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5 Phonological Overregularity Main topics Part A: Phonemic Patterning (RHYME) Part B: Rythmic Patterning (RYTHMIC) 1 5.0 Lead-in activities 1)What are the two viewpoints of Style? 2) How can we found abnormal languages? 3)What does “Style as choice ” mean? 4) What is the indication for stylistic analysis in terms of Style as Choice? 5)What are the different levels that can represent overregularity? 2 Lead-in Activities 1) Style as Deviance & Style as Choice 2) Abnormal Lg: Phonolo, Lexical, Graph, Sem, Syntatical Levels 3)Style resides in certain predominant structures, or overregular structures. 4)Phonological, syntactical, etc. 3 5.1Syllable and Related knowledge Sound(phoneme): Vowels & Consonants place; roundness, duration, number Voiced& Voiceless, place and manner of articulation Syllable: Stressed & Unstressed; Primary and Secondary; Word & Sentence; 4 Syllable: Nucleus (Vowel) + Onset (Front Consonant) + Coda (consonant after the vowel) Syllable: CVC (Necessary +optional Elements) The structure of an English Syllable= C0-3 VC0-4 strong; sixths 5 Phonemic and Rhythmic Pattern The repetition of one or two element in a stressed syllable form the Phonemic Patterning of a line or beyond a line. The combination of stressed and unstressed syllables forms the Rhythmic Patterning of a LINE within a poem. 6 Inverse rhyme pararhyme Consonance Alliteration Syllable=C Rhyme in narrow sense V C Assonance or Semi-rhyme 7 5.2 Rhyme and its Classification Rhyme in Broad sense Rhyme in Narrow sense In terms of Number In terms of Position In terms of Perfectness 8 Repetition of elements in syllable What are the models for the combination of the elements in a syllable? C: alliteration CV: inverse rhyme V: assonance VC: rhyme C: consonance CC: pararhyme 9 5.2 Imperfect Rhyme A. alliteration(头韵): The fair breeze blew, the white foam flew. B. assonance(中韵): light—guide; pad—sat; late—fake C. consonance(尾韵): dash—fish; pat—sit; sand—bend D. pararhyme (首尾韵):great—groat; spit—spat; sit—sat; put—pot 10 Imperfect Rhyme inverse rhyme ( 倒韵 ): great—graze; pad—pat; map---mad E. F. eye / sight / visual / spelling rhyme: love—move; far—war; do---go; does--goes 11 5.2.1 Perfect Rhyme 1.Single/male/masculine rhyme: repetition of nucleus and coda in a stressed syllable (pad—sad; get—yet; late--gate 2.Double/feminine rhyme: lending— bending; another—brother 3.Polysyllabic rhyme: glamorous— amorous 12 End rhyme: rhyme occurs at the end of verse lines. Internal rhyme: rhyme occurs within a verse line. 13 5.3 Alliteration(头韵) Definition: the repetition of the initial consonant cluster in stressed syllables. Notes: A) A syllable consists of three parts: an initial consonant cluster, a vowel or diphthong and a final consonants cluster. 14 B) Only the main stressed syllable of a word which greatly carries the alliteration. e.g. Long alliterates with unlovely C) Alliteration in idioms, tongue twister and title of literary works etc. 1) now and never 2) sense and sensibility 3) pride and prejudice 4)last but not least 15 Tongue twister A big bug bit the little beetle but the little beetle bit the big bug back. Betty Botter bought some butter, but she said this butter's bitter! I wish you were a fish in my dish. Six sleek swans swam swiftly southwards. 16 5.3.2 Functions of Alliteration 1) To link together words that are similar in feeling and thought, e.g. (2) 2) To echo the sense or meaning conveyed by the two lines; 3)To help to create a heavy and depressed mood, e.g. (3). 17 Functions of Alliteration 4) To give great emphasis to these words, only through hard and intense struggle can freedom and liberty be won, e.g. (4) 5) To form a connection of both similarity and contrast, e.g. (5) 18 5.4 Assonance(腹/中韵) Definition: the repetition of identical vowel or diphthong in stressed syllables. Analysis of Ex18. 1)Find the words that form assonance 2) What is the cohesive relationship among the words? 3) what is the indication for such relationship? 19 Analysis of Ex18 1) The cohesive meaning of tree, leaves, seed indicate that they represent the cycle of life: from the organic to the inorganic and from the inorganic to the organic. 2) To contribute to music quality, but its meaning. 3) Combination of Sound and sense 20 Discussion of Ex 19 Questions: Which words form assonance in the poem? Group 1:Open, rose, snow, oh, told, row Group 2: scale day, tale Group 3: street, leap, steeple 21 What is the indication for each group? 