Karakalpak State University The Foreign languages faculty

Karakalpak State University

The Foreign languages faculty

English philology chair

Khadjieva Dilbar

Presentation

on subject

Introduction to Literary Theory

Lecture 7

Problems for discussion

• The structure of poems
• 1.Poetry meter - stressed syllables and the types of foot
• 2.Poetry meter - meter and rhythm

Poetry (from the Greek poiesis — ποίησις — with a broad meaning of a "making", seen also in such terms as "hemopoiesis"; more narrowly, the making of poetry) is a form of literary art which uses aesthetic and rhythmic qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.

• Poetry (from the Greek poiesis — ποίησις — with a broad meaning of a "making", seen also in such terms as "hemopoiesis"; more narrowly, the making of poetry) is a form of literary art which uses aesthetic and rhythmic qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.

• Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, metaphor, simile and metonymy create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm.

Meter measures lines of poetry based on stressed and unstressed syllables. I'll explain. When we speak, we put the stress on a certain part of each word. For example, take the words "apple" and "fantastic."

• Meter measures lines of poetry based on stressed and unstressed syllables. I'll explain. When we speak, we put the stress on a certain part of each word. For example, take the words "apple" and "fantastic."
• When we say the word "apple," we stress the first syllable, the "ap" part. We say "AP-ple," how not "ap-PLE."
• When we say the word "fantastic," we stress the second syllable. We say, "fan-TAS-tic," not "FAN-tas-tic" or "fan-tas-TIC."

In poetry, a unit of stressed and unstressed syllables is called a foot. For example, look at this line from Shakespeare: "No longer mourn for me when I am dead." The rhythm is, "bah-BAH bah-BAH bah-BAH bah-BAH bah-BAH. We read it like this: "no LON-ger MOURN for ME when I am DEAD." The type of foot Shakespeare used here is called an iamb. An iamb or an iambic foot has the rhythm bah-BAH. An unstressed syllable, then a stressed one. The iamb is the most common kind of foot in English poetry.

• In poetry, a unit of stressed and unstressed syllables is called a foot. For example, look at this line from Shakespeare: "No longer mourn for me when I am dead." The rhythm is, "bah-BAH bah-BAH bah-BAH bah-BAH bah-BAH. We read it like this: "no LON-ger MOURN for ME when I am DEAD." The type of foot Shakespeare used here is called an iamb. An iamb or an iambic foot has the rhythm bah-BAH. An unstressed syllable, then a stressed one. The iamb is the most common kind of foot in English poetry.

The trochee or trochaic foot. This is the opposite of an iamb -- the rhythm is BAH-bah, like the words "apple," and "father."

• The trochee or trochaic foot. This is the opposite of an iamb -- the rhythm is BAH-bah, like the words "apple," and "father."
• The anapest or anapestic foot. This sounds like bah-bah-BAH, like the words "underneath" and "seventeen."
• The dactyl or dactylic foot. This is the opposite of an anapest -- the rhythm is BAH-bah-bah," like the the words "elephant" and "stepmother

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