Thus, rhyme will often create implicit comparisons-metaphors of a sort, or other connections between the rhymed ideas. When interpreting a poem for its formal content, keep in mind that the rhymes are not randomly chosen they should work with and enhance the sense of the poem. Alliteration, consonance, assonance, and so on-these are forms of rhyme, as well. Similarly, “eye rhyme” calls attention to the distinctions between sound and sense in eye rhyme, yhe words might look like they should rhyme, but they don’t. Imperfect rhymes are usually not done because the poet couldn’t think of a better word often, imperfect or slant rhyme reveals something about the poem. Most rhyme is “end rhyme,” but “internal rhyme” is also an important form. Rhyme: The regular pattern of sound created in verse. Chiasmus creates reverse balance, suggesting that the nature of that similarity is more complex. In chiasmus, the order of words in one parallel clause is inverted in the other. Parallelism creates balance, suggesting similarity-an equality of treatment. Pope often uses the rhetorical devices of chiasmus and parallelism in his couplets. This is one of the hardest things to do-write consistently regular metrical verse that uses its form consciously, deliberately. Pope uses “heroic” or “closed” couplets, meaning that the two lines have no extraneous syllables and they come to a fuller stop at the conclusion of the couplet-it’s “closed” rather than “open” or “enjambed.” Pope’s heroic couplets are evenly balanced, and they document a systematic exploration of competing impulses, companion ideas, paired images. Why?Ĭouplet: Two lines of verse that work together, metrically. An extra, unstressed syllable tacked on to the end of regular verse is called a “feminine” or “weak” ending. Why might the stress on a word be significant? What about lack of stress? Unexpected stresses? Lines of poetry sometimes deviate from regular meter, and this deviation is important. 2.) when a poem’s meter deviates from its regular form, it is usually meaningful. For a clear example, see Pope’s Essay on Criticism: “A needless Alexandrine ends the song,/ That like a wounded snake drags its slow length along” (II.156-157). Poetry is not prose, and so its form contains meaning. 1.) form is content, and content is form. Understanding the patterns of metrical regularity is important for two reasons. This difference is based in the rhythms of English as a language, of French as a language. In French verse, the most common metrical form is the alexandrine, or six feet of iambs, a.k.a. Five iambs together gives you iambic pentameter. is called scanning and scansion prosody (from. Counting the feet and determining the meter etc. An iamb is a single metrical foot composed of an unstressed syllable and a stressed syllable. Poetic or song units of measure feet (as in dancing rhythms). The most common metrical form in English is iambic pentameter, so called because it is composed of five (penta-) feet of verse, each foot of which is a two-syllable iamb. Meter: The “numbers” or “time” of a poem, “meter” refers to the rhythmic pattern created by formal verse. Scansion: The systematic analysis of metrical patterns of stress, syllable by syllable, sound unit by sound unit.
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