Outline of Poetry February 4, 2012

Total Page:16

File Type:pdf, Size:1020Kb

Outline of Poetry February 4, 2012 Outline of Poetry February 4, 2012 Contents ARTS>Literature>Poetry ................................................................................................................................................... 1 ARTS>Literature>Poetry>Prosody ............................................................................................................................... 1 ARTS>Literature>Poetry>Rhyme ................................................................................................................................ 2 ARTS>Literature>Poetry>Rhythm ............................................................................................................................... 3 ARTS>Literature>Poetry>Rhythm>Feet ................................................................................................................. 4 ARTS>Literature>Poetry>Kinds .................................................................................................................................. 4 ARTS>Literature>Poetry>Kinds>Church ................................................................................................................ 5 ARTS>Literature>Poetry>Kinds>Epic Poem .......................................................................................................... 5 ARTS>Literature>Poetry>Kinds>French ................................................................................................................ 6 ARTS>Literature>Poetry>Kinds>Funeral ............................................................................................................... 7 ARTS>Literature>Poetry>Kinds>Greek .................................................................................................................. 7 ARTS>Literature>Poetry>Kinds>Humorous .......................................................................................................... 7 ARTS>Literature>Poetry>Kinds>Italian ................................................................................................................. 8 ARTS>Literature>Poetry>Kinds>Japanese ............................................................................................................. 8 ARTS>Literature>Poetry>Kinds>Persian ................................................................................................................ 8 ARTS>Literature>Poetry>Kinds>Roman ................................................................................................................ 8 ARTS>Literature>Poetry>Kinds>Spanish ............................................................................................................... 9 ARTS>Literature>History>Poetry ................................................................................................................................ 9 Note: To look up references, see the Consciousness Bibliography, listing 10,000 books and articles, with full journal and author names, available in text and PDF file formats at http://www.outline-of-knowledge.info/Consciousness_Bibliography/index.html. ARTS>Literature>Poetry poetry Poems {poetry} have rhythm, prosody, rhyme, and sound effects. poesy poetry {poesy}. creacionismo Poets {creacionismo} can be word magicians. griot Mande poet {griot} {dyeli} {belein-tigui}. kenning Stereotyped synonyms {kenning} or compound words were in Old-English poetry. qualitative verse Chinese verse {qualitative verse} uses voice pitch, rather than rhythm. quantitative verse Greek and Latin verse {quantitative verse} depended on long and short syllable rhythms. ARTS>Literature>Poetry>Prosody prosody in poetry Poems have stanza patterns {prosody, poetry}. 1 canto long-poem part {canto}. couplet Line pairs {couplet}| can rhyme. Couplets typically have eight syllables per line. heroic couplet Iambic-pentameter line pairs {heroic couplet} can rhyme. ottava rima Eight iambic pentameter lines have rhyme scheme ABABABCC {ottava rima}. quatrain Stanzas {quatrain}| can have four lines. Quatrains can have iambic pentameter lines with rhyme scheme ABAB {heroic quatrain} {elegiac quatrain} {heroic stanza}. Quatrains can have iambic pentameter line, iambic trimeter line, iambic tetrameter line, and iambic trimeter line {ballad stanza}. quintain Verses {quintain} can have five lines. rhyme royal Seven iambic pentameter lines have rhyme scheme ABABBCC {rhyme royal}. Spenserian stanza Eight iambic-pentameter lines can precede an Alexandrine line, with rhyme scheme ABABBCBCC {Spenserian stanza}. stanza Poems have sections or paragraphs {stanza} {verse} with fixed line numbers in rhyming patterns. tercet Stanzas {triplet, three} {tercet} can have three lines. terza rima Triplet stanzas {terza rima} can have line that rhymes with line in next