I t resonate s wit h humou r an d grief and ultimately personal triumph. Sometime s sadofte n funny, never dull, and always engrossing.
The craft of literature, indeed,… Elements of prosody As a part of modern literary criticismprosody is concerned with the study of rhythm and sound effects as they occur in verse and with the various descriptive, historical, and theoretical approaches to the study of these structures.
Scansion The various elements of prosody may be examined in the aesthetic structure of prose. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping, and the waterside pollutions of a great and dirty city.
Fog on the Essex Marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs; fog lying out on the yards, and hovering in the rigging of great ships; fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the afternoon pipe of the wrathful skipper….
Fog on the Essex…, fog on the Kentish…. Fog creeping into…;…fog drooping on the… This phrase pattern can be scanned; that is, its structure of stressed and unstressed syllables might be translated into visual symbols: This scansion notation uses the following symbols: Such a grouping constitutes a rhythmic constant, or cadencea pattern binding together the separate sentences and sentence fragments into a long surge of feeling.
At one point in the passage, the rhythm sharpens into metre; a pattern of stressed and unstressed syllables falls into a regular sequence: The line is a hexameter i. The passage from Dickens is strongly characterized by alliterationthe repetition of stressed consonantal sounds: Fog creeping into the cabooses of collier-brigs; and by assonancethe patterned repetition of vowel sounds: Thus, it is clear that Dickens uses loosely structured rhythms, or cadencesan occasional lapse into metre, and both alliteration and assonance.
The poet organizes structures of sound and rhythm into rhymestanzaic formand, most importantly, metre. Indeed, the largest part of prosodical study is concerned with the varieties of metre, the nature and function of rhyme, and the ways in which lines of verse fall into regular patterns or stanzas.
When the metre is scanned with the symbols, it can be seen and heard how metre in this poem consists of the regular recurrence of feet, how each foot is a pattern of phonetically stressed and unstressed syllables.
The basic prosodic units are the footthe lineand the stanza. The recurrence of similar feet in a line determines the metre; here there are three lines consisting of four iambic feet i. Thus the stanza or recurring set of lines consists of three iambic tetrameters followed by one iambic dimeter.
These reversals are called substitutions. They provide tension between metrical pattern and meaning, as they do in these celebrated examples from Shakespeare: Meaning, pace, and sound Scansion reveals the basic metrical pattern of the poem; it does not, however, tell everything about its prosody.In poems like "Out of the Cradle Endlessly Rocking" and "When Lilacs Last in the Dooryard Bloom'd", the prevailing themes are of love and of death.
From to his death, the ideas Whitman presented in his second period had experienced an evolution.
His focus on death had grown to a focus on immortality, the major theme of this period. I remember Jackie Gleason's catch phrase, bellowed across the stage to his bandleader, Sammy Spear: "A little traveling music, Sammy!" Then spreading his arm s an d singin g out.
The phrase Out of the cradle endlessly rocking gives the notion that once you leave child hood, or the cradle, you are continuously moving, in a flux, in a sense endlessly rocking. This is a very good title to this poem because it gets to the point of the poem, that once life starts, it is. "Out of the Cradle Endlessly Rocking" is one of Whitman's great poems because of his use of image and symbol. The title itself is a symbol of birth. The sun and the moon, the land and the sea, and the stars and the sea waves contribute to the atmosphere and symbolic scenery in the poem. The line "Out of the cradle endlessly rocking," which became the title of the poem in , is at odds with the demonic rumblings of the sea throughout the poem, whereas the title "A Word Out of the Sea" retains some of the ambiguity and dark mystery of the word that the poet receives from the sea: "Death, Death, Death, Death, Death.".
Out of the cradle endlessly rocking, Out of the mocking-bird’s throat, the musical shuttle, Out of the Ninth-month midnight, Over the sterile sands and the fields beyond, where the child leaving his bed wander’d alone, bareheaded, barefoot.
Analysis. Walt Whitman composed the poem "O Captain! My Captain!" after Abraham Lincoln's assassination in The poem is classified as an elegy or mourning poem, and was written to honor Abraham Lincoln, the 16th president of the United States. Walt Whitman was born in and died in , and the American Civil War was the central event of his life.
This phrase pattern can be scanned; that is, The rhythm and sound of all prose are subject to analysis, but, compared with even the simplest verse, the “prosodic” structure of prose seems haphazard, unconsidered.
“ Out of the Cradle Endlessly Rocking” (). Out of the cradle endlessly rocking, Out of the mocking-bird's throat, the musical shuttle, Out of the Ninth-month midnight, Over the sterile sands and the fields beyond, where the child/5(2).