Outline of a Poetic Text

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Outlineof a poetictext The following outline will help you recallall that you havestudied in the sectiondevoted to poetry asa literary genre.You can refer to it any time you haveto analysea poetic text on your own' or Preparefor an oral/written test. A final guidelineis alsogiven about the importanceof contextualizingthe text and expressingpersonal resPonse' Data ofthe poem Author Title Takenfrom Date References Thetirle relevontto meoning? The contentoddresserloddressee; sefttng in timeond ploce;situotion Layout troditi o n o l, exp eri m e nto I Poetìcform sonnet,bollod, ode, dromotic poem, free verse Sound devices Rhymeregu/or; irregular,hints otlemphosizes words' creotes musicol I comiceffect - Stressand rlrythm foot,run-onJine, end-stoppedline;the rhtlthm rs s/ow, fost, smooth, hommering,flowing Caesuraunderlines key words or concepts,morks o chongein mood Analysis of language Useof: . alliteration . onomatopoeia . assonance . qualityof soundharsh, smooth, soft, - . repetBon . grating,gentle EffecVsof sounddevices on meaning Useof . similés . metaphors . symbolsconvey, express, evoke, represent, stond for . personifìcation ochievedthrough copitolizoaon, use ofpersonol pronouns, verbs or odjectlvesusually opplied to humans . paradox . languageof senseimpression sight,heoring, sme/l taste, touch The message Semanticareas Linguisticregister lofty, colloquiol, stroighfowvard Key-words Turning-poinUsand climax Toneneutrol irontc, trogic. committed, regretful, humorous, bitter meloncholic - From text to context Theme/sThe poem deols with I is concernedwrth unlersolI existentiolI socrol I morolI psychologtcolthemels;the moin therne is Poet'sstyle cleor I stroighforvvordI vivtd I detoiledI imognotiveI elegont Poet'saim sotidses / criticlses / outiines / shows / focuseson I oppeolsto - The poem o1enswith...,'rhe fust stúnzo sels the tone I the pottern,thesecond stonzo introducesthe therneof, is basedupon, the loststonzo surns up Tiesbetween the text and . the collectionit belongsto . the authot"sbiography and work . the literarycontext . the hilorical andsocial context . othertextsbelonging to the sameor differentperiods Personal response Reader'sreaction/s Possibleconnections between a pictureand the text è autorizzataai solifini dell'utilizzo ldee per insegnarela letteraturainglese con La nproduzionedi questaPaSina tramite fotocoPia che hannoadottato il testo 2l Spiaài, TovetlaONLY CONNECÍ... NEW DIRECÍIONSI o Zanichelli2009 nell'attivrtàdidattica desli alunni delle classi .

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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.
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A Crash Course in Foot Structure
Representations Foot Parsing A Crash Course in Foot Structure Jochen Trommer [email protected] University of Leipzig Department of Linguistics Concatenative Approaches to Nonconcatenative Morphology EGG 2008 Jochen Trommer [email protected] A Crash Course in Foot Structure Representations Foot Parsing Not all syllables are created equal ba A ma la py tech ro nic Jochen Trommer [email protected] A Crash Course in Foot Structure Representations Foot Parsing Word Stress Metrical prominence of syllables in (phonological) words Jochen Trommer [email protected] A Crash Course in Foot Structure Representations Foot Parsing Phonetic Correlates of Word Stress I Length I Loudness I Pitch contour Jochen Trommer [email protected] A Crash Course in Foot Structure Representations Foot Parsing Consequences of Word Stress for Vowel Reduction EI t@m tO mIk @ I Vowels are maintained under stress I and reduced to [@] if unstressed Jochen Trommer [email protected] A Crash Course in Foot Structure Representations Foot Parsing Word Stress in the IPA [man.da."öi:.n@] ["Py:.b5.mO5.g@n] Jochen Trommer [email protected] A Crash Course in Foot Structure Representations Foot Parsing Overview Foot Parsing Jochen Trommer [email protected] A Crash Course in Foot Structure Representations Foot Parsing Prosodic Phonology Iambs&Trochees Hayes (1995) Word Stress in Prosodic Phonology (Selkirk, 1980) Phonological Word Footw Foots σs σw σs σw a la ba ma s = strong w = weak Jochen Trommer [email protected] A Crash Course
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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.
