1. The Iambic Pentameter Line

2019 ◽  
pp. 1-19
Keyword(s):  
Iambic Pentameter

Russian iambic pentameter

2001 ◽  
Vol 15 ◽  
pp. 187-203
Author(s):  
Emily Klenin
Keyword(s):  
Present Article ◽  
Cultural Context ◽  
Line Length ◽  
General Tendency ◽  
Word Stress ◽  
Russian Poetry ◽  
Iambic Pentameter ◽  
Stress Patterns

The Russian pentameter is historically associated with the English and German traditions, but typologically it has with some justice been compared to the French decasyllable. The present article analyzes the structure and cultural context of Russian pentameter and examines in detail the use of caesura in a small corpus of iambic pentameter poems by Afanasy Fet. It is shown that the use of caesura correlates with patterns of word stress. In particular, the appearance of caesuraed lines in poems in which caesura is relatively weak correlates with the stress patterns of the lines in question: caesuraed lines are less heavily stressed than uncaesuraed ones, a correlation that theoretically should promote equalization of line length across the text. Russian poetry has a general tendency to promote equality of line length, and the intrusion of occasional I6 lines into I5 texts, a phenomenon known in many Russian I5 poems, can be viewed as a related strategy for handling ragged I5 lines.

scholarly journals The patterns of the Estonian sonnet: periodization, incidence, meter and rhyme

2018 ◽  
Vol 4 (2) ◽  
pp. 67-124
Author(s):  
Rebekka Lotman
Keyword(s):  
Second World War ◽  
Free World ◽  
Free Verse ◽  
World War ◽  
History Of ◽  
Axis I ◽  
Verse Form ◽  
Estonian Language ◽  
Iambic Pentameter ◽  
Second World

The first sonnets in Estonian language were published almost 650 years after this verse form was invented by Federico da Lentini in Sicily, in the late of 19th century. Sonnet form became instantly very popular in Estonia and has since remained the most important fixed form in Estonian poetry. Despite its widespread presence over time the last comprehensive research on Estonian sonnet was written in 1938.This article has a twofold aim. First, it will give an overview of the incidence of Estonian sonnets from its emergence in 1881 until 2015. The data will be studied from the diachronic perspective; in calculating the popularity of the sonnet form in Estonian poetry through the years, the number of the sonnets published each year has been considered in relation to the amount of published poetry books. The second aim is to outline through the statistical analyses Estonian sonnets formal patterns: rhyme schemes and meter. The sonnet’s original meter, hendecasyllable, is tradionally translated into Estonian as iambic pentameter. However, over the time various meters from various verse systems (accentual, syllabic, syllabic-accentual, free verse) have been used. The data of various meters used in Estonian sonnets will also be examined on the diachronic axis. I have divided the history of Estonian sonnets into eight parts: the division is not based only on time, but also space: post Second World War Estonian sonnet (as the whole culture) was divided into two, Estonian sonnet abroad, i. e in the free world, and sonnet in Soviet Estonia.The material for this study includes all the published sonnets in Estonian language, i.e almost 4400 texts.

scholarly journals “The Trout Breaks the Ice” by Mikhail Kuzmin: Verse and Grammar

2021 ◽  
Vol 8 (1) ◽  
pp. 99-116
Author(s):  
Marina Akimova
Keyword(s):  
Past Tense ◽  
Long Poem ◽  
Complex Composition ◽  
The Past ◽  
Compositional Structure ◽  
Verb Forms ◽  
Astronomical Time ◽  
Mikhail Kuzmin ◽  
Iambic Pentameter ◽  
Finite Verb

The author explores various compositional levels of the Russian modernist author Mikhail Kuzmin’s long poem “The Trout Breaks the Ice”. The levels are: (1) the grammatical tenses vs. the astronomical time (non-finite verb forms (imperative) are also assumed to indicate time); (2) the meters of this polymetric poem; (3) realistic vs. symbolic and (4) static vs. dynamic narrative modes. The analysis is done by the chapter, and the data are summarized in five tables. It turned out that certain features regularly co-occur, thus supporting the complex composition of the poem. In particular, the present tense and time regularly mark the realistic and static chapters written in various meters, whereas the past tense and time are specific to the realistic and dynamic chapters written in iambic pentameter. The article sheds new light on the compositional structure of Kuzmin’s poem and the general principles of poetic composition.

scholarly journals Evolution of Verse Form, Plots and Characters in English Plays (mid-16th to mid-19th centuries)

