A way with words. : IV understanding poetry by Michael D C Drout PDF

By Michael D C Drout

ISBN-10: 1436129206

ISBN-13: 9781436129206

ISBN-10: 1436129214

ISBN-13: 9781436129213

Wheaton collage English professor Michael D.C. Drout submerses listeners in poetry's earlier, current, and destiny, addressing such poets as Milton, Wordsworth, Shelley, and Keats, and explaining basically what poetry is whereas following its improvement during the centuries.

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O Wind, If Winter comes, can Spring be far behind? ” To me they perfectly represent the poetry of the Romantics. First, there is passion, uncontrolled vibrancy. Second, there is technical mastery. The rhyme scheme and meter are very precise even though there is so much emotion. The two are not mutually exclusive in the Romantics but rather perfectly complementary. Shelley’s “Ode to the West Wind” is actually in the form called Terza Rima, invented by Dante for his Divine Comedy. —O thou Who chariotest to their dark wintry bed The wingèd seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o’er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill— Wild Spirit, which art moving everywhere— Destroyer and Preserver—hear, O hear!

The first line quoted has a spondee in the second foot, the third line has a pyrrhus and a spondee, and the fourth has a pyrrhus—the combined effect is to focus on “fair head” and “the Lock,” which, of course, has been the subject of the whole poem. Pope also used the metrical form of the Alexandrine in some of his poems to create variation. Remember that an Alexandrine is a line of iambic hexameter. It tends to slow down the verse significantly even though it is only two syllables longer than a pentameter line.

Unfortunately, both of those topics (meters and the eighteenth century) have a bad reputation. This is unfortunate, because although their study requires a little work, it amply repays those who put in the effort. One problem with the eighteenth century is that, although we call it “the eighteenth century,” just studying material from the years 1700 to 1800 is not particularly helpful. Really, in literary terms, there are three “eighteenth centuries”: 1660 –1700 “Restoration” From the Restoration of the monarchy to the death of Dryden 1700 –1745 “Age of Satire” From the death of Dryden to the deaths of Pope (1744) and Swift (1745) 1745 –1785 “Age of Johnson” From the deaths of Pope and Swift to the death of Samuel Johnson LECTURE SEVEN Although the printing press had been in England since the end of the fifteenth century, it was really in the eighteenth century that printing became profitable to a wide range of people.

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A way with words. : IV understanding poetry by Michael D C Drout


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