Welcome to part 7 of my study on Metrical Writing. Hopefully, you've been reading works that are written in meter and have been practicing your Metrical writing; if not, I suggest you do so before moving on to the more advanced theory that we are about to dive into. So current Metrical theory is based on a linguistics study performed by Trager and Smith in the 1950s. While this study had nothing to do with poetry, the information was used in crafting the current theory. What this study learned was that English has a number of unique characteristics in terms of the sounds we make as we talk. Some of these characteristics are Rising and Falling stress, Promotion, and Demotion. The last two, Promotion and Demotion, is what I will be diving into today. In English, when a speaker has to say three unstressed syllables in a row, they will slightly stress the middle one. This is called Promotion. Here is an example of Promotion. It flapped its wings /and leaped/ out of /the nest If you look at the 4th foot, the word OF is stressed. This is not because it is in the stressed position of the line, but because the words 'out' and 'the' are on either side of it. All three of these words 'out, of, the' are all usually unstressed, but because we have 3 of them in a row, we bump the middle one slightly. However, the opposite is also true. When you have three stressed words in a row, the middle one is slightly demoted. Here is an example, The Anchor lifted, and the boat broke waves; The Anc/hor lift/ed, and/ the boat /broke waves; In the 5th foot, the word 'broke', a verb, would usually be stressed, but because it is surrounded by two nouns 'boat' and 'waves' it is demoted. The above line also has a promotion in the form of 'and'. And is rarely promoted but because it follows ed, and is preceded by 'the' it is promoted. Now, a few more notes on this subject. 1. Promotion is 10 times more likely to occur than demotion. In fact, the demotion appears to only occur when you have a subject-verb-object order all with a single syllable word. 2. I want to finish off with something that is NOT a demotion, but some people might call it that. The old/ man ran. The above is NOT a demotion. Why? Because 'Old' is an adjective, and an adjective will never out-stress a noun. What the above is, is a rising Rhythm. The (1) old (2) /man (3) ran (4) While I have yet explained the numbering system (that will be the next blog post I do), you can see that each syllable gets heavier and heavier. This is a common occurrence in the English Language, and we will be looking at it extensively in couple blog posts. - I hope you've enjoyed part 7 of my look into Metrical writing. Usually I end with scanning a poem, however, I am currently doing some research, and will be taking time later to show where Contemporary writers (writers from the late 20th Century to now) have used Metrical writing to extraordinary effects. Previous post: https://www.writingforums.org/entry/a-study-of-metrical-writing-part-6-the-caesura-an-introduction.63897/ Next Post: https://www.writingforums.org/entry/a-study-of-metrical-writing-part-8-the-numbering-system.63997/
Well, Ladies and Gentlemen, the end of this study has finally arrived. In this conclusion, I want to talk about what I've learned, and my thoughts on the theme of Idylls Of The King. - I read this story in order to advance my understanding and use of Metrical writing, and it has. Lord Tennyson use a fair share of rising and falling Rhythms in his writing, which gives his poetry and stories a musical feel to them. I want to give some example to show what I mean. Brake with a wet wind blowing, Lancelot, (The Last Tournament, Line 137) Brake (3) with (2) a (1) wet (2) wind (3) blow(4)ing(1), Lanc(4)e(1)lot(2), 3 2 1 2 3 4 1 4 1 2 From the numbering scale, you can see the Rythm starts high, sinks, rises, drops, Peaks, drops again, rises again. This is very musical. Another rising line, And the new sun rose bringing the new year. (Line 469, the Passing of Arthur) And (1) the (2) new (3) sun (4) rose (3) bring (4)ing (1) the (2) new (3) year. (4) 1 2 3 4 3 4 1 2 3 4 As we can see, this has two rising Rhythms. This type of musicality is what keeps Iambic Pentameter from being monotone. The last thing I've picked up is the Trochee/Spondee that occurs within Iambic Pentameter. While Spondees are considered two equal stressed syllables in a row, this is very rare in English, and some people don't believe Spondee exist at all in English. Regardless, the Rhythmic pattern I am referring to occurs in this line twice! From (2) the (1) great (3) deep (4) to (2) the (1) great (3) deep (4) he (1) goes (4). (The Last Tournament, Line 133) 2 1 3 4 2 1 3 4 1 4 The 2 1 3 4 pattern is what some would call a Trochee/Spondee (Though I am calling this Spondee a heavy Iamb with 3/4). It is a pattern I never considered using in my own writing, and I am glad that I've discovered it and started putting it to use. In the end, it is the discovery and use or these Rhythmic patterns that have made this study worth the time and effort. - The Theme. In my opinion, the theme of Idylls of the King is that Chivalry (courtesy) is dead because of women. What has lead me to this conclusion is that all the major antagonist in this story are women (with the expectation of Mordred). Lynette antagonizes Gareth -the man trying to save her sister- all through chapter 2 through mockery and insults. Vivien -through her sexual advances- brings an end to Merlin and helps Mordred usurp the throne. Ettarre uses her beauty to trick Pelleas, and it is through her trickery the Red Knight is born. Guinevere is the major instrument in playing out this theme. She sees nothing wrong her affair with Lancelot (while Lancelot laments over the fact) and it is through her actions that Balin and Balan are killed, that Pelleas becomes the Red Knight, and the war between Lancelot and Arthur occurs. This is not to say that the men of this story are faultless, (Tristam is murdered because of his affair) but the fault seems to be put on more of the woman in this story than the men. The primary contrast though might be between Arthur and Vivien. Arthur, a faultless king that worries only about his people. Vivien, a court whore that uses sex to charm men to her biding with the sole intention of seeing Arthur destroyed. So, what do I make of this theme? And is it relevant today? Chivalry is dead because women killed it is a complaint I still hear today (at least in Chicago.) Is this a sexist belief? Or Frustration on courtship in today's society? I believe it to be the latter, other might view it as the former. And was this Tennyson's intention when he wrote this? In the end, this is the message I got out of reading this: Building a stable society involves both women and men to make good and respectable choices. If either side falters, the whole crumbles. - I hope you've enjoyed my study of Idylls of the King. My next step will be to continue with my blog series on Metrical writing and get into the more advanced theory. If you have any thoughts or questions, please leave a comment or a like! Previous post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-13-the-passing-of-arthur.63987/
In the final chapter, Arthur and his host march westward to meet Mordred; on the eve of the final battle, Arthur is visited by the ghost of Gawain, who died in the war against Lancelot. Gawain informs Arthur that he will die in the coming battle. Arthur laments over the fact that his perfect kingdom has been brought to ruin by his cheating wife, best friend, and traitor nephew. The next day, Arthur and his host meet Mordred; Choas erupts as a dense fog settles over the battle causing friends to kill friends, and Enemy to slay enemy as no one can see who they are fighting. After the both sides have killed each other off, Arthur sees Mordred and attacks him. Mordred delivers Arthur a mortal blow, but Arthur strikes him dead. Bedivere pulls Arthur off the battle friend; Arthur tells Bedivere that he is dying and that he needs Bedivere to throw Excalibur back into the lake. Two times Bedivere takes the sword to the lake, and two times he is unable to bring himself to throw the sword away; he wonders if it should be kept for future generations. Each time Arthur knows that Bedivere is lying, and condemns him for his lies. On the third, time Bedivere throws the sword into the lake; a hand -the lady of the lake- grabs it. Bedivere tells Arthur what he has seen, and Arthur die. As Arthur die, a group of fairies appears from out of the mist in the boat. They pick up Arthur's body and lay it in the boat (There is a famous painting based off this scene), and sail off. Here is the final paragraph of Idylls of the King: Then from the dawn it seem'd there came, but faint As from beyond the limit of the world, Like the last echo born of a great cry, Sounds, as if some fair city were one voice Around a king returning from his wars. Thereat once more he moved about, and clomb Even to the highest he could climb and saw, Straining his eyes beneath an arch of hand, Or thought he saw, the speck that bare the King, Somewhere far off, pass on and on, and go From less to less, and vanish into light, And the new sun rose bringing the new year. (The passing of Arthur, lines 457-469) Then from /the dawn/ it seem'd/ there came, but faint (Iamb/Iamb/Iamb/Iamb/Iamb) As from/ beyond/ the lim/it of /the world, (Iamb/Iamb/Iamb/Iamb/Iamb) Like the/ last ec/ho born/ of a /great cry, (Trochee/Iamb/Iamb/Double Iamb) Sounds, as/ if some /fair cit/y were/ one voice (Trochee/Double Iamb/Double Iamb) Around /a king/ re-turn/ing from/ his wars. (Iamb/Iamb/Iamb/Iamb/Iamb) Thereat /once more /he moved /about,/ and clomb (Iamb/Iamb/Iamb/Iamb/Iamb) Even to /the high/est he /could climb/ and saw, (Trochee/Iamb/Iamb/Iamb/Iamb)* Straining/ his eyes/ beneath/ an arch/ of hand, (Trochee/Iamb/Iamb/Iamb/Iamb) Or thought/ he saw, /the speck /that bare /the King, (Iamb/Iamb/Iamb/Iamb/Iamb) Somewhere /far off,/ pass on /and on, /and go (Iamb/Iamb/Iamb/Iamb/Iamb) From less/ to less, and van/ish in/to light, (Iamb/Iamb/Iamb/Iamb/IAmb) And the /new sun/ rose bring/ing the/ new year. (Double Iamb/Iamb/Double Iamb) *I believe Even is being pronounced as 1 syllable. - I hope you enjoyed part 13 of my study on Idylls of the King. Part 14 will be where I discuss certain elements I enjoyed about the story, as well as my feelings toward the theme of the story (believe it or not, this is a very sexist story.) If you have a thought or a question, please leave a comment or a like! - Previous post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-12-guinevere.63978/ Next post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-14-the-conclusuion.63989/
