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Showing posts with label Assonance. Show all posts
Showing posts with label Assonance. 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

المصطلحات الادبيه Literary Terms




هنا ستجدون شرحا ميسراً للمصطلحات الأدبية التى تستخدم فى كليات الآداب و التربية قسم اللغة الإنجليزية - كما أنها تنفع من يهوى الشعر Poetry و المسرح Drama و الروايةNovel و القصة القصيرة short story و المقال Essay و غيرها من الآداب و الفنون .

الفصل Act
============
هو قسم من أقسام المسرحية play و يتضمن كل فصل من فصول المسرحية
على مشاهد scenes بدأ من مشهد و احد و أكثر
و من المعروف ان المسرحيات الاغريقية كانت تعرض مرة واحدة بدون تقسيمها إلى فصول مع وجود فواصل يتدخل فيها الكورس chorus ثم تدخل الأديب هوراس Horace و أصر على تقسيم المسرحية إلى خمس فصول ثم انتقل ذلك الى الرومانسية الفرنسية و الادباء من العصر الاليزابيثى فى انجلترا ( نسبة الى الملكة Elizabeth الأولى ) كما نرى مثلاً فى مسرحيات شكسبير و كان الفضل فى نقل هذا البناء الجديد الى انجلترا يرجع الى الاديب المعروف Ben Jonson



الحدث Action
==============
إن الحدث هو مجمل القصة التى تسرى فى عمل أدبى مثل ( القصة - الرواية - المسرحية - القصيدة من النوع narrative - أو حتى العمل السينمائى )
كما ان الحدث يمكمن أن يمثل تتالى الأحداث و اندفاعها إلى الأمام فى العمل الدرامى ( المسرح ) و ليس ضروريا ان يتم ذلك بالحركة على خشبة المسرح ( stage ) و إنما من الممكن جدا أن يتطور الحدث بمجرد انكشاف الشخصيات أمامنا و نظرتنا لها كجمهور audience


aesopic language
===============
لهجة قصص أيسوب - كلنا سمعنا عن هذه الحكايات التى يتحدث فيها الطيور و الحيوانات كلمات غاية فى الحكمة - و مصطلح اللغة الأيسوبية استخدمه الأخ Mykhail Saltykov قاصدا به اللغة المخبأة ذات النبرة السياسية و طبعا كان المقصود هنا هو التهرب من الرقابة - و على القارئ أن يقرأ بين السطور و يفهم التلميحات المقصودة

aethetic distance
==============
مصطلح مهم رغم أنه غير مشهور و المقصود به هو العلاقة بين القارئ و العمل الأدبى و هى علاقة نفسية طبعاً - و يمكننا أن نقيس هذه العلاقة عن طريق قياس نظرة القارئ و مدى تقبله للعمل الأدبى .


affectation
============
هو استخدام لغة و محسنات غير مناسبة للموقف الأدبى أو شكل العمل الأدبى و مناسبته لا تتلائم مع هذا الأسلوب - و بالتالى فإن الأدباء يتحاشون الوقوع فى هذا الخطأ قدر الاستطاعة



Prose النثر
==========
هو المصطلح الذى يناقض الشعر poetry من حيث كونه شكل من اشكال اللغة يستمر للأمام مباشرة بدون تزيين و بدون ارتباط بالوزن و القياس و القافية rhythm , measure and rhyme الثلاثى الشهير فى الشعر
لكن لا ننسى طبعا أن هناك قصائد نثرية prose poems تحتوى على بعض الصور البلاغية figures of speech و قافية داخلية أيضاً


assonance = vocalic rhyme
====================
هى تكرار نفس صوت العلة vowel sound فى مسافة قريبة لتحقيق لكنة موسيقية معينة
و جايبلكم مثال من رائعة تنيسون Lotos Eaters
The Lotos blooms below the barren peak:
The Lotos blows by every winding creek:
All day the wind breathes low mellower tone
Thro' every hollow cave and alley lone,


امااااااااااا في الشعر

Metaphor الإستعارة
=========
هى أداة تصويرية تستخدم فى الشعر poetry و معناها
الإشارة الضمنية الى شئ ما بقصد شئ آخر.
مثلاً
Life a dark wood
The world a stage
حيث شبهت الجملة الأولى الحياة بأنها غابة مظلمة و المقصود ضمنياً أنها يسيطر القوى فيها على الضعيف
و الجملة الثانية الدنيا مسرح كبير

Simile التشبيه
===========
هى جملة تحنوى على تشبيه مباشر باستخدام أداة مثل like - as - resemble و هكذا
مثلاً
Life is like a dome of many-coloured glass

