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POETRYPoetry and Prose. Sound
Patterning. Prosody.Rhymes. Stanza Forms
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Poetry and Verse
Poetry is one of the subcategories of literature along
with dramaand fction. In this sense by poetry lyric
poetry is meant.
Metrical poetry, i.e. verse, diers from prosein
that the former is rhythmically organized speech
down to the level of syllables, whereas the latter is
either orderless or follows ordering patterns other
than syllabic principles.
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Rhythm
Prose rhythmmay use repetitions,parallels of
words, syntactical units, grammarstructures,
sentence length, semantic structures.
Prose rhythm does not follow any preset
pattern.
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ane !usten" Pride and Prejudice#$%$&'
(rom )hapter $*t is a truthuni+ersally ac,no-ledged that a single man
in
possession o( agood (ortunemust /e in -ant o( a -i(e.
0o-e+er little ,no-n the (eelings or +ie-s o( such aman may
/eon his frstentering a neigh/ourhood this truthis so-ell
fi1edin the minds o( thesurrounding (amilies that he is
considered asthe right(ul propertyo(some one or othero(
their daughters.22My dear Mr. 3ennet44 said his ladyto him one day
22ha+e you
heard that5etherfeld Par, is let at last644
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Austen cont.
Mr. 3ennet repliedthat he had not.
223ut it is44 returned she7 22(or Mrs. 8ong has9ust/een here
andshe told me all a/out it.44
Mr. 3ennet made no ans-er.
22:o not you -ant to ,no- -ho has ta,en it64;cried his -i(e
impatiently.
22You-ant to tell me and * ha+e no o/9ectiontohearing it.44
This -as in+itation enough.
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!usten cont.
22
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Michaelmas
Michaelmas, the feast of SaintMichael the Archangel also the Feasto( Saints Michael >a/riel ?rieland Raphael, the Feast o( the!rchangels, or the Feast o( SaintMichael and !ll !ngels! is a day in
the "estern #hristian calendar whichoccurs on $% September.
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>enesis@ing ames 3i/le
1:*n the /eginning >odcreated the hea+en and the earth.
2:!nd the earth-as-ithout (orm and +oid7 anddar,ness -as
upon the (ace o( the deep. !nd the Spirit o( >od mo+edupon
the (ace o( the -aters.3:!nd >od said 8et there /e light" and there -as light.
4:!nd >od sa-the light that it -as good" and >oddi+idedthe
light (rom the dar,ness.
5:!nd >od calledthe light :ay and the dar,ness hecalled
5ight. !nd the e+ening and the morning-ere the frstday.
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>enesis cont.
6:!nd >od said 8et there /e a frmamentin the midsto( the
-aters and let it di+ide the -aters (rom the -aters.7:!nd >od madethe frmament and di+ided the -aters
-hich
-ere under the frmament (rom the -aters -hich -erea/o+ethe frmament" and it -as so.8:!nd >od calledthe frmament 0ea+en. !nd the
e+ening andthe morning -ere the second day.
9:!nd >od said 8et the -aters under the hea+en/egathered
together unto one place and let the dry land appear"and it
-as so.
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>enesis cont.
10:!nd >od calledthe dry land Earth7 and the gathering
together o( the -aters called he Seas" and >od sa- thatit -as
good.
11:!nd >od said 8et the earth /ring (orth grass theher/
yielding seed and the (ruit tree yielding (ruita(ter
his ,ind -hose seed is in itsel( upon the earth" and it-as so.
12:!nd the earth /rought (orthgrass and her/ yielding
seeda(ter his ,ind and the tree yielding (ruit -hose seed
-as in
itsel( a(ter his ,ind" and >od sa-that it -as good.
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Verse Rhythm
Verse is a patterned succession o( sylla/les"
some are strongly emphasized some arenot.
Rhythms o( poetry compared -ith prose
rhythms are stylized and artifcial they (allinto
patterns that are more repetiti+e and
predicta/le.
Poetic rhythms call attention to themsel+es.
