Metre Rhythm And Verse Form Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of Metre Rhythm And Verse Form book. This book definitely worth reading, it is an incredibly well-written.
Metre, Rhythm and Verse Form by Philip Hobsbaum Pdf
Poetry criticism is a subject central to the study of literature. However, it is laden with technical terms that, to the beginning student, can be both intimidating and confusing. Philip Hobsbaum provides a welcome remedy, illuminating terms ranging from the iambus to the bob-wheel stanza, and forms from the Spenserian sonnet to modern 'rap', with clarity and comprehensiveness. It is an essential guide through the terminology which will be invaluable reading for undergraduates new to the subject.
Author : Paul Fussell Publisher : New York : Random House Page : 232 pages File Size : 48,9 Mb Release : 1965 Category : English language ISBN : UOM:49015000387804
The Rhythms of English Poetry by Derek Attridge Pdf
Examines the way in which poetry in English makes use of rhythm. The author argues that there are three major influences which determine the verse-forms used in any language: the natural rhythm of the spoken language itself; the properties of rhythmic form; and the metrical conventions which have grown up within the literary tradition. He investigates these in order to explain the forms of English verse, and to show how rhythm and metre work as an essential part of the reader's experience of poetry.
The Cambridge Companion to British Romantic Poetry by James Chandler,Maureen N. McLane Pdf
More than any other period of British literature, Romanticism is strongly identified with a single genre. Romantic poetry has been one of the most enduring, best loved, most widely read and most frequently studied genres for two centuries and remains no less so today. This Companion offers a comprehensive overview and interpretation of the poetry of the period in its literary and historical contexts. The essays consider its metrical, formal, and linguistic features; its relation to history; its influence on other genres; its reflections of empire and nationalism, both within and outside the British Isles; and the various implications of oral transmission and the rapid expansion of print culture and mass readership. Attention is given to the work of less well-known or recently rediscovered authors, alongside the achievements of some of the greatest poets in the English language: Wordsworth, Coleridge, Blake, Scott, Burns, Keats, Shelley, Byron and Clare.
First published in 1970, this work outlines the principles of English prosody in a way that will enable the reader to recognise and scan any piece of English verse. It illustrates the close relationship between English speech patterns and verse patterns, and the primary importance of the phenomenon of stress. It also discusses the suitability of various kinds of metrical pattern for various kinds of poetic effect. This book will be of interest to those studying poetry and English literature.
Many of the great works of world literature are composed in metrical verse, that is, in lines which are measured and patterned. Meter in Poetry: A New Theory is the first book to present a single simple account of all known types of metrical verse, which is illustrated with detailed analyses of poems in many languages, including English, Spanish, Italian, French, classical Greek and Latin, Sanskrit, classical Arabic, Chinese, Vietnamese, and Latvian. This outstanding contribution to the study of meter is aimed both at students and scholars of literature and languages, as well as anyone interested in knowing how metrical verse is made.
The Forms of Michael Field by LeeAnne M. Richardson Pdf
Michael Field, the poetic identity created by Katharine Bradley (1846-1914) and her niece Edith Cooper (1862-1913), ceaselessly experimented with forms of identity and forms of literary expression. The Forms of Michael Field argues that their modes of self-creation are analogous to their poetic creations, and that exploring them in tandem is the best way to understand Michael Field’s cultural and literary importance. Michael Field deploys a different form in each volume of their lyric poetry: translations of Sappho, ekphrasis, songs, sonnets, and devotional verse. They also appropriate and revise the dramatic genres of verse tragedy and the masque. Each of these experiments in form enable Michael Field to differently address the cultural questions that beset late-Victorian women writers. Drawing on the insights of new lyric studies and new formalism, this book analyzes Michael Field’s continual quest for the aesthetic forms that best express their evolving ideas about identity and sexuality, gender and sacrifice, lyric voice and authority.
For both readers and writers of poetry, here is a concise and engaging introduction to sound, rhyme, meter, and scansion - and why they matter. "The dance, " in the case of this brief and luminous book, refers to the interwoven pleasures of sound and sense to be found in some of the most celebrated and beautiful poems in the English language, from Shakespeare to Edna St. Vincent Millay to Robert Frost. With a poet's ear and a poet's grace of expression, Mary Oliver helps us understand what makes a metrical poem work - and enables readers, as only she can, to "enter the thudding deeps and the rippling shallows of sound-pleasure and rhythm-pleasure."
There is to date no comprehensive account of the rhythms of free verse. The main purpose of A Prosody of Free Verse: explorations in rhythm is to fill that gap and begin to provide a systematic approach to describing and analyzing free verse rhythms. Most studies have declared the attempt to write such a prosody as impossible: they prefer to see free verse as an aberrant version of regular metrical verse. They also believe that behind free verse is the ‘ghost of metre’. Running against that current, A Prosody of Free Verse bases its new system on additive rhythms that do not fit conventional time signatures. Inspiration is taken from jazz, contemporary music and dance, not only in their systems of notation but in performance. The book argues that twentieth and twenty-first century rhythms in poetry as based on the line rather than the metrical foot as the unit of rhythm , and that larger rhythmic structures fall into verse paragraphs rather than stanzas.
Thinking through Poetry: Field Reports on Romantic Lyric pursues two goals. The title signals the contribution to debates about reading. Do we think 'through' - 'by means of', 'with'- poems, sympathetically elaborating their surfaces? Is this compatible with a second meaning: 'thinking through' poems to their end-solving a problem, getting to its root, its deep truth? Third, can we square these surface and depth readings with a speculative, philosophical criticism to which the poem carries us, where 'through' denotes a 'going beyond?' All three meanings of 'through' are in play throughout. The subtitle applies 'field' first to Romantic studies since the 1980s, a field that this project reflects upon from beginning to end. Examples are drawn especially from Wordsworth, but also from Coleridge and, in assessing Romanticism's afterlife, from Stevens. 'Field' also characterizes the shift from a unitary to a field-concept of form during that time-span, a shift pursued through prolonged engagement with Spinoza. 'Field' thus underscores the synthesis of form and history, the importance of analytic scale to that synthesis, and the displacement of entity (text) by 'relation' as the object of investigation. While the book historically connects early nineteenth-century intellectual trends to twentieth- and twenty-first-century scientific revolutions, its focuses on introducing new models to literary criticism. Unlike accounts of the influence of science on literature, or various 'literature + X' approaches (literature and ecology, literature and cognitive science), it constructs its object of inquiry in a way cognate with work in non-humanities disciplines, thus highlighting a certain unity to human knowledge. The claim is that specialists in literature should think the way distinguished scientists think, and vice versa.
