Lyric poetry

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Lyric Poetry (1896) Henry Oliver Walker, in the Library of Congress's Thomas Jefferson Building.

Modern lyric poetry is a formal type of poetry which expresses personal emotions or feelings, typically spoken in the first person.[1]

It is not equivalent to song lyrics, though song lyrics are often in the lyric mode, and it is also not equivalent to Ancient Greek lyric poetry, which was principally limited to song lyrics, or chanted verse. The term for both modern lyric poetry and modern

song lyrics derives from a form of Ancient Greek literature, the Greek lyric, which was defined by its musical accompaniment, usually on a stringed instrument known as a kithara, a seven-stringed lyre (hence "lyric").[a][2]

The term owes its importance in

dramatic, and epic
. Lyric poetry is one of the earliest forms of literature.

Meters

Much lyric poetry depends on regular

song lyrics
in order to match lyrics with interchangeable tunes that followed a standard pattern of rhythm. Although much modern lyric poetry is no longer song lyrics, the rhythmic forms have persisted without the music.

The most common meters are as follows:

  • syllables, with the short or unstressed syllable
    followed by the long or stressed syllable.
  • Trochaic – two syllables, with the long or stressed syllable followed by the short or unstressed syllable. In English, this metre is found almost entirely in lyric poetry.[3]
  • Pyrrhic – Two unstressed syllables
  • Anapestic
    – three syllables, with the first two short or unstressed and the last long or stressed.
  • Dactylic – three syllables, with the first one long or stressed and the other two short or unstressed.
  • Spondaic
    – two syllables, with two successive long or stressed syllables.

Some forms have a combination of meters, often using a different meter for the refrain.

History

Antiquity

Alcaeus and Sappho depicted on an Attic red-figure calathus c. 470 BC[4]

Greece

Main article: Greek lyric

For the

trochaic and iambic verses (which were recited), the writer of elegies (accompanied by the flute, rather than the lyre) and the writer of epic.[5]
The scholars of
Anacreon and Pindar. Archaic lyric was characterized by strophic composition and live musical performance. Some poets, like Pindar extended the metrical forms in odes to a triad, including strophe, antistrophe (metrically identical to the strophe) and epode (whose form does not match that of the strophe).[6]

Rome

Among the major surviving

elegiac couplets and so were not lyric poetry in the ancient sense.[7]

China

Main article: Classical Chinese poetry

During

Yangtze Valley, far from the Wei and Yellow River homeland of the traditional four-character verses collected in the Book of Songs. The varying forms of the new Chu Ci provided more rhythm and greater latitude of expression.[8]

Medieval verse

Originating in 10th century

Schlegel, Von Hammer-Purgstall, and Goethe, who called Hafiz his "twin".[9]

Lyric in European literature of the medieval or Renaissance period means a poem written so that it could be set to music—whether or not it actually was. A poem's particular structure, function, or theme might all vary.[10] The lyric poetry of Europe in this period was created by the pioneers of courtly poetry and courtly love largely without reference to the classical past.[11] The

fl. 1160s–80s). The dominant form of German lyric poetry in the period was the minnesang, "a love lyric based essentially on a fictitious relationship between a knight and his high-born lady".[12]
Initially imitating the lyrics of the French troubadours and trouvères, minnesang soon established a distinctive tradition.[12] There was also a large body of medieval Galician-Portuguese lyric.[13]

Yehuda Halevi, Solomon ibn Gabirol, and Abraham ibn Ezra
.

In Italy,

Vita Nuova. In 1327, according to the poet, the sight of a woman called Laura in the church of Sainte-Claire d'Avignon awoke in him a lasting passion, celebrated in the Rime sparse ("Scattered rhymes"). Later, Renaissance poets who copied Petrarch's style named this collection of 366 poems Il Canzoniere ("The Song Book"). Laura is in many ways both the culmination of medieval courtly love
poetry and the beginning of Renaissance love lyric.

A

Hindu devotional song. Bhajans are often simple songs in lyrical language expressing emotions of love for the Divine. Notable authors include Kabir, Surdas, and Tulsidas
.