Meter 
========
هو تكرار نمط موسيقى معين بين السطور الشعرية lines أو عبر المقاطع الشعرية stanzas
و ذلك باستخدام الضغط stress أو النبرة pitch
و من أنواعها iamb و dactyl

Onomatopoeia
===========
هو تقليد لصوت من اصوات الطبيعة فى الشعر أو أصوات الآلات
مثلاً
screech - babble - tick tock
تعتبر من أمثلتها

accent
-----------------------

هى اللهجة أو فى الشعر طريقة قراءة البيت
حيث يقسم البيت line or verse إلى مقاطع syllables و كل مقطع يسقط عليه ضغط stress or emphasis لكن طريقة النطق تختلف حسب مشاعر القارئ


لاحظ البيت التالى
All human things are subject to decay
And, when Fate summons, Monarchs must obey

يمكن قراءة البيتين بطرق عديد بما يزيد على 12 emphasis أو الضغط على الكلمة فى النطق و هذا يسمى تغير اللهجة accent
حيث يمكنك عمل stress عند :
all-human-when-fate-Monarchs-must-obey


Thursday, April 25, 2013

Alliteration and Assonance in Poetry






If you've only recently started writing poems, it's probable that your main stylistic concern is how they rhyme. But rhyme isn't the only thing that can make a poem sound good - in fact, it's not strictly necessary, and many traditional styles of poetry ignore it. What matters in giving a poem structure is the way you link sounds, and there are other ways of doing that, two of the most significant being alliteration and assonance.
What is Alliteration?
Alliteration is the pairing of identical or similar consonant sounds. You might be most familiar with this from tongue-twisters such as 'Peter Piper picked a peck of pickled peppers', in which the 'p' sound is repeated. Bear in mind that this sound does not always have to be represented by the same letter - for instance, you might pair sounds made by 'f' and 'ph'. If you can't find an appropriate word beginning with an identical sound, you might settle for a pair like 'f' and 'th'.
Alliteration is commonly used in prose writing, for instance in newspaper headlines that are intended to be memorable. Used too intensively, it can create a comic effect, but you can use that too to your advantage, to amuse the reader. When you use a lot of alliteration, it's important to get a balance between playfulness and seeming to be clever for the sake of it. Try to use devices like this only when you are doing so for a reason.
Despite the example given above, alliteration doesn't depend on particular sounds being at the start of words, though usually they are in a stressed position (like, for example, the 'c' in 'implication'). Some sounds carry particular cultural associations that you can manipulate to add depth to your poem. If you're familiar with 'The Lord of the Rings', think about how Gollum uses extra 's' sounds, making him seem creepy and untrustworthy.
What is Assonance?
The counterpart of alliteration, assonance is the pairing of vowel sounds. There's an example of assonance in the title of this page - note the 'a' sound at the start of 'alliteration' and of 'assonance'. This has a subtler effect than alliteration, and often operates at a subconscious level. It can be one of those factors that makes us decide that a particular pair of words sound good together.
Vowel sounds can be grouped into high and low sounds, depending on where the tongue is in the mouth when they're produced. For instance, 'i' in 'fish' is high, whilst 'u' in 'tub' is low. Often assonant effects are produced in poetry by grouping a lot of high vowels or a lot of low vowels.
Most English speakers subconsciously associate high vowels with light, elegant or sophisticated things, and low vowels with crude or common things, because of the way they have appeared historically in the language. You can take advantage of this to establish the tone of a poem.
Directing Attention
The primary use of alliteration and assonance in poetry is to direct attention to particular words, making them stand out and making them more memorable. By doing this, you can also lead readers to make associations between words. For instance, in traditional heroic poetry, poets often use a lot of positive words starting with the hero's initial and negative ones starting with the villain's initial.
Being aware of the effects of alliteration and assonance also means that you can avoid using them accidentally, which can distract readers from the intended flow of a poem. Read your poetry aloud after finishing your first draft and think carefully about the different sounds within it. Do they direct attention where you want it to go, or do they misdirect it?
Creating Rhythm
Careful use of alliteration and assonance can help to establish rhythm within a poem (or in prose). Many traditional forms of poetry use this instead of rhyme, and rhyming poems often employ alliterative devices to make their rhythm more complex. This works because of the way the reader's attention is directed to certain sounds, affecting which words are naturally stressed.
One of the most famous alliterative poems in English is 'The Raven' by Edgar Allen Poe, in which paired sounds contribute strongly to the rhythm. Poe uses these sounds onomatopoeically - that is, to mirror the sound he's describing, that of tapping at a door. Try to think about your own poetry in this light. Alliteration and assonance can help you adjust the rhythm to create particular effects.
Alliteration and assonance can seem complicated at first, but they're well worth exploring. They can bring a whole new dimension to your work.

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