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| http://mpbsapiens.com/ciencia-poetica/ |
|
| Even because the notes were deaf |
| When a god and sly thief |
| He made the first gut Lira |
| That animated all sounds |
|
| Besides being beautiful, poetry is a science whose lead elements began |
| from that used to call for Classicism. |
|
| When several people watching the same event, and have different |
| their interpretations. Some only observed in the surface, |
| others do thoroughly. One of them attaches to the outer beauty, |
| the minutiae common to the qualities, good and bad, of one or more events. |
|
| The repetition of these observations in people ultimately provide reasoning |
| subjective scales of parameters, which now define the qualities of |
| events observed in Good and Bad. |
|
| Either one or the other qualities present themselves again and again, deriving |
| hence the rules of beauty and ugliness. Both subjective, but to our luck, |
| similar enough to become objective. |
|
| Then comes a study that divide men into good or bad taste. |
|
| Thus was born the Poetics Science. |
|
| As for us, everyone has the freedom of choice to choose the muses of a |
| Vinicius de Moraes, Chico Buarque one, or by the cachorronas Funck. |
|
| - I like not argue! |
|
| For these muses to emerge was necessary for humanity to translate, |
| simultaneously, their subjective pleasurable languages, both for what he wrote, |
| as for what they heard, formulating goals of the first concepts |
| Poetry and melody. |
|
| The history of the term shows that poetry has changed over the years, also |
| victimized by a series of transformations that uses provide Neologism |
| older terms. Translation of the original text provided by a Feeling |
| verses in the current idea of simply synonymous with beauty, whatever it may be in |
| any branch of art. |
|
| The term was losing the essence of Greek sentimental coming of Cadmus, a |
| Phoenician traveler, who in search of his sister, Europe, lost in some of the islands |
| Aegean Greece had the magic word - Alphabet - so that both |
| artists as Homer, Herodotus and grammarians like, could write |
| Odysseys and Folnikéias Grammatas (Grammar Phoenicia), but no error will not: |
|
| Poetry is the feeling described in Verses by Alphabetical Characters! |
|
| Once located the original meaning of the word poetry, associated with |
| Alphabet of Cadmus, was born as the meaning of Melody? |
|
| Returning to the ancestry of both Greece and this posting: |
|
| Even because the notes were deaf |
| When a god and sly thief |
| He made the first gut Lira |
| That animated all sounds |
|
| Being born in Greek mythology, the goddess Harmonia, the characterization |
| Conceptual term arose, of course, after Cadmus bring to her the secrets |
| Alphabetical Character, but not to say that the feeling of melodic |
| humanity did not exist before. Just had not yet been described. |
|
| - But who was born before, poetry or melody? |
|
| It is difficult to find any subjective Premise when the syllogism requires a |
| Objective conclusion. Both feelings existed long before Cadmus and |
| Harmony. Prefer born suspect as Musical Compositions that are |
| today, derived from ancestors of Cadmus and Harmony Honeymoon. |
|
| Being very difficult to answer, dare based on what I already mentioned about |
| Apollo and Lira. Apollo recited and illustrated Lira declamations, which then |
| a time to be spent by the rhythmic beats of the listeners with Feet |
| strong or weak, arising naturally Poetic Rhythm. |
|
| Because it is a fun group of people beat their feet in both |
| same forms, the primitive imagination drafted in the first Choreographies |
| groups imitating the older rhythms that man has ever known, of the |
| Heart, which has two stages: a strong and a weak or vice versa, |
| depending on the owner's notice, or the head of the group. |
|
| Anyway, the first to record the idea has chosen as the strong beat |
| followed by the first low. To this they named COREU, or trochee, a |
| Compass typical binary (two times) strong-weak. |
|
| Notice the similar terms: COREU - Cuore - Choreography. |
| The back foot - Heart - Dance. |
|
| The man was baptizing their arts for their fundamental element of |
| Life: The Heart. Back came the feet with proper time. |
|
| Feet of Verse Binary - Two times: |
|
| a) COREU or trochee - unstressed syllable followed by: "toc-tum." Examples: |
|
| I know that / I a / Foot of / View so |
| That is-al / Have in / In its / In me |
| Am Co / REU on / Pon to / Cer to |
| Or Tro / QUEU that / S con / So me |
|
| Sides constructed with four feet Coreus or trochees, each. |
|
| b) or iambic Jambo - The inverse of COREU: "tum-toc." Examples: |
|
| The Jam / bo is / A Foot / more pair |
| That not / Fei Jao / Air-and roz |
| Pro fra / Co-a nun / ci air |
| / de pois / What it is / has you / because of / |
|
| Verses jambos built with three legs, or Iambos, each. |
|
| Feet of Verse Ternary - three times: |
|
| a) Dactyl - stressed syllable followed by two unstressed: "toc-tum-tum." Examples: |
|
| Quan of fa / z We po / and but with / dac you them |
| You We to u- / sar a pou / Thurs mance of / luff gi AC |
| Pro va sible / men you mu / give We the / No bi ments |
| To tra ba / lhar with the / sí it ba / Only read of |
|
| Sides decassílabos made with four feet each Dactyls. |
|
| b) anapaest - The inverse of Dactyl "thump-thump-toc." Examples: |
|
| Es ta king / the ma Nha / More fe liz |
| Es you dan / of a- have nah / River AC peace |
