- •Practical modern english stylistics (практическая стилистика современного английского языка)
- •Содержание
- •Introduction to stylistics 8
- •Введение
- •Introduction to stylistics
- •2. Expressive means and stylistic devices
- •3. Functional styles of speech
- •Questions to lecture #1
- •Stylistic classification of the english vocabulary
- •1. Stylistically-neutral words
- •2. Stylistically-coloured words:
- •1. Stylistically-neutral words
- •2. Stylistically-coloured words
- •Questions to lecture #2
- •Lexical stylistic devices
- •2. Metaphor
- •3. Personification
- •4. Allusion
- •5. Metonymy
- •6. Synecdoche
- •7. Antonomasia
- •8. Periphrasis
- •9. Euphemism
- •10. Epithet
- •11. Over-statement (hyperbole)
- •12. Under-statement (meiosis)
- •13. Oxymoron
- •14. Zeugma
- •15. Pun
- •16. Irony
- •17. Paradox
- •Questions to lecture #3
- •Syntactical expressive means and stylistic devices
- •2. Detachment
- •3. Parenthesis
- •4. Ellipsis
- •5. Break-in-the-narrative (aposiopesis)
- •6. Parallelism
- •7. Chiasmus (reversed parallelism)
- •8. Repetition
- •9. Tautology
- •10. Polysyndeton
- •11. Asyndeton
- •12. Enumeration
- •13. Rhetorical question
- •14. Stream-of-consciousness method
- •Questions to lecture #4
- •Poetic expressive means and stylistic devices
- •1. Euphony
- •2. Metre
- •1. Euphony
- •2. Metre
- •Questions to lecture #5
- •English versification
- •1) Full rhyme
- •3. Patterns of rhyme
- •4. Structure of verse. Stanza
- •Questions to lecture #6
- •The Eve of St. Agnes
- •Functional styles of the english language
- •1. Style of official documents
- •2. Scientific prose style
- •3. Publicistic style
- •4. Newspaper style
- •5. Belles-letter style (fiction)
- •Questions to lecture #7
- •Stylistic analysis of the narrative
- •1. Characteristics of the narrative
- •3. The basics of analysis
- •1. Characteristics of the narrative
- •3. The basics of analysis
- •Questions to lecture #8
- •Supplements
- •1. Stylistically coloured and neutral verbs
- •2. Paraphrase the text
- •3. Translate the text
- •4. Lexical stylistic devices
- •5. Syntactic stylistic devices
- •6. Poetic stylistic devices
- •1) State the types of feet in the following poems (iambus, trochee, dactyl, amphibrach, and anapest)
- •2) Choose three of the poems and learn them by heart
- •7. To be or not to be … William Shakespeare To be, or not to be (from Hamlet 3/1)
- •8. Application letter
- •9. Cover letter
- •10. Abstract
- •12. Giving a presentation
- •14. The football match
- •Библиография
4. Structure of verse. Stanza
Stanza is the term which is very often used to refer to a certain number of poetic lines.
Stanza is any group of lines that is separated in the poem from other groups of lines. They do not always rhyme.
In print one can identify a separate stanza by a blank line before and after a group of lines.
In most cases the stanzas in a poem share a common structure, that is, the same rhyme-scheme.
Two or more verse lines make a stanza (also called a strophe). It is characterized by a number of lines, type of metre, rhyming pattern. The main stanzas in English poetry are:
A. The Ballad Stanza
The Ballad stanza is a four-line stanza, known as a quatrain, most often found in the folk ballad. Usually only the second and fourth lines rhyme (an abcb pattern). Assonance in place of rhyme is common.
It consists of 4 lines; the 1st & the 3d lines are iambic tetrametres, the 2d and the 4th lines are iambic demetres; the rhyming pattern is abcb (abab);
B. The Spenserian Stanza
The Spenserian stanza is a fixed verse form invented by Edmund Spenser for his epic poem The Faerie Queene.
It consists of 9 lines; 8 lines are of iambic pentametre, 1 line is of iambic hexametre; the rhyming pattern is ababbcbcc;
C. The Ottava Rima
The Ottava rima is a rhyming stanza form of Italian origin. It was originally used for long poems on heroic themes. Its earliest known use is in the writings of Giovanni Boccaccio.
It consists of 8 lines of iambic pentametre; the rhyming pattern is abababcc;
D. The Sonnet
The sonnet is one of the poetic forms that can be found in lyric poetry from Europe. The term “sonnet” means “little song”.
It consists of 14 lines of iambic pentametre; the rhyming pattern is abba abba cde cde (Italian) abab cdcd efef gg (Shakespearean);
|
STANZA
The Ballad: All in a hot and copper sky The bloody Sun, at noon, Right up above the mast did stand, No bigger than the Moon.
(from “The Rime of the Ancient Mariner” by S.T. Coleridge)
The Spenserian Stanza: Lo I the man, whose Muse whilome did maske, As time her taught, in lowly Shepheards weeds, Am now enforst a far unfitter taske, For trumpets sterne to chaunge mine Oaten reeds, And sing of Knights and Ladies gentle deeds; Whose prayses hauing slept in silence long, Me, all too meane, the sacred Muse areeds To blazon broad emongst her learned throng: Fierce warres and faithfull loues shall moralize my song. (“The Faerie Queene” by Edmund Spencer)
The Sonnet: Let me not to the marriage of true minds (a) Admit impediments, love is not love (b) Which alters when it alteration finds, (a) Or bends with the remover to remove. (b) O no, it is an ever fixed mark (c) That looks on tempests and is never shaken; (d) It is the star to every wand'ring bark, (c) Whose worth's unknown although his height be taken. (d) Love's not time's fool, though rosy lips and cheeks (e) Within his bending sickle's compass come, (f) Love alters not with his brief hours and weeks, (e) But bears it out even to the edge of doom: (f) If this be error and upon me proved, (g) I never writ, nor no man ever loved. (g) (from William Shakespeare, Sonnet 116)
Italian Sonnet: When I consider how my light is spent (a) Ere half my days, in this dark world and wide, (b) And that one talent which is death to hide, (b) Lodged with me useless, though my soul more bent (a) To serve therewith my Maker, and present (a) My true account, lest he returning chide; (b) "Doth God exact day-labor, light denied?" (b) I fondly ask; but Patience to prevent (a) That murmur, soon replies, "God doth not need (c) Either man's work or his own gifts; who best (d) Bear his mild yoke, they serve him best. His state (e) Is Kingly. Thousands at his bidding speed (c) And post o'er land and ocean without rest; (d) They also serve who only stand and wait." (e) (from “On His Blindness” by Milton,) The Ottava Rima: "Go, little book, from this my solitude! I cast thee on the waters – go thy ways! And if, as I believe, thy vein be good, The world will find thee after many days." When Southey 's read, and Wordsworth understood, I can't help putting in my claim to praise – The four first rhymes are Southey's every line: For God's sake, reader! take them not for mine. (from “Don Juan” by Byron)
|