Welcome to part 12 of my study of Idylls of the King. Today, we will be looking at chapter 11, Guinevere. The story starts off with the Queen fleeing Camelot and seeking refuge at a holy house full of nuns. The reason Guinevere fled Camelot is that Mordred set a trap for her and Lancelot. Lancelot and the Queen were planning to run away with each other to France, but Vivian had revealed this information to Modred. Modred confronts the two, and Lancelot kills a number of Mordred's knights (This explains why Guinevere had disappeared at the end of the previous chapter.) Lancelot makes it back to France and Arthur leads a massive host in pursuit (Sound like the Iliad to anyone?) With Arthur gone, Modred takes the opportunity to usurp the throne and take the country for himself. This causes Arthur to give up his war in France and return home. Learning all of this, Guinevere comes to hate herself as she knows she was the catalyst for these events. King Arthur somehow learns that Guinevere has taken sanctionary and arrives at the holy house. He confronts Guinevere, confesses his love for her and his acceptance to let her go, and foreshadows the fact that he will most likely die in the final battle with Mordred. After Arthur leaves, Guinevere has this realization -which I will scan. Gone thro' my sin to slay and to be slain! And he forgave me, and I could not speak. Farewell? I should have answer'd his farewell. His mercy choked me. Gone, my lord the King, My own true lord! how dare I call him mine? The shadow of another cleaves to me, And make me one pollution. He, the King, Call'd me polluted. Shall I kill myself? What help in that? I cannot kill my sin, If soul be soul, nor can I kill my shame; No, nor by living can I live it down. The days will grow to weeks, the weeks to months, The months will add themselves and make the years, The years will roll into the centuries, And mine will ever be a name of scorn. (Guinevere, line 608-622) Gone thro' /my sin /to slay /and to /be slain! (Trochee/Iamb/Iamb/Iamb/Iamb) And he /forgave /me, and/ I could/ not speak. (Iamb/Iamb/Iamb/Double Iamb) Farewell? I should/ have/ ans/wer'd his farewell. (Iamb/Iamb/Iamb/Iamb/Iamb) His mer/cy choked/ me. Gone, my lord /the King, (Iamb/Iamb/Iamb/Iamb/Iamb) My own/ true lord! how dare /I call /him mine? (Double Iamb/Iamb/Iamb/Iamb) The shad/ow of/ a-noth/er cleaves to me, (Iamb/Iamb/Iamb/Iamb/Iamb) And make/ me one /pol-lut/ion. He,/ the King, (Iamb/Iamb/Iamb/Iamb/Iamb) Call'd me/ pol-lut/ed. Shall/ I kill /myself? (Trochee/Iamb/Iamb/Iamb/Iamb) What help/ in that? /I can/not kill /my sin, (Iamb/Iamb/Iamb/Iamb/Iamb) If soul /be soul,/ nor can/ I kill /my shame; (Iamb/Iamb/Iamb/Iamb/Iamb) No, nor /by liv/ing can/ I live /it down. (Trochee/Iamb/Iamb/Iamb/Iamb) The days /will grow /to weeks, /the weeks/ to months, (Iamb/Iamb/Iamb/Iamb/Iamb) The months /will add /themselves /and make/ the years, (Iamb/Iamb/Iamb/Iamb/Iamb) The years /will roll/ into/ the cen/tu-ries, (Iamb/Iamb/Trochee/Iamb/Iamb) And mine/ will ev/er be/ a name /of scorn. (Iamb/Iamb/Iamb/Iamb/Iamb) The Monologue goes on for another page, but this is a great example of a character reflecting on thier situtation and considering what their next step to be. In story structure this is called the Dilemma stage. Guinevere knows her names will be blackened to the end of time and considers killing herself. - Guinevere decides to spend the rest of her life as a nun, becomes head-mother, and dies three years later. This chapter acts as the break into Act III, as the next chapter is the Climatic battle between Arthur and Mordred. While this is not the most exciting chapter (a lot of things happen off-stage) it ties well with the theme of the story (which I will go into in part 14 of my study, the conclusion. ) - If you have any thoughts or questions, please leave a comment or a like! Previous post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-11-the-last-tournament.63974/ Next post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-13-the-passing-of-arthur.63987/
Welcome to part 11 of my study of Idylls of the King. Today we will be looking at Chapter 10, The Last Tournament. In this chapter, Guinevere's adopted son (remember, she can't have children) dies. She asks Arthur to host a tournament in the child's honor, having a ruby necklace as the prize. Arthur agrees, but before he can host it, news of a 'Red Knight' attacking the north reaches him. Arthur gathers his army (made up of his new knights) and leaves the business of running the tournament in Lancelot's care. The Tournament is held and Tristram wins. Lancelot does not wish to give Tristam the prize because Tristam has had a number of affairs, but Tristram taunts Lancelot about his own affair with the queen. Here is the passage, which I will scan, of Tristram and Lancelot's argument. - So Tristram won, and Lancelot gave, the gems, Not speaking other word than, "Hast thou won? Art thou the purest, brother? See, the hand Wherewith thou takest this is red!" to whom Tristram, half plagued by Lancelot's languorous mood, Made answer: Ay, but wherefore toss me this Like a dry bone cast to some hungry hound? Let be thy fair Queen's fantasy. Strength of heart And might of limb, but mainly use and skill, are winners in this pasttime of our king. My hand - belike the lance hath dript upon it- No blood of mine,. I trow; but O chief knight, Right arm of Arthur in the battlefield, Great brother, thou nor I have made the world; Be happy in thy fair Queen as I in mine." (The Last Tournament, lines 190-204) So Trist/ram won,/ and Lance/lot gave,/ the gems, (Iamb/Iamb/Iamb/Iamb/Iamb) Not speak/ing oth/er word/ than, "Hast/ thou won? (Iamb/Iamb/Iamb/Iamb/Iamb) Art thou/ the pur/est, broth/er? See, /the hand (Iamb/Iamb/Iamb/Iamb/Iamb) Wherewith /thou tak/est this/ is red!"/ to whom (Iamb/Iamb/Iamb/Iamb/Iamb) Tristram,/ half plagued/ by Lance/lot's lang/uorous mood, (Trochee/Iamb/Iamb/Iamb/Iamb) Made ans/wer: Ay,/ but where/fore toss /me this (Iamb/Iamb/Iamb/Iamb/Iamb) Like a/ dry bone/ cast to/ some hung/ry hound? (Trochee/Spondee/Iamb/Iamb/Iamb) Let be /thy fair /Queen's fant/asy. Strength /of heart (Trochee/Double Iamb/Iamb/Iamb) And might /of limb, /but main/ly use/ and skill, (Iamb/Iamb/Iamb/Iamb/Iamb) are win/ners in /this past/time of /our king. (Iamb/Iamb/Iamb/Iamb/Iamb) My hand - belike/ the lance/ hath dript/ upon (it-) (Iamb/Trochee/Iamb/Iamb/Iamb (Hyper)) No blood/ of mine,./ I trow; but O /chief knight, (Iamb/Iamb/Iamb/Double Iamb) Right arm/ of Arth/ur in /the bat/tle-field, (Spondee/Iamb/Iamb/Iamb/Iamb) Great broth/er, thou/ nor I/ have made /the world; (Spondee/Iamb/Iamb/Iamb/Iamb) Be hap/py in thy/ fair Queen/ as I/ in mine." (Iamb/Double Iamb/Iamb/Iamb) - Elsewhere, Arthur and his forces meet the Red Knight. The Red Knight, who is Pelleas from the previous chapter, informs Arthur that his wife and Lancelot are having an Affair. Before Arthur can talk to him, Arthur's knights kill the Red Knight, murder all the people inside the Red Knight's keep, and they burn the Keep to the ground. This horrifies Arthur. Back to the main story, Tristram takes the ruby necklace to his mistress, Queen Isolt. The two are about to kiss each other when her husband appears and murders Tristram. The chapter ends with Arthur returning and wishing to talk to Guinevere; however, he discovers that she is gone. Metrically, this chapter is a joy! There are so many interesting lines, word play, and Rhetoric devices that I almost want to scan the whole chapter; however, a I'll just scan the lines that really stuck out and explain why. A hundred goodly ones -the Red Knight, he- Lord, I was tending swine, and the Red knight. (Lines 70-71) A hund/red good/ly ones /-the Red /Knight, he- (Iamb/Iamb/Iamb/Iamb/Iamb) Lord, I /was tend/ing swine,/ and the /Red knight. (Trochee/Iamb/Iamb/Double Iamb) Look at how 'Knight' is not stressed in one line, but is in the next. The reason for this is compound nouns (even if they are two words) the primary stress falls on the first word. In the second line though, there is nothing that follows Knight. - From the great deep to the great deep he goes. (Line 133) From (2) the/ great (3) deep (4) /to (2) the (1)/ great (3) deep (4)/ he (1) goes(4). (Trochee/Iamb/Trochee/Iamb/Iamb) I've used the numbering system to show the Rhythm of this line. This is a great line, and I would use it as an allusion in my own works. - Brake with a wet wind blowing, Lancelot, (Line 137) Brake (4) with (2) /a (1) wet (2) /wind (3) blow/(4) ing(1),Lanc (4)/ e(1) lot(2), (Trochee/Double Iamb/Iamb/Iamb) This line has a lot of different stress levels. I want to show it with the numbering system so people could see how much Iambic Pentameter can vary in sound. - The Black-Blue Irish hair, and Irish eyes. (Line 403) The Black/-Blue Iri/sh hair, /and Ir/ish eyes. (Iamb/Iamb/Iamb/Iamb/Iamb) Compound adjectives (Black-Blue) the first word gets the stress. - Like hill-snow high in heaven, the steel-blue eyes, (Line 662) Like hill/-snow high/ in heaven, /the steel-/blue eyes (Iamb/Iamb/Iamb/Iamb/Iamb) Not only is this a great simile, but look, two compound adjectives! - From uttering freely what I freely hear? (Line 689) What I like about the above lines is the wordplay. Wordplay is not something I've done a whole lot with, but one day I am going to really explore it. - The last things I wanted to note is that this chapter reveals the theme of the entire story. '"All Courtesy is dead," (Like 211) This is the main focus of the story, and in my conclusion I will go into greater detail about the theme of this story and what I think about it. - I hope you've enjoyed part 11 of my study of Idylls of the King. If you have a question or a thought, please leave a comment or a like! Previous Post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-10-pelleas-and-ettarre.63972/ Next post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-12-guinevere.63978/
Welcome to part 10 of my study of Idylls of the King. Today we will be looking at chapter 9, Pelleas and Ettarre. KING ARTHUR made new knights to fill the gap Left by the holy quest; (Lines 1-2, Pelleas and Ettarre) Pelleas, a young man, is one of the new knights of Arthur, and, after being knighted, he returns to his homelands to protect it. Once there, he sees a beautiful woman named Ettarre leading a group of people to a tournament that Arthur is planning on hosting. Ettarre falls for the beautiful maiden and pledges himself to her. Ettarre, a rather wicked woman, takes advantage of this and ask Pelleas to enter the tournament on her behalf and win her the prize, a golden crown. Pelleas enters the tournament and wins. He gives Ettarre the crown, but dismisses him and returns home. Pelleas, believing this to be just another test he needs to overcome to win her love, follows her home, and waits outside her castle. Ettarre becomes annoyed with this and sends her knights to get rid of him. Despite a few fights, Pelleas remains outside her castle. Gawain, the lazy knight from Lancelot and Elaine, sees this one day and decides to 'help.' He comes up with a plan to help Pelleas, by claiming to have killed him, in order win an audience with Ettarre so that he might try to convince her how good of a man Pelleas actually was. Pelleas waits for three days for Gawain to return, but when he doesn't, Pelleas becomes worried and sneaks into the castle. He finds Gawain and Ettarre in bed with each other. Enraged by the fact he was betrayed by a fellow knight, Pelleas debates if he should kill the two in their sleep. In the end, he doesn't and instead lays his sword across their throats. Pelleas then has this inner monologue which I will scan. - "Would they have risen against me in their blood At the last day? I might have answer'd them Even before high God. O towers so strong, Huge, solid, would that even while I gaze The crack of earthquake shivering to your base Split you, and hell burst up your harlot roofs Bellowing, and charr'd you thro' and thro' within, Black as the harlot's heart-hollow as a skull! Let the fierce east scream thro' your eyelet-holes, And whirl the dust of harlots round and round In dung and nettles! hiss, snake - I saw him there- Let the fox bark, let the wolf yell! Who yells Here in the still sweet summer night but I- I, the poor Pelleas whom she call'd her fool? Fool, beast -he, she, or I? myself most fool; Beast too, as lacking human wit- disgraced, Dishonor'd all for trail of true love- Love?- we be all alike; only the king Hath made us fools and liars. O Noble vows! O great and sane and simple race of brutes That own no lust because they have no law! For why should I have loved her to my shame? I loathe her, as I loved her to my shame. I never loved her, I but lusted for her- Away!"- (Line 452-476) "Would they/ have ris/en (>) against/ me in /their blood (Iamb/Iamb/Iamb/Iamb/Iamb) At the/ last day?/ I might/ have ans/wer'd them (Trochee/Spondee/Iamb/Iamb/Iamb) Even /before /high God./ O towers/ so strong, (Trochee/Iamb/Spondee/Iamb/Iamb) Huge, sol/id, would/ that ev/en while I gaze (Iamb/Iamb/Iamb/Iamb/Iamb) The crack/ of earth/quake shiver/ing to/ your base (Iamb/Iamb/Iamb/Iamb) Split you,/ and hell /burst up /your har/lot roofs (Trochee/Double Iamb/Iamb/Iamb) Bellowing, and charr'd you thro' and thro' within, (Trochee/Iamb/Iamb/Iamb/Iamb) Black as/ the har/lot's heart/(II)-hollow (>) as/ a skull! (Trochee/Iamb/Iamb/Trochee/Iamb)* Let the /fierce east /scream thro'/ your eye/let-holes, (Trochee/Iamb/Iamb/Iamb/Iamb) And whirl /the dust /of har/lots round /and round (Iamb/Iamb/Iamb/Iamb/Iamb) In dung and nett(les)!(II) hiss, snake/ - I saw /him there- (Iamb/Iamb/Spondee/Iamb/Iamb)** Let the/ fox bark, /let the /wolf yell! Who yells (Trochee/Iamb/Trochee/Iamb/Iamb)*** Here in /the still/ sweet sum/mer night/ but I- (Iamb/Double Iamb/Iamb/Iamb) I, the /poor Pell/eas whom /she call'd/ her fool? (Trochee/Iamb/Iamb/Iamb/Iamb) Fool, beast/ -he, she,/ or I?/ myself/ most fool; (Spondee/Iamb/Iamb/Iamb/Iamb) Beast too,/ as lack/ing hum/an wit- /disgraced, (Trochee/Iamb/Iamb/Iamb/Iamb) Dishon/or'd all/ for tra/il of /true love- (Iamb/Iamb/Iamb/Double Iamb) Love?- we/ be all /alike;(II)/ only/ the king (Trochee/Iamb/Iamb/Trochee/Iamb)* Hath made/ us fools /and liars./ O Nob/le vows! (Iamb/Iamb/Iamb/Iamb/Iamb) O great /and sane/ and simp/le race /of brutes (Iamb/Iamb/Iamb/Iamb/Iamb) That own /no lust /because /they have /no law! (Iamb/Iamb/Iamb/Iamb/Iamb) For why/ should I /have loved /her to /my shame? (Iamb/Iamb/Iamb/Iamb/Iamb) I loathe /her, as /I loved /her to /my shame. (Iamb/Iamb/Iamb/Iamb/Iamb) I nev/er loved /her, I /but lust/ed for (her-) (Iamb/Iamb/Iamb/Iamb/Iamb (hyper)) Away!"- (Iamb) * I wanted to note how A trochee follows the Caesural pause in these lines. This is an important requirement for using midline trochees. ** Midline hyper-metrical feet occur, sometimes, before a Caesural pause. ***This line might look difficult to scan, and some would scan it as (Trochee/Spondee/Trochee/Spondee/Iamb) but that would not be correct as there are more spondees and Trochees than there are iambs. Using the numbering system you will see how the line is mostly Iambs. Let (2) the (1)/ fox (3) bark (4), /let (2) the (1) /wolf (3) yell! (4) Who (1) yells (4) - Afterward, Pelleas rides madly into the country. He encounters Sir Percivale and learns about how Lancelot and the Queen are having an affair (Percivale says this having thought that Pelleas already knew.) With Pelleas's worldview shattered, he rides to Camelot in order to confront the queen. Pelleas encounters Lancelot outside the castle, and after a brief argument between the two, they duel. Lancelot easily wins. Lancelot spars Pelleas, even though he knows what he intends to do, and takes him before the Queen. The Queen tries to calm Pelleas down, but Pelleas says 'I have no sword.' (line 590) This implies that if he did, he'd force her knight 'Lancelot' to slay him. The court goes silent. Lancelot and Guinevere realize that the day of reckoning is fast approaching. Modred realizes that the time is at hand for him to shatter Arthur's kingdom, and take the throne for himself. - I hope you've all enjoyed Part 10. If you have any thoughts or questions, please leave a comment or a like! Previous post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-9-the-holy-grail.63970/ Next Post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-11-the-last-tournament.63974/