| In ex- pli car / oA in pes / to that I |
| With the sí / it ba me / us fu gas |
|
| Feet of Quaternary Verse - Four times: |
|
| a) choriamb - COREU + iamb - unstressed-unstressed-tonic and tonic: "toc-toc-tum-tum." |
| Examples: |
|
| Mi nha ra zao |
| Comes from vo ce |
| See so color give |
| Des you that rer |
|
| Small Block with a choriamb by verse |
|
| b) spondee - unstressed syllables-tonic and tonic-unstressed "toc-toc-tum-tum." Examples: |
|
| Such is as ja / al di gum the |
| A good to see so / That al- Guem you've |
| Si nal cer to or more le ve |
| En end per to of my di the |
|
| Sides of seven two-syllable spondees made in each. |
|
|
| Like Coriambos COREU + iamb represent the only spondees |
| reverse the order of the trainers feet: iamb + COREU. It could even be called |
| "Jamboreu" that would be nice as well. |
|
| In the development of science Poetics through the centuries, the original |
| meaning of Verse foot was losing the power of Time Rhythmic, |
| Verse of the interior as a whole, becoming synonymous with Back Up, for |
| subsequently moves, the meaning, as an aid in the rules of |
| formation of stanzas, totally losing the reason for existence. |
|
| Being a fragment rhythmic verse, the verse foot can not be defined |
| Verse as Integer, so are not synonymous. This mischaracterization all |
| the meaning of Verse foot occurred with the arrival of the term Metro, used |
| both refer to the foot, and, erroneously, the Verso. |
|
| This mess involving the conceptual meaning of Verse foot, Metro and |
| Verse; gained greater uncertainty in a movement called sub Versification |
| Accentual troubadour, who sought to give greater autonomy to the Verse |
| semantics and, especially, syllable giving more to the rhythm that Metric, |
| also occurring around the onset of irregular poems, or Verse |
| Irregular, in which the poet is not balanced your text in the quantities |
| single syllable. |
|
| It is common to see the end justifying Metro to the number of verses in |
| stanza. For example: A Block (stanza containing four lines) can |
| be called tetrameter (four meters), when considering and Verse |
| Metro interchangeably, however, called Alexandrine verses (which contain |
| twelve syllables) are two most famous: |
|
| Classic - also known as trimeter - three meters. |
|
| Romantic - also known as tetrameter - four meters. |
|
| Note that the term Metro ceased to be a synonym of the Whole Verse, and |
| become a constituent element of the same again in Romanticism. Look at this |
| famous example used in the composition by Chico Construction: |
|
| la vez co mô se fos se-a úl ti máaaaaa The mou of time that it is co mô-fos as last amended if you máaaaaa |
| Note stressed syllables in red. |
|
| A simple reading of the text defines the verse as Alexandrian (twelve syllables |
| poetics), like the romantic type, to consider the stress normal |
| Como, and ended in a word proparoxítona. |
|
| Forget the melody if possible where the poet sat back in his text |
| and try to read it aloud. Feel it is necessary to strive to enhance the |
| "How to" properly, like what occurs with proparoxítona Last |
| no transforms it into oxítona "últimáaa." |
|
| All this hubbub grammar occurs because of Poetic Rhythm, which |
| independent of the verse, or the poet, each of us carries inside of themselves by |
| sense within the compass determined by heart, and that's why |
| Construction Chico did play almost like a Declamation, betting on |
| Natural Rhythm of each, which is usually similar in the majority. |
|
| Only by doing so, inevitably, came out of the Alexandrians Dactílilos (findados |
| in proparoxítonas) and fell to the Barbarian named Verse (which contains fourteen |
| syllables), completed in oxítona, both by our inner sense of rhythm of the feet |
| verse, and the longer duration of the musical note of the last syllable |
| in musical interpretation. |
|
| The musical interpretation of the verse Construction since both above can give you |
| the name of Acute Barbarian (Barbarian by syllables and 14 Sharp for finishing |
| oxítona stressed syllable), or iambic Heptâmetro (formed by seven meters |
| jambos), or simply as iambus, being full of feet jambos. |
|
| The maximum extent that such terms, common to contemporary books about |
| Versification of the subject, is the reach of Heptâmetro. |
| No Octômetros, for example. Or between the lines, or between |
| stanzas sole reason: |
|
| The quantity of syllables, the boundary between Poetry and Prose is in |
| fourteen-syllable poetic foot and lower back has two times, once within |
| of a poem only fit seven feet, or seven meters, or Heptâmetros. |
|
| "The Syllable is Poetics Cell Tissue Foot Verse which is the Body |
| Verse, which is an effective pill against Social Chilblains " |
|
| Even with the syllable |
| With every cell |
| We'll Taking |
| We'll Taking |
| We will gilding |
| This Pill ... |
Maurice Keller said,
March 1st, 2011 @ 11:41 pm
Very good, one of the best and simplest explanation I've seen so far on the Internet. Do you have some text that I can pass? Would you like to exercise poetic science.
Thank you.
Maurice Keller said,
March 12, 2011 @ 1:19 am
Your blog is very good, I am a composer intuitive, I have four CDs and two DVDs recorded with GAN - Spring Art Group (www.gan.com.br), and am willing to move in this matter, could you help me?
Obrigafdo.
Prestashop Templates said,
November 11th, 2011 @ 11:50 pm
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