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PHONOLOGICAL ANALYSIS the Foot Domain in Bambara Christopher R
PHONOLOGICAL ANALYSIS The foot domain in Bambara Christopher R. Green University of Maryland —Center for Advanced Study of Language (CASL) Recent research has shed new light on the role and characteristics of prosodic domains, includ - ing segmental and tonal feet, in an array of languages. This research extends to African languages, but much work remains to be done. Tonal African languages are particularly problematic, as cor - relates of stress or metrical prominence are often not well defined or are absent altogether. In ad - dition, descriptive work may omit details of the structure and function of prosodic domains. An exception to this is Bambara, where research implicates a pivotal role for foot structure in seg - mental and tonal processes. These processes reference a foot domain; however , there are conflict - ing accounts of certain defining characteristics of its structure . This article aims to challenge two long-held claims about Bambara prosodic structure. The data presented support a claim that all Bambara feet are uniformly trochaic and parsed from left to right in all instances. I intend to illus - trate that Bambara segmental and tonal feet are a single, structurally unified prosodic entity. * Keywords : prosodic structure , foot domain , Bambara , Mande languages , headedness 1. Introduction . The characteristics of and roles played by prosodic feet and simi - lar structures (e.g. tonal complexes) in morphophonological phenomena have been the subject of many recent works (e.g. Akinlabi & Liberman 2006 , Akinlabi & Uria 2003 , Bennett 2012 , 2013, Bickmore 1995, 2003 , de Lacy 2002 , Green 2010 , Hannahs 2009 , Hermans 2011 , Jaker 2010 , Leben 1997, 2002, 2003 , Pearce 2006, 2007 , Yip 1996 , Zec 1999, among others).
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A Close Look at Two Poems by Richard Wilbur
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 4-16-1983 A Close Look at Two Poems by Richard Wilbur Jay Curlin Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the Comparative Literature Commons, and the Poetry Commons Recommended Citation Curlin, Jay, "A Close Look at Two Poems by Richard Wilbur" (1983). Honors Theses. 209. https://scholarlycommons.obu.edu/honors_theses/209 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. A CLOSE LOOK AT TWO POEMS BY RICHARD WILBUR Jay Curlin Submitted in partial fulfillment of the requirements of the University Honors Program Ouachita Baptist University The Department of English Independent Study Project Dr. John Wink Dr. Susan Wink Dr. Herman Sandford 16 April 1983 INTRODUCTION For the past three semesters, I have had the pleasure of studying the techniques of prosody under the tutelage of Dr. John Wink. In this study, I have read a large amount of poetry and have studied several books on prosody, the most influential of which was Poetic Meter and Poetic Form by Paul Fussell. This splendid book increased vastly my knowledge of poetry. and through it and other books, I became a much more sensitive, intelligent reader of poems. The problem with my study came when I tried to decide how to in corporate what I had learned into a scholarly paper, for it seemed that any attempt.to do so would result in the mere parroting of the words of Paul Fussell and others.
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The Walrus and the Carpenter
R E S O U R C E L I B R A R Y A RT I C L E The Walrus and the Carpenter National Geographic photographs illustrate Lewis Carroll's "The Walrus and the Carpenter," and instructional material provides a guide through the poem's literary devices. G R A D E S 7 - 12+ S U B J E C T S English Language Arts C O N T E N T S 1 Interactive For the complete geostories with media resources, visit: http://www.nationalgeographic.org/media/walrus-carpenter-natgeo/ "The Walrus and the Carpenter," a silly and surprisingly morbid poem by Lewis Carroll, was published in 1865. It was a part of the book Through the Looking Glass, and What Alice Found There, a sequel to Alice's Adventures in Wonderland. The poem is a narrative, or story, told by the annoying twins Tweedledum and Tweedledee. The GeoStory "The Walrus and the Carpenter . And National Geographic", above, provides the entire text of the poem. It also includes a walk through the poem, with an image and map accompanying each stanza, and in many cases individual lines. The images are either literal representations or metaphors of a line in the stanza. Use the GeoStory to better understand metaphors and other literary devices. Metaphors are figures of speech or visual representations in which a term is applied to something it could not possibly be. "Students have an appetite for learning," for example, is a metaphor. Students don't actually have an appetite for anything except food! Carroll uses a number of other literary devices in "The Walrus and the Carpenter." A series of possible discussion questions about the literary devices used in the poem is provided in the following tab, "Questions." The discussion topics progress from the simplest to the most difficult.
