Prosody The recurring pattern of sounds that give poems written in verse their distinctive rhythms Accentualsyllabic meter is based both on number of syllables in a line and on the pattern of stresses in each metrical unit or foot ID: 374996
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Slide1
Meter, substitutions, pauses
ProsodySlide2
The recurring pattern of sounds that give poems written in verse their distinctive rhythms
Accentual-syllabic meter
is based both on number of syllables in a line and on the pattern of stresses in each metrical unit, or foot.
MeterSlide3
A cha
pel
was built in the midst,Where I used to play on the greenTwo unstressed followed by one stressed
Anapest
Meter - 1Slide4
˘ ’ ˘ ˘ ’
˘
˘ ’
A Cha /
pel was built / in the midst,
˘
’ ˘ ˘ ’ ˘ ˘ Where I / used to play / on the ’greenThree feet each line (# of times stress pattern repeated per line)Three feet + Anapest = anapestic trimeter
Meter - 1Slide5
The woods / de cay, / the woods / de cay / and fall,
The
va / pors weep / their bur /then to / the ground,
Man comes / and tills / the field / and lies / be
neath
,
And af / ter ma / ny a sum / mer dies / the swan.Meter - 2Slide6
Jew
els
/ in joy / de signed To rav
/
ish the
sen
/ su ous mindLie light / less, all / their spar / kles bleared / and black / and blind. Unstressed followed by stressed Lines 1-2 have three feet – iambic trimeterLine 3 has six feet – iambic hexameter
Meter - 3Slide7
Earth, re /
ceive
an / hon oured
/ guest;
Will iam
/ Yeats is / laid to / rest.
Let the / I rish / ves sel / lieEmp tied / of its / po et / ry.Stressed followed by unstressedFour feet per lineTrochaic tetrameter Catalectic last foot
Meter - 4 Slide8
When a man / hath no free /
dom
to fight / for at home, Let him com / bat for that / of his neigh /
bors
;
Let him think / of the
glo / ries of Greece / and of Rome,And get knocked / on the head / for his la / bors.Meter - 5Slide9
When a man / hath no free / dom
to fight / for at home,
Let him com / bat for that / of his neigh / bors;Let him think / of the
glo
/ ries of Greece / and of Rome,
And get
knocked / on the head / for his la / borsAnapestic tetrameter alternating with anapestic trimeter with an extra unstressed foot (feminine ending) in lines two and fourMeter - 5Slide10
Any variant foot within a line that consists predominantly of another metrical pattern
Spondaic foot – two stressed syllables in a row
Trochee at the start of an iambic lineAnapestic foot within an iambic line
Catalectic – at the end of a trochaic or dactylic line
SubstitutionsSlide11
Lines that end with a strong stress are said to have a
masculine ending.
Lines that end in an unstressed syllable are said to have a feminine ending.
SubstitutionsSlide12
Ah! Well – a- day! What e
vil
looksHad I from old and young!In stead of the cross, the Al
ba
tross
A bout my neck was hung.
Predominant pattern – Unstressed followed by stressediambSubstitutions - 1Slide13
Ah! Well / -a-day! / what e /
vil
looksHad I / from old / and young!In stead / of the cross, / the Al /
ba
tross
A bout / my neck / was hung.
Predominantly Iambic (Unstressed followed by stressed)Tetrameter alternating with trimeter: ballad meterSpondee: the first foot of lines 1 & 2; extra unstressed syllable in line three: “of the cross”Substitutions - 1Slide14
The hand / that held / my wrist
Was bat /
tered on / one knuc
/
kle;
At
ev / ery step / you missedMy right / ear scraped / a buc / kle.Iambic trimeter (unstressed followed by stressed; three feet to line)An extra unstressed syllable at the ends of lines 2 & 4 (feminine endings); a spondee at “ear scraped”Substitutions - 2Slide15
I will / a rise / and go now, / for al / ways night / and day
I hear / lake
wa / ter
lap / ping with / low sounds / by the shore.
Iambic hexameter – six feet; unstressed – stressed
Spondees at “go now,” and “low sounds”; and extra unstressed syllable at “and” in line 1 and “by the” in line 2
Substitutions - 3Slide16
The dew / of the morn /
ing
Sunk chill / on my brow –It felt / like the warn /
ing
Of what / I feel now.
