Lecture 5 Christopher Marlowe and Sir Walter Raleigh : The Pastoral Lecture 5 Christopher Marlowe and Sir Walter Raleigh : The Pastoral ) = الرعويةThe Pastoral ( pastoral (L ’pertaining to shepherds’) A minor but important mode which‚ by convention‚ is concerned with the lives of shepherds. It is of great antiquity and interpenetrates many works in Classical and modern European literature. It is doubtful if pastoral ever had much to do with the daily working-life of shepherds‚
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HOW TO GO FROM STRESSED ~ TO UNSTRESSED! FEELING STRESSED? YOU’RE NOT ALONE “Stress” is our body’s normal‚ automatic response to change in our lives. The change may be negative‚ positive‚ or imagined. When we feel unable to cope with a new demand‚ we begin to feel stress. Stress is highly individual ~ what may be very relaxing to one person may be stressful to another. Not all stress is bad. We need a certain amount of stress in our lives because it stimulates and energizes us. At low levels‚
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The verse style found throughout most of Seuss ’s work was the anapestic tetrameter (Fenkl‚ 2002). This style involved using words consisting of two short syllables followed by one long syllable or using words consisting of two unstressed syllables followed by one stressed syllable. The verses were then compiled into groupings of four lines. Along with this metric method‚ Seuss also utilized italics‚ full capitalization‚ different colored words and different sized letters to steer the reader down
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language‚ imagery‚ and a personification of the urn. “Ode on a Grecian Urn” keeps to the standard stanza structure of an ode‚ but the rhyme-scheme varies in each stanza’s last three lines. Each line has 10 syllables and consists of alternating stressed and unstressed syllables. This type of meter is called iambic pentameter and lends to the songlike quality of the verse. Verses in “Ode on a Grecian Urn” consist of 10 lines each‚ and separate into a two-part rhyming pattern. In the final three lines of
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This pattern uses a stressed syllable followed by an unstressed syllable‚ with a total of sixteen syllables in each line. The meaning of the words and how the stanza ends with “nevermore” each time gives you less hope each time you read more and more of it. The tone also derives from the topic
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rhyme scheme. Every other line represents a true rhyme – the final accented vowels and all succeeding consonants or syllables are identical. For example the words “complete” and “neat” (Addonizio 1‚ 3). Every line of the poem has a basic stressed and unstressed syllable format‚ except the last line. The extension of the last line “but touch them‚ trying” implements a longer stress (14). I believe this has definite meaning to the structure of the poem. In addition‚ the final verse of the poem is the
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firmly on the side of Brutus when Antony takes the pulpit. - / - - / / - / - / The evil that men do lives after them; This is a line harder to scan than it might seem at first. The hardest word to scan is lives; if you scan it as stressed‚ you have four consecutive stresses in a row‚ and the line scans iamb/pyrrhic/spondee/spondee/iamb. While that isn’t completely out of the realm of possibility‚ it’s a bit of a stretch. Besides‚ the real subject of Antony’s rhetorical parallelism
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adds rhythm as well as a sense of repetition‚ which not only keeps the poem interesting to read‚ but also reinforces the idea of death. Many of these lines are in iambic tetrameter‚ meaning they have four feet each consists of an unstressed syllable followed by a stressed syllable. In lines 13 and 14‚ however‚ Housman uses trochaic tetrameter in order to mark the turnover from the mourning of the deceased to the celebration of his forever glory
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ABSTRACT NOUNrefers to ideas‚ processes‚ occasions‚ times‚ qualities that cannot be touched or seen. | | ADJECTIVEgives more information about or describes a noun or pronoun | ADVERBgives more information about (modifies) a verb‚ an adjective‚ another adverb‚ or a sentence. | ALLEGORYa narrative in which people‚ objects and events represent moral or spiritual ideas. | ALLITERATIONthe repetition of the same or similar sounds at the beginnings of words in a line / phrase: “What would
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a busy life‚ to a peaceful death. Dickinson splits the poem into quatrains. Stanzas 1‚2‚3 and 5 use the same meter patterns. The first and third line of the stanzas has 8 syllables or 4 feet. Each foot represents two syllables‚ one unstressed the other stressed. A meter that is iambic is one that is common in the English language; so the poem could be said naturally. There are 4 feet so the meter is iambic tetrameter‚ tetra meaning 4. be CAUSE/ i COULD/ not STOP/ for DEATH The second and fourth
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