In English literature, during the time of the Anglo-Saxons, the main type of poetry used was alliterative verse. Up until the seventh century, all poetry was passed down orally using alliterative verse. These poems were used to inform the people about everything from current events, religion (namely Christianity), and the heroic tales of past battles (David, 7-8). Alliterative verse is defined by the Encyclopædia Britannica as being “alliteration, the repetition of consonant sounds at the beginning of words or stressed syllables, is a basic structural principle…” (“Alliterative”). The six features of an alliterative poem are as follows: four beat lines, a medial caesura, enjambment, alliteration that links each half-line of the poem, kennings, and litotes. These six features of alliterative verse are not only found in Old English, but in Modern English as well. The elements of alliterative poetry can be found in the following poem, The Plastic Whale and the Fishes’ Road by Rachel Hahn (Hahn). The plastic whale, plowed into the river bank;
Oars splashing and dipping, into the swirling
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Four beat lines are lines of poetry that have four stresses. Four beat lines are used in “Cædmon’s Hymn”. One such four beat line is evident in the following text: “heaven as a roof, / holy Creator;” (Cædmon 6). The beats, or stresses, in this excerpt are “heaven”, “roof”, “holy”, and “Creator”. Another example from an Old English text comes from Beowulf. The following text shows four beats, “So. The Spear-Danes / in days gone by” (“Beowulf” 1). The stressed words in this line are “Spear”, “Danes”, “days”, and “gone”. A much more modern example of a four beat line comes from the Plastic Whale and the Fishes’ Road. In this poem line two shows four beat line thusly: “Oars splashing and dipping / into swirling deep water” (Hahn 2). In this line, the beats are “splashing”, “dipping”, “swirling”, and
The alliteration used is to emphasize rhythm in the poem. On the other hand, the poet also depicts a certain rhyme scheme across each stanza. For example, the first stanza has a rhyme scheme of this manner a, b, c, d, e, a. With this, the rhyme scheme depicted is an irregular manner. Hence, the poem does not have a regular rhythm. Moreover, the poet uses a specific deign of consonance, which is present in the poem (Ahmed & Ayesha, p. 11). The poet also uses the assonance style depicted in the seventh stanza, “Seven whole days I have not seen my beloved.” The letter ‘o’ has been repeated to create rhythm and to show despair in the poem. On the second last line of the seventh stanza, the poet uses the style of consonance, “If I hug her, she’ll drive illness from me. By this, the letter ‘l’ is repeated across the line. The poet’s aim of using this style of Consonance is to establish rhythm in the poem and add aural
Family therapy is often needed when families go through transitions such as separations between parents and divorce. According to research, “the power of family therapy derives from bringing parents and children together to transform their interactions” (Nichols, & Davis, p.18), as problems need to be addressed at their source. The children who are the most vulnerable, when parents decide to separate, exhibit symptoms which are exaggerations of their parent’s problems (Nichols, & Davis, p.18). Frank and Walt Berkman are the examples of how children cope and adapt to the stressors of family separations such as marital separations and
The em dash is used to separate the poem, whereas a special style is used in order to make the poem flow smoothly. This style is called iambic meter, a style that divides lines into two syllable sections. The syllable pattern is 8, 6, 8, 6 for every stanza in the poem. Iambic meter is used to counteract and support Dickenson’s use of the em dash.
Rhymes are two or more words that have the same ending sound. Songwriters and poets often times use rhymes to help their piece flow better, or keep the audience or readers engaged. Billy Joel’s song “We Didn’t Start the Fire” is filled with rhymes, with a rhyme in almost every single line: “Brando, the King and I, and the Catcher In The Rye / Eisenhower, Vaccine, England’s got a new Queen / Marciano, Liberace, Santayana goodbye” (line 6-8). Billy Joel uses the rhymes to move from one topic to the next, and the song is even in chronological order from 1950 to 1989. The rhyme schemes of the song are end rhymes as well as perfect rhymes. On the other hand, the poem is completely free verse, or without a single rhyme. This makes the poem less artistic and harder to remain engaged and interested. In addition to rhyming, allusions are another way of displaying artistic
Blackmur's remarks apply equally well to The Waste Land, where syntactical sequence is given up for a structure depending on the perception of relationships between disconnected word-groups. To be properly understood, these word-groups must be juxtaposed with one another and perceived simultaneously. Only when this is done can they be adequately grasped; for, while they follow one another in time, their meaning does not depend on this temporal relationship. The one difficulty of these poems, which no amount of textual exegesis can wholly overcome, is the internal conflict between the time-logic of language and the space-logic implicit in the modern conception of the nature of poetry.
rhyme. The poem has an A B A C D E A D rhyme. For instance, the words "Sense,"
From the Ancient Greek word poieo, meaning “I create”, poetry is, what is said to be, the most linguistic art form known to mankind over the years. Poetry, as the dictionary states, is a literary work in which special intensity is given to the expression of feelings and ideas by the use of distinctive style and rhyme. Poetry has made its mark on modern European languages in its most relative element-rhyme. Although rhyme did not make its way into classic Greek or Latin poetry until the late Middle Ages, along with many other literary devices, such as alliteration, and assonance has made poetry a sound of music to readers. Some say poetry is merely words on a page, but to others, it is an art form, an illustration of someone’s life, someone’s feelings, and an emotion given away through words in hopes that someone else might find serenity.
The range of poets featured in “Lines to Time” use a variety of poetic devices and writer’s techniques such as symbolism, imagery, alliteration, onomatopoeia, tone, metaphors and humour, to effectively construct an evocative poem.
...hymes are a very common feature found in many poems. The following poem by X.J Kennedy shows how similar end sounds give a patterned resonance to the poem.
Prosodic design is the study of meter. The poem is organized in a way that all the lines contain the same structure. Meaning each line contains four stressed syllables, of the four; three begin with the same sound. According to Webster the repetition of sounds in two or more neighboring syllables is alliteration...
To begin, the poem, “Eve’s Apology,” uses many different poetic devices such as alliteration, assonance, rhyme scheme, and simile. The author uses a great number of alliteration, which is the repetition of constant sounds generally at the beginnings of words. Alliteration can be seen in the words “what” and “weakness” in line 3. Some more examples of alliteration throughout the poem are “subtle serpent’s” (23), “he had him” (24), and “with words which” (30). Assonance, the repetition of the same or similar vowel sounds in stressed syllables that end with different consonant sounds, is another poetic device that the author uses greatly. Some examples of assonance are found in lines 10 “ The ‘p...
In relation to structure and style, the poem contains six stanzas of varying lengths. The first, second, and fourth stanzas
It consists of four stanzas, each a bit longer than the preceding one. Each stanza has it's own
Each of the five stanzas in “Grecian Urn” is ten lines long, metered in a relatively precise iambic pentameter, and divided into a two part rhyme scheme, the last three lines of which are variable. The first seven lines of each stanza follow an ABABCDE rhyme scheme, but the second occurrences of the CDE sounds do not follow the same order. In stanza one, lines seven through ten are rhymed DCE; in stanza two, CED; in stanzas three and four, CDE; and in stanza five, DCE, just as in stanza one. As in other odes, the two-part rhyme scheme (the first part made of AB rhymes, the second of CDE rhymes) creates the sense of a two-part thematic structure as well. The first four lines of each stanza roughly define the subject of the stanza, and the last six roughly explicate or develop it. (As in other odes, this is only a general rule, true of some stanzas more than others; stanzas such as the fifth do not connect rhyme scheme and thematic structure closely at