1) Generally, most instance of assonance chiefly function to unify words and ideas. Group 1: (a)/әu/ connects the two lines together, which express an independent idea: the way morning opened resembles the way that a rose unfolds itself. 22 (b) When /әu/ in snow, rose and oh are produced, our mouth must open—just as morning light spreads or a rose unfolds. (c) The “oh” expresses the wonder at the scenes of color and beauty. (d) Since /әu/ takes longer duration to produce than monophthongs, it may suggest the way morning slowly unfolds in the poem. 23 Interpretation Group 2: The day is like a fairy tale, a beautiful and sunny day. Group 3: The street leaps towards the light, a personified description of the beginning of the day when the lamp are turned out. Finally, the sunshine leap from steeple clock to row of shop, like the scale of a fish when rippling the bricks. 24 5.5 Consonance(尾韵) Definition: the repetition of the final consonant cluster in stressed syllables. Example(20) by Emily Dickinson Who can write down the word forming consonance on the BK? crumb, home, seam, swim How about ocean and noon? No. they are in unstressed syllable. What is the implication of the consonance? Make the text organized and add music quality of the poem, e.g. (20). 25 Explanation (a) What does the poem try to depict? A bird, which eats a worm, pecks at the grass, hops by a beetle, and glances around fearfully. The creature is frightened by the speaker and flies away. What was the image of the bird? An emblem for the quick, lively, ungraspable wild essence that distances nature from the human beings who desire to appropriate or tame it. 26 Explanation What metaphor is used in the final stanza? Dickinson provides one of the most breath-taking descriptions of flying. Simply by offering two quick comparisons of flight and by using aquatic motion (rowing and swimming), she evokes the delicacy and fluidity of moving through air. 27 Example (21) What is the consonance? Call, gull, well, still Implication: The repetition of /l/ unites the key words of the stanza. The sound of has the lingering, almost echoing effect, which reinforces the tone of the poem, e.g. (21). 28 Review Dictation Identification of assonance, consonance and alliteration, etc. Function of the phonemic patterning What are the types of rhyme? 29 5.6 Rhyme Definition: the identity of sounds between words and verse lines extending back from the end to the last fully accented vowel and not further. Function of Rhyme To get the texts more organized To bestow ‘music’ to the texts To bind lines which are closely associated in content. Discussion of examples What type of rhyme in Example 6, 7,8? M or F? 30 Understanding of Example(11) What is the grammatical structure of the poem? What did the narrator do? Whom did he meet? Where did he meet his friends and enemies? Where is I, the narrator? What did he do to the persons? 31 Understanding of Example (13) What feeling does the narrator try to describe? What does the weather look like? Where does the narrator depict? What does the narrator regret in the past days? What is the day Spencer described? What did he see on the bank of the Thames? What can we do for the flowers? What was Spencer’s changing emotion in the poem? 32 Understanding of Example 15 What does the narrator compare to? What is the similarity between summer and his lover? What is the difference between summer and his lover? How can his lover be in eternal? 33 Example 6 and 10 Who’s she? How does Byron describe her beauty? What’s her face and her eyes look like? What is hope? What features are Hope endowed with? 34 英诗押韵格式(Rhyme Scheme) Rhyme scheme: rhymes are arranged in a pattern within a poem. 1. 交替式 (alternate rhyme) abab, cdcd… 2. 英雄双韵体(heroic couplet) aa, bb, 3. 四行四步式(four-beat)abab或abcd 4. 连环式(rime couee)aab, bbc, ccd… 5. 七行体(又叫君王诗体)(rhyme royal) ababbcc 6. 八行体(ottava rima) abababcc 7. 九行体(Spencerian stanza) ababbcbcc 8. 十四行体(商籁体)(sonnet) Br. abab, cdcd, efef, gg Italian abba, abba, cdcdcd 35 5.7 Onomatopeia Definition (A)The use of word formed in imitation of natural sounds associated with the object or action involved. (B) The recurrence of phonemes in a text, which suggests certain natural sounds which reinforce the meaning conveyed in that text unit. 36 But when loud surges lash the sounding shore, The hoarse, rough verse should like the torrent roar. Explain on P107-108 37 Part II Rhythmic Patterning Rhyme is concerned with the consonants and vowels in the stressed syllables. Rhythm is concerned with the stressed and unstressed syllables. (1) Stress embraces primary stress and secondary stress, the former indicated with high vertical stroke and the latter with low vertical stroke. 