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Showing posts with label Meter. Show all posts
Showing posts with label Meter. Show all posts

Saturday, April 27, 2013

Shakespeare Sonnet 55 analysis, paraphrase and theme

WILLIAM SHAKESPEARE




William Shakespeare was born in London and spent his childhood there. He received some formal Education. Suddenly he  appeared in London in connection with the theatre, and spent most of his life there writing for the stage. He spent the last few years of his life in his native town without any literary activity.
Shakespeare is the greatest playwright England ever produce, and his sonnets are among the best in the English language. The poetry of his plays, though written primarily for the stage, and often with a certain actor in mind, is characterized by variety of style, subject matter, and mood. His language can soft tender at other times. It is easy to detect certain verbosity in his poetry at certain times, while in others, especially in his later plays, his language tends to be condensed, almost terse, and both thought and feeling are revealed in brief, but clear image and description. Since he tried "to suit the word to the deed", his style can be high, middle, or low and even vulgar. With a sharp mind and intense imagination he was able to see into the complexities of human nature. His poetry also reveals wide knowledge of man in various social, political, or moral situations
If his plays reveal the greatness of his dramatic poetry, his sonnets are a record of his great lyrical power. He brought the English sonnet into  perfection, hence it is called the Shakespearian sonnet. It consists of Three quatrains and a final couplet. While a single is developed in the three quatrain the final couplet is conclusion that clinches the meaning or a twist in meaning which stands in contrast to the idea developed in the three quatrain.
The theme of Shakespeare's sonnet are death, love, immortality of poetry, and the vicissitude of life, and time. They are the most personal poems Shakespeare ever wrote, yet they tell us about his life. In these sonnets the plain and the ornate styles are to be found. The power of feeling, the depth of thought, and intense imagination are all to be found in these sonnets.    



Paraphrasing
In this sonnet, Shakespeare intended immortalize his friend W.H through poetry. For him, poetry will last longer than the greet monuments which where built to immortalize king or prince. Shakespeare says that the memory of his friend will be immortalized through his poetry because time will not affect his poetry and it will out-live because time can affect only the material things like the marble and the monument, but it can not effect poetry because it is kept in books and in the minds of the people. The great monuments are neglected, they are besmeared by time. They are often placed in open place, so, they are affected by the weather, rain, sun, storms…etc, and hence they lost their bright and became grime and dirty, also they will be ruined.
Also the statues and masonry will be ruined and destroyed by wars and civil disturbance, but the poet says that not even the sword of Mars (the god of war) not the wars fire could burn or destroy "the living record" of his friends memory. Also his friends memory will not be affected by the oblivion that comes with enmity and death, built will lasts and finds room in the minds' of the coming generation and it will last till. Judgment day Shakespeare says that till memory of poems. Judgment day comes, his friend memory will lives in his poem and he will dwell in the lover's eyes because the lovers when they read the sonnet as an expression of their own feeling for each other. They will think of the object of Shakespeare affection. In brief, the whole poem is like a firm declaration of the durability of love and art. The poet believed that through poetry he will immortalized his friend until judgment day.

Not marble, nor the gilded monuments (1): This line is likely an allusion to the lavish tombs of English royalty; in particular, to the tomb of Henry VII in Westminster Abbey, which contains a large sarcophagus made of black marble with gilded effigies of King Henry and his queen, Elizabeth of York.
with sluttish time (4): i.e., by filthy time.
 In Elizabethan England the word "sluttish" could describe either a sexually promiscuous woman or a grubby, unkempt woman. Here Shakespeare personifies Time as the latter.
broils (7): angry, violent quarrels or riots.
all-oblivious enmity (9): i.e., the war and decay that would render the subject of the poem forgotten.

 Sonnet 55 is one of Shakespeare's most famous works and a noticeable deviation from other sonnets in which he appears insecure about his relationships and his own self-worth. Here we find an impassioned burst of confidence as the poet claims to have the power to keep his friend's memory alive evermore.
 However, many believe that such an analysis ignores Shakespeare's paramount desire to immortalize his friend in verse, and not himself (as was the motive of most classical poets). "The Romans say: Because of my poem I will never die. Shakespeare says: Because of my poem you will never die....What distinguishes Shakespeare is that he values the identity of the beloved; he recognizes that the beloved has his own personal immortality, in no way dependent on poetry" (Martin, 158). By focusing on the word live, Shakespeare uses the language itself to emphasize his authorial intentions. Notice the word choices of outlive (2), living (8), oblivious (9), and live (14).



