DOCSLIB.ORG

Poetry Unit 1(Tucker)(Student)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Poetry Packet Ms. Tucker “Poetry is above all a concentration of the power of language, which is the power of our ultimate relationship to everything in the universe.” – Adrienne Rich Name: ___________________________ Class Period: ____ (Please return to room 101) "1 Part 1: Important Terms for Discussing Poetry EXPLICATION/EXPLICATE: 1.Parts of Poem Line - A line is a subdivision of a poem, specifically a group of words arranged into a row that ends for a reason other than the right-hand margin. Stanza - a group of lines equal in number forming the basic recurring unit in a poem. Strophe- a group of lines varying in number forming the basic recurring unit in a poem. 2.Types of Prosody PROS·O·DY/noun 1. 2. All prosody is either: Quantitative: Normative: Spatial: arrangement by______________ Syllabic: Arrangement by ______________ EX: EX: "2 Verbal: Arrangment by _________________ Accentual: Arrangement by ____________________ EX: EX: Acctentual-Syllabic: Arrangement by _____________________ AND _____________________ EX: "3 3.Meter me·ter/noun 1. The measured arrangement of words in poetry, as by accentual rhythm, syllabic quantity, or the number of syllables in a line 2. The rhythmic pattern of a stanza, determined by the kind and number of lines. Foot: the most basic unit of a poem's meter. A foot is a combination of stressed and unstressed syllables. Unstressed syllable: the syllable within the metric foot given little or no emphasis when spoken out loud. • Parts of Speech which are ALWAYS unstressed:_______________________________________ ______________________________________________________________________________ • Parts of speech which are usually unstressed: _________________________________________ ______________________________________________________________________________ Stressed syllable: the syllable within the metric foot given heavy emphasis when spoken out loud. • ___________________________ are ALWAYS stressed! Iambic Pentameter: An arrangement of poetry in to 10syllable lines (five 2syllable feet) consisting of primarily iambs. The most common meter used in the English language. Ex. Shall I compare thee to a summer’s day? Thou art more lovely and more temperate Common feet in iambic pentameter Iamb: ____________________________________________________________________________ Symbol: __________ Trochee: ___________________________________________________________________________ Symbol: __________ Occasional feet in iambic pentameter Spondee: ___________________________________________________________________________ Symbol: __________ "4 Phyric: _____________________________________________________________________________ Symbol: __________ Uncommon feet in iambic pentameter Anapest: ___________________________________________________________________________ Symbol: __________ Dactyl: ____________________________________________________________________________ Symbol: __________ Ellision: the omission of a sound or syllable to accommodate a certain number of syllables in a line of verse, the usual mark for elision is ' Ex. o'erwhelmed Scansion: The metrical analysis of verse. The usual marks for scansion are ˘ for a short or lightly stressed syllable, ̷ for a long or heavily stressed syllable, |for a foot division, and // for a caesura. 4.Meter (Continued) Common Meter ______meter: a line of verse consisting of _________ metrical feet. Ex. When I |was one-|and-twenty I heard |a wise |man say, 'Give crowns| and pounds| and guineas But not| your heart| away; -E. Housman ______meter: a line of verse consisting of _________ metrical feet. Ex. I wand|ered, lone|ly as| a cloud That floats| on high| o’er dales| and hills When, all| at once, | I saw| a crowd A host |of gold|en daff|odils. -Wordsworth ______meter: a line of verse consisting of _________ metrical feet. Ex. Where are |the songs |of Spring? |Ay, where| are they? Think not |of them, |thou hast |thy mus|ic too, -John Keats "5 ______meter: a line of verse consisting of _________ metrical feet. Ex. The moon| rains out| her beams, | and Heav|en is |overflow'd. -Percy Shelley Naming Meter: Meter is named according to its primary foot and foot count. The above meter is all iambic, so it would be named iambic trimeter, iambic tetrameter, iambic pentameter and iambic hexameter. Below are a couple examples of the same meters with different primary feet: Dactylic Hexameter (Heroic verse) $ % % $ % % $ % % $ % % $ % % $ % Ex. This is the| forest pri|meval. The| murmuring |pines and the| hemlocks, -Wadsworth Anapestic Trimeter % % $ % % $ % % $ Ex. I am lord |of the fowl |and the brute. Scansion Practice: Write the scansion out for the following lines of verse, then, name the meter. Note whether the verse is normative or quantitative first! Example: $ % % $ % $ % line of “Hope” is |the thing |with feathers – in prosody, a % $ % $ % $ : and usually That perch|es in| the soul – Feminine endingunstressed % $ % $ % $ % $ verse having an And sings| the tune| without| the words – extrametrical (additional to the length of % $ % $ % $ the typical line in the particular poem) And nev|er stops| - at all syllable at its end. ____Quantatative_____________ Iambic Trimeter with one line of Tetrameter Practice 1: He moves in darkness as it seems to me, Not of woods only and the shade of trees. ___________________________ ___________________________________________________ "6 Practice 2: It melted, and I let it fall and break. But I was well Upon my way to sleep before it fell, And I could tell ___________________________ ___________________________________________________ Practice 3: I ’M nobody! Who are you? Are you nobody, too? Then there ’s a pair of us—don’t tell! They ’d banish us, you know ___________________________ ___________________________________________________ Write your own line of Iambic Pentameter below (remember to mark your feet!): _______________________________________________________________________________________ Write your own line of Anapestic Trimeter below (remember to mark your feet!): _______________________________________________________________________________________ Write your own line of Dactylic Hexameter below (remember to mark your feet!): _______________________________________________________________________________________ "7 Continued Scansion Practice: SONNET 130 BY WILLIAM SHAKESPEARE Referencing the section on meter, continuing writing $ % % $ % $ % $ % $ out the scansion for Sonnet Shall I |compare|thee to| a summ| er’s day; 130. % $ % $ % $ % $ % $ Tips: Thou art|more love|ly and|more tem|per ate; Begin by marking the feet Mark the article, prefixes and Rough winds do shake the darling buds of May, suffixes as unstressed after you mark the feet And summer’s lease hath all too short a date; Remember an IAMB is the most Sometime too hot the eye of heaven shines, common foot And often is his gold complexion dimm'd; And every fair from fair sometime declines, By chance or nature’s changing course untrimm'd; But thy eternal summer shall not fade, Nor lose possession of that fair thou ow’st; Nor shall death brag thou wander’st in his shade, When in eternal lines to time thou grow’st: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. "8 The Sonnet Intent In "Remember," Rossetti anticipates her own death, and clearly conveys a wistful yet romantic tone as she starts writing: Remember me when I am gone away, Gone far away into the silent land; When you can no more hold me by the hand, Nor I half turn to go, yet turning stay. Her syllable count is impeccable – 10 syllables per line as she twists the rhyme scheme into abbaabba-cddc-gg. Yet, it’s easy to lose count as she sweeps us into the poem. To follow the logic of Rossetti’s sonnet, view the first quatrain as establishing a problem or motive for the poem. Here, Rossetti wants her reader to remember her while also demonstrating the difficulty of letting go. This has the mark of a good sonnet, in that it takes a course dictated by logic and emotion. Further your motive Rossetti plants pauses – catches of breath – in the next quatrain, while increasing the level of romance and allure. Remember me when no more, day by day, You tell me of our future that you planned: Only remember me; you understand It will be too late to counsel then or pray. Is she talking about her own demise? Or about a love not allowed to blossom? Another step in writing a sonnet – constant forward movement – ripples through her work. Turn the core Rossetti provides the classic sonnet closing, while keeping the poem deeply personal for all 14 lines – a vital ingredient in the sonneteer’s recipe. Yet if you should forget me for a while And afterwards remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad. In the beginning of the sestet, Rossetti twists the core of the poem – that of remembrance – to forgetting. She turns us toward the finish by again displaying the immediate emotion of the grieving heart, but the more detached, longer vision of a life worth remembering. While the opening octave of the sonnet is dedicated towards encouraging an immediate remembering, the sestet provides a twist to the original intent, and remembering is considered in a fresh, altered light. As you begin writing your own sonnet, remember to use your octet to express your motive for the poem, with the closing sestet providing a reconsideration and resolution
Recommended publications

