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THE SONNET
The sonnet is a fourteen-line lyric poem in predominantly iambic pentameter, with a formal rhyme scheme. Although there can be considerable variation in rhyme scheme, most English sonnets are written in either the Italian (Petrarchan) style or the English (Shakespearean) style. A third sonnet form, the Spenserian sonnet, is also well-known, but far less commonly used than either the Petrarchan or the Shakespearean sonnet.

THE PETRARCHAN SONNET
The Italian sonnet form is commony called the Petrarchan sonnet, because Petrarch’s “Canzonieri,” a sequence of poems including 317 sonnets, established the sonnet as a major form in European poetry. The Petrarchan sonnet consists of an octave (an eight-line stanza), rhyming abbaabba, and a sestet (a six-line stanza), rhyming cdcdcd, or cdecde–or using some other variation of the cd or cde patterns, but without a final rhymed couplet.

The octave usually presents an idea, raises an argument, makes a proposition, or poses a problem. A turning point (”volta”) occurs between the octave and the sestet, and the sestet develops out of the octave by illustrating the idea in the octave, varying it, responding to it, or solving the problem it poses.

THE SHAKESPEAREAN SONNET
Shakespeare did not invent the English sonnet form, but he is recognized as its greatest practitioner; therefore, the English sonnet is commonly called the Shakespearean sonnet.

The Shakespearean sonnet consists of three quatrains (four-line stanzas), rhyming abab cdcd efef, and a couplet (a two-line stanza), rhyming gg. Because each new stanza introduces a new set of rhyming sounds, the Shakespearean sonnet is well-suited to English, which is less richly endowed than Italian with rhyming words.

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\\ tags: Literature, Sonnet

Reviewing a book may not be an easy task for all of us, especially for those of us who do not read often. Sometimes, however, the task is inevitable, whether as a school or work assignment, and it is hard to think of what to say. There are a few things a book review should cover, which are sometimes missed as people fall into the trap of writing a summary instead, and if you keep these things in mind, an effective, coherent book review is no daunting task.

Firstly, read the book. Well, that wasn’t completely a joke. Sometimes one tends to just skim over the pages, or even simply read the back cover and work from there, especially when one is pressed for time. Read the book properly once so you will know what you’re talking about…unless you’re a master of bull excrement, you won’t be able to write a review that reads off impressively otherwise.

So you’ve read the book. The next hardest step is getting started. How does one introduce a book? If you have knowledge of the genre, it is a good idea to start off by comparing it with works you’ve found similar. � by Terry Goodkind is as compelling and as intricately woven as Tolkien…� , might be an example. This immediately gives the reader an idea of what standard the book is, at least in someone’s opinion, and also lets him know what to expect if he reads the book. In the event that you don’t know the genre, say, the case being that you’ve been asked to do a review on a book in a genre you don’t usually read, start off with an interesting �leading in� sentence about the book. �Of burning passion, deceit and suspense, does not lack.� Is an example of this. Whatever the case is, give an overall feeling of the book in your opening paragraph. Stylistic modifications are perfectly fine, and do in fact add to the interest a reader would have in your review, but that is the standard objective your first paragraph should aim to achieve. Elaborate on your opening sentence…give reasons Elaborate on your opening sentence…give reasons why you say the book is like this, but do not worry if you can’t say much. It’s an introduction.

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\\ tags: Literature

Public Speaking is one of the greatest fears most people have. In order to overcome mine I joined a Toastmasters club. I not only became a confident public speaker; I learned many tools for effective speech writing that are also helpful in writing.

The purpose of this article is to explain how speechwriting taught me structure. Writing a speech is not very different from writing an article. When addressing a �live� audience, you practice vocal tone, grammar, body language and your appearance. Lucky for me no one sees me when I�m writing!

Structure is important when writing a speech or a piece that is going to be read by someone else. Ideas need to flow logically and naturally from one idea to the other. Sentences open your thoughts in a logical flow as thread in a sweater. A paragraph should contain one complete idea. One helpful suggestion is to read your article aloud after you�ve written it. Does it sound like it flows in a logical and interesting way? Would you be comfortable reading it to an audience?

The basic outline of a speech is simple:

Introduction: Tell the people what you�re going to tell them.

Body: Tell them

Conclusion: Tell them what you just told them (in summary)

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\\ tags: Literature

If you’ve read the writings of Dr. Seuss, children’s writing may seem to be a snap. However, anyone that has ever tried to write a children’s poem knows that the process is much harder than it seems. It’s very easy to fall into overused conventions and produce work that is not original. It is a well-known fact that publishers rarely accept children’s poetry. This is the reason that there are so few established children’s poets. Use the following tips to create original and engaging children’s poetry that may just beat the tough market:

1. Don’t Be a Mimic
The first mistake that all new writers to children’s poetry fall into is writing like another writer. Publishers receive tons of Dr. Seuss-like poems from hopeful writers. If you are going to write children’s poems, you first have to develop a unique voice, one that no one can dispute or copy. Courses in this area are usually available at local colleges, and writer’s groups are invaluable for testing new work. This is the key to breaking into the poetry market.

2. Know your Market
You can’t get a feel for the market that will buy your poems unless you read into it. Spend some time at a local bookstore, and browse other sets of children’s poems in order to see the different types that are out there. Order children’s magazine, and take a look at what makes the cut.

3. Find Areas of Interest
There are some areas that will always be of interest to publishers for poetry. Some publishers prefer easy reading, other prefer non-fiction and teaching books, and so on. Read up on this.

