AN 2.2 SS 12 Sitzung 2

Question 1

Approaches to poetry (2)

Accepted Answer

concentrate on the poet himselfpoetry is primarily an expression of the poet's emotionsWhat can the poem tell us about the poet's innermost? more concerned with the mind behin the text than the text itself concentrate on discussing the poem itselfemphasis on the poet as a 'maker' of meanings with wordsfocus on content & form

Question 2

language of poetry: responsibility to the poet

Accepted Answer

the poet makes his ideas, his emotions & his experiences primarily through the form concrete (use of patterned language, stanzas, rhyme pattern...)--> reader has a responsibility both to himself and to the poet, to familiarize himself with the characteristics of the genre before passing judgment on its value--> any attempt to do so will bring us closer to the complete artistic experience than if we did nothing at all

Question 3

metre

Accepted Answer

basic, underlying rhythm (the whole poem has a rhythm, while each verse has a metre)

Question 4

foot

Accepted Answer

metre can be reduced to smaller units --> feet 'there are so many syllables in a foot'

Question 5

the Iambus (Iambic metre)

Accepted Answer

v/ I v/ I v/ I v/ Iweak strong, weak strong, weak strong, weak strongO Brignall banks are wild and fair, And Greta woods are green, And you may gather garlands thereWould grace a summer-queen.(Sir Walter Scott, Brignall Banks)

Question 6

the Trochee (Trochaic metre)

Accepted Answer

/v I /v I v/ I /v I /v Istrong weak, strong weak, strong weak, strong weak Willows withen, aspens quiver, Little breezes dusk and shiver. (Alfred Lord Tennyson, The Lady of Shalott)

Question 7

the Anapaest (Anapaestic metre)

Accepted Answer

vv/ I vv/ I vv/ I vv/ Iweak weak strong, weak weak strong, weak weak strong, weak weak strong And no voice but was praising this Roland of mine, As I poured down his throat our last measure of wine. (Robert Browning, How We Brought the Good News)

Question 8

the Dactyl (Dactylic metre)

Accepted Answer

/vv I /vv I /vv I /vv Istrong weak weak, strong weak weak, strong weak weak, strong weak weak Cannon to right of them, Cannon to left of them, Cannon in front of them. (Alfred Lord Tennyson, The Charge of the Light Brigade)

Question 9

variation in rhythm

Accepted Answer

if the variation is too great, the metre (the expected basic rhythm) is destroyed and the result is free verse / prose a perfectly regular rhythm sounds mechanical and monotonous any deviation from the basic metre is important for effect and, hence, for interpretation

Question 10

possible effects of repeated sound patterns

Accepted Answer

used for the purpose of expressiveness emphasis structure make a text more pleasant to hear, more melodious / musical

Question 11

alliteration

Accepted Answer

repetition of a sound (usually a consonant) at the beginning of neighbouring words Let us go forth to lead the land we love. (J. F. Kennedy)

Question 12

consonance

Accepted Answer

repetition of consonants in syllable-final position a stroke of luck

Question 13

assonance

Accepted Answer

repetition of the same soung in words close to each other sweet dreams

Question 14

rhyme

Accepted Answer

combination of assonance & consonance repetition of a stressed vowel with all the sounds that follow it

Question 15

types of rhyme (6)

Accepted Answer

masculine: rhyme is limited to one syllable feminine: rhyme comprises two or more syllables internal: when one or both rhyme words are within a line end rhyme: when the rhyme words are at the ends of lines half-rhyme: when in a feminine rhyme only the stressed syllables rhyme eye-rhyme: when the words look as if they rhyme but their sounds are not identical (food - blood)

Question 16

anaphora

Accepted Answer

repetition of one or more words or phrases of neighbouring phrases, clauses of lines Cannon to the right of them, Cannon to the left of them, Cannon in front of them. (Alfred Lord Tennyson, The Charge of the Light Brigade)

Question 17

internal pattern

Accepted Answer

logical order or arrangement of thoughts and images in a poem

Question 18

external form

Accepted Answer

outward pattern, more or less symmetrical form

Question 19

continuous form

Accepted Answer

= free verse no recurrent pattern is recognizable

Question 20

stanzaic form

Accepted Answer

clear subdivision into recurrent line patternsoften with a regular metric pattern & a recognizable rhyme schemeBallad stanza (ab cb. four lines...)

Question 21

fixed form

Accepted Answer

poem is constructed on a traditional pattern which cannot be altered limerick, sonnet (the Petrarcan / the Shakespearean Sonnet)

Question 22

Petrarcan sonnet

Accepted Answer

an eight-line octave with the rhyme scheme abba abba (presenting a problem / a question)a six-line sestet with the rhyme scheme cde cde or cdc dcd (suggesting a solution / answer)

Question 23

Shakespearean sonnet

Accepted Answer

three four-line quatrains (abab cdcd efef) (develop an idea)a couplet (gg) (summing up the poet's message / surprising turn)

Question 24

to scan a poem

Accepted Answer

finding out the rhythm & metre

Question 25

aabb

Accepted Answer

rhyming couplet

Question 26

abab cdcd

Accepted Answer

chain rhyme / alternate rhyme

Question 27

abba cddc

Accepted Answer

embracing rhyme / envelope rhyme

Question 28

aab ccb

Accepted Answer

tail rhyme

Anglistik (Fach) / AN 2.2 SS 12 Sitzung 2 (Lektion)