3) Breton Lays about unearthly magic The most famous collection of the King Arthur legends is Geoffrey of Monmouth's History of the Kings of Britain. Ballads short poetic folk tales that tell a story. Origins are in the oral tradition of story telling. They are of Anglo-Saxon origin. The author is usually unknown and the end is unhappy 9.) Definitions to the following terms: Ballad, beast epic, Chivalric romance, didactic poem, epic, alliteration, assonance, alliterative verse, kenning, metaphor, Anglo-Saxon heroic code, antagonist, protagonist, setting. Beast Epic humorous allegorical stories that contain a moral lesson, usually the main characters are animals. Originate in France and le Romain du renart Alliteration Two syllables alliterate when they begin with the same sound. Alliterative verse form of verse that uses alliteration as the principal structuring device to unify lines
2) understandable language e. Are texts ever only vocative (or other text type)? Explain. - A really small percentage of texts are purely only vocative (or other text types). They tend to be a mixture of different types. 5. Aesthetic function e. a. What are some of the aspects that help create the aesthetic effect? -The rhythm, balance and contrasts of sentences, clauses and words also play their part. The sound-effects consist of onomatopoeia, alliteration, assonance, rhyme, intonation and stress. b. How do you understand the conflict between ‘truth’ and ‘beauty’? - c. Why are descriptive verbs (‘kirjeldav tegusõna’) usually easy to translate? - Descriptive verbs of movement and action, since they describe a manner, are rich in sound effect. d. Explain the importance of the metaphor in this context. - Metaphor is the link between the expressive and the aesthetic function. Metaphor connects
The expressive value of separate sounds - it has been noted that the sounds [l, m, n] suggest slowness and peacefulness (M. Boulton): b and p - suggest quickness, movement, triviality, scorn; m, n, ng - provide various effects of humming, singing, music, occasionally sinister; l - suggests liquids in motion, streams, water, rest, peace, luxury, voluptuousness; f and w - and to a lesser extent v, suggest wind and any motion of a light kind; th - tends to be quiet and soothing (). ASSONANCE - it is resemblance or similarity in sound between vowels followed by different consonants in two or more stressed syllables. Assonance differs from RHYME in that RHYME is a similarity of vowel and consonant. "Lake" and "fake" demonstrate RHYME; "lake" and "fate" assonance. Assonance or vocalic alliteration enhances () the rhythmical pattern. It has melodious and emphatic qualities. Normally, assonance does not appear alone: it is accompanied by other means of sound orchestration, i.e
R depends on the sounds near it, but is generally found in contexts of movement and noise: Th tends to be quiet and soothing. Apart from poetry and prose, A. is used in newspaper headlines, the titles of books, advertisements, phraseological units e.g ,,Pride and Prejudice" , ,,Sense and Sensibility", ,,Live with Lightning", last but not least, now or never, forget and forgive An ad: Clearsil opens, cleans, clears up pimples You don't miss a moment's fun. Assonance or vocalic alliteration Repetition of stressed vowels in neighbouring words. Like alliteration, it has melodious and emphatic qualities: 15 Tenderly bury the fair young dead ...(La Costa) Or: Forgive what seemed my sin in me. (Tennyson) Normally, assonance does not appear alone: it is accompanied by other means of sound orchestration, i.e alliteration, rhyme: Hear the sledges with the bells
Orchestration Syntactic SD Dactyl Euphony Ellipsis Amphibrach Phonetic SD Aposiopesis Spondee Onomatopoeia Nominative sent. Pyrrhic Alliteration Asyndeton Rhythmic invers. Assonance Apokoinu Run-on line Rhyme: Gap-sentence link Stanza: Full Framing Heroic couplet Incomplete Anadiplosis Ballad stanza Vowel Tautology Spenserian stanza Consonant Polysyndeton Ottava rima
Nature as collection of eternal thruths best expressed by ancients, studying natre like studying classics. Wit – quickness and liveliness of mind; also fancy and magination which needed restraining. Judgement had to tame wit to achieve a sense of decorum or appropriatness (harmonious union of wit and judgement). The „closed” heroic couplet. In these 2 lines possible to attain rhetorical or witty effects by the use of parallelism, balance or antithesis. Alliteration and assonance could be used to strenghten this effect. Another option: Miltonic blank verse. Dramatic change in prose style, sought concision and clarity (John Locke’s writings). Analogy for new style mathematics. Former complexity (typical to the Restoration wits and scholars) gave way to more factual prose. Simple positive style, exact reflection of the new scientific and rational outlook of the Enlightenment. Vernacular literature. More people went to school.
shades of meaning. F at the beginning may imitate blowing wind. In that case alliteration becomes onomatopoeic in quality. The function of alliteration depends on the peculiar context; its rhythmical value goes hand in hand with the connotations it evokes. According to Boulton: · B and p--quickness, movement, scorn · M, n, ng--humming, singing · l--liquids in motion, water · k, g, st, ts, ch--harshness, cruelty · s, sh--hissing, also soft and soothing sounds Assonance--vocalic alliteration, repetition of stressed vowels. It has melodious and emphatic patterns. (Forgive what seemed my sin in me--Tennyson) Normally it does not appear alone: it is accompanied by other means of sound orchestration. There have also been attempts to relate vowel sounds to the meaning they convey. · The sound [I] is said to produce the impression of lightness, airiness, brightness. · The length of vowels is also relevant--long vowels tend to sound more peaceful
.. (l.6) For Whitman to say he was formed from nature shows just how much he believed he was one with nature. The "I" has become identified with every element in the universe. Whitman was a bundle of contradictions because the form was loose enough to allow for long lists and catalogs abundant in detail, but also flexible to include delicate moments of lyricism and oratory. Whitman extended cadence of poetic lines through parallelism, alliteration and assonance. For example, in "When I Heard the Learn'd Astronomer," he writes: When I heard the learn'd astronomer, When the proofs, the figures, were ranged in columns before me, When I was shown the charts and diagrams, to add, divide, and measure them, When I heard the astronomer where he lectured with much applause in the lectureroom...(l.14) Whitman uses parallelism in this poem when he repeatedly states "When" at the beginning of each line
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