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Poetic Rhythm
8iterature A coded te1t
Poetic rhythm A concentration and intensity
Primordial (unctions o( poetry
namingpossession
healing
*ncantatory rhythms +erse spells healing
charms#an incantation or enchantment is a charmor spell
created using -ords!
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!n Old English medical +erseBspellagainst poison
This herb is called Stime; it grew on a stone,
It resists poison, it fights pain.
It is called harsh, it fights against poison.
This is the herb that strove against the snake;This has strength against poison, this has strength
against infection,
This has strength against the foe who fares through
the land.
(Anglo-Saxon Poetry. Sel. and trans. by R. K. Gordon, rev.ed., London: J. M. Dent and Sons, 1954, 93)
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Verse Rhythm
Rhythm is /ased on orderlyrepetition.
Poetic rhythm is /ased on theregular
alternation o( certain sylla/ic(eatures o( the
te1t.
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SY88!38E
syllable!o""only !ons#sts o$ a vo!al#! %ea&, '#! "aybe a!!o"%an#ed by a !onsonantal onset or !oda. n so"elan*+a*es, everysyllab#! %ea& #s #ndeed a vo'el. +toter so+nds !an also $or" te n+!le+s o$ a syllable. n-n*l#s, t#s *enerally a%%ens 'ere a 'ord ends #n an
+nstressed syllable !onta#n#n* a nasal or lateral!onsonant./ 0 / 0 / 0/ 0 / 0 et!.
Diphtongs, triphtongs vo'el se2+en!es #n '#! t'o ortree !o"%onents !an be eard b+t '#! none te less
!o+nt as a s#n*le vo'el!T
one syllable: #re, lyre, $lo+r, !o'eredt'o syllables: #*er, l#ar, $lo'er, !o'ard
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"rosody#from $ikipedia%
n %oetry, meter(metre#n r#t#s -n*l#s) #s te bas#!
ryt"#! str+!t+re o$ a verse or l#nes #n verse. Many
trad#t#onal verse $or"s %res!r#be a s%e!#$#! verse "eter, or
a !erta#n set o$ "eters alternat#n* #n a %art#!+lar order.
e st+dy o$ "eters and $or"s o$ vers#$#!at#on #s &no'n as
prosody. (#t#n l#n*+#st#!s, %rosody #s +sed #n a "ore
*eneral sense tat #n!l+des not only %oet#!al "eter b+t alsote ryt"#! as%e!ts o$ %rose, 'eter $or"al or #n$or"al,
'#! vary $ro" lan*+a*e to lan*+a*e, and so"et#"es
bet'een %oet#! trad#t#ons.)
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Prosody
Prosodic (eatureso( speech"
tonestress C /eat
Caccent
intonation
)hie( phoneticcorrelates"
pitch
duration
loudness
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Pitch
is -idely regarded in English as the most
salientdeterminanto( prominence.
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:uration
The duration o( sylla/les depends on /othsegment type and the surrounding phoneticconte1t.
:uration is also constrained /y/iomechanical
(actors"part o( the reason -hy the +o-el inEnglish bat (ore1ample tends to /e
relati+elylong is that the 9a-hasto mo+e (urtherthan in
-ords li,e bitor bet.
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Stress C 3eat C !ccent
Stress commonly is a con+entional la/el (or the
o+erallprominence o( certain sylla/les relati+e
to others -ithin alinguistic system.
*n this sense stress does not correlate simply
-ith loudness/ut represents the total eect
o((actors such as pitchloudness and duration.
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Stress in English
English sometimes descri/ed as a;stress
timedD languagema,es a relati+ely
largedierence /et-een stressed and
unstressedsylla/les in such a -ay that
stressed sylla/les are generally muchlonger
than unstressed.
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!ccent
The term !))E5T is sometimes usedloosely to
mean stress re(erring to prominence in a
general -ay or more specifcally to theemphasis placed on certain sylla/les.
The term ;accentD is also used to re(er torelati+e prominence -ithin longer
utterances.
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Stress C !ccent
The terms STRESS and !))E5T inparticular are
notoriously am/iguous and it-ould /e
misleading to suggest that thereare standard
defnitions.
