Question  | Answer | |||
|---|---|---|---|---|
| POETRY start learning | The crown of literature is poetry. It is its end and aim. It is the sublimest activity of the human mind. It is the achievement of beauty and delicacy. The writer of prose can only step aside when the poet passes. W. Somerset Maugham | |||
| POETRY start learning | POETRY: any type of literature that employs some principle of METER. Relies on sound and imagery. | |||
| POETRY LYRIC start learning | eclogue reverdie ode hymn sonnet elegy haiku limerick free verse | |||
| POETRY NARRATIVE start learning | epic poem mock-epic poem saga ballad lay fable | |||
| POETRY DRAMATIC start learning | dramatic monologue soliloquy character sketch closet drama | |||
| LYRIC POETRY start learning | originally designed to be sung to music (a lyre) usually short, of unified mood (e.g., melancholy, pastoral) employs repetitions, mellifluous syntax written in the first person (‘I’) gives vivid images of Nature, rather than constructions | |||
| LYRIC POETRY start learning | expresses powerful feelings of joy or sorrow, gives space for contemplation, reflection | |||
| LYRIC POETRY start learning | conveys the vision of life as „ as a sequence of intensely felt moments, rather than a structure of interrelated and assessed experiences” (The Routledge Dictionary of Literary Terms) British poetry tends to be lyrical kinds of lyric poetry: eclogue, | |||
| ECLOGUE start learning | a short pastoral poem; synonymous with the terms ‘bucolic’ and ‘idyll’ Presents idealized Nature and shepherds as characters E.g., Edmund Spenser The Shepherd’s Calendar | |||
| The Shepheardes Calender, series of poems by Edmund Spenser, published in 1579 and considered to mark the beginning of the English Renaissance in literature. start learning | Following the example of Virgil and others, Spenser began his career with a group of eclogues (short poems usually cast as pastoral dialogues), | |||
| in which various characters, start learning | in the guise of innocent and simple shepherds, discuss life and love, formulating weighty—and often satirical—opinions on questions of the day | |||
| The Calender consists of 12 eclogues, one for each month start learning | employing a variety of metres and including archaic vocabulary Spenser borrowed from earlier poetry (particularly that of Geoffrey Chaucer). | |||
| The first and last of the eclogues, each presenting a “complaint” by the shepherd boy Colin Clout (Spenser), frame the remaining 10 rustic dialogues. start learning | The latter deploy the full complement of pastoral poetic conventions, including the singing contest, the encomium (a panegyric to Elisa [Elizabeth I]), the hymn to Pan, and the dirge. | |||
| LYRIC POETRY start learning | ECLOGUE | |||
| REVERDIE start learning | REVERDIE A short lyric glorifying spring E.g., Cuckoo | |||
| ODE start learning | ODE a lyric poem of some length and elevated style on a serious subject | |||
| Pindaric ode start learning | Pindaric ode=passionate, visionary, complex stanzas; e.g. Ben Jonson Ode to Sir Lucius Cary and Sir Henry Morrison | |||
| Horatian ode start learning | Horatian ode=meditative, colloquial, in a single stanzaic form; e.g., John Keats Ode on a Grecian Urn | |||
| Irregular ode start learning | Irregular ode; e.g. William Wordsworth Ode: Intimations of Immortality | |||
| HYMN start learning | HYMN Greek hymnos: a 'song of praise', honouring gods or heroes In Christian tradition: songs of worship Structurally resemble ballads, simple e.g., William Cowper and John Newton Olney Hymns | |||
| SONNET start learning | SONNET ELEGY 14 lines, in the 9th line contains a volta (a turn, a twist); an elegant form, calling for discipline Deals with courtly love, presents idealized lover | |||
| SONNET Kinds: start learning | Petrarchan: the octave (the first eight lines), with an a-b-b-a a-b-b-a rhyme scheme, and the sestet (the final six lines), rhyming either c-d-e c-d-e or c-d-c c-d-c Spenserian: three quatrains a-b-a-b b-c-b-c-c-d-c-d and a final couplet e-e | |||
| Shakespearean: SONNET start learning | Shakespearean: three quatrains a-b-a-b c-d-c-d e-f-e-f and a final couplet g-g | |||
| ELEGY start learning | ELEGY A poem meditating on the death of an individual or on the fact of mortality in general E.g., Thomas Gray Elegy Written in the Country Churchyard | |||
| HAIKU start learning | HAIKU A type of Japanese poetry that captures the impression of a single object or aspect of nature Consists of 17 syllables, arranged in three lines of five, seven, and five syllables e.g., Bashō’s haiku | |||