Two unstressed followed by stressed; two feetMissing unstressed syllable at the start of each line; extra unstressed syllable at the end of lines 1 & 3 (feminine ending); spondees at “sunk chill” and “I feel now,” with an extra stressed syllable in the latter footSubstitutions - 4Slide17
Wo
man much / missed, how you / call to me, / call to me,
Say ing that / now you are / not as you / were
When you had / changed from the / one who was / all to me,
But as at / first, when / our day was / fair.
Four feet of a stressed followed by two unstressed
– dactylic tetrameterMissing unstressed syllables ends of lines 2 & 4; caesura 2nd foot of 4th line; spondee at “our day”Substitutions - 5Slide18
End-stopped
Contains complete thought (complete sentence or independent clause)
Distinct pause at the end, usually indicated by a mark of punctuation
C
alls attention to the complete thought expressed
PausesSlide19
Enjambed
lines
Sentence or clause continues for two or more lines
No punctuation appears at the end of the
enjambed
lines
PausesSlide20
Caesura
A pause in the midst of a verse line
Indicated by a mark of punctuation
Creates a shift in the rhythmic pattern which parallels a shift in the focus
PausesSlide21
How do I love thee?
//
Let me count the ways.I love thee to the depth and breadth and height
My soul can reach,
//
when felling out of sight
For the ends of being and ideal grace.End-stopped: complete thought ends with lineEnjambed: thought continues to next line.Pauses - 1Slide22
I wandered lonely as a cloud
That floats on high o’er vales and hills,
When all at once I saw a crowd,A host,
//
of golden daffodils.
Pauses - 2Slide23
What the hammer?
//
what the chain?In what furnace was thy brain?What the anvil?
//
what dread grasp
Dare its deadly terrors clasp?
Pauses - 3Slide24
No longer mourn for me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world that I am fledFrom this vile world,
//
with vilest worms to dwell.
Pauses - 4Slide25
The flowers do fade,
//
and wanton fieldsTo wayward winter reckoning yields;
A honey tongue,
//
a heart of gall,
Is fancy’s spring, // but sorrow’s fall.Pauses - 5Slide26
’
˘ ’ ˘
’ ˘
’ ˘ ’
˘Sun days / too my / fa ther / got up / ear ly ˘ ’ ˘ ’ ˘ ’ ˘ ’ ’ ’and put / his clothes / on in / the blue / black cold, ˘ ˘ ’ ’ ˘
’
t
hen
with / cracked hands / that ached
˘ ’ ˘ ’
˘ ’ ’ ’
˘ ’
f
rom
la /
bor
in / the week / day
wea
/
ther
made
’ ˘
’ ’ ’ ’ ˘ ’ ’
banked
fires / blaze. // No one /
ev
er
/ thanked him.
Those Winter SundaysSlide27
’ ’ ˘ ’
˘
’ ’ ˘ ˘ ’ ˘I’d wake / and hear / the cold /
splin
/ ter
ing, / break ing. ˘ ˘ ’ ˘ ’ ˘ ’When the rooms / were warm, / he’d call, ˘ ’ ˘ ’ ’ ’ ˘ ’and slow / ly
I / would rise / and dress,
’
˘ ˘ ’ ˘
’ ˘ ˘
’
’
f
ear
ing
/ the
chron
/
ic
an /
gers
of / that house,
Those Winter Sundays – cont’dSlide28
’ ˘ ˘ ’ ˘ ˘ ˘ ˘ ’
Speak ing / in
dif
/ fer
ent ly / to him, ’ ’ ’ ˘ ’ ˘ ’who / had dri / ven out / the cold ˘ ’ ˘ ˘ ’ ’ ˘ ’and po / lished
my / good shoes / as well.
’
’
’ ’ ’ ’
’
’
What did / I know, // what did / I know
˘ ’ ˘ ’ ˘
’
˘ ’ ˘ ˘
of love’s /
aus
tere
/ and lone /
ly
off
i
ces
?
Those Winter Sundays – cont’dSlide29
Reminiscence of the narrator’s difficult childhood
.
Blames father – resentment made him treat father with indifference
Yet, looking back remembers the “austere and lonely offices” that his father performed for him
Diction?
colloquial
Tone? conversationalThose Winter Sundays