Welcome to part 9 of my study of Idylls of the king. Today we will be looking at chapter 8, The Holy Grail. This story is rather straight forward. While Arthur is away, a number of his knights see a vision of the Holy Grail (this occurs after Galahad sits on Merlin's seat.) Having seen the vision of the Grail, The knights swear a vow to find it. King Arthur returns and hears the story, but he becomes worried that this quest will be the ruin of his kingdom -as most of his knights have sworn to find the Grail. He allows the knights who have sworn the oath to go on their quest and waits for their return. Bors, Lancelot, and Percivale all see a distorted image of the Grail, but none of them are able to obtain it; Sir Galahad, however, sees a clear image of the Grail and sails off into the ocean to obtain. He ascends to heaven. The part where Sir Galahad ascends into heaven via boat is almost identical to the end of C.S Lewis's The Voyage of the Dawn Treader, where Reepicheep paddles a Canoe into Aslan's country (Heaven.) I do wonder if C.S Lewis was somewhat inspired by this story. Having failed their quest, the remaining knights return to Arthur and find the kingdom in ruin. Arthur reflects on how his fear came true and states that even if he had seen the Grail, he would not have gone on the quest as it is his duty to protect his kingdom. The Knights ponder if the quest was indeed worth the price that was paid. - Metrically, I'd like to scan the following lines. It is a scene where, halfway through the quest, Percivale reflects on the king's dark prediction. "Thereafter, the dark warning of our king, That most of us would follow wandering fires, Came like a driving gloom across my mind. Then every evil word I had spoken once, And every evil thought I had thought of old, And every evil deed I ever did, Awoke and cried, 'This quest is not for thee.' And lifting up mine eyes, I found myself Alone, and in a land of sand and thorns, And I was thirsty even unto death; And I, too, cried, 'This quest is not for thee.' (The Holy Grail, lines 368-378) "There-af/ter, the/ dark warn/ing of /our king, (Iamb/Double Iamb/Iamb/Iamb) That most/ of us/ would foll/ow wand/ering fires, (Iamb/Iamb/Iamb/Iamb/Iamb) Came like/ a driv/ing gloom/ across /my mind. (Trochee/Iamb/Iamb/Iamb/Iamb) Then eve/ry ev/il word /I (>) had spok/en once, (Iamb/Iamb/Iamb/Iamb/Iamb)* And eve/ry ev/il thought/ I (>) had thought /of old, (Iamb/Iamb/Iamb/Iamb/Iamb)* And eve/ry ev/il deed /I ev/er did, (Iamb/Iamb/Iamb/Iamb/Iamb) Awoke/ and cried,/ 'This quest/ is not/ for thee.' (Iamb/Iamb/Iamb/Iamb/Iamb) And lift/ing up/ mine eyes,/I found/ myself (Iamb/Iamb/Iamb/Iamb/Iamb) Alone,/ and in/ a land /of sand /and thorns, (Iamb/Iamb/Iamb/Iamb/Iamb) And I/ was thirst/y ev/en un/to death; (Iamb/Iamb/Iamb/Iamb/Iamb) And I,/ too, cried,/ 'This quest/ is not/ for thee.' (Iamb/Iamb/Iamb/Iamb/Iamb) *I Had = I'd. I'm not sure when the 'spelling' of I'd came into being, but this is how he is pronouncing it in this lines. I was asked recently how I know the writer's intent when I scan, the truth is I don't. Tennyson is dead so I can't ask him what he intended or did not intend. However, there are 'rules' to writing IP, and seeing how the first line of this story scans IP, I can assume that he is applying the established rules to his work. Putting an Anapest into IP would have been considered bad form, so, knowing that, I can assume that Tennyson wants I had to be Eluded into I'd. - This concludes Part 9 of my study. If you have any thoughts or questions, please leave a like or comment! Previous post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-8-lancelot-and-elaine.63966/ Next post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-10-pelleas-and-ettarre.63972/
Elaine the fair, Elaine the lovable, Elaine, the lily maid of Astolat, High in her chamber up at tower to the east Guarded the sacred shield of Lancelot; Which first she placed where morning's earliest ray Might strike it, and awake her with the gleam; Then fearing rust of soilure fashion'd for it A case of silk, and braided thereupon All the devices Blazon'd on the shield In their tinct, and added, of her wit, A border fantast of branch and flower, And yellow-throated nestling in the nest, Nor rested thus content, but day by day, Leaving her household and good father, climb'd That eastern tower, and entering barr'd her door, Stript off the case, and read the naked shield, Now guess'd a hidden meaning in his arms, Now made a pretty history to herself Of every dint a sword had beaten in it, And every scratch a lance had made upon it, Conjecturing when and here: this cut is fresh, That at Caerleon-this at Camelot- And ah, God's Mercy, what a stroke was there! And here a thrust that might have kill'd, but God Broke the strong lance, and roll'd his enemy down, And saved him: so she lived in Fantasy. (Lancelot and Elaine, lines 1-27) Welcome to part 8 of my study of Idylls of the King. Today we will be looking at chapter 7, Lancelot and Elaine. I'd like to start off with a scan of the above passage. E-laine/ the fair,/ E-laine/ the lov/a-ble, (Iamb/Iamb/Iamb/Iamb/Iamb) E-laine,/ the li/ly maid /of Ast/o-lat, (Iamb/Iamb/Iamb/Iamb/Iamb) High in/ her cham/ber up /at tower/ to (>) the east (Trochee/Iamb/Iamb/Iamb/Iamb)* Guarded/ the sac/red shield /of Lan/ce-lot; (Trochee/Iamb/Iamb/Iamb/Iamb) Which first /she placed /where morn/ing's earl/iest ray (Iamb/Iamb/Iamb/Iamb/Iamb) Might strike/ it, and /awake/ her with the gleam; (Iamb/Iamb/Iamb/Iamb/Iamb) Then fear/ing rust /of soil/ure fash/ion'd for (it) (Iamb/Iamb/Iamb/Iamb/Iamb (hyper)) A case /of silk, /and braid/ed there/upon (Iamb/Iamb/Iamb/Iamb/Iamb) All the/ devic/es Blaz/on'd on /the shield (Trochee/Iamb/Iamb/Iamb/Iamb) In /their tinct, /and add/ed, of/ her wit, (Headless Iamb/Iamb/Iamb/Double Iamb) A bord/er fan/t-ast /of branch/ and flower, (Iamb/Iamb/Iamb/Iamb/Iamb) And yell/ow-throat/ed nest/ling in /the nest, (Iamb/Iamb/Iamb/Iamb/Iamb) Nor rest/ed thus /content, /but day/ by day, (Iamb/Iamb/Iamb/Iamb/Iamb) Leaving/ her house/hold and/ good fath/er, climb'd (Trochee/Iamb/Double Iamb/Iamb) That east/ern tower,/ and ent/ering barr'd /her door, (Iamb/Iamb/Iamb/Iamb/Iamb) Stript off/ the case,/ and read/ the nak/ed shield, (Spondee/Iamb/Iamb/Iamb/Iamb) Now guess'd /a hidd/en mean/ing in/ his arms, (Iamb/Iamb/Iamb/Iamb/Iamb) Now made/ a pret/ty hist/ory to/herself (Iamb/Iamb/Iamb/Iamb/Iamb) Of eve/ry dint /a sword /had beat/en in (it), (Iamb/Iamb/Iamb/Iamb/Iamb (hyper)) And eve/ry scratch/ a lance/ had made /upon (it,) (Iamb/Iamb/Iamb/Iamb/Iamb (hyper)) Conject/uring when /and here:/ this cut is fresh, (Iamb/Iamb/Iamb/Iamb/Iamb) That at/ Caerle/on-this/ at Cam/e-lot- (Iamb/Iamb/Iamb/Iamb/Iamb) And ah,/ God's Mer/cy, what/ a stroke /was there! (Iamb/Iamb/Iamb/Iamb/Iamb) And here/ a thrust /that might/ have kill'd, /but God (Iamb/Iamb/Iamb/Iamb/Iamb) Broke the/ strong lance,/ and roll'd /his en/emy down, (Trochee/Spondee/Iamb/Iamb/Iamb) And saved /him: so /she lived/ in Fan/ta-sy. (Iamb/Iamb/Iamb/Iamb/Iamb) *I just want to make a note that like how some people would say 'flour' is one syllable, they apply the same pronunciation to words like flower and tower. Being from Midwest, these pronunciation do catch me off guard here and there, but this is the point I want to make; it is so important to learn how a region pronounces a word vs. your own. If you don't take the time to learn how different people say the same word as you, differently, than you are going to really struggle at reading other people's metrical writing. The East cost, West cost, Mountain region, Mid-west, South, Deep south, Canada, U.K, Aussie, and a few I am sure I am forgetting, all say the same word differently, and have different speech habits. The story of Lancelot and Elaine is a tragedy. The story starts off with Arthur holding a tournament where the winner will receive a large diamond. Meanwhile, Lancelot and the Queens relationship is having some troubles, and she demands he enter the tournament. Lancelot agrees but decides he will disguise himself as a way to get more people to enter it (He has won every Tournament that Arthur has hosted.) Lancelot goes to Astolat, where he meets Elaine, and ask the lord for old armor and a blank shield so no one will recognize him. During this time, Elaine falls madly in love Lancelot and gives him her pearl arm-band to wear, which he does. Lancelot wins the tournament but is gravely injured, and retreats into the wild before he can receive his award. Arthur, correctly, guesses that the unknown knight was Lancelot in disguise and sends one of his knights, a lazy one at that, to find him. Arthur reveals his concerns to the queen, who confirms that the unknown knight was indeed Lancelot, but he also tells her that Lancelot wore the arm-ban of another woman. The queen goes into a jealous rage; here is her response. "Thy hopes are mine," and saying that, she choked, And sharply turn'd about to hide her face, Past to her chamber, and there flung herself Down on the great King's couch, and writhed upon it, And clench'd her fingers till they bit her palm, And shriek'd out "Traitor!" (Lines 603-608) Elsewhere, Elaine meets the lazy knight. The Lazy knight, Gawain, sees that Elaine is madly in love with Lancelot, and wanting her for himself, tries to destroy her love by telling her that Lancelot and the Queen are having an affair. Elaine is hurt by this and ask the man to leave. Elaine then sets out, finds Lancelot, and nurses him back to health. With Lancelot in full health, he ask Elaine if he can grant her anything. Elaine begs Lancelot to take her with him, not as his wife, but as another lover. (This is a huge deal. Back then, having sex with someone and not being married to them would be on the same level as being a drug dealer today. This also shows that she believes the rumors about him and the queen, but loves him despite that.) Lancelot -being an honorable man- is unable to do that and refuses to grant her request. He leaves, and Elaine becomes heartbroken. Elaine dies of heartbreak Lancelot returns and is greeted as a hero by all expect the Queen, who believes that he has a new lover. When the two are alone they have an argument over the ordeal which further causes Lancelot to despise his relationship with the queen. Lancelot then learns of the death of Elaine and become remorseful over his actions towards her. He buries her himself with all the jewels he's won over the years at the tournament and comes to despise himself as a man over these events. - Before we finish this up today, I want to make note of a few lines where I thought the meter was excellent. "They are broken, they are broken!' for the king. (Line 309) "^ They/ are brok/en, they/ are brok/en!' for /the king. This line is an Alexander (a 6 beat line) that is used when of something of great importance is said or done (in this case, when King Arthur defeated the heathen host.) But also, look how the line starts with an Headless Iamb, this is done so that the 'They are broken' can be repeated twice, but the meter will be the same. This is an example of a Rhetoric device, metrical dialogue that is meant to persuade the listener. - His honor rooted in dishonor stood, And faith unfaithful kept him falsely true. (Lines 871-872) The above is some excellent word play. As a writer becomes better versed in writing meter, Words play and Rhetoric devices will become important to take your writing to the next level. This is where meter gains its power. Most of Shakespeare's best writing and quoted sayings are his word play and Rhetoric that is done in meter. - This concludes my look at Chapter 7, Lancelot and Elaine (the longest chapter in the book.) - If you have any thoughts or questions, please leave a comment or a like. Previous Post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-7-merlin-and-vivien.63942/ Next Post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-9-the-holy-grail.63970/
