frost’s poem have a sleepy, dream-like quality: “The only other sound’s the sweep / Of easy wind and downy flake // The woods are lovely, dark and deep” (lines 11-13). -
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. -
The Play of Memory and Imagination in the Arena of Performance: an Attempt to Contextualise the History and Legend of Amar Singh
The Play of Memory and Imagination in the Arena of Performance: An Attempt to Contextualise the History and Legend of Amar Singh Rathore as taken forward by various Performing Arts First Six-Monthly Report Tripurari Sharma This report attempts to compile and analyse certain aspects that have come to the fore while exploring the various dimensions that emerge from the subject of study. It is true, that Amar Singh as a character has been celebrated in the Folk Performing Arts, like, Nautanki, Khayal and Puppetry. However, that is not all. There are also songs about him and some of the other characters who are part of his narrative. Bards also tell his story and each telling is a distinct version and interpretation of him and his actions. As his presence expands through various cultural expressions of Folklore, it seems necessary to explore the varying dimensions that have enabled this legend construct. A major challenge and delight in this research has been the discovering of material from various sources, not in one place and a lot by interaction and engaging with artists of various Forms. Books, that deal with History, Cultural Studies, Folk poetry, Life styles of Marwar and Rajputs, Mughal Court, Braj Bhasha and Folklore have been studied in detail. The N.M.M.L. has provided much material for reading. This has facilitated, thinking, formulating connections with the Legend, Society and Performative Arts. There have been discussions with artists engaged with Puppetry and Nautanki. Some of them have been preliminary in nature and some fairly exhaustive. Archival material of some senior artists has been examined and more is in process. -
Understanding Poetry Are Combined to Unstressed Syllables in the Line of a Poem
Poetry Elements Sound Includes: ■ In poetry the sound Writers use many elements to create their and meaning of words ■ Rhythm-a pattern of stressed and poems. These elements include: Understanding Poetry are combined to unstressed syllables in the line of a poem. (4th Grade Taft) express feelings, ■ Sound ■ Rhyme-similarity of sounds at the end of thoughts, and ideas. ■ Imagery words. ■ The poet chooses ■ Figurative ■ Alliteration-repetition of consonant sounds at Adapted from: Mrs. Paula McMullen words carefully (Word the beginning of words. Example-Sally sells Language Library Teacher Choice). sea shells Norwood Public Schools ■ Poetry is usually ■ Form ■ Onomatopoeia- uses words that sound like written in lines (not ■ Speaker their meaning. Example- Bang, shattered sentences). 2 3 4 Rhythm Example Rhythm Example Sound Rhythm The Pickety Fence by David McCord Where Are You Now? ■ Rhythm is the flow of the The pickety fence Writers love to use interesting sounds in beat in a poem. The pickety fence When the night begins to fall Give it a lick it's their poems. After all, poems are meant to ■ Gives poetry a musical And the sky begins to glow The pickety fence You look up and see the tall be heard. These sound devices include: feel. Give it a lick it's City of lights begin to grow – ■ Can be fast or slow, A clickety fence In rows and little golden squares Give it a lick it's a lickety fence depending on mood and The lights come out. First here, then there ■ Give it a lick Rhyme subject of poem. -
Poetry That Expresses Thoughts and Emotions of a Single Speaker
Type of writing done in verse form that Poetry uses figures of speech designed to appeal to emotions and imagination Poetry that expresses Lyric Poetry thoughts and emotions of a single speaker Poetry that tells a story Narrative Poetry Form and Structure Poem that is song-like; usually focuses Ballad on topics such as romance, adventure, and death; and tells a story Sonnet 14 line lyric poem A mourning poem; written for Elegy someone who has died Lyric poem on a serious subject; usually Ode addressed to one person or thing; often celebrates something a repeated sound, word, Refrain phrase, line, or group of lines Japanese 3 lined poem with 5 Haiku syllables in lines 1 and 3 and 7 syllables in line 2 Couplet two consecutive lines of poetry that rhyme Triplets Three lined stanza Quatrains 4 line stanzas poetry that