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Villanelle WORKSHEET
Villanelle WORKSHEET Rhyme 1. ______________________________________________________________________________________ ______ Rhyme 2. ______________________________________________________________________________________ ______ Rhyme 3. ______________________________________________________________________________________ ______ Rhyme 4. ______________________________________________________________________________________ ______ Rhyme 5. ______________________________________________________________________________________ ______ Rhyme 6. ______________________________________________________________________________________ ______ Rhyme 7. ______________________________________________________________________________________ ______ Rhyme 8. ______________________________________________________________________________________ ______ Rhyme 9. ______________________________________________________________________________________ ______ Rhyme 10. ______________________________________________________________________________________ ______ Rhyme 11. ______________________________________________________________________________________ ______ Rhyme 12. ______________________________________________________________________________________ ______ Rhyme 13. ______________________________________________________________________________________ ______ Rhyme 14. ______________________________________________________________________________________ ______ Rhyme 15. ______________________________________________________________________________________ -
"The Clam-Digger: Capitol Island": a Robinson Sonnet Recovered
Colby Quarterly Volume 10 Issue 8 December Article 7 December 1974 "The Clam-Digger: Capitol Island": A Robinson Sonnet Recovered Richard Cary Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 10, no.8, December 1974, p.505-512 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Cary: "The Clam-Digger: Capitol Island": A Robinson Sonnet Recovered Colby Library Quarterly 505 "THE CLAM-DIGGER: CAPITOL ISLAND": A ROBINSON SONNET RE,C'OVE,RED By RICHARD CARY n page 2 of The Reporter Monthly for April 26, 1890 ap O pears the following sonnet by Edwin Arlington Robinson not yet attributed to him in any bibliography or checklist. THE CLAM-DIGGER CAPITOL ISLAND There is a garden in a shallow cove Planted by Neptune centuries ago, Which Ocean covers with a thin, flat flow, Then falling, leaves the sun to gleam above Those oozy lives (which reasoning mortals love) Reposed in slimy silence far below The shell-strewn desert, while their virtues grow, And over them the doughty diggers rove. Then awful in his boots the King appears, With facile fork and basket at his side; Straight for the watery bound the master steers, Where giant holes lie scattered far and wide; And plays the devil with his bubbling dears All through the bounteous, ottoitic tide. R. In compiling his sturdy Bibliography 0/ Edwin Arlington Robinson (New Haven, 1936), Charles Beecher Hogan did record and reprint two other primigenial poems from this four page literary supplement of the Kennebec Reporter: "Thalia," March 29, 1890, as Robinson's first known publication of verse; "The Galley Race," May 31, 1890, as his second (at this point clearly to be reclassified third). -
The Elements of Poet :Y
CHAPTER 3 The Elements of Poet :y A Poetry Review Types of Poems 1, Lyric: subjective, reflective poetry with regular rhyme scheme and meter which reveals the poet’s thoughts and feelings to create a single, unique impres- sion. Matthew Arnold, "Dover Beach" William Blake, "The Lamb," "The Tiger" Emily Dickinson, "Because I Could Not Stop for Death" Langston Hughes, "Dream Deferred" Andrew Marvell, "To His Coy Mistress" Walt Whitman, "Out of the Cradle Endlessly Rocking" 2. Narrative: nondramatic, objective verse with regular rhyme scheme and meter which relates a story or narrative. Samuel Taylor Coleridge, "Kubla Khan" T. S. Eliot, "Journey of the Magi" Gerard Manley Hopkins, "The Wreck of the Deutschland" Alfred, Lord Tennyson, "Ulysses" 3. Sonnet: a rigid 14-line verse form, with variable structure and rhyme scheme according to type: a. Shakespearean (English)--three quatrains and concluding couplet in iambic pentameter, rhyming abab cdcd efe___~f gg or abba cddc effe gg. The Spenserian sonnet is a specialized form with linking rhyme abab bcbc cdcd ee. R-~bert Lowell, "Salem" William Shakespeare, "Shall I Compare Thee?" b. Italian (Petrarchan)--an octave and sestet, between which a break in thought occurs. The traditional rhyme scheme is abba abba cde cde (or, in the sestet, any variation of c, d, e). Elizabeth Barrett Browning, "How Do I Love Thee?" John Milton, "On His Blindness" John Donne, "Death, Be Not Proud" 4. Ode: elaborate lyric verse which deals seriously with a dignified theme. John Keats, "Ode on a Grecian Urn" Percy Bysshe Shelley, "Ode to the West Wind" William Wordsworth, "Ode: Intimations of Immortality" Blank Verse: unrhymed lines of iambic pentameter. -
Jennifer Rushworth