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3eat
3eat denote stress -ith metricalrele+ance i.e.
stressed sylla/les -hich count inmetrical lines
are called /eats.
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English Versifcation
English poetic rhythm is /ased on the regular alternationo(
stressed and unstressed sylla/les. #:uration and pitch areno
metre creating (eatures.'
Stresses are that o( -ords stresses and mar,ed indictionaries
/y ; as in synecdoche CsDnG,dH,C.
Scansion is the act o( determining and graphically
representingthe metrical character o( a line o( +erse.
Stressed sylla/les are mar,ed /y the sym/ols C or A.?nstressed sylla/les #slac,s' are mar,ed /y the sym/ol I.
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Scansion
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Scansion
:o-n /y the salley gardens my lo+eand * did meet
I C I C I C I JJ I C I CI C
+eats!
;JJD is a di+ision mar,er or /ar /et-een
repeated units o( a line /ro,en into sections/y a caesura
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Rhythm and Metre
Rhythm
The rhythmic structure o( a poem is (ormed /yrepeating a
/asic rhythmical unit o( stressed and unstressedsylla/les
Metre
Metre gro-s out o( the linguistic rhythms o( the -ordsit is the
design (ormed /y the rhythms it is an a/stract pattern.
The general metre and the actual rhythm o( a specifcline are
not al-ays identical.
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Metrical Systems in English$ !ccentualCStressed Metre
In accentual&stressed metre the number of
accents&stressed syllables is fi'ed in a line.
(owever the number of unstressed syllables
is variable. In order to define the actual form
you have to count the number of accents per
line.
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Metrical Systems in English$ !ccentualCStressed Metre
Old English #!ngloBSa1on' !lliterati+e Versifcation
The /asic metrical (eature o( the line is (our strongstresses"
C C C C
The spaces /e(ore and /et-een the stress can /eoccupied /y
zero one t-o or three sylla/les e.g. "I C I I C I I I C C or I I C I C C I I C I etc.
Each (ull line is di+ided into t-o hal(Blines #hemistichs'/y a
caesura"I I C I I C JJ I I C I I C
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!ngloBSa1on !lliterati+e Versifcationcont.
The distincti+e (eature o( this metrical (orm is itsalliteration.
!lliteration is a fgure speech meaning the repetition o(
consonant or +o-el sounds at the /eginning o( -ords orstressed sylla/les.
*t is a +ery old de+ice -hich o(ten help createonomatopoeic
eects i.e. eects imitating sounds.
!lliteration is a ,ey organizing principle in !ngloBSa1on+erse.
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!lliteration
!lliteration is the principal /inding agent o(Old
English poetry.
T-o sylla/les alliterate -hen they /egin -ith
the same sound7 all +o-els alliteratetogether
/ut the consonant clusters st- sp-and sc-are
treated as separate sounds #so st-does not
alliterate -ith s-or sp-'.
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!ngloBSa1on !lliterati+e Versifcationcont.
Formal reKuirements"6 ! longBline is di+ided into t-o hal(Blines. 0al(B
lines are also ,no-n as +erses or hemistichs6 ! hea+y pause or cLsura separates the t-o
hal(Blines.6 Each hal(Bline has t-o strongly stressedsylla/les.
6 The frst li(t in the second hal(Bline #i.e. thethird stress' is al-ays alliterated -ith eitheror /oth stressed sylla/les in the frst hal(Bline.
6 The second stress in the second hal(Bline i.e.the (ourth stress does not alliterate.
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!ngloBSa1on !lliterati+e Versifcationcont.
Thus there are the (ollo-ing +ariants"
#;!D mar,s an alliterating sylla/le ;ID mar,s a
nonBalliteratingsylla/le'
$. ! ! JJ ! I
. ! I JJ ! I&. I ! JJ ! I
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3eo-ul( Manuscript
3eo-ul( is the con+entional title o( an Old Englishheroic epic poem consisting o( &$% alliterati+e
longlines.
*ts composition /y an anonymous !ngloBSa1onpoet is
dated /et-een the %th and the early $$th century.
The poem appears in -hat is today called theBeowu!
manuscript or 5o-ell )ode1 #3ritish 8i/rary MS)otton Vitellius !.1+' along -ith other -or,s.