A storm was coming, but the winds were still, And in the wild woods of Broceliande, Before an oak, so hollow, huge, and old It look'd a tower of ivied masonwork, At Merlin's feet the wily Vivien lay. (Merlin and Vivien, lines 1-5) Welcome to part 7 of my study of Idylls of the King. Today we are looking at the midpoint chapter, Merlin and Vivien. This is a very important Chapter as it show Vivien's first major blow to Arthur's court. The chapter tells the story of Vivien's plight to seduce Merlin into teaching her magic. The entire story is a back and forth between Vivien as she continues to make sexual advances on Merlin, and he does his best to resist her. The chapter is rather straight forward and there are not many plot points, which I like. The reason I feel this chapter is so strong is that since 90% of the chapter deals with Vivien's advances, and Merlin's struggle to resist; it really gives room for these characters to grow and express themselves. There comes a moment where Merlin just about 'defeats' Vivien, but then Merlin has a change of heart. The following passage shows where things start to go Vivien's way. I'll post the passage then scan it. She paused, she turn'd away, she hung her head, The snake of gold slid from her hair, the braid Split and uncoil'd itself, she wept afresh, And the Dark wood grew darker toward the storm In Silence, while his anger slowly died Within him, till he let his wisdom go For ease of heart, and half believed her true; Call'd her to shelter in the hollow oak, "Come from the storm," and having no reply, Gazed at the heaving shoulder and the face Hand-Hidden, as for utmost grief or shame; Then thrice essay', by tenderest-touching terms, To sleek her ruffled peace of mind, in vain. At last she let herself be conquer'd by him, And as she cageling newly returns, The seeming-injured simple-hearted thing Came to her old perch back, and settled there. There while she sat, half-falling from his knees, Half-nestled at his heart, and since he saw The slow tear creep from her closed eyelid yet, About her, more in kindness than in love, The gentle wizard cast a shielding arm. But she dislink's herself at once and rose, Her arms upon her breast across, and stood, A virtuous gentlewoman deeply wrong'd, Upright and flush'd before him: Then she said: (Merlin and Vivien, Lines 885 - 910) She paused, /she turn'd /away, she hung /her head, (Iamb/Iamb/Iamb/Iamb/Iamb) The snake/ of gold /slid from/ her hair, /the braid (Iamb/Iamb/Iamb/Iamb/Iamb) Split and/ uncoil'd/ itself, she wept/ afresh, (Trochee/Iamb/Iamb/Iamb/Iamb) And the /Dark wood /grew dark/er toward /the storm (Double Iamb/Iamb/Iamb/Iamb) In Sil/ence, while/ his ang/er slow/ly died (Iamb/Iamb/Iamb/Iamb/Iamb) Within/ him, till/ he let/ his wis/dom go (Iamb/Iamb/Iamb/Iamb/Iamb) For ease /of heart, /and half/ believed /her true; (Iamb/Iamb/Iamb/Iamb/Iamb) Call'd her/ to shelt/er in/ the holl/ow oak, (Trochee/Iamb/Iamb/Iamb/Iamb) "Come from/ the storm," /and hav/ing no /reply, (Trochee/Iamb/Iamb/Iamb/Iamb) Gazed at/ the heav/ing should/er and /the face (Trochee/Iamb/Iamb/Iamb/Iamb) Hand-Hidd/en, as /for ut/most grief /or shame; (Iamb/Iamb/Iamb/Iamb/Iamb) Then thrice/ essay',/ by tend/erest-touch/ing terms, (Iamb/Iamb/Iamb/Iamb/Iamb) To sleek/ her ruff/led peace /of mind, /in vain. (Iamb/Iamb/Iamb/Iamb/Iamb) At last /she let/ herself/ be con/quer'd by (him,) (Iamb/Iamb/Iamb/Iamb/Iamb (hyper) And as /she cage/ling new/ly/ returns, (Imab/Iamb/Iamb/Iamb/Iamb) The seem/ing-in/jured simp/le-heart/ed thing (Iamb/Iamb/Iamb/Iamb/Iamb) Came to/ her (1) old (2)/ perch (3) back (4),/ and sett/led there. (Trochee/Double Iamb/Iamb/Iamb) There while /she sat,/ half-fall/ing from /his knees, (Iamb x 5) Half-nest/led at /his heart, /and since/ he saw (Iamb x 5) The (1) slow (2) /tear (3) creep (4)/ (1) from her (2)/ closed (3) eye (4)/lid yet, (Double/Double/Iamb) * About /her, more /in kind/ness than / In love (Iamb x 5) Her arms/ upon /her breast/ across, and stood, (Iamb x 5) A virt/uous gent/lewo/man deep/ly wrong'd, (Iamb/Iamb/Iamb/Iamb/Iamb) Upright/ and flush'd /before /him: Then /she said: (Iamb x 5) - *I really want to make note of this rising Rhythm that occurs in Iambic Pentameter. Article (1) Adjective (2) Noun (3) Verb (4) occurs a lot. In the end, Merlin teaches Vivien a charm and falls asleep; Vivien then uses the charm to imprison Merlin inside the oak tree. The chapter end with this passage. Then, in one moment, she put forth the charm Of woven paces and of waving hands, And in the hollow oak he lay as died, And lost to life and use and name and fame. Then crying, "I have made his glory mine," And shrieking out, "O fool!" the harlot leapt Adown the forest, and the thicket closed Behind her, and the forest echo'd "fool." (Lines 965-972) - We are half way through people! If any of you have a thought or question, please leave a comment or like! Previous post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-6-balin-and-balan.63938/ Next Post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-8-lancelot-and-elaine.63966/
The story of Balin and Balan begins with King Arthur challenging Balin and Balan, twin brothers, to a duel. Arthur defeats them both, and the two become his knights. Later, reports of a demon haunting a nearby forest reach Arthur's court, and Balan takes on the quest to slay the creature, leaving Balin in the care of Arthur's court. Balin, who suffers from madness, does his best to become a noble night, and begins to hero worship Lanealot; however, one day he sees Lancelot and Guinevere having a secret meeting. This causes Balin to sink into a mad rage, and he flees into the forest. Once there Balin meets Vivien -the primary villain of Idylls of the King. She is a pagan, hence she is at odds with Arthur's Christian court, and plans to undermine his rule. The introduction of Vivien is somewhat unsettling. The whole chapter is very brutal and dark, but I want to show, then scan, the introduction of Vivien. But now the wholesome music of the wood Was dumb'd by one from out the hall of Mark, A damsel-errant, warbling, as she rode The woodland alleys, Vivien, with her squire. "The fire of heaven has kill'd the barren cold, And kindled all the plain and all the wold. The new leaf ever pushes off the old. The fire of heaven is not the flame of hell. "Old Priest, who mumble worship in your quire- Old Monk and nun, ye scorn the world's desire, Yet in your frosty cells ye feel the fire! The fire of heaven is not the flame of hell. "The fire of heaven is on the dusty ways. The wayside blossoms open to the blaze. The whole wood-world is one full peal of praise. The fire of heaven is not the flame of Hell. "The fire of heaven is lord of all things good, And starve not though this fire within thy blood, But follow Vivien thro' the fiery flood! The fire of heaven is not the flame of hell!" (Balin and Balan lines 430-449) But now/ the whole/some mus/ic of/ the wood (Iamb/Iamb/Iamb/Iamb/Iamb) Was dumb'd /by one/ from out /the hall /of Mark, (Iamb/Iamb/Iamb/Iamb/Iamb) A dam/sel-er/rant, warb/ling, as she rode (Iamb/Iamb/Iamb/Iamb/Iamb) The wood/land all/eys, Viv/ien, with/ her squire. (Iamb/Iamb/Iamb/Iamb/Iamb) "The fire/ of heaven/ has kill'd /the bar/ren cold, (Iamb/Iamb/Iamb/Iamb/Iamb) And kind/led all /the plain /and all the wold. (Iamb/Iamb/Iamb/Iamb/Iamb) The new /leaf ev/er push/es off the old. (Double Iamb/Iamb/Iamb/Iamb) * The fire /of heaven/ is not/ the flame/ of hell. (Iamb/Iamb/Iamb/Iamb/Iamb) "Old Priest, /who mum/ble wors/hip in /your quire- (Spondee/Iamb/Iamb/Double Iamb)* Old Monk and/ nun, ye scorn /the world's /desire, (Spondee/Iamb/Iamb/Iamb/Iamb) Yet in/ your frost/y cells/ ye feel /the fire! (Iamb/Iamb/Iamb/Iamb/Iamb) The fire /of heaven/ is not/ the flame /of hell. (Iamb/Iamb/Iamb/Iamb/Iamb) "The fire /of heaven /is on /the dust/y ways. (Iamb/Iamb/Iamb/Iamb/Iamb) The way/side bloss/oms op/en to /the blaze. (Iamb/Iamb/Iamb/Iamb/Iamb) The whole/ wood-world /is one /full peal /of praise. (Double Iamb/Double Iamb/Iamb)* The fire /of heaven/ is not /the flame /of Hell. (Iamb/Iamb/Iamb/Iamb/Iamb) "The fire/ of heaven /is lord/ of all /things good, (Iamb/Iamb/Iamb/Iamb/Iamb) And starve/ not though /this fire /within /thy blood, (Iamb/Iamb/Iamb/Iamb/Iamb) But foll/ow Viv/ien thro' /the fier/y flood! (Iamb/Iamb/Iamb/Iamb/Iamb) The fire /of heaven/ is not /the flame /of hell!" (Iamb/Iamb/Iamb/Iamb/Iamb) *Metrically, I wanted to look at the double Iambs that appear. While to some they might not appear as a double Iamb, I am going to show how they are. The(1) new(2) /leaf(3) ev(4)/er push/es off the old. Each foot, the stress increases. "Old (3) Priest(4), /who (2) mum(4)/ble (1) wors(4)/hip(1) in(2) /your(3) quire(4) There it is again. 