2019 ◽  
Vol 6 (1) ◽  
pp. 7-19
Author(s):  
Marina Tarlinskaja
Keyword(s):  
Nineteenth Century ◽  
Social Structure ◽  
Social Values ◽  
Poetic Language ◽  
The Social ◽  
English Society ◽  
Verse Form ◽  
Iambic Pentameter

The aim of this essay is to demonstrate how the rhythmical evolution of English dramatic iambic pentameter parallelled the changes of aesthetic tastes and social values of English society from the mid-sixteenth to mid-nineteenth century. During 250 years the evolution of such features as the abundance or absence of enjambments, the use of constrained or loose iambs, and some others corresponds to the changes in the architecture of the theaters, the social structure of the audience, the manners of declamation, the complexity of poetic language, and the types of characters and plots the playwrights used.

Chaucer, Gower, and Fifteenth-Century Poetry in English

2019 ◽  
pp. 228-254
Author(s):  
Derek Attridge
Keyword(s):  
Fifteenth Century ◽  
Fourteenth Century ◽  
Major Work ◽  
Confessio Amantis ◽  
Speaking Voice ◽  
Century Poetry ◽  
Iambic Pentameter

By the end of the fourteenth century, a sizeable audience for poetry in English among the gentry and the commercial classes had emerged. Chaucer wrote for this readership, and his poetry shows a successful absorption of French and Italian models. This chapter scrutinizes his work for evidence of the manner in which it was performed and received. Throughout his oeuvre, Chaucer appeals to both hearers and readers, using images both of books and of oral performers. His invention of the English iambic pentameter made possible a fuller embodiment in verse of the speaking voice, unlike Gower, who chose to write his major work, Confessio Amantis, in strict tetrameters. In the fifteenth century, the changing pronunciation of English made writing in metre a challenge, as is evident in the work of Hoccleve and Lydgate. The chapter ends with a consideration of the Scottish poets Henryson, Dunbar, and Douglas.

How can Shakespeare’s iambic pentameter enable inclusion of and encourage participation of autistic pupils in a year 7 boy’s mainstream classroom?

2018 ◽  
Vol 4 (4) ◽  
pp. 165-173
Author(s):  
Jane Elizabeth Gurnett
Keyword(s):  
Empirical Evidence ◽  
Open Space ◽  
Common Ground ◽  
Sense Of Self ◽  
Autism Spectrum ◽  
Content Type ◽  
Safe Place ◽  
Mother And Child ◽  
The Ohio State University ◽  
Iambic Pentameter

Purpose The purpose of this paper is to facilitate a greater understanding of verbal and non-verbal communication in an open space learning (OSL) environment. This is an exploration of the premise that by using Shakespeare’s iambic pentameter as a scaffolding for learners on the autism spectrum, a “safe place” can be accessed. Design/methodology/approach Using an action research model and following government guidelines, using common assessment framework analysing the findings using School’s assessment criteria model that is used for single exercises through to whole scheme of work: making–performing–evaluating (self-evaluation sheets/peer evaluation sheets/teacher evaluation). Findings There has been hypothesis that people with ASD may be more able to track their heart beats for longer than neurotypicals. Kimberly et al. (2015) suggest that empathetic abilities and emotional experiences in people with ASD can produce negative experiences, anxiety can occur and the interoceptive awareness and ability to positively relate to self can be caused to dislocate. The use of the rhythm of the heartbeat may aid communication skills in ASD learners. Research limitations/implications In the autistic learner, overload, caused by hypersensitivity/hyposensitivity, can also affect and be effected by environmental issues in OSL environment. The autistic learner can be deeply affected. Unlike a desk-based class there is nowhere to hide, no place of safety. Practical implications By trying to find a common ground where the autistic learners can realise their full capacity the use of the heartbeat iambic rhythm can, the author posits, impact on the autistic learners sense of self and confidence, aiding learning. Social implications As Hunter (2015) espouses, the heartbeat is a nurturing instrument. The author advocates that the heartbeat is also a unilateral marker that unifies a class/the environment at the same time as comforting the autistic learner. Originality/value There is an element in every being that has to be present from inception, the heartbeat, it is the first function an embryo performs. The heartbeat also produces a primal symbiotic interdependency in mother and child. It is a pure connection. The author posits that the replication of this pure function can comfort, reassure and foster communication. There is no empirical evidence, but research is currently taking place at the Nisonger Centre at the Ohio State University, where, under the leadership of Dr Marc J. Tasse, pilot workshops have taken place. The author also have no empirical evidence as to why the heartbeat is instrumental in helping the autistic learner to communicate. The author gives the conjecture in the paper.

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