35-75
- The first obvious difference between prose and poetry is that prose is printed within the confines of margins, while poetry is written in lines that do not neccessarily pay any attention to the margins, especially the right margin
-Poets today, who do not often rtie in the given forms, such as sonnets, need to understand what effects are created by the turning of the line at any of vafrious possible points-within a logical phrase or only at the conclusions of sentences, or only at the ends of logical units.
(Length and rhythm)
1. In metrical verse, each line of poem can be divided into feet and each foot into stresses, to reveal the overall rhythmic pattern.
2. The process of dividing a line into its metrical feet and each foot into its individual parts is called scansion.
3.An iamb, or iambic foot is one light stress followed by one heavy stress.
-The iambic pentameter line is the most widely used in English metrical verse.
<Metrical lines>
One foot line: monometer
Two foot line: dimeter
Three foot line: trimeter
Four foot line: tetrameter
Five foot line: Pentameter
Six foot line: hexameter
Seven foot line: heptameter
Eight foot line: Octameter
<Metrical feet and symbols>
Iamb
Trochee
Dactyl
Anapest
Spondee
Pentameter and tetrameter are two quite different things. In the tetrameter lines there is a sense of quickness, spareness, even a little agitation, which is not evoked in the five foot lines,
The trimeter line can evoke an even more intense sense of agitation and celerity, on the other side of the five-foot line lies the hexameter or alexandrine.
-The pentameter line is the primary line used by the English poets not for any mysterious reason, but simply because the pentameter line most nearly matches the breath capacity of our Enlgish lungs. It fits without stress, makes a full phrase, and leaves little breath at the end.
-The reader is brought to a more than usual attentiveness by the shorter ine, which indicates a situation in some way out of the ordinary. Tetrameter can release a felt agitation or restlessness, or gaiety, more easily and naturally than pentameter.
--The longer line suggests a greater-than-human power. It can seem by its simple endurance; it also indicate abundance, richness, a sense of joy.
-In metrical verse, the lines may be all of the same length, but in many cases the pattern includes lines of varying length, thus complicating the whole mechanism.
(Constancy)
-The reader, as he or she begins to read, quicly enters the rhythmic pattern of a poem. Rhythm is one of the most powerful of pleasures, and when we feel a pleasurable rhythm we hope it will continue. Nursery rhythm give this pleasure in a simple and wonderful way.
Rhythm underlies everything. Put one word on aline by itself in a poem of otherwise longish lines and , whether you mean it to be or not, it has become a critical word.
Alter the line length or the established rhythm when you want to, change the very physiological mood of the reader. change the line length or rhythm arbitrarily or casually and you have puzzled and sensually irritated the reader- thrown him from his trance of interest and pleasure.
-Language is a living material, full of shadow and sudden moments of up leap and endless nuance. Nothing with language, including rhythmic patterns, should be or can be entirely exact and repetitions, nor would we like it if it were.
(Variation)
-There is a particularly effective device that can break into the established tempo of the line, thereby indicating- almost announcing-= an important or revelatory moment. It is called caesura. It is a structural and logical pause within and only within the line, and usually, but not always, within a metrical foot itself.
-The way in which different poets use the caesura is almost a signature of their poetic style. The caesura is useful not only where emotion is amassed, but in such lines as these, which set a conversatinal tone.
(The Beginning of the Line and the End of the Line)
-The most important point in the line is the end of the line. The second most important point is the beginning of it. More poems begin with iambic meter than any other construction. The mood is relaxed, invitational-natural.
-When a poem does begin with a heavy stress, it immediately signals to the reader that something dramatic is at hand.
-The similarity of sound at the end of two or more lines creates cohesion, order, and gives pleasure. Obvious rhyme is meant to be noticed and to please. In fact, the mood of rhyming poems is often lighthearted.
-Feminine endings tend to blur the end rhyme. So does slant rhyme. Masculine and true rhyme endings are forthright. And masculine true rhymes with words ending in mute sounds are the most emphatic rhymes of all- they slam the gate shut.
-The repetition of lines, or the use of a refrain line, is a source of enjoyment. Both evoke the old pleausre of things occurring and reoccurring- rhythm, in fact.
-The writer of nonmetrical verse also has this end of the line pause to work with and can choose among varous ways of handling. A self-enclosed line may be an entire sentence, or it may be a phrase that is complete in terms of grammar and logic, though it is only a part of sentence.
-Speeds the line for two reasons: curiousity about the missing part f the phrase impels the reader to hurry on, and the reader will hurry twice as fast over the obstacle of a pause because it is there.
-Turning the line, in free verse, is associated not only with the necessary decision at each turn, but it also has much to do with the visual presentation on the page.
-The pattern on the page, then, became the indicator of pace, and the balance and poise of the poem was inseparable from the way the line breaks kept or failed a necessary feeling of integrity, a holding together of the poem from beginning to end. Metrical line gave as sistance to a listener who sought to remember the poem.
-Poems that do not offer such variations quickly become boring. The gift of words- their acute and utter wakefulness- is drowned in a rhythm that is too regular, and the poem becomes, instead of musical, a dull and forgettable muttering.