  • Qt2wn8v8p6.Pdf

    UCLA UCLA Electronic Theses and Dissertations Title Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) Permalink https://escholarship.org/uc/item/2wn8v8p6 Author Gomez, Isabel Cherise Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Hispanic Languages and Literatures by Isabel Cherise Gomez 2016 © Copyright by Isabel Cherise Gomez 2016 ABSTRACT OF THE DISSERTATION Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) by Isabel Cherise Gomez Doctor of Philosophy in Hispanic Languages and Literatures University of California, Los Angeles, 2016 Professor Efraín Kristal, Co-Chair Professor José Luiz Passos, Co-Chair What becomes visible when we read literary translations as gifts exchanged in a reciprocal symbolic economy? Figuring translations as gifts positions both source and target cultures as givers and recipients and supplements over-used translation metaphors of betrayal, plundering, submission, or fidelity. As Marcel Mauss articulates, the gift itself desires to be returned and reciprocated. My project maps out the Hemispheric Americas as an independent translation zone and highlights non-European translation norms. Portuguese and Spanish have been sidelined even from European translation studies: only in Mexico and Brazil do we see autochthonous translation theories in Spanish and Portuguese. Focusing on translation strategies that value ii taboo-breaking, I identify poet-translators in Mexico and Brazil who develop their own translation manuals.
  • Villanelle WORKSHEET

    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. ______________________________________________________________________________________
  • Understanding Poetry Are Combined to Unstressed Syllables in the Line of a Poem

    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.
  • The Elements of Poet :Y

