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Free verse is an open form of poetry, which in its modern form arose through the French vers libre form. It does not use consistent meter patterns, rhyme, or any musical pattern. It thus tends to follow the rhythm of natural speech.
In poetry, metre or meter is the basic rhythmic structure of a verse or lines in verse. Many traditional verse forms prescribe a specific verse metre, or a certain set of metres alternating in a particular order. The study and the actual use of metres and forms of versification are both known as prosody.
Poetry is a form of literature that uses aesthetic and often rhythmic qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.
Imagism was a movement in early-20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language. It gave modernism its start in the early 20th century, and is considered to be the first organized modernist literary movement in the English language. Imagism is sometimes viewed as "a succession of creative moments" rather than a continuous or sustained period of development. René Taupin remarked that "it is more accurate to consider Imagism not as a doctrine, nor even as a poetic school, but as the association of a few poets who were for a certain time in agreement on a small number of important principles".
Marianne Craig Moore was an American modernist poet, critic, translator, and editor. Her poetry is noted for formal innovation, precise diction, irony, and wit.
Amy Lawrence Lowell was an American poet of the imagist school, which promoted a return to classical values. She posthumously won the Pulitzer Prize for Poetry in 1926.
In prosody, alliterative verse is a form of verse that uses alliteration as the principal ornamental device to help indicate the underlying metrical structure, as opposed to other devices such as rhyme. The most commonly studied traditions of alliterative verse are those found in the oldest literature of the Germanic languages, where scholars use the term 'alliterative poetry' rather broadly to indicate a tradition which not only shares alliteration as its primary ornament but also certain metrical characteristics. The Old English epic Beowulf, as well as most other Old English poetry, the Old High German Muspilli, the Old Saxon Heliand, the Old Norse Poetic Edda, and many Middle English poems such as Piers Plowman, Sir Gawain and the Green Knight, and the Alliterative Morte Arthur all use alliterative verse.
Modernist poetry in English started in the early years of the 20th century with the appearance of the Imagists. In common with many other modernists, these poets wrote in reaction to the perceived excesses of Victorian poetry, with its emphasis on traditional formalism and ornate diction. In many respects, their criticism echoes what William Wordsworth wrote in Preface to Lyrical Ballads to instigate the Romantic movement in British poetry over a century earlier, criticising the gauche and pompous school which then pervaded, and seeking to bring poetry to the layman.
John Gould Fletcher was an Imagist poet, author and authority on modern painting. He was born in Little Rock, Arkansas, to a socially prominent family. After attending Phillips Academy, Andover Fletcher went on to Harvard University from 1903 to 1907, when he dropped out shortly after his father's death.
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Frank Stuart Flint was an English poet and translator who was a prominent member of the Imagist group. Ford Madox Ford called him "one of the greatest men and one of the beautiful spirits of the country".
New Formalism is a literary movement in late 20th- and 21st-century American poetry that promotes a return to rhymed, metrical, and narrative poetry. New Formalism and the New Narrative are far the most controversial responses within American poetry to the dominant position of free verse and confessional poetry.
This glossary of literary terms is a list of definitions of terms and concepts used in the discussion, classification, analysis, and criticism of all types of literature, such as poetry, novels, and picture books, as well as of grammar, syntax, and language techniques. For a more complete glossary of terms relating to poetry in particular, see Glossary of poetry terms.
Timothy Steele is an American poet, who generally writes in meter and rhyme. His early poems, which began appearing in the 1970s in such magazines as Poetry, The Southern Review, and X. J. Kennedy's Counter/Measures, are said to have anticipated and contributed to the revival of traditional verse associated with the New Formalism. He, however, has objected to being called a New Formalist, saying that he doesn't claim to be doing anything technically novel and that Formalism "suggests, among other things, an interest in style rather than substance, whereas I believe that the two are mutually vital in any successful poem." Notwithstanding his reservations about the term, Steele's poetry is more strictly "formal" than the work of most New Formalists in that he rarely uses inexact rhymes or metrical substitutions, and is sparing in his use of enjambment.
This is a glossary of poetry.
Tamil prosody defines several metres in six basic elements covering the various aspects of rhythm. Most classical works and many modern works are written in these metres.
In Defense of Reason is a three-volume work of literary criticisms by the American poet and literary critic Yvor Winters. First published in 1947, the book is known for its meticulous study of metrical verse and for its examples of Winters' system of ethical criticism.
Triadic-line poetry or stepped line is a long line which "unfolds into three descending and indented parts". Created by William Carlos Williams, it was his "solution to the problem of modern verse" and later was also taken up by poets Charles Tomlinson and Thom Gunn.
Max Michelson (1880–1953) was an American, imagist poet closely associated with Harriet Monroe and Poetry magazine.
The French alexandrine is a syllabic poetic metre of 12 syllables with a medial caesura dividing the line into two hemistichs (half-lines) of six syllables each. It was the dominant long line of French poetry from the 17th through the 19th century, and influenced many other European literatures which developed alexandrines of their own.
References
- ↑ The Chambers Dictionary Chambers Harrap Publishers Ltd London ISBN 978-0550102379
- ↑ Glossary-The Great Modern Poets, (Michael Schmidt editor) Querus Poetry 2006 ISBN 9780857382467
- ↑ Preface to Some Imagist Poets 1915
- ↑ Allen Charles- Cadenced Free Verse. College English Vol 9 Dept of English, University of Arizona 1948
- ↑ F.S Flint .Presentation: Notes on the Art of Writing The Chapbook II London :Poetry Bookshop ,1920
- ↑ Lowell, Amy Poetry as a Spoken Art, The Dial 1918
- ↑ Lowell, Amy Some Musical Analogies in Modern Poetry Musical Quarterly ,6 1920
- ↑ Aldington, Richard Free Verse in England, The Egosit 1914
- ↑ Hughes, Glenn, Imagism and the Imagist, Stanford University, New York 1931
- ↑ Lowes, John Livingston Conventions and Revolt in Poetry Houghton Mifflin, Boston 1919
- ↑ Charles O. Hartman, Free Verse: An Essay on Prosody, Northwestern University Press, 1980. ISBN 0-8101-1316-3
- ↑ Taupin, Rene, The Influence of French Symbolism on Modern American Poetry (1986),(trans. William Pratt) Ams Studies in Modern Literature, ISBN 0-404-61579-1
