Shakespeare`s sonnets Sonnets in the world In Italy in the 14 century by Petrarch In England in the 15 century Fourteen lines Iambic pentameter 2 four-line and 2 three-line stanzas The structure of the Shakespearen sonnet It differs from Italian sonnet Three quatrians and a rhymed couplet In iambic pentameter The rhyme scheme is abab cdcd efef gg Shakespeare`s creation 154 sonnets Main themes : time, love and beauty First published in 1609 Dedication to Mr. W.H. Characters Fair Youth The Dark Lady The Rival Poet
syllables called metre · The basic unit of metre is foot which usually contains one stressed syllable and one or two unstressed syllables · The usual metre of a sonnet is iambic pentameter · The English sonnet (Shakespearean sonnet) differs from the Italian one on its structure · The Italian sonnet has 2 four-line and 2 three-line stanzas, the English sonnet divides into three quatrains, or groups of four lines, and a rhymed couplet, or a pair of lines that usually draws a conclusion or presents a solution to the problems outlined earlier in the poem · The usual rhyme scheme is: abab cdcd efef gg Zanrid 1. Comedies: ,,As you like it", ,,Twelfth night", ,,A Midsummer Night's Dream" 2. Tragedies: ,,Othello", ,,Macbeth", ,,King Lear" 3. Historical: ,,King John", ,,Henry V" , ,,Richard II"
Usually the last 2 lines are epigrammatic in character. · Limerick- a funny poem of nonsense comprising 5 anapaestic lines rhyming a a b b a, with the third and fourth lines shorter than the other three. Sometimes, the number of lines is 4, the 3rd one being longer than the rest with inner rhyme in it. · Blank verse-no rhyme A limerick is a five-line poem written with one couplet and one triplet. If a couplet is a two-line rhymed poem, then a triplet would be a three-line rhymed poem. The pattern of the rhyme is a - a - b - b - a with lines 1, 2 and 5 containing 3 beats and rhyming, and lines 3 and 4 having two beats and rhyming. Limericks are meant to be funny. They often contain hyperbole, onomatopoeia, idioms, puns, and other figurative devices. The last line of a good limerick contains the 'punch line' or 'heart' of the joke. There once was a slimmer named Steen Who grew so phenomenally lean
seeks to reproduce actual conversation as far as the norms of the written language will allow. Here the author's speech is almost entirely excluded (), except for the playwright's remarks and stage directions. The language is usually stylized (), that is, it strives to retain the modus of literary English, unless the playwright has a particular aim which requires the use of non-literary forms and expressions. The 16th century plays are mostly written in iambic pentameter, rhymed or unrhymed. The plays of this period were justly called dramatic poetry. The performance kept close to the norms of colloquial language and that tendency affected the verse and resulted in breaking the regular rhythm of the metre. This breaking became one of the characteristic features of the language of dramatic poetry. The great playwrights of this period modulated the rhythmical pattern of blank verse. A popular form of entertainment at the courts of Elizabeth and the Stuarts was the
the norms of the written language will allow. Here the author's speech is almost entirely excluded (), except for the playwright's remarks and stage directions. The language is usually stylized (), that is, it strives to retain the modus of literary English, unless the playwright has a particular aim which requires the use of non- literary forms and expressions. The 16th century plays are mostly written in iambic pentameter, rhymed or unrhymed. The plays of this period were justly called dramatic poetry. The performance kept close to the norms of colloquial language and that tendency affected the verse and resulted in breaking the regular rhythm of the metre. This breaking became one of the characteristic features of the language of dramatic poetry. The great playwrights of this period modulated the rhythmical pattern of blank verse
So runs the world away. Would not this, sir, and a forest of feathers— if the rest of my fortunes turn Turk with me—with two Provincial roses on my razed shoes, get me a fellowship in a cry of players, sir? HORATIO 105 Half a share. HAMLET A whole one, I. For thou dost know, O Damon dear, This realm dismantled was Of Jove himself; and now reigns here A very, very—pajock. HORATIO You might have rhymed. HAMLET O good Horatio, I'll take the ghost's word for a thousand pound. Didst perceive? HORATIO Very well, my lord. HAMLET Upon the talk of the poisoning? HORATIO I did very well note him. HAMLET Ah, ha! Come, some music! come, the recorders! For if the king like not the comedy, Why then, belike, he likes it not, perdy. Come, some music! Re-enter ROSENCRANTZ and GUILDENSTERN GUILDENSTERN 106
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