Rhythm and Rhyme in modern English poetry (the poets chosen by a student)

Each of them have no rhyme (known in the most broad sense of the word) but there always is a kind of rhythm reflecting the poetic currents of the nineties and the two thousandth. Remarkably, all of these poems, created by one poet, are categorically different in their stylistic and compositional features.

The first of them is “Autumn Sky” which is compositely crushed into two quatrains and two pentastichs which are devoted from each other not by signs but by numerals. The first one is considered to be an introduction as it sets up the reader to the desired mode and immerses in a specific atmosphere:
In my great grandmother's time,
All one needed was a broom
To get to see places
And give the geese a chase in the sky.
However, after that quatrains are followed by pentastichs and the whole rhythm of the narrative changes that is also due to double nature of the autumn: it tracks from warm summer days to the gloomy and grey ones which are followed by snowstorms and low temperatures as well:
Oh Cynthia,
Take a clock that has lost its hands
For a ride.
Get me a room at Hotel Eternity
Where Time likes to stop now and then.
“Empire of Dreams” is structured in two parts (eight lines in each) and there the reader can track the rhythmical description in the form of a monologue:
On the first page of my dreambook
It’s always evening
In an occupied country.
Hour before the curfew.
A small provincial city.
The houses all dark.
The storefronts gutted.
The whole picture invariably affects the feelings of the addressee that is the main goal of poetic language is achieved; the view a small provincial town with houses sunk in the darkness is close to the native of any culture and only fills with the national colours. See below for information about the place of Charles Simic in the created poetical world:
I am on a street corner
Where I shouldn’t be.
Alone and coatless
I have gone out to look
For a black dog who answers to my whistle.
I have a kind of Halloween mask
Which I am afraid to put on.
To safe the rhythm, the author uses shouldn’t as well as a longer line For a black dog who answers to my whistle which makes an affect of a prolonged action.

The same tendency with the prolonged first and last lines can be seen from the fifth quatrain of “The White Room”. The first four quatrains are interesting because the following line is phonetically equal to the previous and next ones. In the first one the sentences are parted, they begin on the same line and ends on the next one:
The obvious is difficult
To prove. Many prefer
The hidden. I did, too.
I listened to the trees.

Nevertheless, the sentence I did, too is not broken into pieces but not because of phonetic short; it happens because of the need to preserve semantic integrity and compactness that are violated by the transference. On the other hand, To prove is parted for stylistics reasons: having been transferred to a next line, the word gats more meaning or accent, becomes not only a part of the sentence but also an independent unit that represents the goal and the rhythm. Since the infinitive is used in this function, the grammatical assumption receives confirmation.

The next quatrain also contains a reduction, and identification of suggestions in a separate stanza:

They had a secret
Which they were about to
Make known to me,
And then didn’t.
Especially interesting composition imposed by the author is in the third and fourth quatrains which pass smoothly one into another:
Summer came. Each tree
On my street had its own
Scheherazade. My nights
Were a part of their wild

Storytelling. We were
Entering dark houses,
More and more dark houses
Hushed and abandoned.
Storytelling is intentionally transferred to the nest a quatrain purporting to show the duality of the created world with its gradation: dark houses, More and more dark houses. Lets consider the following quatrain:
The truth is bald and cold,
Said the woman
Who always wore white.
She didn’t leave her room much.
For compositional integrity it is also important that the words of the third faces (characters, introduced or quoted) do not violate semantic integrity and emotional intensity of the text. And, indeed, the penultimate stanza contains a rhetorical questions, which is the beginning of the logical conclusion of the poem:

Gods disguising themselves
As black hairpins? A hand-mirror?
A comb with a tooth missing?
No! That wasn’t it.
In this stanza the rhythm is quite complex as the stanza contains rhetorical questions and exclamations.











Conclusion

The result of this work we can draw the following conclusions. The concept of ‘poetic language’ has been studied as broadly defined and more narrowed, which is designated as a language, features which identify it as a part of artistic discourse, namely poems.

The poem is a complex sense, the elements of which represent a single substance. First of all, it is the most important that it is done with the help of rhythm and thyme which are traditionally viewed as the boundary of the verse and allow to create the unique rhythmic composition of the poems.
Finally, graphic arts of poetic language were studied, which were then discussed with specific examples in the poems of Charles Simic, namely “Autumn Sky”, “Empire of Dreams” and “The White Room”. It was also found out that although the author remains within the limits having been inherited in poetic language of his time, the original features both of stylistic and compositional aspects also can be traced in his works.

The author's rhyme is rather difficult for perception, because of its virtually nonexistent. At the same time, rhythm is also makes it tough to read, because it creates emotional tension.










Список использованной литературы
Bibliography
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http://armin73.narod.ru/cimic.html Просмотр от 26.11.2015.
http://www.poetryfoundation.org/poem/179937#about Просмотр от 26.11.2015.












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Григорьев В.П. Поэтика слова / В.П. Григорьев. – М., 1979. – С. 76-77.
Горшков А.И. Русская стилистика: стилистика текста и функциональная стилистика / А.И. Горшков. – М.: АСТ, Астрель, 2006.
Мукаржовский Я. Преднамеренное и непреднамеренное в искусстве / Исследования по эстетике и теории искусства //
Я. Мукаржовский. - М., 1994.
Шкловский В., Эйхенбаум Б и др. Поэтика. Сборники по теории поэтического языка. – Птг., 1919. – С. 38.
Виноградов В.В. Стилистика. Теория поэтической речи. Поэтика / В.В.Виноградов. – М., 1963. – С. 120.
Гиршман В.В. Ритм художественной прозы. – М., 1984.
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Здесь и далее перевод предоставлен сайтом: http://armin73.narod.ru/cimic.html Просмотр от 26.11.2015.