Jennifer Rushworth Petrarch’s French Fortunes: negotiating the relationship between poet, place, and identity in the sixteenth and nineteenth centuries This article reconsiders Petrarch’s French afterlife by juxtaposing a time of long-recognised Petrarchism — the sixteenth century — with a less familiar and more modern Petrarchist age, the late eighteenth and early nineteenth centuries. Of particular interest is how French writers from both periods understand and represent Petrarch’s associations with place. This variously proposed, geographically defined identity is in turn regional (Tuscan/Provençal) and national (Italian/French), located by river (Arno/Sorgue) and city (Florence/Avignon). I argue that sixteenth-century poets stress Petrarch’s foreignness, thereby keeping him at a safe distance, whereas later writers embrace Petrarch as French, drawing the poet closer to (their) home. The medieval Italian poet Francesco Petrarca (known in English as Petrarch, in French as Pétrarque) is the author of many works in Latin and in Italian, in poetry and in prose (for the most complete and accessible account, see Kirkham and Maggi). Since the sixteenth century, however, his fame has resided in one particular vernacular form: the sonnet. In his poetic collection Rerum vulgarium fragmenta, more commonly and simply known as the Canzoniere, 317 of the total 366 are sonnets. These poems reflect on the experience of love and later of grief, centred on the poet’s beloved Laura, and have been so often imitated by later poets as to have given rise to a poetic movement named after the poet: Petrarchism. In the words of Jonathan Culler, “Petrarch’s Canzoniere established a grammar for the European love lyric: a set of tropes, images, oppositions (fire and ice), and typical scenarios that permitted generations of poets throughout Europe to exercise their ingenuity in the construction of love sonnets” (69). -
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. -
Classroom Lessons
Curriculum Supplement for Selected Poems from Language for a New Century: Contemporary Poetry from the Middle East, Asia, and Beyond Focusing on poetry from Afghanistan, Tibet, Kurdistan, Kashmir, Sudan, Japan, Korea, and China Compiled by Ravi Shankar [email protected] For additional resources on International Studies, contact Jamie Bender, Outreach Coordinator, University of Chicago Center for International Studies, at [email protected]. For additional resources on East Asia, contact Sarah Arehart, Outreach Coordinator, University of Chicago Center for East Asian Studies, at [email protected] Afghanistan A. Read Nadia Anjuman’s “The Silenced” from Language for a New Century: Contemporary Poetry from Asia, the Middle East & Beyond (W.W. Norton & Co.): “The Silenced” by Nadia Anjuman I have no desire for talking, my tongue is tied up. Now that I am abhorred by my time, do I sing or not? What could I say about honey, when my mouth is as bitter as poison. Alas! The group of tyrants have muffled my mouth. This corner of imprisonment, grief, failure and regrets— I was born for nothing that my mouth should stay sealed. I know O! my heart, It is springtime and the time for joy. What could I, a bound bird, do without flight. Although, I have been silent for long, I have not forgotten to sing, Because my songs whispered in the solitude of my heart. Oh, I will love the day when I break out of this cage, Escape this solitary exile and sing wildly. I am not that weak willow twisted by every breeze. I am an Afghan girl and known to the whole world. -
Ottava Rima and Novelistic Discourse
Ottava Rima and Novelistic Discourse Catherine Addison In “Discourse in the Novel,” Mikhail Bakhtin goes to some lengths to dis- tinguish novelistic from poetic discourse. And yet, as noted by Neil Roberts (1), he uses a poetic text, Alexander Pushkin’s Eugene Onegin, as one of his prime examples of novelistic discourse (Bakhtin 322–24, 329). Bakhtin’s theory is that poetic genres are monologic, presupposing “the unity of the language system and . of the the poet’s individuality,” as opposed to the novel, which is dialogic, “heteroglot, multivoiced, multi- styled and often multi-languaged.” (264–65). This paper contends that, by Bakhtin’s own criteria, some verse forms are especially well designed for novelistic discourse. The form chosen for particular scrutiny is ottava rima, a stanza that has been used for narrative purposes for many cen- turies, originating in the Italian oral tradition of the cantastorie (Wilkins 9–10; De Robertis 9–15). Clearly, ottava rima could not have originated as an English oral form, for it requires too many rhymes for this rhyme-poor, relatively uninflected language. Using a heroic line—in Italian the hendecasyllabic, in English the iambic pentameter—the stanza’s rhyme scheme is ABABABCC. Thus it resembles the English sonnet in a sense, for it begins with an alternating structure and concludes with a couplet that is alien to both the rhymes and the rhyme pattern that precede it. As with this type of sonnet, a potential appears for a rupture in the discourse between the alternating structure and the couplet. Alternating verse tends to lean forward not to the next line but JNT: Journal of Narrative Theory 34.2 (Summer 2004): 133–145. -
How to Use Prime Numbers and Periodicity to Write a Poem