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3eo-ul( Manuscript
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E1amples (rom 3eo-ul(#translated /y Michael !le1ander'
$. *t is a sorro- in spirit (or me to say to anyman
! ! JJ ! I
. Then spo,e 3eo-ul( son o( Edgeheo- ! I JJ ! I
&. ! /oat -ith a ringed nec, rode in the ha+en
I ! JJ ! I
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Further e1amples
!lliterati+e stress -ithin polisylla/ic -ord
*t -as not remar,ed then i( a man loo,ed
I ! JJ ! I
Vo-el alliteration
To encompass e+il an enemy (rom hell
I ! JJ ! I
The ample ea+es adorned -ith gold
! ! JJ ! I
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A twentieth century e'ample ) *+ra "ound Canto I#A free translation of the opening of -dyssey %
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*+ra "ound#//0)123%
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Signifcance o( SoundPatterning
)ohesi+e and mnemonic (unction
Primordial and /ardic poetry -as transmittedorally repetiti+e (ormal components /ound
-ordstogether and thus enhanced memora/ility.
The metrical (rame creates a musical /ody (orthe
poem7 it may also contri/ute to a le+el o(sound
sym/olism onomatopoeia onomatopoeic-ords.
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StressBVerse5ati+e Metre C Fol, Metre
Sing a song of si'pence,
A pocket full of rye;
4our and twenty blackbirds
aked in a pie.$hen the pie was opened,
They all began to sing.
5ow, wasn6t that a dainty dishTo set before the 7ing8
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Si'pence cont.
Sing a song of si'pence,
& &
A pocket full of rye;
& &4our and twenty blackbirds
& &
aked in a pie.
& &
-r
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Si'pence cont.
Sing a song of si'pence, & & &A pocket full of rye;
& & #p%4our and twenty blackbirds & & &aked in a pie.
& & #p%
#p% 9 pause
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Stress):erseallad etre
allad metreis a form of poetry thatalternates lines of four and three beats, often in
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Sir "atrick Spens
The king sits in Dumfermline town.
& & & &
Drinking the blude)red wine
& & &
6- whare will I get a skeely skipper,
& & & &
To sail this new ship of mine86
& & &
: ( li P l R i
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:un(ermline Palace Ruin:un(ermline -as ScotlandDs capital in the
$$th century
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4oot):erseSyllable)Stress :erse & Accentual)Syllabic etre
After the 5orman =onreek and
?atin poetry.
In accentual syllabic foot)verse both the number ofstressed and unstressed syllables are fi'ed, and also
their respective positions in the poetic line.
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4oot :erseStressed & Accentual)Syllabic etre
Ancient >reek and ?atin prosody is
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Accentual)Syllabic etre & @uantitative :ersification
*nglish accentual)syllabic foot)verse is sometimescalled
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@uantitative :ersificationetrical 4eet
The foot is the basic metrical unit that generates a lineof verse in
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@ualitative vs.
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@ualitative vs.
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@uantitative :ersificationost common feet
(sy"bols: < = lon* syllable, > = sort syllable)
iamb or iambic foot C trochee or trochaic foot C
anapaest or anapaestic foot C C dactyl of dactylic foot C Cspondee or spondaic foot pyrrhic or pyrrhic foot C C
tribrach C C Cmolossus minor ionic C C choriamb CC
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*nglish Accentual)Syllabic etre
*nglish prosody is based on the regularalternation of stressed and unstressed
syllables.
=onsereek and ?atin
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*nglish Accentual)Syllabic etre
4or e'ample, an iamb, which is short)long in classicalmeter, becomes unstressed)stressed, as in the *nglish
word EtodayF; a trochee is constituted of a stressed
and unstressed syllable, as in EneverF; a dactyl is
constituted of a stressed syllable followed by two
unstressed ones, as in EyesterdayF; while an anapaest
is constituted of two unstressed syllables followed by
a stressed one, as in EinterruptF. A spondee is made of
two successive stressed syllables, as in EheartbreakF;
a pyrrhic is made of two successive unstressed
syllables and the phrase Eof theF.
