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The term describes the rhythm, or meter, established by the words in each line. Rhythm is measured in small groups of syllables called "feet". "Iambic" indicates that the type of foot used is the iamb, which in English is an unstressed syllable followed by a stressed syllable (as in a-BOVE). "Pentameter" indicates that each line has five "feet".
The term, bob and wheel, was first used by Edwin Guest in The History of English Rhythms. [2] The Pearl Poet uses the bob and wheel as a transition or pivot between his alliterative verse and a summary/counterpoint rhyming verse, as in this example from the first stanza of Sir Gawain and the Green Knight. The first 14 lines use a pentameter rhythm:
Much lyric poetry depends on regular meter based either on syllable or on stress – two short syllables or one long syllable typically counting as equivalent – which is required for song lyrics in order to match lyrics with interchangeable tunes that followed a standard pattern of rhythm. Although much modern lyric poetry is no longer song ...
Cheryl Allison Boyce-Taylor (born 1950) is a Trinidadian poet, teaching artist, and theatre performer who lives in Brooklyn, New York. Boyce-Taylor has published several full-length poetry monographs including early works As A Woman I Laugh and Cry: Poems, Birthsounds, Rhythms and Other Contractions; five collections of poetry; and an award-winning verse memoir dedicated to her son.
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Melopoeia or melopeia is when words are "charged" beyond their normal meaning with some musical property which further directs its meaning, [1] inducing emotional correlations by sound and rhythm of the speech. Melopoeia can be "appreciated by a foreigner with a sensitive ear" but does not translate well, according to Pound. [1]
Nearly all the poems of Sappho and Alcaeus are composed in strophes (stanzas) of two, three, or four verses, in which at least one line would be different from the others. [10] The most common rhythm is the glyconic (x x – ᴗ ᴗ – ᴗ x), but this could be expanded or varied in a number of ways.
Dub poetry has been a vehicle for political and social commentary, [7] with none of the braggadocio often associated with the dancehall. The odd love-song or elegy appears, but dub poetry is predominantly concerned with politics and social justice, commonly voiced through a commentary on current events (thus sharing these elements with dancehall and "conscious" or "roots" reggae music).