stanza. ARTS>Literature>Poetry>Rhyme rhyme Poetry typically uses similar sounds at line ends or inside lines {rhyme} {rhyming}. Line ends can have similar sounds {terminal rhyme} {end rhyme}. Line last syllables can have same last vowel sound and same last consonant sound {perfect rhyme} {exact rhyme}. Line last syllables can have same last consonant sound {half-rhyme} {off rhyme}. Line last syllables can have same spelling but different pronunciation {eye rhyme}. alliteration Initial word sounds can be similar {alliteration}| {initial rhyme}. assonance Two words can have same vowel sound but different consonant sounds {assonance}. consonance in rhyme Two words can have same consonant sounds but different vowel sounds {consonance, rhyme}. double rhyme The rhyming syllable can be unstressed {feminine rhyme} {double rhyme}, with stressed syllable preceding unstressed syllable. 2 internal rhyme Similar sounds can repeat inside line {internal rhyme}. masculine rhyme Rhyming syllable can have stress {masculine rhyme}. sight rhyme Line ends can look the same but sound different {sight rhyme}. slant rhyme Line ends can have same vowel sound but different consonants {slant rhyme}. stress in poetry Rhyming syllable can have stress {stress, poetry} or no stress. ARTS>Literature>Poetry>Rhythm rhythm in poetry Poetry uses repeated stressed and unstressed syllables {rhythm, poetry}. Pauses, word lengths, and consonant clusters affect rhythm. anacrusis One or more unstressed syllables can be at line beginning {anacrusis}. caesura Line can have short pause {caesura}. catalexis One or two unstressed syllables can be at line end {catalexis}. ending Unstressed syllable can be at line end {feminine ending} or stressed syllable can be at line end {masculine ending} {ending}. end-stopped line Line ends can have a pause {end-stopped line}. enjambment Line ends can have no pause {run-on line} {enjambment}. hypermeter One or more unstressed syllables can be at line beginning or end {hypermeter}. meter in poetry Poem lines can repeat feet {meter, poetry}. Poem lines can have three feet {trimeter}, four feet {tetrameter}, five feet {pentameter}, six feet {hexameter}, or seven feet {heptameter}. scansion Poem lines have foot type and feet number {scansion}| {scan}. To scan lines, foot name in adjective form precedes meter. For example, Alexandrine poetry used iambic hexameter. Shakespeare used iambic pentameter. sprung rhythm One stressed syllable can be at foot beginning, with any number of unstressed syllables {sprung rhythm}. accent in poetry 3 English verse uses louder and longer syllables {accented syllable} and softer and shorter syllables {unaccented syllable} {accent, poetry}. stress-verse Poems {stress-verse} typically have stressed-syllable patterns. ARTS>Literature>Poetry>Rhythm>Feet foot Two or three syllables {foot, poetry} {feet, poetry} have one stressed syllable or no stressed syllable. Poem lines repeat feet. anapest in poetry Three syllables {anapest, poetry} can have last syllable stressed and so have rising stress. dactyl in poetry Three syllables {dactyl, poetry} can have first syllable stressed and so have falling stress. iamb in poetry The most common foot {iamb, poetry} has two syllables with second stressed, and so has rising stress. pyrrhic in poetry Two syllables {pyrrhic, poetry} can have no stress. spondee in poetry Three syllables {spondee, poetry} can have neither rising nor falling stress. trochee in poetry Two syllables {trochee, poetry} with first stressed have falling stress. ARTS>Literature>Poetry>Kinds antipoetry Poems {antipoetry} can be in colloquial language about common life. ballad poem story poem {ballad poem}. blank verse Poems {blank verse}| can use unrhymed iambic pentameter lines. confessional poetry Poems {confessional poetry} can admit sin. elegy Poems {elegy}| can be melancholy contemplations or laments. epigram Short sentences {epigram}| can be solemn {Greek epigram} or witty {Roman epigram}. Gnomic poetry Poetry {Gnomic poetry} can use aphorisms, maxims, and proverbs. lyric poem Poems {lyric poem} can express emotions or thoughts, with no story. 4 macaronic verse Poems {macaronic verse} can use several languages. occasional verse Poems {occasional verse} can be for common events. ode Lyric poems {ode}| can be about serious themes, gods, or heroes. Odes {Pindaric ode} can have stanzas with strophe, anti-strophe, and epode and have lines with different lengths. Odes {Horatian ode} can have four-line stanzas about love, patriotism, and morals. pastoral poetry Poems {pastoral, poem} {bucolic, poem} can be about simple country life or about shepherds. Pastoral poems are often in Arcadia, mountainous region of Greece. sonnet Poems {sonnet}| can have 14, 12, or 16 lines in iambic pentameter. Sonnets can use rhyme scheme
Recommended publications
  • 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.