doesn’t have a set Free Verse rhyme scheme or meter A very long narrative poem that tells of Epic the life and journeys of a hero A group of consecutive lines in a Stanza poem that forms a single unit; like paragraphs Figurative Language comparison between two unlike Simile things, using a word such as like, as, than, or resembles comparison between two unlike things that does not use a Metaphor connecting word a group of words not meant to Idiom be taken literally overstating something, usually Hyperbole for the purpose of creating a comic effect giving human characteristics to Personification an object or an animal contradictory elements (two Oxymoron things that do not belong together) use of language that appeals to Imagery -
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. -
A Magazine of Verse Edited by Harriet Monroe September 1922
Vol. XX No. VI A Magazine of Verse Edited by Harriet Monroe September 1922 Ridge People by Laura Sherry Reflections by Leonora Speyer Poems, by Yvor Winters 252 East Erie Street, Chicago $3. 00 per Year Single Numbers 25c POETRY is great—just that! Edgar Boutwell, of the Louisville Courier-Journal. Vol. XX No. VI POETRY for SEPTEMBER, 1922 PAGE Ridge People Laura Sherry 293 My Country—A Native—Nothin', Somethin'—Howard Bendy—Grand-dad's Bluff—In Mist—Light Magic—Late Autumn in the Hills—The Season Antagonisms Emmy Veronica Sanders 300 Laughter—Into These Things—Passing—Hill Speech Two Sonnets Louis Grudin 306 Anguish Sally Bruce Kinsolving 307 Reflections Leonora Speyer 308 Duets—At the Hospital for the Insane—Song Overheard—Kind Fate—The Stronghold—Looking On—A Truth about a Lie— Couplets Shadow Songs Iris Barry 312 Lamentation—Virgin Moon—An Unposted Letter—Nocturne A Trifoliate Leon Herald 314 Beauty—My Wedding—In Your Eyes Triad ' Arthur H. Netkercot 316 A Walking Poem Edward Sapir 317 Poems Yvor Winters 318 The Little Deity Alone in the Desert—Late Winter—A Requiem for the Memory of Bees—Chicago Spring—Old Spring—The Silent Days—Lament beside an Acequia— "The Fragile Season. " Mea Culpa H. M. 323 On Translating Chinese Poetry II... Eunice Tietjens 328 Reviews: His Home Town H. M. 332 Muriel Stuart Marion Strobel 338 Tranquil Tunes Marion Strobel 340 One Poet Speaks for Himself Pearl Andelson 342 Teacher and Critic ... Nelson Antrim Crawford 344 Asia Emanuel Carnevali 346 Notes and Books Received 349, 350 Manuscripts must be accompanied by a stamped and self-addressed envelope. -
Songs in Fixed Forms
Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain. -
THE PARADOX of AMATORY EPIGRAM Kathryn Gutzwiller in One of His Deceptively Simple Epigrams, Catullus Shows How Well He Has Mast
THE PARADOX OF AMATORY EPIGRAM Kathryn Gutzwiller In one of his deceptively simple epigrams, Catullus shows how well he has mastered the Hellenistic art of variation: Nulli se dicit mulier mea nubere malle quam mihi, non si se Iuppiter ipse petat. dicit: sed mulier cupido quod dicit amanti, in vento et rapida scribere oportet aqua. (Catullus 70) My woman says that she prefers to marry no one more than me, not even if Juppiter himself asks her. She says it, but what a woman says to a lover who desires her must be written on the wind and rushing water. Catullus models his poem on a set of three epigrams, by Callimachus, Asclepiades, and Meleager, preserved in the AP in what was likely the original sequence from Meleager’s Garland. It would be intriguing to explore in detail how Catullus conveys his anguish at Lesbia’s betrayal through a process of intertextual allusion to a series of epigrams that already displayed variation one of the other within the context in which Catullus likely encountered them. I cite the poem here, however, only for a verbal play in the second couplet. In the last epigram from the AP sequence, the one in which Meleager demonstrates his extraordinary ability to rework and make new the best epigrams of his predecessors, an abandoned woman complains that the oaths of lovers are carried away on water (59 GP (= AP 5.8); cf. Callimachus 11 GP (= AP 5.6 = 25 Pf.), Asclepiades 9 GP (= AP 5.7)). Catullus modi es this line not only by reversing the gender roles, making himself the abandoned lover, but also by adding a paradoxical contrast between speaking and writing: what a woman says (dicit) to her lover must be written (scribere), not in a love poem, but on the wind and the water. -
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. -
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.