Common colloquial words.
POETRY
The Scheme of Analysis
PHONETIC LEVEL
Rhythm
Metre
Phyme
Phonetic SDs
Aesthetic evaluation of sounds
Onomatopoeia
Verbalization of extra lingual sounds
Alliteration
Assonance
Graphons
Intonation (graphic means)
MORPHOLOGICAL LEVEL
Archaic forms of words
Irregular grammar
Tense
Determination
Gender
Person
Number
Repetition of grammar forms, parts of speech
LEXICAL LEVEL
Set of words (archaic, poetic)
Imaginative vocabulary
IMAGERY
Ode to the West Wind(Percy Bysshe Shelley)
O wild West Wind, thou breath of Autumn’s being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing.
Yellow, and black, and pale, and hectic red,
Pestilence-stricken multitudes: O thou,
Who chariotest to their dark wintry bed.
Ода Западному Ветру (Б.Л.Пастернак)
О буйный ветер запада осенний!
Перед тобой толпой бегут листы,
Как перед чародеем привиденья,
То бурей желтизны и красноты,
То пестрым вихрем всех оттенков гнили;
То голых пашен черные пласты
(Засыпал семенами в изобилье).
On Anothers Sorrow(William Blake)О Скорби Ближнего(С.Степанов)
Can I see anothers woe, Если горе у других -
And not be in sorrow too. Как не мучиться за них?
Can I see anothers grief, Если ближнему невмочь -
And not seek for kind relief. Как же можно не помочь?
Can I see a falling tear, Как на страждущих смотреть
And not feel my sorrows share, И при этом не скорбеть?
Can a father see his child, Как отцу при детском плаче
Weep, nor be with sorrow fill’d. Не пролить слезы горячей?
From Henry VIII by W.Shakespeare
| Song Orpheus with his lute made trees, And the mountain tops that freeze, Bow themselves, when he did sing: To his music plants and flowers Ever sprung; as sun and showers There had made a lasting spring. Every thing that heard him play, Even the billows of the sea, Hung their heads, and then lay by. In sweet music is such art, Killing care and grief of heart Fall asleep, or hearing, die. | Музыка Лирой заставлял Орфей Горы с гибкостью ветвей Наклоняться до земли. На призыв его игры Травы из земной коры Выходили и цвели. Все, что слышало напев, Никло ниц, оторопев, И смирялась моря гладь. Музыка глушит печаль. За нее в ответ не жаль, Засыпая жизнь отдать. |
The colloquial vocabulary falls into the following groups:
Common colloquial words.
2) Slang(It is the most extended and vastly developed subgroup of non-standard colloquial layer of the vocabulary. Besides separate words it includes also highly figurative phraseology. Slang occurs mainly in dialogue and serves to create speech characteristics of personages.) "I'm the first one saw her. I find out she's some jock's regular, she's living with a shrimp." Remember "old sport" in The Great Gatsby.
3) Professional and social jargons.(They are used in emotive prose to depict the natural speech of a character within the framework of such device as speech-characterization. They can show vocation, education, breeding, environment and even the psychology of a personage. Slang, contrary to jargon, needs no translation, jargon is used to conceal or disguise something.) "She came out of sleep, in a nightmare struggle for breath…Bart gave her a needle."
4) Vulgarisms(Vulgarisms are divided into expletives and swear-words used as general exclamations and obscene words. They are emotionally strongly charged and can be used for speech-characterization.) "Poor son of a bitch", he said, "I feel for him, and I'm so sorry I was bastardly."
5) Dialectal words(They are introduced into the speech of personages to indicate their origin. The number of dialectal words and their frequency also indicate the educational and cultural level of the speaker.) "We'll show Levenford what my clever lass can do."
Free verse is a form of poetry that does not use consistent meter patterns, rhyme, or any other musical pattern. It thus tends to follow the rhythm of natural speech.[1]
Poets have explained that free verse, despite its freedom, is not free. Free verse displays some elements of form. Most free verse, for example, self-evidently continues to observe a convention of the poetic line in some sense, at least in written representations, though retaining a potential degree of linkage, however nebulous, with more traditional forms.
Donald Hall goes as far as to say that "the form of free verse is as binding and as liberating as the form of a rondeau,"[2] and T. S. Eliot wrote, "No verse is free for the man who wants to do a good job."[3]
Some poets have considered free verse restrictive in its own way. In 1922 Robert Bridges voiced his reservations in the essay 'Humdrum and Harum-Scarum.' Robert Frost later remarked that writing free verse was like "playing tennis without a net." William Carlos Williams said being an art form, verse cannot be free in the sense of having no limitations or guiding principles.[4] Although free verse requires no meter, rhyme, or other traditional poetic techniques, a poet can still use them to create some sense of structure. A clear example of this can be found in Walt Whitman's poems, where he repeats certain phrases and uses commas to create both a rhythm and structure. Much pattern and discipline is to be found in free verse: the internal pattern of sounds, the choice of exact words, and the effect of associations give free verse its beauty.[10]
Because of a lack of predetermined form, free verse poems have the potential to take truly unique shapes. Unrestrained by traditional boundaries, the poet possesses more license to express, and has more control over the development of the poem. This could allow for a more spontaneous and individualized product.