-Poets today, who do not often rtie in the given forms, such as sonnets, need to understand what effects are created by the turning of the line at any of vafrious possible points-within a logical phrase or only at the conclusions of sentences, or only at the ends of logical units.
(Length and rhythm)
1. In metrical verse, each line of poem can be divided into feet and each foot into stresses, to reveal the overall rhythmic pattern.
2. The process of dividing a line into its metrical feet and each foot into its individual parts is called scansion.
3.An iamb, or iambic foot is one light stress followed by one heavy stress.
-The iambic pentameter line is the most widely used in English metrical verse.
<Metrical lines>
One foot line: monometer
Two foot line: dimeter
Three foot line: trimeter
Four foot line: tetrameter
Five foot line: Pentameter
Six foot line: hexameter
Seven foot line: heptameter
Eight foot line: Octameter
<Metrical feet and symbols>
Iamb
Trochee
Dactyl
Anapest
Spondee
Pentameter and tetrameter are two quite different things. In the tetrameter lines there is a sense of quickness, spareness, even a little agitation, which is not evoked in the five foot lines,
The trimeter line can evoke an even more intense sense of agitation and celerity, on the other side of the five-foot line lies the hexameter or alexandrine.
-The pentameter line is the primary line used by the English poets not for any mysterious reason, but simply because the pentameter line most nearly matches the breath capacity of our Enlgish lungs. It fits without stress, makes a full phrase, and leaves little breath at the end.
-The reader is brought to a more than usual attentiveness by the shorter ine, which indicates a situation in some way out of the ordinary. Tetrameter can release a felt agitation or restlessness, or gaiety, more easily and naturally than pentameter.
--The longer line suggests a greater-than-human power. It can seem by its simple endurance; it also indicate abundance, richness, a sense of joy.
-In metrical verse, the lines may be all of the same length, but in many cases the pattern includes lines of varying length, thus complicating the whole mechanism.
(Constancy)
-The reader, as he or she begins to read, quicly enters the rhythmic pattern of a poem. Rhythm is one of the most powerful of pleasures, and when we feel a pleasurable rhythm we hope it will continue. Nursery rhythm give this pleasure in a simple and wonderful way.
Rhythm underlies everything. Put one word on aline by itself in a poem of otherwise longish lines and , whether you mean it to be or not, it has become a critical word.
Alter the line length or the established rhythm when you want to, change the very physiological mood of the reader. change the line length or rhythm arbitrarily or casually and you have puzzled and sensually irritated the reader- thrown him from his trance of interest and pleasure.
-Language is a living material, full of shadow and sudden moments of up leap and endless nuance. Nothing with language, including rhythmic patterns, should be or can be entirely exact and repetitions, nor would we like it if it were.
(Variation)
-There is a particularly effective device that can break into the established tempo of the line, thereby indicating- almost announcing-= an important or revelatory moment. It is called caesura. It is a structural and logical pause within and only within the line, and usually, but not always, within a metrical foot itself.
-The way in which different poets use the caesura is almost a signature of their poetic style. The caesura is useful not only where emotion is amassed, but in such lines as these, which set a conversatinal tone.
(The Beginning of the Line and the End of the Line)
-The most important point in the line is the end of the line. The second most important point is the beginning of it. More poems begin with iambic meter than any other construction. The mood is relaxed, invitational-natural.
-When a poem does begin with a heavy stress, it immediately signals to the reader that something dramatic is at hand.
-The similarity of sound at the end of two or more lines creates cohesion, order, and gives pleasure. Obvious rhyme is meant to be noticed and to please. In fact, the mood of rhyming poems is often lighthearted.
-Feminine endings tend to blur the end rhyme. So does slant rhyme. Masculine and true rhyme endings are forthright. And masculine true rhymes with words ending in mute sounds are the most emphatic rhymes of all- they slam the gate shut.
-The repetition of lines, or the use of a refrain line, is a source of enjoyment. Both evoke the old pleausre of things occurring and reoccurring- rhythm, in fact.
-The writer of nonmetrical verse also has this end of the line pause to work with and can choose among varous ways of handling. A self-enclosed line may be an entire sentence, or it may be a phrase that is complete in terms of grammar and logic, though it is only a part of sentence.
-Speeds the line for two reasons: curiousity about the missing part f the phrase impels the reader to hurry on, and the reader will hurry twice as fast over the obstacle of a pause because it is there.
-Turning the line, in free verse, is associated not only with the necessary decision at each turn, but it also has much to do with the visual presentation on the page.
-The pattern on the page, then, became the indicator of pace, and the balance and poise of the poem was inseparable from the way the line breaks kept or failed a necessary feeling of integrity, a holding together of the poem from beginning to end. Metrical line gave as sistance to a listener who sought to remember the poem.
-Poems that do not offer such variations quickly become boring. The gift of words- their acute and utter wakefulness- is drowned in a rhythm that is too regular, and the poem becomes, instead of musical, a dull and forgettable muttering.
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