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*nglish metrical feet
iamb or iambic foot G &trochee or trochaic foot & Ganapaest or anapaestic foot G G &
dactyl of dactylic foot & G Gspondee or spondaic foot & &pyrrhic or pyrrhic foot G Gtribrach G G G
molossus & & &minor ionic G G & &choriamb & G G &
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*nglish Accentual)Syllabic etre
4or the scansion of an *nglish poem the standard
Symbols are used #the symbol JD mar,s (oot/oundary'
:o-n /y the salley gardens my lo+e and * didmeet "Yeats#
I C J I C J I C J I JJI C J I C JI C
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*nglish Accentual)Syllabic etre
Metrical (eet add up to poetic lines -hichconseKuently are
defned in terms o( the num/er and type o( poetic(eet they
contain"
Monometer" one (oot
:imeter" t-o (eet
Trimeter" three (eet
Tetrameter" (our (eet
Pentameter" f+e (eet
0e1ameter" si1 (eet
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*nglish Accentual)Syllabic etre
Thus -e can discern*am/ic monometers#i.e. oneBstress iam/ic lines'
Thus *
Pass /y!nd die
!s one
?n,no-n
!nd gone
#Ro/ert 0erric," %pon &is 'eparture &ence$N%'
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*nglish Accentual)Syllabic etre
Or anapaestic tetrameters#(ourBstress anapestic lines'
There4s little Tom :acre -ho cried -hen his headI C I I C J I I C J I I C
That curled li,e a lam/4s /ac, -as sha+ed" so * said I C J I I C J I I C J I I C
0ush Tom= ne+er mind it (or -hen your head4s /are
I C J I I C J I I C J I I C
You ,no- that the soot cannot spoil your -hite hair.
I C J I I C J I I C J I I C#
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*nglish Accentual)Syllabic etre
Or iam/ic pentameters#f+eBstress iam/ic lines'
T0ERE -as a roaring in the -ind all night7I C JI C JI C J I C J I C
The rain came hea+ily and (ell in Qoods7
3ut no- the sun is rising calm and /right7The /irds are singing in the distant -oods7O+er his o-n s-eet +oice the Stoc,Bdo+e /roods7The ay ma,es ans-er as the Magpie chatters7!nd all the air is flled -ith pleasant noise o( -aters.
#(rom
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*nglish Accentual)Syllabic etre
*am/ic pentameter has a distinguished role in thehistory o(
English poetry.
*( unrhymed it is called /lan, +erse#e.g.Sha,espeareDs plays'
5o- is the -inter o( our discontent
Made glorious summer /y this sun o( Yor,7
!nd all the clouds that lour4d upon our house*n the deep /osom o( the ocean /uried.
#Sha,espeare" .ic)ard ///'
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*nglish Accentual)Syllabic etre
*( pairBrhymed it is called heroic couplet#e.g.!le1ander PopeDs
ssa, on *riticis+'
O( all the )auses -hich conspire to /lind
Man4s erring udgment and misguide the Mind
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Substitution
! sudden /lo-" the great-ings/eating stillI C J I C J I C J C C J I C
!/o+e the staggering girl her thighs caressed
I C J I C J I I C J I C J I C
3y thedar, -e/s her nape caught inhis /ill
I I J C C J I C J C IJ I C
0e holds her helpless /reast upon his /reast.
0o- can those terrifed +ague fngers push
The (eathered glory (rom her loosening thighs6I C J I C JI I J I C JI I C
!nd ho- can /ody laid in that -hite rush
3ut (eel the strange heart /eating -here it lies6
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Substitution cont.
! shudder inthe loins engenders thereThe /ro,en -all the /urning roo( and to-er
!nd !gamemnon dead.
