fame becoming less bright. Dickinson ends the poem by saying that men, who eat the dish of fame, die. This means that they have spent their lives in search and pursuit of fame and have lost sight of everything important. Stylistically it is a very lovely poem. It flows nicely, although there is an abrupt change of pace in the last line, but that also carries a significance - to highlight the importance of the last sentence. She has also comprised the stanzas very logically the main idea carries over very well. Dickinson has not used too complex metaphors or stylistic devices, which sometimes make a poem harder to read. I enjoyed the poem, especially because I agree with the main idea - one should not waste one's life running after something as obscure as fame. I also liked the way she brought the abstract notion of 'fame' to a very down-to-earth form. Using food as a metaphor for fame she very successfully
Internal rhyme occurs within a poetic line. Head rhyme connects the end of a line with the beginning of the next one by similar sound combinations. Couplet rhyme 2 lines are rhythmically linked by the final rhyme: a a. Cross rhyme rhyming combination: a b a b. Frame rhyme - rhyming combination: a b b a. Triple rhyme - rhyming combination: a a a. Monorhyme - rhyming combination: a a a a. Stanza is compositional pattern of the poem. Typically English stanzas: 1. The heroic couplet 2 iambic (x /) pentametres (5 feet), rhyming: aa bb cc. 2. The ballad stanza 4 lines of iambic tetrametres (4 feet) & trimetres (3 feet): a b c b. 3. The Spenserian stanza 9 lines: 8 iambic pentametres followed by 1 iambic hexametre (6 feet): a b a b b c b c c. 4. Ottava rima 8 iambic pentametres (5 feet): a b a b a b c c. 5. Rhyme Royal 7 iambic pentametres (5 feet): a b a b b c c. 6
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
rhyme pattern and a regular rhythm, or predictable pattern of stressed and unstressed 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"
- warm, flames - Thames. Eye-rhyme is appreciated by the eye rather than by the ear. Thus, it is a property of the written poem. Internal rhymes occur within a poetic line. Head rhyme is rather uncommon. It connects the end of a line with the beginning of the next one by similar sound combinations. Head rhyme may appear in the form of stringing together lines beginning with the same sound, or syllable, or word. According to the arrangement of rhymes in stanzas, rhymes fall into: 1. couplets - when two lines are rhythmically linked by the final rhyme (marked a a); 2. triple rhymes or triplets (a a a); 3. cross rhymes (a b a b); 4. framing rhymes (a b b a); 5. monorhymes (a a a a ...) 8. LEXICAL STYLISTIC DEVICES (LSD) I. LSD based on the interaction of lexical contextual and meaning 1
Syntactic SD* Use lecture notes 10. Graphical means and devices 11. Common literary and common colloquial vocabulary 12. Special literary vocabulary 13. Special colloquial vocabulary 14. Metre in English poetry. Modifications of metre ("Rhythm and Text") 15. Typically English stanzas ("Rhythm and Text") 16. Rhythm in poetry and in prose ("Rhythm and Text") Study independently 17. Varieties of language (I. Galperin "Stylistics") 18. Emotive prose (I. Galperin "Stylistics") 19. Scientific prose style (I. Galperin "Stylistics") 20. Language of the drama (I. Galperin "Stylistics") 21
water... Byron) Head rhymes are rather uncommon. It connects the end of a line with the beginning of the next one by similar sound combinations (The sunlight on the garden hardens and grows cold...MacNiece). It may also appear in the form of stringing together lines beginning with the same sound, or syllable, or word (He the strongest of all mortals, he the mightiest among many... Longfellow) According to the arrangement of rhymes in stanzas, rhymes fall into: · Couplets--when two lines are rhythmically linked by the final rhyme (a a) · Cross rhymes--a b a b · Frame rhymes--a b b a · Monorhymes--a a a a a a Blank verse--no rhyme 8. Lexical stylistic devices Lexical stylistic devices are structures in which the meaning becomes primary. 1) SD-s based on the interaction of lexical and contextual meaning. Metaphor--a hidden comparison, achieved by likening one object to another. The word
the mortification of seeing Mary, after very little entreaty, preparing to oblige the company. By many significant looks and silent entreaties, did she endeavour to prevent such a proof of complaisance, but in vain; Mary would not understand them; such an opportunity of exhibiting was delightful to her, and she began her song. Elizabeth's eyes were fixed on her with most painful sensations, and she watched her progress through the several stanzas with an impatience which was very ill rewarded at their close; for Mary, on receiving, amongst the thanks of the table, the hint of a hope that she might be prevailed on to favour them again, after the pause of half a minute began another. Mary's powers were by no means fitted for such a display; her voice was weak, and her manner affected. Elizabeth was in agonies. She looked at Jane, to see how she bore it; but Jane was very composedly talking to Bingley
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