1-2-3-4. (I think the above lines really shows the Rhythm that IP can have.) This next line has two double Iambs! The(1) whole(2)/ wood(3)-world(4) /is(1) one(2) /full(3) peal(4) /of (2) praise(4). 1-2-3-4, 1-2-3-4! This 1-2-3-4 pattern is what helps IP from having a monotonous sound. IP would sound very boring if it was nothing but 1-4/1-4/1-4/1-4/1-4/. These 1-2-3-4 patterns are what your IP should be aiming for. - Vivien uses her seductive ways and lies to drive Balin even madder, and he rushes off into the forest. At the same time, Balan, who is hunting the demon, hears Balin's mad cries and believes it to be the demon. Balan and Balin meet and fight; they both deliver a mortal wound to each other not realzing they are the other's brother until it is too late. The story ends with this tragic paragraph. 'Balan answer'd low, "Good night, true brother, here! Good marrow there! We two were born together, and we die Together by one doom:" and while he spoke Closed his death-drowsing eyes, and slept the sleep with Balin, either lock'd in either's arm. - So here ends part 6. This short chapter (only 620 lines long) is one of my favorites from Idylls due to its tragic ending. - If any of you have any thoughts or questions, please leave a comment or a like! - Previous post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-5-geraint-and-enid.63935/ Next post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-7-merlin-and-vivien.63942/
'OH PURBLIND race of miserable men, How many among us at this very hour Do forge a lifelong trouble for ourselves, By taking true for false, or false for true; Here, thro' the feeble twilight of this world Groping, how many, until we pass and reach That other where we see as we are seen! (Geraint and Enid lines 1-7) Welcome to part 5 of our study of Idylls of the king. In Part 4, the story begins with Geraint and Enid marriage having a rough time due to Geraint believing his wife being unfaithful due to him misunderstanding something she said before switching to a flashback of how the two met and married. The above passage really sets the tone for the story. This chapter is rather long so I'll do my best to keep the summary brief but informational. The story starts with Geraint and Enid going for a ride. Geraint commands Enid not to speak to him and that she should ride ahead of him. Twice, she sees a group of bandits that plan on killing Geraint, and breaks the command and warns Geraint; Twice Geraint yells at her. Geraint and Enid arrive at an Inn where they run into Earl Limours, a man obsessed with Enid. Once seeing her, Limours lays this speech on her, trying to seduce her. I'll type and scan the first few lines, as the whole speech in a page and a half. Enid, the pilot star of my lone life, Enid, my early and my only love, Enid, the loss of whom hath turn'd me wild- (Lines 306-309) Enid,/ the pil/ot star /of my/ lone life, (Trochee/Iamb/Iamb/Double Iamb) Enid,/ my ear/ly and/ my on/ly love, (Trochee/Iamb/Iamb/Iamb/Iamb) Enid,/ the loss /of whom/ hath turn'd /me wild- (Trochee/Iamb/Iamb/Iamb/Iamb) I really like how each line starts with a trochee as he is trying to seduce her. Enid refuses him, and Lamours makes plans to murder Geraint and take Enid as his own. The next morning Enid sees Lamours and his men give chase and again lets Geraint know. Geraint defeats them but is badly injured during the fight and blacks out. Enid stays by his side, begging for help to whoever passes by. Eventually, Earl Doorm (another D-bag) comes by and offers them refugee (but really he just plans on taking Enid as his own). Here is Doorm's speech (which is referenced a lot for some reason) Then said Earl Doorm: "Well, if he be not dead why wail ye for him thus? Ye seem a child. And be he dead, I count you for a fool; Your wailing will not quicken him: dead or not. Ye mar a comely face with idiot tears. Yet, since the face is comely -some of you, Here, take him up, and bear him to our hall. And if he live, we will have him of our band; And if he die, why earth has earth enough To hide him. (Lines 546-555) Then said /Earl Doorm/: "Well, if/ he be /not dead (Iamb/Iamb/Trochee/Double Iamb) why wail/ ye for/ him thus?/ Ye seem a child. (Iamb/Iamb/Iamb/Iamb/Iamb) And be/ he dead,/ I count/ you for/ a fool; (Iamb/Iamb/Iamb/Iamb/Iamb) Your wail/ing will /not quick/en (>)him: dead/ or not. (Iamb/Double Iamb/Iamb/Iamb)* Ye mar/ a com/ely face/ with id/i (>)ot tears. (Iamb/Iamb/Iamb/Iamb/Iamb)* Yet, since/ the face/ is come/ly -some of you, (Trochee/Iamb/Iamb/IAmb/IAmb) Here, take/ him up,/ and bear /him to /our hall. (Iamb/Iamb/Iamb/Iamb/IAmb) And if/ he live,/ we will/ have him/ of (>) our band; (Iamb/Iamb/Iamb/IAmb/IAmb)* And if/ he die,/ why earth/ has earth/ enough (Iamb/Iamb/Iamb/Iamb/IAmb) To hide him. (Iamb) *These line have an Elision in them. An out-dated convention where you slur unstressed syllables together. So they go back to Earl Doorms keep, where Enid sit in a corner and weeps over Garaint (who is always being a D-bag right now and playing dead to see how loyal Enid will be to him.) Earl Doorm gets jealous over this fact and demands that Enid gives up on Geraint. Doorm insults her dress and here is Enid's epic and climatic response. In this poor gown my dear lord found me first, and loved me serving in my father's hall; In this poor gown I rode with him to court, And there the Queen array'd me like the sun; In this poor gown he bade me to clothe myself, When now we rode upon this fatal quest Of honor, where no honor can be gain'd; And this poor gown I will not cast aside Until himself arise a living man, and bid me cast it. I have greifs enough; Pray you be gentle, pray you let me be. I never loved, can never love but him. Yea, God, I pray you of your gentleness, He being as he is, to let me be." (Lines 697-710) In this/ poor gown/ my dear/ lord found/ me first, (Iamb/Iamb/Iamb/Iamb/Iamb) and loved /me serv/ing in /my fath/er's hall; (Iamb/Iamb/Iamb/Iamb/Iamb) In this/ poor gown/ I rode/ with him /to court, (Iamb/Iamb/IAmb/Iamb/IAmb) And there /the Queen/ array'd /me like/ the sun; (Iamb/Iamb/Iamb/Iamb/Iamb) In this /poor gown/ he bade/ me (>) to clothe myself, (Iamb/Iamb/Iamb/Iamb/Iamb) When now/ we rode /upon/ this fat/al quest (Iamb/Iamb/Iamb/Iamb/Iamb) Of hon/or, where/ no hon/or can/ be gain'd; (Iamb/Iamb/Iamb/Iamb/Iamb) And this/ poor gown/ I will /not cast /aside (Iamb/Iamb/Iamb/Iamb/Iamb) Until /himself/ arise/ a liv/ing man, (Iamb/IAmb/Iamb/IAmb/Iamb/Iamb) and bid/ me cast/ it. I/ have griefs enough; (Iamb/Iamb/Iamb/Iamb/Iamb) Pray you/ be gentl/e, pray you let me be. (Trochee/Iamb/Iamb/Iamb/Iamb) I nev/er loved,/ can nev/er love/ but him. (Iamb/Iamb/IAmb/Iamb/Iamb) Yea, God,/ I pray /you of /your gent/le-ness, (Iamb/Iamb/Iamb/Iamb/Iamb) He be/ing as /he is, /to let/ me be." (Iamb/Iamb/Iamb/Iamb/Iamb) Epic... In any case, Doorm gets pissed and slaps Enid. At this moment, Geraint stops playing dead, gets up, then kills Doorm, and he and Enid flee from the castle. Once outside, they run into one of Arthur's scouts (Enid's cousin) and he takes them back to Arthur's camp. Arthur has amassed an army to fight against Doorm (not knowing that Geraint has already slain him, hence breaking Doorm's men's moral.) Once Arthur has learned of this, Arthur attacks, killing all the bandits. Geraint and Enid gain each other's trust and respect again, have children, the story ends with the following passage about Geraint But rested in her fealty till he crown'd A happy life with a fair death, and fell against the heathen of the Northern Sea In Battle, fighting for the Blameless king. (Line 966-969) - This ends part 5 of my study of Idylls of the King. If you have any thoughts or questions please leave a comment or a like! Previous post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-4-the-marriage-of-geraint.63925/#comment-10955 Next post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-6-balin-and-balan.63938/
Here is a list of exercises for the Metrical practice thread. I'll update this post often as my Blog continues to get into the deep theory of Meter. Exercise 1: Write ten lines of Iambic Pentameter. Exercises 2: Write ten lines of Iambic Pentameter, have at least one of each of the following somewhere within the 10 lines: 1-syllable word, 2-syllable word, 3-syllable word Exercise 3: Write ten lines of Iambic Pentameter, and use one of each substitution and variation somewhere within the 10 lines. Exercise 4: Write ten lines of Iambic Pentameter, and make each line end at the end of Grammatic unit (Phrase [Subject, Verb, Verbal, Preposition, or Absolute] or an entire clause) Exercise 5: Write ten lines of Iambic Pentameter with no Variations or substitutions, and make each line end at the end of a Grammatic unit. Exercise 6: Write ten lines of Iambic Pentameter while using three Caseural pauses somewhere within the ten lines.