3eing socaught up
So mastered /ythe /rute /lood o(the air
:id she put on his ,no-ledge -ithhis po-er
3e(ore the indierent/ea, could let her drop6
#
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$Nth century copy a(ter lost painting /yMichelangelo
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*nglish Accentual)Syllabic etre
! metrical line has three rhythmic le+els"
Oh to +e1 me contraryes meet in one"'onne#
"iam/ic pentameter'
$. !/stract metrical pattern
I C J I C J I C J I C J I C
. !ctual rhythm o( the particular line
I I J C I J C I J I C J I C
&. Speech rhythmI I C I C I I U I U
#-here ;UD mar,s secondary stress'
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Hough and Smooth Hhythms
*( the three le+els (all apart as in the a/o+ee1cerpt o( :onneDs
poem the rhythm is ;roughD. *( they tend tocoalesce as in this
line /y :onneDs contemporary EdmundSpenser the rhythm is
;smoothD"
One day * -rote her name upon the strand
#Edmund Spenser"+oretti onnet 75'
Edmund Spenser ohn:onne
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:onne#$B$'
#$B$N&$'
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Hhymes
English accentualBsylla/ic poems may rhyme. Rhyme isthe
identity o( sound /et-een -ords.Rhyme is notnecessarily
/ased on identity o( spelling. Pronunciation is the
essence.
reatrhymes -ith +ate
-hereas
bou)does not rhyme -ith t)ou)
reat and+eat loo, ali,e /ut pronounced dierentlythey are called e,es-r),+es
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Sound Parallelism
Rhyme is only one aspect o( soundBparallelism. 3ased on the
concept o( the linguistic (ormula o( a sylla/lei.e. a cluster o(
up to three consonants (ollo-ed /y a +o-elnucleus (ollo-ed
/y a cluster o( up to (our consonants #)WXAVA)WXZ' >eorey
8eech set up the (ollo-ing chart o( soundpatterns"
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Sound Parallelism
(rom >eorey 5. 8eech" inuistic uide tonis) Poetr,.
8ondon" 8ongman $N %a )# great'gro
w
send'sit alliteration
b #V# great'fail send'bell assonance
c #) great'meat
send'hand
consonance
d )V# great'grazed
send'sell reverserhyme
e )) great'gro
at
send'sou
nd
pararhyme
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Rhyme
)onsonanceis o(ten called hal(Brhyme
* ha+e net them at close o( day
)oming -ith +i+id (aces
From counter or des, among greyEighteenthBcentury houses.
#(rom
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*nternal Rhymes
3y rhymes generally terminal rhymes are meant.0o-e+er
poets use internal rhymes-ithin a line usually(ollo-ed /y a
/rea, #caesura'"
!nd through the dri(ts the sno-y cli(ts
:id send a dismal sheen"
5or shapes o( mennor /easts -e ,enA
The ice -as all /et-een.
#(rom S. T. )oleridge" ()e .i+e o! t)e ncient ariner'
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Poetic Forms
The disposition o( lines into groups (alls into t-ocategories"
Stichic poetry in -hich +erse line (ollo-s +erse line as in
MiltonDs Paradise ost Stichic poetry is o(ten segmentedinto
+erse paragraphs i.e. passages o( irregular lengthdi+ided /y a
spaceBline.
Strophic poetry in -hich groups o( lines #stanza' are(ormed
as in @eatsDs de on a recian %rn.
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Hhyme Schemes and "oetic 4orms
Strophic or stanzaic (orms are o(ten /oundtogether /y rhymes.
Stanza (orms are determined /y num/ers o(lines"
)ouplet A t-oBline stanza
Tercet A three line stanza
[uatrain A (ourBline stanza
Stanza
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Stanza#*talian ;station stopping placeD'
! structural unit in +erse composition a seKuence o( linesarranged in a defnite pattern o( meter and rhyme scheme
-hich is repeated throughout the -hole -or,. Stanzasrange
(rom such simple patterns as the couplet or the Kuatrain to
such comple1 stanza (orms as the Spenserian or those used/y
@eats in his odes.
#!le1 Preminger ed." Princeton nc,copedia o! Poetr, and Poetics. Enlargededition.
8ondon" Macmillan $'
Stanzas may consist o( metrically identical or dierent lines.
