The introduction says that a fundamental characteristic of lyric poetry is its focus on the ‘eternal now’

The introduction says that a fundamental characteristic of lyric poetry is its focus on the ‘eternal now’

Question 1

The introduction says that a fundamental characteristic of lyric poetry is its focus on the ‘eternal now’ (rather than a chronological representation of events in a sequence of time, as in narrative). Where do we see that characteristic in the four poems that we have seen in week 7 or 8?
Explain the concept of the eternal now with details from one of this week’s poems
Question #2

In the Final Exam and in task #3, everyone will have to do the syllabic count of verses. Working as a team, make the syllabic count of these ten lines. Notice if the verse is plain, acute or esdrújulo. Find all the possible signs. Count the poetic syllables. Identify the verses that are octosyllables and hendecasyllables. Each person must choose 2-3 verses (using the numbers indicated below):
1. Good to know that glasses
2. That way they won’t love you
3. How true so true!
4. My only country is the sea
5. In which the fantastic fireflies burned in the wet and nuptial shade
6. In my flowery chest
7. It reaches everything
8. To the pale moon
9. Being of Beauty the immortal princess
10. Rooster, rooster of the tropics

Question #3

A ‘poetic art’ is a type of poem in which the poet meditates on his own poetic work and expresses a ‘manifesto’ about it. What elements in “If you see a mountain of foams” indicate that this poem is a poetic art for Martí? How do you describe his own verse? Are there elements in them that recall his political concerns, or do they only indicate his artistic or poetic concerns?

Question #4

A very striking element in lyrical poetry is its ability to surprise us with its figurative language. Figurative language invites us to think carefully about the way the poet expresses himself and the multiple levels of meaning that can exist in lyrical discourse.
We’re going to focus on tropes and figures of speech in another unit, but to start, we’re going to look at all the metaphors in this week’s poems. Each person who participates in this thread must look for a minimum of 2 different metaphors (they must not repeat any metaphor already mentioned by their classmates, please). After citing the verse (or verses) with the metaphor. explain the meaning in prosaic terms.
A metaphor is when there is an implied comparison (such as ‘Felipe es un León’, which means that Felipe is like a lion).
Question #5

Do you have a favorite poem or song lyric that strikes you as poetic?
Share your favorite poem or song lyrics here and explain why you like it.
Question #6

Working as a team (one person should only work on one poem), mark the rhyme of different poems from weeks 7 and 8. Use the appropriate letters (upper or lower case?) and a zero (0 or Ø for lines that do not have rhyme). Identify if the rhyme is assonance or consonance. Each person must choose a different poem.
They must include at least the last word of each line when marking their rhyme.
MODEL:
While rose and lily = A
the color is shown in your gesture, = B
and that your ardent, honest look, =B
ignites the heart and restrains it; = A
and as long as the hair, which in the vein = A
of gold was chosen, with swift flight, = B
by the beautiful white neck, erect, = B
the wind moves, spreads and messes up; = A
take from your joyful spring = C
the sweet fruit, before the angry time = D
cover the beautiful summit with snow. =E
The icy wind will wither the rose, = D
light age will change everything = C
for not making a move in his custom. = E

Capital letters are used because they are all high art verses (11 syllables or more) and the rhyme is consonant.

Question #7

Write prose versions of some of the poems we have studied in Weeks 7 and 8. When we write a prose version, we try to change the figurative language into prose language to capture the literal level of meaning. Try to include all the original information, but in a more ‘normal’ language. Each person can choose a single stanza, or several from the same poem (do not use more than one poem, please).
MODEL:
take from your happy spring
the sweet fruit, before the angry weather
cover the beautiful summit with snow.

Prose version: Enjoy the sensual delights (the sweet fruit) of your youth (spring of your life) before age/ aging (the angry time that shows no mercy to anyone) turns your hair to pure gray ( cover his head–top–with ‘snow’–gray hair).

Another prosaic (and less lyrical) version of carpe diem: You should have sex while you’re young and attractive, before you get old and gray.


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