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Asignatura: Introduccion a la literatura inglesa, Profesor: Patricia Colin Penades, Carrera: Estudis Anglesos, Universidad: UV
Tipo: Apuntes
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It is fictional; it uses specialised language; it lacks a pragmatic function (not all poems); it is ambiguous It is considered to be: Dense – brief and concentrated- overstructuring (it uses sound patterns, verse and metre, rhetorical devices, style, stanza form, or imagery). It is associated with subjectivity and the expression of personal experience. It is one of the oldest forms of artistic expression.
Taking into account the theme and the development of it in the poem, among other things, we can make two general distinctions: Lyric poetry- narrative poetry LYRIC POETRY It is short and non- narrative; a speaker presents emotions or a state of mind; its origin is in songs Sub-categories: ELEGY: Formal lament for the death of a particular person. It can be also used for solemn meditations, usually on questions of death. ODE: A long lyric poem with a serious subject written in an elevated style. SONNET: originally a love poem which dealt with the lover’s sufferings and hopes. It originated in Italy, and was introduced to England through the translation and imitation of the sonnets written by Petrarch (Petrarchan sonnet). From the seventeenth century onwards, other topics: religious experience, reflections on art, war experience, etc. It uses a single stanza of fourteen lines and an intricate rhyme pattern. SONNET CYCLES are a series of sonnets linked by the same theme, which depict the various stages of a love relationship. DRAMATIC MONOLOGUE: a speaker, other than the author, makes a speech to a silent auditor in a specific situation and at a critical moment. The speaker reveals aspects of his temperament and character. OCCASIONAL POETRY: it is written for a specific occasion.
PROSODY is the study of the speech rhythms and versification. Poetry makes use of rhythmic elements that are natural to language: alternation of stress and non-stress, vowel length, consonant clusters and so on. The central question is to determine the function which these rhythmical elements perform in each poem. METRE It is the measured arrangement of accents and syllables in poetry. Poetry employs the stresses that occur naturally in language utterance to construct regular patterns. The visual representation of the distribution of stress and non-stress in verse is called SCANSION.
Each line has the same number of stresses, but varies in the total number of syllables. It is found in nursery rhymes. It was commonly used in Old English poetry, which usually has two and four marked stresses in each line and a marked pause (caesura) in the middle. Rap music relies on a similar pattern. Gerard Hopkins developed the sprung rhythm which has a varying number of syllables but an equal number of stresses in each line. SYLLABIC METRE It has a fixed number of syllables in each line, though there may be a varying number of stresses (heptasyllabic, octosyllabic, etc.). Pure syllabic verse is rare in English poetry.
It does not use any particular pattern of stress or number of syllables per line, but rhythmic effects and organisation (widely used since the nineteenth century). It can be organised around syntactic units, word or sound repetitions, or the rhythm created by a line break.
As a series of syllables allows for more than one arrangement of accents, lines around a problematic one need to be taken into consideration when deciding on the metre. BASIC RULE: any line should be scanned so it fits the pattern of the liunes around it. MAXIMISATION PRINCIPLE: the dominant metrical pattern is the one that has to make the least exceptions. METRICAL GRID: we form the expectation of a certain pattern and once it is established, we expect it to continue.
Generally speaking, it is a series of regular sounds and movements which can be complicated by variations and inflections. In poetry, it refers to the variations of speed in which a poem is likely to be read. The speed is influenced by: PAUSES: There can be end-stopped lines (where a syntactical unit comes to a close at the end of the line), enjambment (where the syntactic unit carries over into the next line; it tends to diminish the natural pause at the end of a line), and caesura (a pause which occurs within lines) ELLISIONS AND EXPANSIONS: Elisions occur when unstressed syllables which are normally pronounced are not pronounced in a particular line in order to fit the metre; expansions occur when syllables that would normally be ellided are not ellided in metrical verse. VOWEL LENGTH AND CONSONANT CLUSTERS: they affect the speed of a line of verse. Catenation (the way the words are linked in pronunciation, as in a chain). MODULATION: it is the variation of loudness, pitch and tone in order to create a particular effect.
RHYME It is produced when two words have the same sound from the last stressed vowel onwards. A full rhyme is produced when the consonant preceding the last stressed vowel of the two words is different. A rich rhyme is produced when the consonant before the last stressed vowel is also identical. An identical rhyme is produced when the two rhyme words are the same. When only the consonants or only the vowel sounds are identical, they are called half-rhymes, slant rhymes or pararhymes. An end-rhyme is the rhyme at the end of a line and when, it is produced within lines, it is called i nternal rhyme. A leonine rhyme is produced when the word in the middle of the line rhymes with the word at the end of the line. Masculine rhymes are those of one identical syllable; femenine rhymes are those of two identical rhymes; and triple rhymes (very rare) are the ones with three identical syllables. Rhyming lines can be arranged according to different patterns (continuous rhyme, rhyming couplets, alternate rhyme, embracing rhyme, chain rhyme, tail rhyme).
A stanza is a separated sequence of lines within a poem. The main stanza forms are: STICHIC VERSE: It is a continuous run of lines of the same length and the same metre. BLANK VERSE: It is a non-rhyming iambic pentameter, usually stichic. COUPLET: It is the name for two rhyming lines of verse following immediately after each other. HEROIC COUPLET consists of two lines of rhyming iambic pentameter, and a short couplet is also an octosyllabic couplet. TERCET (TRIPLET): It is a stanza of with three lines of the same rhyme or two rhyming lines embracing a line without rhyme. TERZA RIMA: It is a vriant of the tercet which uses a chain rhyme. QUARTAIN: It comprises four lñines of verse with various rhyme patterns. It is called heroic quartain when it is written in iambic pentameter and the rhyme is abab, and a Memoriam stanza is a quartain rhyming abba. The ballad stanza is a variant of the quartain which alternates iambic tetrameter and iambic trimeter.
RHYME ROYAL: it is a seven line stanza in iambic pentameter which rhymes ababbcc. OTTAVA RIMA: it is a stanza with eight lines rhyming abababcc. SPENSERIAN STANZA: It has nine lines rhyming ababbcbcc , the first eight lines are iambic pentameter, and the last line is an alexandrine. SONNET: It is a lyric poem of fourteen lines in iambic pentameter. The Italian/Petrarchan sonnet is divided into an octave or octate (abbaabba) and a sestes (cdecde). The English/Shakespearean sonnet is divided into three quartains and one final couplet.The Spenserian sonnet rhymes the quartains with the rhymes. LIMERICK: It is used mainly for nonsense verse, and it consists of five lines. VILLANELLE: It has an intricate verse and rhyme pattern. It has five tercets rhyming aba and a final quartain rhyming abaa. The lines of the first tercet provide a kind of refrain. COMPOSITE AND IRREGULAR FORMS: It is the combination of various forms or the use of no regular formal rhyme pattern.