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Rhyme Scheme
Patterns o( rhyme -ithin larger unitso( poetrymar,ed /y letters "
! or a" frst line and e+ery (ollo-ingline rhyming
withit
3 or /" ne1t ne- rhyme and e+ery(ollo-ing line
rhyming -ith it
Rhyme Schemes
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Rhyme Schemes)ouplets
)ouplet" aa // cc etc.
0ad -e /ut -orld enough and time
This coyness lady -ere no crime.
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Rhymes Schemes!lternate Rhymes
!lternating C alternate C cross rhymes" a/a/cdcd etc.
The cur(e- tolls the ,nell o( parting day
The lo-ing herd -inds slo-ly o4er the lea
The ploughman home-ard plods his -eary -ay
!nd lea+es the -orld to dar,ness and to me.
#(rom Thomas >ray" e, ritten in a *ountr,*)urc)-Yard'
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Rhyme Schemes
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Rhyme SchemesTerza Rima
Terca rima" a/a /c/ cdc etc. #*t is a type interloc,ingrhyme
patterns" -ord unrhymed in $st stanza is lin,ed -ith-ords
rhymed in nd stanza.'
O -ild
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Rhyme SchemesTerza Rima cont.
The -inged seeds -here they lie cold and lo-Each li,e a corpse -ithin its gra+e untilThine azure sister o( the Spring shall /lo-
0er clarion o4er the dreaming earth and fll#:ri+ing s-eet /uds li,e Qoc,s to (eed in air'
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y y y
/y !l(red )lint #$%A$%%&'
Rhyme Schemes
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Rhyme SchemesOtta+a Rima
o( *talian originrhyme scheme" !3!3!3))
Three alternate rhymes plus a closing couplet
consists o( iam/ic lines usually pentameters
3yronDs 'on ;uanis a -ell ,no-n e1ample
Ott Ri
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Otta+a Rima
That is no country (or old men. The young*n one another4s arms /irds in the trees
B Those dying generations B at their song
The salmonB(alls the mac,erelBcro-ded seas
Fish Qesh or (o-l commend all summer long
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Rhymes SchemesRhyme Royal
rhyme scheme" !3!33))usually iam/ic pentameter
>eorey )haucerDs (roius and *rise,deis a-ellB,no- e1ample
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Rhyme Schemes
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ySpenserian Stanza
Rhyme scheme" !3!33)3))
The Spenserian stanza -as in+ented /yEdmund Spenser and
used it (or his epic poem ()e $aerie =ueene.
Each stanza contains nine lines in total" eightlines in iam/ic
pentameter (ollo-ed /y an iam/ic he1ameter#ale1andrine'.
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Edmund Spenser
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pThe Faerie [ueene
The Sonnet
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The Sonnet
)onsists o( (ourteen lines di+ided into stanzas.
*am/ic pentameters #or iam/ic he1ametersalso
called ale1andrines sometimes iam/ictetrameters'.
The rhyme schemes is f1ed.
There are three main types.
The "etrarchan & Italian Sonnets
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ohn Donne (oly Sonnet 1
Oh to +e1 me contraryes meet in one" A*nconstancy unnaturally hath /egott ! constant ha/it7 that -hen * -ould not * change in +o-es and in de+otione. A!s humorous is my contritione A
!s my prophane 8o+e and as soone (orgott" !s ridlingly distemper4d cold and hott !s praying as mute7 as infnite as none. A* durst not +ie- hea+en yesterday7 and to day =*n prayers and Qattering speaches * court >od" DTo morro- * Kua,e -ith true (eare o( his rod. D
So my de+out ftts come and go a-ay =8i,e a (antistiKue !gue" sa+e that here *Those are my /est dayes -hen * sha,e -ith (eare.
