04 poetry sound patterning

8/9/2019 04 Poetry Sound Patterning

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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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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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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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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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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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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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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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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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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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*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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*( 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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! 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 $

04 poetry sound patterning

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