The Theme
The theme of the sonnet is the immortalizing power of poetry. It is a stock theme which had been treated by many poets, but nearly all of them were mainly concerned with their own fame in the future, while Shakespeare uniquely thinks of poetry as a means to an end. He is not concerned with his own personal glory.
Organization
The sonnet is divided into three parts.
In the first part (lines 1-4), in which Shakespeare speaks about the marble and monument of great men. He recalls ornate lambs in English church. He personifies time as a sluttish woman who allows the monuments to be besmeared with dust and grim.
In the second part (lines 5-8), he speaks about something which is more dangerous, than more neglect, it is the wars and civil disturbance which destroy and ruin the statues and the masonry.                                           
In the third part (lines 9-12), the poet speaks about the immortalization of the memory of his friend and how it will outlast the oblivion that comes with enmity and death. He concerned about his poetry as a means to immortalized his friend.

Language Elements in the Sonnet
1. Rhyme scheme:
The sonnet rhymed abab, cdcd, efef, gg. This a typical English sonnet.
2. Rhythm and Meter
The sonnet is written in Iambic pentameter lines.
3. Poetic Devices 
a. sound devices

Alliteration
The lines of the sonnet are knit together by alliterated initial letters
e.g: Marble/ monuments - prince/ powerful.. etc.
Assonance
Alliteration in the sonnet is supported by assonance as when "Mars" echoed in the same line by "wars" and "pace" by "praise".. etc.

Meaning devices
in the fourth line "Time" is personified as a sluttish woman who allows the marble and monuments to be besmeared with dust and grim, and in line six, "broils" is personified as a person who rout out the work of masonry.
The imagery of the sonnet is magnificently concrete as the words "besmeared" in line 4, "rout out" in line 6, and "pace forth" in line 10 exemplify.        







Friday, April 26, 2013

Rhythm, Meter, and Scansion


Rhythm, Meter, and Scansion





I created this page as a quick reference for my students when studying rhythm. The sources I cited below were very helpful, especially X.J. Kennedy's book.

rhythm: the pattern of stressed and unstressed syllables in a line.
meter: the number of feet in a line.
scansion: Describing the rhythms of poetry by dividing the lines into feet, marking the locations of stressed and unstressed syllables, and counting the syllables.

Thus, when we describe the rhythm of a poem, we “scan” the poem and mark the stresses (/) and absences of stress (^) and count the number of feet.
In English, the major feet are:
iamb
(^/)








^
/ ^
/
^
/ ^
/
^ / ^
/
^
/
The
falling
out
of
faithful
friends,
renewing
is
of
love










trochee
(/^)








/ ^
/ ^
/
^
/ ^





Double,
double
toil
and
trouble















anapest
(^^/)








^
^
/ ^
^
/
^
^ /



I
am
monarch
of
all
I
survey













dactyl
(/^^)








/
^
^
/ ^^






Take
her
up
tenderly
















spondee
(//)








pyrrhic
(^^)

Iambic and anapestic meters are called rising meters because their movement rises from unstressed syllable to stressed; trochaic and dactylic meters are called falling. In the twentieth century, the bouncing meters--anapestic and dactylic--have been used more often for comic verse than for serious poetry.

Spondee and pyrrhic are called feet, even though they contain only one kind of stressed syllable. They are never used as the sole meter of a poem; if they were, it would be like the steady impact of nails being hammered into a board--no pleasure to hear or dance to. But inserted now and then, they can lend emphasis and variety to a meter, as Yeats well knew when he broke up the predominantly iambic rhythm of “Who Goes With Fergus?” with the line,
^
^
/
/
^
^
/
/
And
the
white
breast
of
the
dim
sea,
A frequently heard metrical description is iambic pentameter: a line of five iambs. This is a meter especially familiar because it occurs in all blank verse (such as Shakespeare’s plays), heroic couplets, and sonnets.
Pentameter is one name for the number of feet in a line. The commonly used names for line lengths are:
monometer


one foot





pentameter


five feet
dimeter


two feet





hexameter


six feet
trimeter


three feet





heptameter


seven feet
tetrameter


four feet





octameter


eight feet

The scansion of this quatrain from Shakespeare’s Sonnet 73 shows the following accents and divisions into feet (note the following words were split: behold, yellow, upon, against, ruin'd):
^
/
^
/
^
/
^
/
^
/





