poetry in performance 3 rhythm
TRANSCRIPT
Poetry in Performance:
Rhythm
Reading and performing poems in public.
Daniel Nester, The College of Saint Rose, 2006-2015
No word is out of place in a poem.
No sound is out of place, either.
The same goes for sound, rhythm, accent,
syllable, or place on the page.
None of this is random or left to chance.
A poem involves time and rhythm, like music.
Even in the freest of free verse, no sound,
rhythm, accent, syllable, or place on the page is
random or is not thought-out in a poem.
This is what is called prosody, or verse theory,
which is the theory of organizing principles of
the structure of poetry—its rhythm, sound
patterns, meter, rhymes.
Prosody: the study of all the elements of language that contribute toward acoustic and rhythmic effects, chiefly in poetry but also in prose. The term derived from an ancient Greek word that originally meant a song accompanied by music or the particular tone or accent given to an individual syllable. Greek and Latin literary critics generally regarded prosody as part of grammar; it concerned itself with the rules determining the length or shortness of a syllable, with syllabic quantity, and with how the various combinations of short and long syllables formed the metres (i.e., the rhythmic patterns) of Greek and Latin poetry. Prosody was the study of meter and its uses in lyric, epic, and dramatic verse. In sophisticated modern criticism, however, the scope of prosodic study has been expanded until it now concerns itself with what the 20th-century poet Ezra Pound called “the articulation of the total sound of a poem.”
—Encyclopedia Britannica
Iamb any two syllables, usually a single
word but not always, whose accent is on
the second syllable. Ta-TUM
Example: upon, arise
Trochee any two syllables, usually a single
word but not always, word whose accent is
on the first syllable. TUM-Ta
Example: virtue, further
Anapest any three syllables, usually a
single word but not always, word whose
accent is on the third syllable. Ta-Ta-TUM
Example: intervene
Dactyl any three syllables, usually a single
word but not always, word whose accent is
on the first syllable. TUM-Ta-Ta
Example: tenderly
Spondee any two syllables, sometimes a single
word but not always, with strong accent on the
first and second syllable. TUM-TUM
Example (in this case no one word, but a series
of words in this line):
The long day wanes, the slow moon climbs.
(The words “day wanes” form a spondee.)
RAID KILLS BUGS DEAD (double spondee!)
Hey you!
To name the kind of foot, use the adjective form of these words.
A line of iambs = iambic
A line of trochees = trochaic
A line of anapests = anapestic
A line of dactyls = dactylic
A line of spondees = spondaic
To name the kind of foot, use the adjective form of these words.
A line of iambs = iambic
A line of trochees = trochaic
A line of anapests = anapestic
A line of dactyls = dactylic
A line of spondees = spondaic
I AM a PI rate WITH a WOOD en LEG
But soft: what light through yonder window breaks?
So foul and fair a day I have not seen.
Iambic pentameter in everyday speech:
A deep depression moving from the west.
Diana dyes her hair I’m sure she does.
Would anybody like a cup of tea?
The number of feet in a given line is combined with
the suffix -meter.
dimeter a 2-foot line
trimeter a 3-foot line
tetrameter a 4-foot line
pentameter a 5-foot line
hexameter a 6-foot line
Any group of lines forming a unit is a stanza.
Stanza of 2 lines is a couplet
Stanza of 3 lines is a tercet
Stanza of 4 lines is a quatrain
Stanza of 6 lines is a sestet
Stanza of 7 lines is a septet
Stanza of 8 lines is an octave
Any group of lines forming a unit is a stanza.
Stanza of 2 lines is a couplet
Stanza of 3 lines is a tercet
Stanza of 4 lines is a quatrain
Stanza of 6 lines is a sestet
Stanza of 7 lines is a septet
Stanza of 8 lines is an octave
the lost baby poem
the time i dropped your almost body down
down to meet the waters under the city
and run one with the sewage into the sea
what did i know about waters rushing back
what did i know about drowning
or being drowned
you would have been born into winter
in the year of the disconnected gas
and no car we would have made the thin
walk over genesee hill into the canada wind
to watch you slip like ice into strangers’ hands
you would have fallen naked as snow into winter
if you were here i could tell you these
and some other things
if i am ever less than a mountain
for your definite brothers and sisters
let the rivers pour over my head
let the sea take me for a spiller
of seas let black men call me stranger
always for your never named sake
—Lucille Clifton
A beautiful, sad poem, one that is not a
received form (sonnet, terza rima, ballade,
etc.).
But there are several things working
inside this poem that affect how one reads it
silently, and how one might perform it: the line breaks, the white space between words, the use of all lower-cased letters.
This sets us up quite nicely for our next set of slides on the page, or typographical level.