The Marriage of Geraint tells the story of how Geraint and Enid met and wedded. The story begins with rumors of how Queen Guinevere and Lancelot are having an affair. Seeing how Enid and Guinevere are best friends, Geraint becomes paranoid about his own marriage so he and Enid take leave from Arthur's court. Geraint's paranoia causes his reputation to slip, and his best efforts to keep Enid faithful to him actually causes her to distant herself. Enid one morning looks at her wedding dress and has a flashback about how she and Geraint met. The rest of the story is a Flashback about the how to the two meet. The Flashback begins with a hunt that King Arthur is leading. As Arthur and his men are out hunting, Geraint -being late- meets up with the queen. As the two talk, a drawf, a knight, and a lady appears and refuses to show recognition to the queen. Enraged, Geraint chases after them. Before he leaves, The Queen promises that should he find love she will be his bride's best friend. Geraint follows them to a town and loses them. Geraint then seeks shelter for the night and comes across a ruined castle ruled by a lord named Yniol (Enid's father). While at the Castle Geraint hears Enid sing and falls in love. I want to present the song as it's Ryhmn pattern is a common one that appears within Idylls. "Turn, Fortune, turn thy wheel, and lower the proud; (A) Turn thy wild wheel thro' sunshine, storm, and cloud; (A) Thy wheel and thee neither love nor hate. (X) "Turn, Fortune, turn thy wheel with smile or frown; (B) With that wild wheel we go not up or down; (B) Our hoard is little, but our hearts are great. (X) "Smile and we smile, the lord of many lands; (C) Frown and we smile, the lords of our own hands; (C) For man is man and master of his fate. (X) "Turn, turn thy wheel above the staring crowd; (D) Thy wheel and thou sare shadows in the cloud; (D) Thy wheel and thee we neither love nor hate." (X) There is a note I want to make about this passage. Fortune and her wheel is a figure that appears in The Divine Comedy. The Idea is that Fortune spins a wheel and that the 'luck' one gains in life are completely random. Hence this is an Allusion to The Divine Comedy. I very much like the simplicity of this Rhythm pattern, and might make use of it in the future for my own works. - Geraint learns that the foul knight is Yniol nephew and that he is in town for a tournament. This leads to this passage which I will post then scan. 'And Yniol answer's: "Arms, indeed, but old And rusty, old and rusty, Prince Geraint, Are mine, and therefore, at thine asking, thine. But in this Tournament can no man tilt, Expect the lady he loves best be there. Two forks are fixt into the meadow ground, and over these is placed a silver wand, And over that a golden sparrow-hawk, The Prize of beauty for the fairest there, And this, what knight soever be in field Lays claim to for the lady at his side, And Tilts with my good nephew thereupon, Who being apt at arms and big of bone Had ever won it for the lady with him, And toppling over all antagonism Has earn's himself the name of sparrow-hawk. But thou, that has no lady, canst not fight." To whom Geraint with eyes all bright replied, leaning a little toward him: "Thy leave! Let me lay lance in rest, O noble host, For this dear child, because I never saw, Tho' having see elsewhere, anything so fair. And if I fall her name will yet remain Untarnish'd as before; but if I live, So aid me heaven when at mine uttermost As I will make her truly my true wife!"' (The Marriage of Geraint lines 477-503) 'And Yn/iol ans/wer's: "Arms, /indeed, /but old (Iamb/Iamb/Iamb/Iamb/Iamb) And rust/y, old /and rust/y, Prince /Geraint, (Iamb/Iamb/Iamb/Iamb/Iamb) Are mine,/ and there/fore, at/ thine ask/ing, thine. (Iamb/Iamb/Iamb/Iamb/Iamb)*1 But in/ this Tourn/a-ment/ can no/ man tilt, (Iamb/Iamb/Iamb/Iamb/Iamb) Expect/ the lad/y he/ loves best/ be there. (Iamb/Iamb/Double Iamb/Iamb) Two forks/ are fixt/ into/ the mead/ow ground, (Spondee/Iamb/Iamb/Iamb/Iamb) and ov/er these/ is placed/ a sil/ver wand, (Iamb/Iamb/Iamb/Iamb/Iamb) And ov/er that /a gold/en spar/row-hawk, (Iamb/Iamb/Iamb/Iamb/Iamb) The Prize/ of beaut/y for/ the fair/est there, (Iamb/Iamb/Iamb/Iamb/Iamb) And this,/ what knight/ soev/er be in field (Iamb/Iamb/Iamb/Iamb/Iamb) Lays claim/ to for/ the lad/y at his side, (Spondee/Iamb/Iamb/Iamb/Iamb)**2 And Tilts/ with my/ good neph/ew there/upon, (Iamb/Iamb/Iamb/Iamb/Iamb) Who be/ing apt/ at arms /and big/ of bone (Iamb/Iamb/Iamb/Iamb/Iamb) Had ev/er won/ it for/ the lad/y (>)with him, (Iamb/Iamb/Iamb/Iamb/Iamb) *3 And topp/ling ov/er all/ an-tag/on-ism (Iamb/Iamb/Iamb/Iamb/Iamb) Has earn's/ himself /the name/ of spar/row-hawk. (Iamb/Iamb/Iamb/Iamb/Iamb) But thou,/ that has /no lad/y, canst/ not fight." (Iamb/Iamb/Iamb/Iamb/Iamb) To whom/ Geraint /with eyes/ all bright/ replied, (Iamb/Iamb/Iamb/Iamb/Iamb) leaning/ a litt/le to/ward him: /"Thy leave! (Trochee/Iamb/Iamb/Iamb/Iamb) Let me/ lay lance/ in rest,/ O nob/le host, (Trochee/Spondee/Iamb/Iamb/Iamb)*4 For this/ dear child,/ because /I nev/er saw, (Iamb/Iamb/Iamb/Iamb/Iamb) Tho' hav/ing see/ elsewhere,(II)/ an(>)ything so fair. (Iamb/Iamb/Iamb(Pause)/Trochee/Iamb) And if/ I fall/ her name/ will yet/ remain (Iamb/Iamb/IAmb/IAmb/Iamb) Untar/nish'd as /before; (II) but if I live, (Iamb/Iamb/Iamb/Trochee/Iamb)*5 So aid /me heaven /when at/ mine utt/er-most (Iamb/Iamb/Iamb/Iamb/Iamb) *6 As I/ will make/ her tru/ly my /true wife!"' (Iamb/Iamb/Iamb/Double Iamb) *7 *1: If you noticed in the line 'Thine' appears both as an unstressed word and as a stressed word. This is A Rhetorical device we will be studying later, but it gives Meter its power. *2: Lay Claim is a Spondee. I wanted to note that substitutions should not be used willy nilly, but used to add dramatic effect. This is a great example. *3 There is an elision in this line. We will be going into Elisions in depth later, but they are somewhat outdated device, however when this was written they were completely acceptable. The reason they are outdated though is because as time went on Poets wanted Meter to match natural speech, vs. forcing syllables to slur together. *4: there is a few ways this line can be scanned: Pure Iamb/Double Iamb followed by pure Iambs/ or the way I have it scanned with Trochee/Spondee. The reason I opted for this Scan is look at where I placed all the stress marks -On words that start with L. Alliteration is when words in close approximatity start with the same sound. Poetic devices should work in conjunction with each other, not against each other. *5 This line could be read as pure Iamb, but sometimes poets place a trochee after a punctuation mark that occurs mid-line. *6 Heaven is pronounced as a single Syllable (crazy, right?) This is a prime example of why poets wanted to move away from Elisions. *7 The line ends in a double Iamb. In terms of meter, double Iambs is my favorite variation that occurs within Iambic Pentameter. So the above passage sets up Geraint in a unique dilemma. In order for him to enter the tournament and defeat the evil knight, he needs to bring a lady with him, and if he wins the tournament (which is his goal) he has to marry the Lady he has brought with him. Seeing how Geraint wants to marry Enid, this is not really that much of a Dilemma, but we -as writers- can look at this and think up our own Dilemmas to throw at our characters. In fact, doesn't this scenario kinda of remind you of those high school comedies where the hero has to find a date for Prom and is forced to bring a girl he doesn't like? - The story continues with the tournament, and Geraint kicks the evil knight's ass! The knight begs for Mercy, and Geraint demands that him, the dwarf, and the lady appear before the Queen and beg for pardon (which they agree to). And here is what happens to the evil knight. 'And there the Queen forgave him easily. And being young, he changed and came to loathe His crimes of traitor, slowly drew himself Bright from his old dark light, and fell at last In the great battle fighting for the king. ' -Lines 592-597 This passage is beautifully written metrically (I'll scan it in a bit) and is my favorite part -Metrically- in this chapter. Not only does this give you a conclusion to what happened to the knight, but also foreshadows the ending chapter of this book (The Great Battle between Arthur and Mordred.) Now the Scan. 'And there the Queen/ forgave/ him eas/i-ly. (Iamb/Iamb/Iamb/Iamb/Iamb) And be/ing young, /he changed/ and came to loathe (Iamb/Iamb/Iamb/Iamb/Iamb) His crimes/ of trait/or, slow/ly drew/ himself (Iamb/Iamb/Iamb/Iamb/Iamb) Bright from /his old/ dark light,/ and fell/ at last (Trochee/Iamb/Iamb/Iamb/Iamb)* In the /great batt/le fight/ing for/ the king. (Trochee/Spondee/Iamb/Iamb/Iamb) ** *The use of a trochee here is brilliant. Bright being both the first word and...