    [Show full text]
  • Rubai (Quatrain) As a Classical Form of Poetry in Persian Literature
    INTERNATIONAL JOURNAL OF RESEARCH CULTURE SOCIETY ISSN: 2456-6683 Volume - 2, Issue - 4, Apr – 2018 UGC Approved Monthly, Peer-Reviewed, Refereed, Indexed Journal Impact Factor: 3.449 Publication Date: 30/04/2018 Rubai (Quatrain) as a Classical Form of Poetry in Persian Literature Ms. Mina Qarizada Lecturer in Samangan Higher Education, Samangan, Afghanistan Master of Arts in English, Department of English Lovely Professional University, Punjab, India Email – [email protected] Abstract: Studying literature, including poetry and prose writing, in Afghanistan is very significant. Poetry provides some remarkable historical, cultural, and geographical facts and its literary legacy of a particular country. Understanding the poetic forms is important in order to understand the themes and the styles of the poetry of the poets. All the Persian poets in some points of the time composed in the Rubai form which is very common till now among the past and present generation across Afghanistan. This paper is an overview of Rubai as a classical form of Poetry in Persian Literature. Rubai has its significant role in the society with different stylistic and themes related to the cultural, social, political, and gender based issues. The key features of Rubai are to be eloquent, spontaneous and ingenious. In a Rubai the first part is the introduction which is the first three lines that is the sublime for the fourth line of the poem. It represents the idea if sublet, pithy and clever. It also represents the poets’ literary works, poetic themes, styles, and visions. Key Words: Rubai, Classic, Poetry, Persian, Literature, Quatrain, 1. INTRODUCTION: Widespread geography of Persian speakers during the past centuries in the history of Afghanistan like many other countries, it can be seen and felt that only great men were trained in the fields of art and literature.
    [Show full text]
  • Literary Terms Definition Example Example from Class Poetry Alliteration: a Number of Words, Having a Big Bully Beats a Baby Boy
    Name: ______________________________________ Poetry Unit: Literary Terms Definition Example Example from Class Poetry Alliteration: a number of words, having A big bully beats a baby boy. the same first consonant sound, occur close together in a series Assonance: takes place when two or Men sell wedding bells. more words, close to one another repeat the same vowel sound, but start with different consonant sounds. Blank Verse: un-rhyming verse written in The dreams are clues that tell iambic pentameter. In poetry and prose, it has a consistent meter with 10 syllables in us take chances. each line (pentameter); where, unstressed syllables are followed by stressed ones, five of which are stressed but do not rhyme. Consonance: repetitive sounds Behind Me -- dips Eternity -- produced by consonants Before Me -- Immortality -- Myself -- the Term between -- within a sentence or phrase Death but the Drift of Eastern Gray, Dissolving into Dawn away, Before the West begin -- Couplet: having two successive rhyming “The time is out of joint, O cursed spite lines in a verse, and has the same meter to That ever I was born to set it right!” form a complete thought. Foot: combination of stressed and Example of Iambic Pentameter: Iamb: unstressed syllables. there are various Combination of unstressed and stressed types of foot, each of which sounds syllable – (daDUM) differently Free Verse: poems have no regular meter or rhythm. They do not follow a proper After the Sea-Ship by Walt Whitman rhyme scheme; these poems do not have After the Sea-Ship—after the whistling any set rules. winds; After the white-gray sails, taut to their spars and ropes, Below, a myriad, myriad waves, hastening, lifting up their necks, Tending in ceaseless flow toward the track of the ship.
    [Show full text]
  • 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.
    [Show full text]
  • (Hons.) in Persian Is Designed
    Content: In order to foster quality higher education in India, the syllabus of B.A. (Hons.) LOCFin Persian - Page: 1 of 45 Introductionis designed with the aim of improving the quality of higher education. The syllabus of B.A. (Hons.) in Persian enables effective participation of young people in knowledge production and participation in the knowledge economy, improving national competitiveness in a globalized world and for equipping young people with skills relevant for global and national standards and enhancing the opportunities or social mobility. Persian is not merely a language but the life line of inter-disciplinary studies in the present global scenario as it is a fast growing subject being studied and offered as a major subject in the higher ranking educational institutions at world level. In view of it the proposed course is developed with the aims to equip the students with the linguistic, language and literary skills for meeting the growing demand of this discipline and promoting skill based education. The proposed course will facilitate self-discovery in the students and ensure their enthusiastic and effective participation in responding to the needs and challenges of society. The course is prepared with the objectives to enable students in developing skills and competencies needed for meeting the challenges being faced by our present society and requisite essential demand of harmony among human society as well and for his/her self- growth effectively. Therefore, this syllabus which can be opted by other Persian Departments of all Universities where teaching of Persian is being imparted is compatible and prepared keeping in mind the changing nature of the society, demand of the language skills to be carried with in the form of competencies by the students to understand and respond to the same efficiently and effectively.