That
time |
of
year |
thou
mayst |
in
me |
be
hold |
^
/
^
/
^
/
^
/
^
/





When
yel |
low
leaves, |
or
none, |
or
few, |
do
hang |

^
/
^
/
^
/
^
/
^
/





Up
on |
those
boughs |
which
shake |
a
gainst |
the
cold,
|





^
/
^
/
^
/
^
/
^
/





Bare
ru |
in'd
choirs |
where
late |
the
sweet
birds
sang |






From this, we see the rhythm of this quatrain is made up of one unaccented syllable followed by an accented syllable, called an iambic foot. We also see there are five feet per line, making the meter of the line pentameter. So, the rhythm and meter are iambic pentameter.
Yes, that’s all very lovely, but why do we study rhythm? People have a basic need for rhythm, or for the effect produced by it, as laboratory experiments in psychology have demonstrated, and as you can see by watching a crew of workers digging or hammering, or by listening to chants and work songs. Rhythm gives pleasure and a more emotional response to the listener or reader because it establishes a pattern of expectations, and rewards the listener or reader with the pleasure that comes from having those expectations fulfilled, or the noted change in a rhythm, as in the Yeats example.

An argument might be raised against scanning: isn’t it too simple to expect that all language can be divided into neat stressed and unstressed syllables? Of course it is. There are infinite levels of stress, from the loudest scream to the faintest whisper. But, the idea in scanning a poem is not to reproduce the sound of a human voice. A tape recorder can do that. To scan a poem is to make a diagram of the stresses and absence of stress we find in it. Studying rhythms, “scanning,” is not just a way of pointing to syllables; it is also a matter of listening to a poem and making sense of it. To scan a poem is one way to indicate how to read it aloud; in order to see where stresses fall, you have to see the places where the poet wishes to put emphasis. That is why when scanning a poem you may find yourself suddenly understanding it.

In everyday life, nobody speaks or writes in perfect iambic rhythm, except at moments: “a HAM on RYE and HIT the MUStard HARD!” Poets don’t even write in iambic very long, although when they do, they have chosen iambic because it is the rhythm that most closely resemble everyday speech.

And even after this lengthy discussion of rhythm, it must be stated that most poems do not employ the same rhythm throughout. Variety in rhythm is not merely desirable, it is a necessity. If the beat of its words slips into a mechanical pattern, the poem marches robot-like right into its grave. Very few poets favor rhythms that go “a TROT a TROT a TROT a TROT” for very long. Robert Frost told an audience one time that if when writing a poem he found its rhythm becoming monotonous, he knew that the poem was going wrong and that he himself didn’t believe what it was saying.

Sources:
Holman, C. Hugh and William Harmon. A Handbook to Literature. Macmillan Publishing Company, 1986.
Kennedy, X.J. Literature. Scott, Foresman, and Company, 1987.

Can you scan these poem excerpts?

The morns are meeker than they were,
The nuts are getting brown;
The berry’s cheek is plumper,
The rose is out of town.
--Emily Dickinson

Bats have webby wings that fold up;
Bats from ceilings hang down rolled up;
Bats when flying undismayed are;
Bats are careful; bats use radar;
--Frank Jacobs, “The Bat”

You know that it would be untrue,
You know that I would be a liar,
If I was to say to you
Girl, we couldn’t get much higher.
Come on, baby, light my fire.
Try to set the night on fire.
--Jim Morrison, “Light My Fire”


الأجوبة
The Emily Dickenson poem is iambic. The meter in line one is tetrameter, line two is trimeter, line three has seven syllables, and line four is trimeter.
"The Bat" is trochaic tetrameter.
The first two lines of "Light My Fire" are iambic tetrameter; the last four are trochaic.

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