Gareth and Lynette tell the story of a young man by the name of Gareth, and his quest to become one of Arthur's knights. The story begins with a Gareth and his mother having an argument over the fact that Gareth wants to become a knight of Arthur; they reach an agreement where Gareth will serve as a kitchen knave for one year under Arthur before making a plea to become a knight. Gareth and a few other servants reach Camelot and to their amazement, the city is beyond glorious. I'd like to scan and go over the following lines as it highlights a theory I apply to my own writing. At times the summit of the high city flash'd: At times the spires and turrets halfway down Prick'd thro' the mist; at times the great gate shone Only, that open'd on the field below; Anon, the whole fair city had disappear'd. (Lines 189-193) Notice how the description on Camelot is nothing impressive, but let us look at the reaction of the party. Then those who went with Gareth were amazed, One crying, "let us go no further, lord: Here is a city of enchanters, built By fairy kings." The second echo'd him, "Lord, we have heard from our wise man at home To northward, that this king is not the King, But only Changeling out of Fairyland, Who drave the heathen hence by sorcery And Merlin's glamour." Then the first again, "Lord, there is no such city anywhere, But all a vision." (Lines 194 -204) We can see that despite the description is vague, the reaction from the characters are afraid of what they see, and quickly resort to rumors in hopes that Gareth will not take them into the city. This leads me to my theory: Powerful image: 1-2 details that cause a character to have a massive reaction. Powerful reaction: Massive amounts of details in the image, cause the character to have a simple (Yet powerful) reaction. This might seem opposite of what you think, but I believe that less is more. I'd like to scan the above to see what type of interesting metrics are going on. At times/ the sum/mit (>) of the /high cit/y flash'd: (Iamb/Iamb/Double Iamb/Iamb) * At times the spires/ and tur/rets half/way down (Iamb/Iamb/Iamb/Iamb/Iamb) Prick'd thro/ the mist; at times/ the great/ gate shone (Trochee/Iamb/Iamb/Iamb/Iamb)** Only, /that op/en'd on/ the field/ below; (Trochee/Iamb/Iamb/Iamb/Iamb) Anon, /the whole /fair cit/y had/ dis(>)appear'd. (Iamb/Iamb/Iamb/Iamb/Iamb) *** Then those/ who went/ with Gar/eth were/ amazed, (Iamb/Iamb/Iamb/Iamb/Iamb) One cry/ing, "let/ us go /no furth/er, lord: (Iamb/Iamb/Iamb/Iamb/Iamb) Here is /a cit/y of /enchant/ers, built (Iamb/Iamb/Iamb/Iamb/Iamb) By fair/y kings./" The sec/ond ech/o'd him, (Iamb/Iamb/Iamb/Iamb/Iamb) "Lord, we/ have heard/ from our /wise man /at home (Trochee/Iamb/Iamb/Iamb/Iamb) To north/ward, that /this king/ is not/ the King, (Iamb/Iamb/Iamb/Iamb/Iamb) But on/ly Change/ling out /of Fair/yland, (Iamb/Iamb/Iamb/Iamb/Iamb) Who drave/ the heath/en hence /by sor/cery (Iamb/Iamb/Iamb/Iamb/Iamb) And Merl/in's glam/our." Then/ the first/ again, (Iamb/Iamb/Iamb/Iamb/Iamb) "Lord, there/ is no/ such cit/y an/ywhere, (Trochee/Iamb/Iamb/Iamb/Iamb) But all/ a vis/ion." (Iamb/Iamb) *There is an Elision in the line, but I am not 100% sure what syllable is being slurred. ** Some would mark the last line as a Spondee, but there is an advanced Metric theory that states that if you have three similar stressed words in a row, the middle one gets 'demoted.' We will be covering this idea later. *** There is an Elision in the 5th foot of the line. Disa is to be pronounced as one Syllable. Gareth makes it to Camelot and becomes a Kitchen Knave, there we learn a few things. 1. Lancelot has saved King Arthur's life once. 2. King Arthur has saved Lancelot's life twice. 3. Genevieve cannot bear children (this plays an important role later on.) Gareth does his time (which only ends up be a month because his mother releases him from his vows early.) and request that Arthur bestow upon him a quest. After this, a young woman by the name of Lynette appears in Arthur's court and reports that her older sister is being held hostage by four, evil knights called: Morning-Star, Sun, Evening-Star, and Night. Lynette request that Lancelot (Arthur's greatest knight) accompany her, but instead Arthur gives her Gareth, The Kitchen Knave. These four knights are actaully an Allegory for the different stages of life. Morning-Star: Birth Sun: Your prime. Evening-star: Your Twilight years. Night: Death. But how do we know this is an Allegory? A couple ways. Each of the knight's shields are show different levels of use. Morning-star's shield is plain. Sun's shield is decorated. Evening-star's is well worn. And Night's shield is made up on bone. Here is the description of Evening-Star's shield. And gave a shield whereon the star of even Half-tarnish'd and half-bright, his emblem, shone. (lines-1089-1090) More so, and rather annoyingly, Lynette keeps shouting the word 'Allegory' are different times. While I admire the device, I would never use the device in my own writing of having a character shout 'Allegory' or 'Metaphor' as a way to let the reader know that there is something going on beyond the surface. For me, either the reader gets the Allegory I am presenting, or they don't. - At first, Lynette is not kind to Gareth, as he is known to be a kitchen Knave, and feels insulted that he was given to her. But with each knight Gareth defeats, Lynette's respect and admiration for him grows, until she finally sees him as her equal. Gareth eventually defeats all four knights, and becomes Lynette's hero and marries her. - Story structure: The over all purpose of this story -in terms of story structure- is to show the beauty and honor of King Arthur's court. We see brave men, receive quest, and achieve honor and love because of it. We must be first shown the dream, in all its glory, before we can start destroying it. - My favorite lines from this chapter are as followed. It is Reflection, spoken out loud, by Gareth. It's meant to show his dedication to accomplishing his quest, despite the overwhelming odds. ...I follow up the quest, Despite of Day and Night and Death and Hell. (Lines 864-865) Such a beautiful line, and if I was to place an Allusion into my own work, it would be these lines. - I wanted to end today's look with two lines of meter I found interesting. Not proven, who swept the dust of ruin'd Rome. -Line 133 Not prov(en), (II) /who swept/ the dust/ of ru/in'd Rome. (Iamb(Hyper)/Iamb/Iamb/Iamb/Iamb) The mid-line female/hyper-metrical ending in the first foot is only possible due to the Caesura pause. It was a convention of old practices, and I am not 100% sure if it is still used or not in today's meter. This will differently be a topic I investigate -or rather this convention can still be used today- as I continue my study of Meter. Full of wistful fear that he would go, Line 170 ^ Full /of wist/ful fear that he would go, (Headless Iamb/Iamb/Iamb/Iamb/Iamb) It is rare for me to find a headless Iamb used in older works. It was a convention that was used, abandoned, and only recently (last 40 or less years) has resurfaced. Despite it's rarity, I love he used no other substitutions in the line. It is a risky device, and only have page and page of Iambic Pentameter does he use it. - That concludes my look at Chapter 2: Gareth and Lynette. I hope you've enjoy this look. If you have any questions or thoughts, please leave a comment or a like. -OJB Previous post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-2-the-coming-of-arthur.63911/ Next post: https://www.writingforums.org/entry/meter-a-study-of-idylls-of-the-king-part-4-the-marriage-of-geraint.63925/
Welcome to part 2 of this study. Today we will be looking at the first chapter of Idylls, The Coming of Arthur. The story begins as such: Leodogran, the king of Cameliard, Had one fair daughter, and none other child: And she was fairest of all flesh on earth, Guinevere, and in her his one delight. -The Coming of Arthur, lines 1-4 I think it is an interesting opening to have us be introduced to Arthur's love interest, Guinevere, before Arthur himself. I believe this is because it is through Guinevere that Arthur's rise and fall is possible. The chapter continues with a little backstory: Because of the petty in-fighting that has occurred after King Uther's death over the throne, Hordes of wild beast and Heathens have been laying siege to Britain, destroying everything in their path. I'd like to scan the next section then go into discussion as I found it to be a very interesting passage. And thus the land of Cameliard was waste, Thick with wet woods, and many a beast therein, And none or few to scare to chase the beast: So that wild dog and wolf and boar and bear came night and day, and rooted in the fields, And wallow'din the gardens of the king. And ever and anon the wolf would steal The children and devour, but now and then, Her own brood lost or dead, lent her fierce teat To human sucklings; and the children, housed in her foul den; there at their meat would growl, and mock their foster-mother on four feet, Till, straighten'd they grew up to wolf-like men, Worse than the wolves. -Lines 20-33 And thus /the land of Cam/eliard /was waste, (Iamb/Iamb/Iamb/Iamb/Iamb) Thick with/ wet woods,/ and man/y (>) a beast /therein, (Trochee/Spondee/Iamb/Iamb/Iamb)* And none/ or few/ to scare to chase the beast: (Iamb/Iamb/Iamb/Iamb/Iamb) So that/ wild dog/ and wolf /and boar and bear (Double Iamb/Iamb/Iamb/Iamb) came night/ and day, and root/ed in /the fields, (Iamb/Iamb/Iamb/Iamb/Iamb) And wall/ow'd in /the gard/ens of /the king. (Iamb/Iamb/Iamb/Iamb/Iamb) And ev/er and/ anon/ the wolf /would steal (Iamb/Iamb/Iamb/Iamb/Iamb) The child/ren and /devour, /but now/ and then, (Iamb/Iamb/Iamb/Iamb/Iamb) Her own /brood lost /or dead, lent her/ fierce teat (Iamb/Iamb/Iamb/Trochee/Spondee) To hum/an suck/lings; and /the child/ren, housed (Iamb/Iamb/Iamb/Iamb/Iamb) in her/ foul den; there at their meat would growl, (Double Iamb/iamb/Iamb/Iamb) and mock/ their fost/er-moth/er on/ four feet, (Iamb/Iamb/Iamb/Double Iamb) Till, straight/en'd they/ grew up/ to wolf/-like men, (Iamb/Iamb/Iamb/Iamb/Iamb)** Worse than the wolves. (Trochee/Iamb) *An Elision appears in the fourth foot. The unstressed Y and A are to be pronounced as a single syllable. ** The third foot has an Illusionary Trochee. At first glance, people with only basic Metrical understanding would put the stress on the GREW instead of the UP, but this is incorrect. Anytime you have an Idiomatic verb (A verb followed by a preposition) the stress goes on the Preposition. A few things I find interesting about this passage is that Tennyson has his Spondees follow his Trochees as he does in lines 21 and 28. As I continue through this story, I want to see if this pattern continues. This very might well be a stylish device done by Tennyson. Also, the tale of wolves kidnapping children and raising them as their own is a story that has appeared throughout history. It leaves me to question where this myth originated from. It reminds me of Clive Barker's Rawhead Rex, a story about a Beast-like man attacking a small England town; this leaves me to wonder if England has ghost stories about men raised by beast/beast-men, similar to werewolf stories. - King Leodogran calls Arthur for aid (This is the call to action part of the story). Arthur answers the call and defeats the petty kings, heathens, and beast, saving King Leodogran's kingdom. During the battle, King Arthur meets Lancelot and the two have this brief exchange. [Arthur] "Thou dost not doubt me king,...." [Lancelot] "I know thee for my king... I trust thee to the death." After this exchange, Arthur and Lancelot become best friends, which adds to the tragedy that happens later in the story. Afterward, King Arthur asks for Guinevere's hand in marriage. This transitions the story into the Debate/refusal to the call' arc in story structure. King Leodogran debates with himself if you should let Arthur marry his only daughter; this is because there is questions if Arthur is in-fact king Uther's son and the rightful ruler of Brittan. King Leodogran talks to three people about Arthur's origins (the number 3 repeats itself a lot throughout the story as we will find out) and we learn. The Following. 1. Arthur was crowned by the Wizard Merlin. 2. Arthur was gifted with a magical sword by The Lady of the Lake, that must be returned to her at Arthur's death. 3. Arthur is an extraordinary fighter. - During this time, a Knight by the name of Mordred spies on the conversations going on before the king. This foreshadows the fact that Mordred will be one of Arthur's major nemesis. In the end King Leodogran grants Arthur permission to marry his daughter, and the two are wedded. - Mordred vs Arthur, a Note on sound. While Tennyson did not create the character of Mordred, whoever did had a great understanding of sound. Arthur is a name that rolls of the tongue and is pleasant to hear and say. Mordred on the other hand ends both syllables with a hard 'd' which is a mute sound (meaning you can't roll it off the tongue). Whoever named these characters did a great job in having the hero's name pleasant, and the villain's name harsh and unjoyable to hear and say. While not a rule, when naming a villain or main hero, one should think about the sound of their names, and if it reveals the type of person they are. - That is all for this chapter. 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