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ED 105 498 CS 202 027 Introduction to Poetry. Language Arts
DOCUMENT RESUME ED 105 498 CS 202 027 TITLE Introduction to Poetry. Language Arts Mini-Course. INSTITUTION Lampeter-Strasburg School District, Pa. PUB DATE 73 NOTE 13p.; See related documents CS202024-35; Product of Lampeter-Strasburg High School EDRS PRICE MF-$0.76 HC-$1.58 PLUS POSTAGE DESCRIPTORS Class Activities; *Course Descriptions; Course Objectives; *Curriculum Guides; Instructional Materials; *Language Arts; Literature; *Poetry; Secondary Education; *Short Courses IDENTIFIERS Minicourses ABSTRACT This language arts minicourse guide for Lampeter-Strasburg (Pennsylvania) High School contains a topical outline of an introduction to a poetry course. The guide includes a list of twenty course objectives; an outline of the definitions, the stanza forms, and the figures of speech used in poetry; a description of the course content .nd concepts to be studied; a presentation of activities and procedures for the classroom; and suggestions for instructional materials, including movies, records, audiovisual aids, filmstrips, transparencies, and pamphlets and books. (RB) U S Oh PAR TmENT OF HEALTH C EOUCATKIN WELFARE NAT.ONA, INSTITUTE OF EOUCATION Ch DO. Ls. 1 N THA) BE E 4 REPRO ^,,)I qAt L'e AS RECEIVED FROM 1' HI PE 4 sON OR ulICHLNIZA T ION ORIGIN :.' 4L, , T PO,N' s OF .IIE K OR OP .NICINS LiN .." E D DO NOT riFcE SSARL + RE PRE ,E % , Lr lat_ 4.% 00NAL INS T TUT e OF CD c D , .'`N POs. T 1C14 OR POLICY uJ Language Arts Mini-Course INTRODUCTION TO POETRY Lampeter-Strasburg High School ERM.SSION TO RE POODuCETHIS COPY M. 'ED MATERIAL HA; BEEN GRANTED BY Lampeter, Pennsylvania Lampeter-Strasburg High School TD ERIC AV) ORGANIZATIONS OPERATING P.t,EP AGREEMENTS .SiTH THE NATIONAL IN STTuTE Or EDUCATION FURTHER 1973 REPRO PUCTION OU'SIDE THE EPIC SYSTEMRE QUIRES PERMISS'ON OF THE COPYRIGHT OWNER N O INTRODUCTION TO POETRY OBJECTIVES: 1.
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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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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.
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Saudi Journal of Humanities and Social Sciences (SJHSS) ISSN 2415-6256 (Print) a Stylistic Approach of William Shakespeare's
Saudi Journal of Humanities and Social Sciences (SJHSS) ISSN 2415-6256 (Print) Scholars Middle East Publishers ISSN 2415-6248 (Online) Dubai, United Arab Emirates Website: http://scholarsmepub.com/ A Stylistic Approach of William Shakespeare’s “SONNET 138” Most Farhana Jannat* Lecturer, Department of English Bangladesh University of Professionals, Mirpur Cantonment, Dhaka, Bangladesh Abstract: This paper aims to analyze the sonnet 138 written by William *Corresponding author Shakespeare from a stylistic point of view. The division of Shakespeare‟s sonnets Most Farhana Jannat is shown. A short introduction to both style and stylistics in literature are written. For further facilitation, a short introduction to Shakespeare, the sonnet 138 and its Article History themes are given. The stylistic analysis of the sonnet is shown from four sides. Received: 23.11.2017 Graphological, grammatical, phonological and lexical analyses are shown. This Accepted: 04.12.2017 paper will help to understand the structure and style of Shakespeare‟s sonnet Published: 30.12.2017 number 138. Moreover, the themes and ideals of Shakespeare will also be understood. DOI: Keywords: Sonnet, style, stylistic, graphological analysis, lexical analysis, 10.21276/sjhss.2017.2.12.1 grammatical analysis, phonological analysis, Shakespeare INTRODUCTION William Shakespeare is well known worldwide for his 154 sonnets. The critics believe that, among them, the first 1-126 is about the Fair Youth or the Earl of Southampton while the rest of the sonnets are written about the dark lady. Sonnet 138, among all the other sonnets in the sequence, is one of the most well- known sonnets. In this particular sonnet, the poet continues in his quest of self- criticism but mixes it with a unique love for the dark lady.