*
According to the stan+aic pattern, you can print like
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g p , y pthie #actually many sonnets are printed this way
Oh to +e1 me contraryes meet in one" A st
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The *nglish Sonnet
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g$illiam Shakespeare Sonnet 20
So are you to my thoughts as (ood to li(e AOr as s-eetBseasoned sho-ers are to the ground7 !nd (or the peace o( you * hold such stri(e A!s 4t-i1t a miser and his -ealth is (ound. 5o- proud as an en9oyer and anon =
:ou/ting the flching age -ill steal his treasure D5o- counting /est to /e -ith you alone =Then /ettered that the -orld may see my pleasure
DSometime all (ull -ith (easting on your sight *!nd /y and /y clean star+ed (or aloo, 4
Possessing or pursuing no delight *Sa+e -hat is had or must (rom you /etoo,. 4Thus do * pine and sur(eit day /y day>Or gluttoning on all or all a-ay. >
The *nglish Sonnet
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J K J K J K 3 9 / K J K 3 9 3 K 3
AA st
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Edmund Spenser" !moretti
One day * -rote her name upon thestrand A3ut came the -a+es and -ashed it a-ay" !gain * -rote it -ith a second hand A3ut came the tide and made my pains his prey. Vain man said she that doest in +ain assay
! mortal thing so to immortalize =For * mysel( shall li,e to this decay !nd ee, my name /e -iped out li,e-ise. =5ot so #Kuoth *' let /aser things de+ise =To die in dust /ut you shall li+e /y (ame" DMy +erse your +irtues rare shall eternize =!nd in the hea+ens -rite your glorious name. D
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Petrarchan C *talian
Rhyme schemea / / a J a / / a J J c d c J d c d
a / / a J c d d c J J e ( g J e ( g C e e ( J g g (
Kuatrains B en+elope rhymes repeated
turn a(ter line % #turn mar,ers" /ut though yetetc.'
tercets
Kuatrains +ersus tercets
/ased on opposition thesis A antithesis staticKuality
The Sonnet
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English C Sha,espearean
Rhyme schemea / a / J c d c d JJ e ( e ( JJ g g
alternate rhymes
t-o turns" the frst one a(ter line %
the second one a(ter line $
Kuatrains +ersus closing couplet #summary
conclusion'dramatic Kuality tripartite structure"
thesis A antithesis A synthesis
The Sonnet
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Spenserian
Rhyme schemea / a / J / c / c JJ c d c d JJ e e
! mi1ture o( the t-o the o+erlapping rhymes
create a similaracoustic eect to that o( the *talian sonnet
yet displays t-o
turn thus represents a more dramatic Kuality.
0o-e+er theo+erlapping rhymes /lur the tripartite di+ision.
SemiBstrict (orms loosely metrical
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poems
Poets o(ten use loosely metrical patterns.*t either means the employment o( metrical
su/stitutions or
+ariations as in S. T. )oleridgeDs .i+e o! t)e ncientariner
-ith su/tle irregularities in the /allad measure e.g.
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poems
or the use o( metricallines o( irregular
length as
T. S. EliotDs Preudes
Or it may ta,e othermore
radical (orms o( onlyhinting
at the +ague memoryo( strict
metrical patterns.
T. S. Eliot #$%%%B$N'Preludes
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Preludes*
The -inter e+ening settles do-n
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Preludes *** cont.
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Preludes *** cont.
Sitting along the /ed4s edge -hereYou curled the papers (rom your hair
Or clasped the yello- soles o( (eet
*n the palms o( /oth soiled hands.
Preludes
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*V
0is soul stretched tight across the s,iesThat (ade /ehind a city /loc,Or trampled /y insistent (eet!t (our and f+e and si1 o4cloc,7
!nd short sKuare fngers stu\ng pipes!nd e+ening ne-spapers and eyes!ssured o( certain certaintiesThe conscience o( a /lac,ened street*mpatient to assume the -orld.
Preludes *V cont.
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Preludes *V cont.
* am mo+ed /y (ancies that are curled!round these images and cling"The notion o( some infnitely gentle*nfnitely suering thing.
athering (uel in +acant lots.
3i/liography
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3i/liography
!ttridge :ere," Poetic .),t)+ n /ntroduction. )am/ridge" )am/ridge?ni+ersity Press $
3roo,s )leanth and eorey 5." inuistic uide to nis) Poetr,. 8ondon"8ongman
$N
Scannel Vernon" &ow to njo, Poetr,. 8ondon" Piat,us $%&Preminger !le1 ed." Princeton nc,copedia o! Poetr, and Poetics.
Enlarged
edition. 8ondon" Macmillan $
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