| e.g., Bashō’s haiku start learning | The old pond; A frog jumps in — The sound of the water. Translated by R.H. Blyth | |||
| FREE VERSE start learning | Lines of poetry written without a regular meter and usually without rhyme e.g. Walt Whitman, Leaves of Grass | |||
| When I Read the Book, Walt Whitman start learning | When I read the book, the biography famous, And is this then (said I) what the author calls a man's life? And so will some one when I am dead and gone write my life? (As if any man really knew aught of my life, | |||
| LIMERICK start learning | A form of light verse consisting of five anapestic lines rhyming a-a-b-b-a E.g., Edward Lear’s limericks | |||
| W. H. Auden start learning | T. S. Eliot is quite at a loss When clubwomen bustle across At literary teas Crying, “What, if you please, Did you mean by The Mill On the Floss?” | |||
| NARRATIVE POETRY start learning | the oldest type of poetry tells a story, usually lenghty undertakes historical, legendary or mythical themes; has a partially informative character | |||
| kinds of NARRATIVE POETRY start learning | Epic mock-epic Saga Ballad Lay Fable | |||
| EPIC POETRY start learning | tells a story (e.g. Homer’s Illiad and Odyssey, Virgil’s Aeneid, Epic of Gilgamesh, Kalevala, Tale of Genji) features an epic hero: noble-born, leader, warrior, courageous, daring, physically strong | |||
| EPIC POETRY start learning | the characters are subjet to fate, they are parts of a greater scheme encompasses great scope of events, personages, settings, etc. strives for objectivity concentrates on actions, not emotions | |||
| EPIC POETRY start learning | extolls heroic values: strength, prowess, valour in battle rests on the images of sublimity and grandeur its voice is simple and authoritative presents the overview of the society in its historical context | |||
| MOCK-EPIC POETRY start learning | a form that employs the “high style” associated with epic poetry in order to satirize a trivial subject flourished in the 17th and 18th centuries e.g. The Rape of the Lock (Alexander Pope), Baratrachomyomachia | |||
| SAGA start learning | a medieval Scandinavian or Icelandic narrative poem depicting the adventures of legendary figures; e.g. Nibelung Saga Three kinds: family saga, kings’ saga, heroic saga Written in laconic, objective style | |||
| SAGA start learning | Themes: growth of social stability, the role of powerful human emotions | |||
| BALLAD start learning | Originally accompanying dancing; written in short stanzas, in the form of dialogue, a lot of repetitions, refrains Deals with romantic passions, unhappy love affairs, political/military subjects e.g., Robin Hood ballads | |||
| LAY start learning | a short lyric or narrative poem intended to be sung; called also lai; we talk especially about Breton lays usually dealing with matters of history or romantic adventure, which were sung by minstrels; contains supernatural elements | |||
| LAY start learning | usually dealing with matters of history or romantic adventure, which were sung by minstrels; contains supernatural elements (e.g. the land of fairies) e.g., The Lais de Marie de France („Chevrefoil”) | |||
| FABLE start learning | A short narrative in verse in which the action of the characters, usually animals (a beast fable), conveys a moral lesson e.g., de La Fontaine’s fables, Krasicki’s fables | |||
| DRAMATIC POETRY start learning | written in the form of a dialogue or a monologue, with the speakers clearly marked places focus on the character development | |||
| DRAMATIC POETRY forms: start learning | dramatic monologue: / soliloquy:/ character sketch:/ closet drama: | |||
| dramatic monologue: a speech made by the character at the critical moment; implies the presence of the listener; indirectly presents the features of the speaker; focuses on the character; e.g. My Last duch*ess, Robert Browning start learning | soliloquy: no one present to listen to the monologue; the character openly reveals his traits, thoughts, ambitions, etc.; comments on the plot; e.g. To Be or Not To Be, William Shakespeare | |||
| character sketch: the poet-observer comments on the character rather than the story; involves the elements of suspense, tension; e.g. General Prologue to The Canterbury Tales, Geoffrey Chaucer start learning | closet drama: a play designed to be read either silently or in a group, not performed; e.g. Manfred, Lord Byron | |||
| “A man of genius can hardly be sociable, for what dialogues could indeed be so intelligent and entertaining as his own monologues?” start learning | Schopenhauer | |||