38 (2) open class words, including nouns, verbs(not auxiliary verbs), adjectives, adverbs are stressed in utterance; closeclass words, including pronouns, articles, prepositions are unstressed in utterance. 39 5.8 Meter Rhythmic patterning is depicted with meter. Two step to analyze meter A) to examine the types of foot B) to see how many feet there are in each line A) Foot: the unit of stressed and unstressed syllables which is repeated to form metrical patterns. Four types of Foot: Iamb, Trochee, Anapaest,Dactyl 40 5.8.1 Four types of foot (a)Iamb: the commonest type of verse foot. It has a pattern alternating stressed and unstressed syllables beginning with an unstressed syllable(抑扬格),e.g. the sea (b)Trochee: alternating stressed and unstressed syllable, beginning with a stressed syllable(扬抑格,e.g. on the sea. 41 Four types of foot (c)Anapaest: a pattern in which one stressed syllable alternates with two unstressed syllables, but beginning with the two unstressed syllables(抑 抑扬格)e.g. pretty. (d)Dactyl: a pattern: a pattern alternating one stressed and two unstressed syllable, 42 beginning with the stressed syllable(扬抑抑格),e.g. beautiful. (Note: A and B belong to the rising rhythm, C and D belong to the falling rhythm.) 5) Spondee: two stressed syllables 43 5.8.2 Song for the foot Iambic feet are firm and flat And come down heavily like THAT. Trochees dancing very lightly Sparkle, froth and bubble brightly, Dactylic daintiness lilting so prettily Moves about fluttering rather than wittily While for speed and for haste such a rhythm is the best As we find in the race of the quick anapaest (Marjorie Boulton, 1953:26) 44 B) Step two: to see how many feet there are in each line, such as monometer, dimeter, trimeter, tetrameter,pentameter, hexameter, meaning one, two, three, four, and five respectively. Example: iambic pentameter(抑扬格五 音步) The Cur/few tolls /the knell /of par/ting day Summary: analysis of the rhythm of a poem must take into account the variation on the basic rhythmic pattern. 45 5.8.3 The functions of sound and meter 1) for aesthetic pleasure—sound and meter patterning are fundamentally pleasing, in the way that music is; 2)to conform to a convention/ style/ poetic form—as with clothes and buildings, poetry has fashion, and different forms of sound patterning have been popular at different times. 46 3) to experiment or innovate with a form— poets innovate to create new poetic forms and also to challenge assumptions about the forms of language which are considered appropriate to poetry. 47 4) to demonstrate technical skill, and for intellectual pleasure—there is a kind of satisfaction to be derived from the cleverness of some poems and the magic of form and meaning being perfectly combined. 5) for emphasis or contrast 6) onomatopoeia—when the rhythm of a line or its sounds imitates the sound of what is being described. 48 5.8.4 Variation of rhythmic pattern 1)leaving one foot without a strong stress; 2)putting two strong stresses in one foot; 3)inverting any foot; 4)putting a hypermetric syllable at the end of a line or; 5)having a catalectic foot (i.e. a foot having one or two syllables short.) 49 Function: these metrical variations have a strong communicative function and can create great aesthetic effects, for they usually coincide with important words or changes of emotion. Notes: people may have differ as to how to analyze the rhythm of a poem. This may not be a bad thing because the ambiguity of rhythm only enriches the meaning of a poem. 50 5.8.5 Variation of rhythms Reasons: to avoid monotony and damage of contents by form Principle: the dominant rhythm should remain unchanged Methods: A: substitution of the same kind of rhythm(同类节奏的替代) B: monosyllabic substitution(单音节替 代) C: mixed substitution(混合替代: A + B) D: substitution by hypermetrical syllable (超音步音节)and anacrusis (行 首轻音节) 51 6.0 Types of poem in English Origin: at different times, different patterns of meter and sound have developed and become accepted as ways of structuring poems. These conventional structures often have names, and when analyzing poems, it is worth being able to identify the more frequent conventions that a poet use. 52 6.1 Couplets 双句:包括两个相连的诗行的一种诗的单 位,通常压韵并具有同样的格律,经常组 成一个完整的意思和句法单位。 Couplets are two lines of verse, usually connected by a rhyme. Rhyming couplets have been popular throughout most periods of English poetry, the eighteenth century in particular. 