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Notes on Prosody
Notes on Middle English Prosody Dr. A Mitchell Sound and Sense Middle English poets typically delight in the accidental harmonies and disharmonies of verbal sounds. Sometimes sound is deliberately made to echoe sense, but more often accoustic patterns do not serve a referential or mimetic function. Syncopated rhythm may just be pleasurable to hear in the voice; variation may aid expressiveness or enhance interest; or sounds may be affective or mnemonic. Sound patterns also function as a sign of the poet’s pedigree, affiliations, or tastes. But in any event critics can probably make only modest claims about the significance of acoustic effects in the vernacular – some measure of irregularity is just a natural consequence of writing in Middle English. Rhyme is the most familiar sound pattern, and it basically demands that the poetic composition be oriented around the music (not the other way around). As a result, the semantic may be subordinated to the sonic or phonetic: e.g., syntax is inverted or contorted so as to get the proper rhyme in place; rhyme words are chosen less for sense than for sound. But of course rhymes may also produce interesting semantic juxtapositions or recapitulations, and occasionally Chaucer among others uses rhyme deftly to produce harmony and discordance, parallelism and antithesis. The main types of rhyme are the following. • end rhyme (most common) • internal rhyme (within a line) • masculine (single-sllable, or when final stressed syllable rhymes as in cat/hat) • feminine (rhymed stressed syllable followed by unstressed as in butter/clutter) • exact rhyme and rime riche (on the same sounds) • near rhyme (not a failed rhyme, it has the salutary effect of avoiding monotony) You will recognize these additional sound effects: • onomatapoia • assonance • alliteration • consonance Metrics: Alliterative and Accentual-Syllabic Some Medieval English verse is alliterative (that of Langland and the so-called poems of the Alliterative Revival), but much is what we call accentual-syllabic.
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Refrain, Again: the Return of the Villanelle
Refrain, Again: The Return of the Villanelle Amanda Lowry French Charlottesville, VA B.A., University of Colorado at Boulder, 1992, cum laude M.A., Concentration in Women's Studies, University of Virginia, 1995 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of English University of Virginia August 2004 ___________________________________ ___________________________________ ___________________________________ ___________________________________ ABSTRACT Poets and scholars are all wrong about the villanelle. While most reference texts teach that the villanelle's nineteen-line alternating-refrain form was codified in the Renaissance, the scholar Julie Kane has conclusively shown that Jean Passerat's "Villanelle" ("J'ay perdu ma Tourterelle"), written in 1574 and first published in 1606, is the only Renaissance example of this form. My own research has discovered that the nineteenth-century "revival" of the villanelle stems from an 1844 treatise by a little- known French Romantic poet-critic named Wilhelm Ténint. My study traces the villanelle first from its highly mythologized origin in the humanism of Renaissance France to its deployment in French post-Romantic and English Parnassian and Decadent verse, then from its bare survival in the period of high modernism to its minor revival by mid-century modernists, concluding with its prominence in the polyvocal culture wars of Anglophone poetry ever since Elizabeth Bishop’s "One Art" (1976). The villanelle might justly be called the only fixed form of contemporary invention in English; contemporary poets may be attracted to the form because it connotes tradition without bearing the burden of tradition. Poets and scholars have neither wanted nor needed to know that the villanelle is not an archaic, foreign form.
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