    [Show full text]
  • 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.
    [Show full text]
  • Universidade De São Paulo Faculdade De Filosofia, Letras E
    Universidade de São Paulo Faculdade de Filosofia, Letras e Ciências Humanas Departamento de Línguas Clássicas e Vernáculas Programa de Pós-Graduação em Letras Clássicas Alexandre Pinheiro Hasegawa Dispositio e distinção de gêneros nos Epodos de Horácio: estudo acompanhado de tradução em verso SÃO PAULO 2010 ii Universidade de São Paulo Faculdade de Filosofia, Letras e Ciências Humanas Departamento de Línguas Clássicas e Vernáculas Programa de Pós-Graduação em Letras Clássicas Alexandre Pinheiro Hasegawa Dispositio e distinção de gêneros nos Epodos de Horácio: estudo acompanhado de tradução em verso Tese apresentada ao Programa de Pós- Graduação em Letras Clássicas do Departamento de Letras Clássicas e Vernáculas da Faculdade de Filosofia, Letras e Ciências Humanas de Universidade de São Paulo para obtenção do título de Doutor. Orientador: Prof. Dr. João Angelo Oliva Neto Co-orientador: Prof. Dr. Andrea Cucchiarelli SÃO PAULO 2010 iii A Laura, meae lauro , e Letícia, laetae segeti iv AGRADECIMENTOS Agradeço ao Prof. Dr. João Angelo Oliva Neto pela orientação e pela amizade e ao Prof. Dr. Andrea Cucchiarelli pela co-orientação e gentil acolhimento durante o estágio no exterior, ambos nel mezzo del cammin della mia vita foram fundamentais para que o trabalho fosse conduzido por diritta via . Agradeço à CAPES, meo Maecenati , pela bolsa concedida que possibilitou não só discutir a tese com pesquisadores estrangeiros, mas também recolher material indisponível em nossas bibliotecas. Agradeço à Prof. Paula da Cunha Corrêa e ao Prof. Dr. Brunno Vinicius Gonçalves Vieira que me argüiram no exame de qualificação, trazendo importantes contribuições para o desenvolvimento da tese. Agradeço a todos colegas da área que sempre me apoiaram, sobretudo ao Prof.
    [Show full text]
  • The Poetry Handbook I Read / That John Donne Must Be Taken at Speed : / Which Is All Very Well / Were It Not for the Smell / of His Feet Catechising His Creed.)
    Introduction his book is for anyone who wants to read poetry with a better understanding of its craft and technique ; it is also a textbook T and crib for school and undergraduate students facing exams in practical criticism. Teaching the practical criticism of poetry at several universities, and talking to students about their previous teaching, has made me sharply aware of how little consensus there is about the subject. Some teachers do not distinguish practical critic- ism from critical theory, or regard it as a critical theory, to be taught alongside psychoanalytical, feminist, Marxist, and structuralist theor- ies ; others seem to do very little except invite discussion of ‘how it feels’ to read poem x. And as practical criticism (though not always called that) remains compulsory in most English Literature course- work and exams, at school and university, this is an unwelcome state of affairs. For students there are many consequences. Teachers at school and university may contradict one another, and too rarely put the problem of differing viewpoints and frameworks for analysis in perspective ; important aspects of the subject are omitted in the confusion, leaving otherwise more than competent students with little or no idea of what they are being asked to do. How can this be remedied without losing the richness and diversity of thought which, at its best, practical criticism can foster ? What are the basics ? How may they best be taught ? My own answer is that the basics are an understanding of and ability to judge the elements of a poet’s craft. Profoundly different as they are, Chaucer, Shakespeare, Pope, Dickinson, Eliot, Walcott, and Plath could readily converse about the techniques of which they are common masters ; few undergraduates I have encountered know much about metre beyond the terms ‘blank verse’ and ‘iambic pentameter’, much about form beyond ‘couplet’ and ‘sonnet’, or anything about rhyme more complicated than an assertion that two words do or don’t.