Bridges 2019 Conference Proceedings How to Use Prime Numbers and Periodicity to Write a Poem Emily R. Grosholz1 and Sarah Glaz2 1Department of Philosophy, Pennsylvania State University, University Park, Pennsylvania, USA; [email protected] 2Department of Mathematics, University of Connecticut, Storrs, Connecticut, USA; [email protected] Abstract Participants in this workshop will read and experiment with writing poems structured by two poetic forms, each of which has a connection to mathematics. The first poetic form is of recent vintage, but it is based on an ancient mathematical result, The Fundamental Theorem of Arithmetic, which combined with careful word choices creates a pattern of repetitions that results in a poem with the musicality of tolling bells. The other is the classic and melodic poetic form, the villanelle, whose lines follow a strict meter and whose stanzas are formed by braiding elements of rhyme and refrain in a way that resembles the combined waves of sine and cosine functions in the plane. Both poetic forms are difficult to use successfully and require some adjustments of word choices throughout the process of creating the poem. The workshop will not assume prior knowledge of either the mathematics or the prosody involved. All Bridges participants are welcome! Please bring writing materials, that is, paper and pen. Introduction Among the similarities between composing a highly structured poem and providing a proof for a newly discovered mathematical result, is the necessity to create something new and beautiful under rigorous constraints. Mathematics has its axioms and highly structured poetry has its prosodic rules (which are often mathematical). -
How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
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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. -
Reproductions Supplied by EDRS Are the Best That Can Be Made from The
DOCUMENT RESUME ED 476 535 CS 511 995 TITLE Arabic Poetry: Guzzle a Ghazal! [Lesson Plan]. SPONS AGENCY Council of the Great City Schools, Washington, DC.; MCI WorldCom, Arlington, VA.; National Endowment for the Humanities (NFAH), Washington, DC. PUB DATE 2002-00-00 NOTE 8p. AVAILABLE FROM For full text: http://edsitement.neh.gov/lesson_index.asp. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS *Arabic; Class Activities; Cultural Context; Curriculum Enrichment; High Schools; *Language Arts; Learning Activities; Lesson Plans; Oral Tradition; *Poetry; *Rhyme; Skill Development; Student Educational Objectives; Units of Study IDENTIFIERS Poetic Forms; Standards for the English Language Arts ABSTRACT The Bedouins of ancient Arabia and Persia made poetry a conversational art form, and several poetic forms developed from the participatory nature of tribal poetry. Today in most Arab cultures, people may still experience public storytelling and spontaneous poetry challenges in the streets. The art of turning a rhyme into sly verbal sparring is considered a mark of intelligence and a badge of honor. The "ghazal" is an intricate pre-Islamic poetic form that is thought to have developed through the practice of poetic challenges. It is a series of couplets, called ushers," no more than a dozen or so, which are related, but not connecting in a narrative pattern. The first couplet, or "matia," has a rhyme pattern, " kaafiyaa," preceding a single word or short phrase, refrain, "radif," at the end of each line. Thereafter, every couplet shows a pattern wherein the first line does not rhyme, but the second line ends in the "kaafiyaa" and the "radif." Finally, the last couplet, the "maqta," contains the "takhallis," the poet's name or pen-name. -
The First Villanelle: a New Translation Of
Amanda French October 10, 2003 The First Villanelle: A New Translation of Jean Passerat's "J'ay perdu ma Tourterelle" (1574) Contemporary villanelles—and there are a surprising number of them—take as their model a nineteen-line scheme with alternating rhymed refrains, a scheme that is usually represented as A'bA" abA' abA" abA' abA" abA'A", with the capital letters standing for lines that repeat and the lower-case letters standing for lines that merely rhyme. Perhaps the most famous of all twentieth-century villanelles is Dylan Thomas's "Do not go gentle into that good night" of 1952, with its incantatory refrains that resolve into a final, urgent couplet: "Do not go gentle into that good night. / Rage, rage, against the dying of the light." Another celebrated villanelle, Elizabeth Bishop's 1976 "One Art," makes the same form sound entirely different: in Bishop's poem, the speaker seems to be trying to emulate Thomas's insistent tone—but the refrains vary and the rhythms stutter, as though the speaker is involuntarily denied such certainty. The initial declaration "The art of losing isn't hard to master" becomes by the end of Bishop's villanelle the much more troubled "the art of losing's not too hard to master / though it may look like (Write it!) like disaster." The villanelle has recently enjoyed a decided resurgence among poets of standing (many of whom are doubtless moved by admiration of "One Art"), and the form is also becoming a staple of creative writing classes, with instructors asking young poets to write villanelles as an exercise in traditional poetic craft.