53 Example Her eyes are wild, her head is bare, The sun has burnt her coal-black hair, Her eye-brows have a rusty stain, And she came from far over the main[诗]大海; 大洋, [古]本土. By Wordsworth 54 6.2 Quatrains 四行诗 Stanzas of four lines, with iambic meter and lines of nine and eight syllables alternately. The ninesyllable lines end in unstressed syllables, forming double rhyme. For example: When lovely woman stoops to folly, And finds too late that men betray, What charm can soothe her melancholy, 55 Example What art can wash her guilt away? The only art her guilt to cover, To hide her shame from every eye, To give repentance to her lover, And wring his bosom---- is to die. Oliver Goldsmith,1976 56 6.3 Blank verse Blank verse consists of lines in iambic pentameter which do not rhyme. These are very common in English literature: Shakespere’s characters (the late sixteenth century) frequently speak in blank verse and other examples include Milton’s epic poem, Paradise Lose (17th century), Wordsworth’s The Prelude (late 18th century), and some of Robert Browning’s dramatic monologues (mid-19th century). 57 Example But do not let us quarrel any more, No my Lucrezia; bear with me for once: Sit down and all shall happen as you wish. You turn your face, but does it bring your heart? 58 6.4 Sonnet (Shakespearean and Petrarchan) The sonnet is a poetic form which has been used in English since the mid-16th century. The basic form is fourteen lines, each of ten syllables, and usually in iambic pentameter. A variety of rhyming schemes are possible, and the rhyming scheme usually indicates the progression of ideas through the poem. 59 The poem is organized into three groups of quatrains with alternately rhyming lines, and a final rhyming couplet. (1)Sonnet structured in this way are referred to as Shakesperean sonnets. The sonnet by Spencer used to illustrate rhyming schemes is also an example of a rhyming scheme linked to the progression of ideas. 60 (2)Another common sonnet form is the Italian (or Petrarchan sonnet), where lines are rhymed in a group of eight (an octave) and a group of six (a sestet). A poem rhymed in this way usually looks at an idea from an angle for the first eight lines, and then from another angle for the last six. 61 Shall I compare thee to a summer's day? a Thou art more lovely and more temperate: b Rough winds do shake the darling buds of May, a And summer's lease hath all too short a date: b Sometime too hot the eye of heaven shines, c And often is his gold complexion dimmed, d And every fair from fair sometime declines, c By chance, or nature's changing course untrimmed: d But thy eternal summer shall not fade, e Nor lose possession of that fair thou ow'st, f Nor shall death brag thou wand'rest in his shade, e When in eternal lines to time thou grow'st, f So long as men can breathe or eyes can see, g So long lives this, and this gives life to thee. g Shakespere Sonnet 18 62 6.5 Free verse This is a form of verse that uses little or no conventional rhyme or meter. It has been very popular in the 20th century. Pin Money On Friday mornings the whole estate smelt of glue. The women were sticking tassels on to lampshades, earning their pin money. 63 6.6 Limericks Limericks are five-line verse in which generally the first, second, and fifth lines rhyme, and the second and the third lines rhyme. The lines are usually anapestic (two unstressed syllables, followed by a stressed) with three feet in the first, the third and the fifth lines, and two feet in the second and third. 64 There was a young lady named Wright Who could travel much faster than light She started one day In the ordinary way And come back the previous night Notice: the word ‘ordinary’ in the limerick below needs to be pronounced with three syllables in order to scan—this is elision which was discussed earlier. 65 英诗的分类 1. 按有无格律分 A 格律诗(metrical; either rhymed or not B 自由诗 (neither metrical nor rhymed) 2. 按是否押韵分 A 押韵诗 (either metrical or not) B 无韵诗 a blank verse (metrical) b free verse (not metrical) 66 6.7 Summary All these forms may give the impression that poetry can be a very rule-bound activity. This is partially true. At some moments in history, poetry has followed very strict conventions, and though many poets today use free verse forms, poems are still written which conform to strict conventions. However, poets have always played with conventions as well, and you will come across poems form all periods which are experiment with structural forms. 67 7. Exercise P.122 Identify the sound patterns in Example(1) P. 129 Mark the rhythm of the stanza and comment on the effects of the metrical variation 68