    [Show full text]
  • Iranian Leadership Ideals: a Culturally-Based Leadership Approach Azadeh Davari University of San Diego
    University of San Diego Digital USD Dissertations Theses and Dissertations 2018-05-20 Iranian Leadership Ideals: A Culturally-based Leadership Approach Azadeh Davari University of San Diego Follow this and additional works at: https://digital.sandiego.edu/dissertations Part of the Arts and Humanities Commons, Business Commons, Education Commons, and the Social and Behavioral Sciences Commons Digital USD Citation Davari, Azadeh, "Iranian Leadership Ideals: A Culturally-based Leadership Approach" (2018). Dissertations. 113. https://digital.sandiego.edu/dissertations/113 This Dissertation: Open Access is brought to you for free and open access by the Theses and Dissertations at Digital USD. It has been accepted for inclusion in Dissertations by an authorized administrator of Digital USD. For more information, please contact [email protected]. IRANIAN LEADERSHIP IDEALS: A CULTURALLY-BASED LEADERSHIP APPROACH by Azadeh Davari A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy May 2018 Dissertation Committee Afsaneh Nahavandi, Ph.D. Zachary Gabriel Green, Ph.D. Touraj Daryaee, Ph.D. Kaveh Abhari, Ph.D. University of San Diego © Copyright by Azadeh Davari All Rights Reserved 2018 University of San Diego School of Leadership and Education Sciences CANDIDATE’S NAME: Azadeh Davari TITLE OF DISSERTATION: IRANIAN LEADERSHIP IDEALS: A CULTURALLY-BASED LEADERSHIP APPROACH APPROVAL: _____________________________________, Cha ir Afsaneh Nahavandi, PhD- _____________________________________, M
    [Show full text]
  • Influence of Literature Developed by Hafez Shirazi on Poems of Mohammad Ali Shams- Al-Din Revista Publicando, 5 No 16
    Influence of literature developed by Hafez Shirazi on poems of Mohammad Ali Shams- Al-Din Revista Publicando, 5 No 16. (2). 2018, 186-200. ISSN 1390-9304 Influence of literature developed by Hafez Shirazi on poems of Mohammad Ali Shams- Al-Din Dr. Soudabeh Mozafari1; Dr. Abdollah Hosseini1; Dr. Zohreh Naemi1; Vahid Mousa Nataj2 1 Member of faculty in Kharazmi University, Arab Language and Literature Department, Iran, [email protected] 2 PhD Student, Kharazmi University, Arab Language and Literature Department, Iran Abstract Hafez Shirazi has influenced on most Arab-speaking scholars. Mohammad Ali Shamsaldin, Leonean poet had maximally influenced by Hafez. When we read book “Fi Shirazat” complied by Mohammad Ali Shams-Al-Din, we will found this important issue that he and Hafez smashed together. His odes in this book has indeed occurred by using his natural creative force. When reader looks at the volume of book “Fi Shirazat”, he can see the name of Hafez Shirazi in the right side of the book and name of Mohammad Ali Shas-Al-Din in the left side and expression “Shirazat” at the middle of both; consequently, he would find the clear technical and spiritual cooperation between both poems. This paper aims to prove the influence of Hafez on Mohammad Ali Shams- Al-Din according to French School; for this purpose, the author has sought for required references and books in national and international libraries; by analytical methodology, the poems of Mohamamd Ali Shams-Al-Din were analyzed and compared to Persian Poems of Hafez to prove that he has influenced by Hafez’s Poets.
    [Show full text]
  • 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.
    [Show full text]
  • Download (15MB)
    https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] VERSE FORM IN ENGLISH RENAISSANCE POETRY: A CATALOGUE OF STANZA PATTERNS BY MUNZER ADEL ABSI THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ARTS UNIVERSITY OF GLASGOW 1992 ABSI, M.A. ProQuest Number: 10992066 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10992066 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC.
    [Show full text]