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\\ tags: Literature, poems

METER� a rhythmic pattern in poetry wherein stresses (accented syllables) recur at fixed intervals. The word “meter” comes from the Greek word for “measure.”

FOOT� the basic unit of meter; a group of syllables forming a metrical unit; a unit of (usually) two or three syllables that contains one strong stress. Metrical feet are marked by using symbols to represent stressed (/) and unstressed (x; or a flattened out “u” shape) syllables.

IAMB (IAMBIC FOOT)� a metrical foot consisting of an unstressed syllable followed by a stressed syllable (x /).

PENTAMETER� a metrical pattern in which the poetic line consists of five iambic feet; thus, a ten-syllable line with the following pattern: x / x / x / x / x / .

RHYME (EXACT RHYME)� when two or more words or phrases contain an identical vowel sound, usually accented, and the subsequent consonant sounds (if any) are identical: free/see; hit/fit; prize/lies.

DRAMATIC MONOLOGUE� a poem in which a single (fictional) speaker addresses an implied audience at a critical moment in an ongoing series of events.

FREE VERSE� (”vers libre”; open form poetry); poetry with no identifiable metrical pattern or rhyme scheme.

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\\ tags: Literature, Poetry

ALLEGORY� (from the Greek “allegoria,” which means “speaking otherwise.” A story in prose or verse that has a double meaning or multiple meanings, both the obvious surface meaning and one or more secondary meanings, and thus must be understood on two or more levels.

DIDACTIC LITERATURE� literature used to teach a moral or a lesson. Most of the didactic literature in Europe was produced during the Middle Ages.

PSYCHOMACHIA� the battle within the individual�s mind or soul, often represented allegorically in literature as a conflict between virtues and vices for the possession of the soul.

APTRONYM� a name that fits the nature or character of an individual (a “label name”)>.

FABLE� a short narrative, often with animals as characters, that embodies a moral or a lesson.

EXEMPLUM� a short narrative used to illustrate a moral. Such stories were often used in sermons during the Middle Ages.

INTERLUDE� (literally, “between play”); a short entertainment put on between the courses of a feast or the acts of a longer play.

MORAL INTERLUDE� a type of interlude that was very similar to the morality play, though often shorter and more humorous. The dividing line between moral interludes and morality plays is not clear, and in many cases the two types of drama are indistinguishable. Several plays are classified both as moral interludes and as morality plays.

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\\ tags: Literature, Morality

Archetypal analysis of a work is one of the most common forms of literary analysis. It is easy to understand and use with a little knowledge of the basics.

First of all, an archetype is a pattern from which copies can be made. That is, it is a universal theme that manifests itself differently on an individual basis. Swiss psychiatrist Carl Jung believed that these archetypes were the result of a collective unconscious. This collective unconscious was not directly knowable and is a product of the shared experiences of our ancestors. Jung believed it was:

Primordial: That is, we, as individuals, have these archetypal images ingrained in our understanding even before we are born.

Universal: These archetypes can be found all over the world and throughout history. The manifestation of the idea may be different, but the idea itself is the same.

Archetypes fall into two major categories: characters, situations/symbols. It is easiest to understand them with the help of examples. Listed below are some of the most common archetypes in each category.

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Psychological analysis of literary works evolved as modern psychology itself began to take form during the early twentieth century. Although this type of critique employs the concepts expressed by many noted sociologists, including Carl Jung, Alfred Adler and Otto Rank, none have contributed as heavily to this field of study as Sigmund Freud has. While many aspects of his theories have been discounted by contemporary psychologists, the fundamental ideas he expressed have withstood the test of time. Five of these, in particular, form the basis of the psychological analysis of authors and the books they write.

The Primacy of the Unconscious
Freud believed that every individual has a conscious and an unconscious mind. Moreover, he believed that it was the unconscious mind that plays the largest role in shaping someone’s personality. He maintained that the vast differences between real and apparent motives are a result of this delineation between the two aspects of the soul.

The Iceberg Theory of the Psyche
Freud believed that the psyche, or “soul”, of an individual was shaped like an iceberg. The small part that remained above the surface for all to see was the ego, the individual’s self image that he projected to the world. Below the surface, much larger, the pleasure-principle, the id, remained away from public view. Lining this iceberg was the superego, representing parental influences. Between the conscious mind (the ego) and the unconscious mind (the id), at the “waterline” of the iceberg, was a line separating the two parts of the individual. Occasionally, the id would poke through that line, but, in most psychologically well-adjusted people, this barrier was a strong one.

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\\ tags: Literature

I: What to Expect
Expect to read! When you sign up for a literature course, anticipate spending many hours every week in the company of books. Let this be your one great expectation, and you will not be disappointed. Do you like to read? Do you enjoy stories? Do you feel enriched by having your ideas challenged, by thinking philosophically about the circumstances of life, people, and abstract concepts, or by experiencing the beauty that is possible through the skilled or merely felicitous use of language? If so, then you will probably get along just fine with the company you’ll be keeping.

But, alas, there are other factors–factors of a decidedly practical aspect–that insist on being taken into consideration. First, there is that most obtrusive time factor. Do you have the time to invest into a literature course? Courses vary, yet it is safe to say that literature will always take whatever time you can give to it, and teachers often demand that you give to it more time than you are inclined or believe that you are capable of giving. Therefore, expect to read even beyond your inclination and supposed capability. Such a conclusion may seem too vague to be helpful, but it is meant to suggest an attitude that may be of benefit when you find that all of your courses have assignments due during the same week. Of course, only you can decide what your schedule will permit, but if you have doubts, allow yourself the liberty of examining the course requirements before you commit yourself.

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\\ tags: Literature