    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.
  • English 201 Major British Authors Harris Reading Guide: Forms There

    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.
  • Mr. Francis European Literature Terza Rima: Verse for Literary Application

    Mr. Francis European Literature Terza Rima: Verse for Literary Application

    Mr. Francis European Literature Terza Rima: verse for Literary Application Essay For your assignment on Dante's Inferno, you will compose a short verse (7-22 lines) in terza rima to introduce your circle and to serve as an epigraph to your essay. The Academy of American Poets describes the form as follows: Invented by the Italian poet Dante Alighieri in the late thirteenth century to structure his three-part epic poem, The Divine Comedy, terza rima is composed of tercets woven into a rhyme scheme that requires the end-word of the second line in one tercet to supply the rhyme for the first and third lines in the following tercet. Thus, the rhyme scheme (aba, bcb, cdc, ded) continues through to the final stanza or line. Dante chose to end each canto of the The Divine Comedy with a single line that completes the rhyme scheme with the end-word of the second line of the preceding tercet. Terza rima is typically written in an iambic line, and in English, most often in iambic pentameter. If another line length is chosen, such as tetrameter, the lines should be of the same length. There are no limits to the number of lines a poem composed in terza rima may have. Possibly developed from the tercets found in the verses of Provencal troubadours, who were greatly admired by Dante, the tripartite stanza likely symbolizes the Holy Trinity. Early enthusiasts of terza rima, including Italian poets Boccaccio and Petrarch, were particularly interested in the unifying effects of the form.1 Therefore, the shortest possible verse for this assignment will have an ABABCBC rhyme scheme; the longest will end with GHGH.
  • Ottava Rima and Novelistic Discourse

    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

    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

    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.
  • Introduction to Poetry Lecture Notes Professor Merrill Cole

    Introduction to Poetry Lecture Notes Professor Merrill Cole

    Introduction to Poetry Lecture Notes Professor Merrill Cole The Basics of How to Read a Poem No good poem offers to any reader all that it has on the first reading. Poetry tends to be far denser than prose, requiring concentration on every word, every line, every rhyme, every metaphor, every sound, every image, every punctuation mark. It all matters. Poetry is not throw-away writing, like you might find in a newspaper, to be read quickly and pushed aside. The poet, Ezra Pound, said that “Literature is the news that stays news.” Good poems have something more to say on the second, fifth, or fiftieth reading. There is no easy formula you can apply to read a poem. Interpretation is not a hard science, but something more like an art. Poetry reading, like violin playing, requires practice, so the more poems you study, and the more you write about them, the better reader and writer you will become. However, there are strategies that you can use from the very beginning that can assist your understanding and make reading unfamiliar poems more fun. I would suggest that when reading a poem for the first time, don’t worry about discovering the overall meaning, but just register your initial impressions. On the second reading—there always needs to be a second reading—determine the exact sense of every word. If you don’t know or aren’t sure about a word, look it up in the dictionary. Whenever possible, it’s better to read a poem aloud, for you will hear things you did not see on the page.
  • The First Villanelle: a New Translation Of

    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.
  • Juliet Attwater

    Juliet Attwater

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositório Institucional da UFSC UNIVERSIDADE FEDERAL DE SANTA CATARINA CENTRO DE COMUNICAÇÃO E EXPRESSÃO CURSO DE PÓS-GRADUAÇÃO EM ESTUDOS DE TRADUÇÃO Juliet Attwater TRANSLATING BRAZILIAN POETRY: A BLUEPRINT FOR A DISSENTING CANON AND CROSS-CULTURAL ANTHOLOGY Tese submetida ao Programa de Estudos de Traduçao da Universidade Federal de Santa Catarina para a obtenção do Grau de Doutora em Estudos deTradução. Orientador: Prof. Dr. Walter Carlos Costa Co-orientador: Prof. Paulo Henriques Britto. Florianópolis 2011 ii Catalogação fonte pela Biblioteca Universitáriada Universidade Federal de Santa Catarina A886t Attwater, Juliet Translating brazilian poetry [tese] : a blueprint for a dissenting canon and cross-cultural anthology / Juliet Attwater ; orientador, Walter Carlos Costa. - Florianópolis, SC, 2011. 246p.: grafs., tabs. Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Estudos da Tradução. Inclui referências 1. Tradução e interpretação. 2. Poesia brasileira - História e crítica. 3. Cânones da literatura. 4. Antologias. I. Costa, Walter Carlos. II. Universidade Federal de Santa Catarina. Programa de Pós-Graduação em Estudos da Tradução. III. Título. CDU 801=03 iii iv v For Olívia Cloud and Louie Sky vi vii AGRADECIMENTOS With thanks to my parents for everything, to Magdalen for her friendship, love and constant support, to Walter and Paulo for their astounding professorial qualities and even more astounding patience, to Luana for being in the same boat and beating me to it, and to my late husband for sharing his love of his native country with me – wherever he is now I hope he is at peace.