Ming. Early 14th century playwrights like Ma Zhiyuan and Guan Hanqing were well-established writers of Sanqu. Against the usual tradition of using Classical Chinese, this poetry was composed in the vernacular.[14]

16th century

In 16th-century Britain,

Sir Philip Sidney, Edmund Spenser, and William Shakespeare popularized the sonnet
.

In France,

Anacreon, Alcaeus, Horace, and Ovid. They also produced Petrarchan sonnet cycles
.

Spanish devotional poetry adapted the lyric for religious purposes. Notable examples were

Francisco de Medrano and Lope de Vega. Although better known for his epic Os Lusíadas, Luís de Camões
is also considered the greatest Portuguese lyric poet of the period.

In Japan, the naga-uta ("long song") was a lyric poem popular in this era. It alternated five and seven-syllable lines and ended with an extra seven-syllable line.

17th century

Lyrical poetry was the dominant form of 17th century English poetry from John Donne to Andrew Marvell.[15] The poems of this period were short. Rarely narrative, they tended towards intense expression.[15] Other notable poets of the era include Ben Jonson, Robert Herrick, George Herbert, Aphra Behn, Thomas Carew, John Suckling, Richard Lovelace, John Milton, Richard Crashaw, and Henry Vaughan. A German lyric poet of the period is Martin Opitz; in Japan, this was the era of the noted haiku-writer Matsuo Bashō.

18th century

In the 18th century, lyric poetry declined in England and France. The atmosphere of literary discussion in the English coffeehouses and French salons was not congenial to lyric poetry.[16] Exceptions include the lyrics of

Johann Heinrich Voß. Kobayashi Issa was a Japanese lyric poet during this period. In Diderot's Encyclopédie, Louis chevalier de Jaucourt described lyric poetry of the time as "a type of poetry totally devoted to sentiment; that's its substance, its essential object".[17]

19th century

Benjamin Haydon's 1842 portrait of William Wordsworth.

In Europe, the lyric emerged as the principal poetic form of the 19th century and came to be seen as synonymous with poetry.[18] Romantic lyric poetry consisted of first-person accounts of the thoughts and feelings of a specific moment; the feelings were extreme but personal.[19]

The traditional

Lord Byron. Later in the century, the Victorian lyric was more linguistically self-conscious and defensive than the Romantic forms had been.[20]
Such Victorian lyric poets include
Alfred Lord Tennyson and Christina Rossetti
.

Lyric poetry was popular with the German reading public between 1830 and 1890, as shown in the number of poetry anthologies published in the period.[21] According to

folk-song tradition initiated by Goethe, Herder, and Arnim and Brentano's Des Knaben Wunderhorn.[22]

France also saw a revival of the lyric voice during the 19th century.[23] The lyric became the dominant mode of French poetry during this period.[23]: 15  For Walter Benjamin, Charles Baudelaire was the last example of lyric poetry "successful on a mass scale" in Europe.[24]

In

Aleksandr Pushkin exemplified a rise of lyric poetry during the 18th and early 19th centuries.[25]
The Swedish "Phosphorists" were influenced by the Romantic movement and their chief poet Per Daniel Amadeus Atterbom produced many lyric poems.[26] Italian lyric poets of the period include
Ishikawa Takuboku
.

20th century

Further information:
William Butler Yeats for his lyric poetry; Yeats compared him to the troubadour poets when the two met in 1912.[28]

The relevance and acceptability of the lyric in the modern age was, though, called into question by modernist poets such as Ezra Pound, T. S. Eliot, H.D., and William Carlos Williams, who rejected the English lyric form of the 19th century, feeling that it relied too heavily on melodious language, rather than complexity of thought.[29]: 49 

After World War II, the American New Criticism returned to the lyric, advocating a poetry that made conventional use of rhyme, meter, and stanzas, and was modestly personal in the lyric tradition.[30]

Lyric poetry dealing with relationships, sex, and domestic life constituted the new mainstream of American poetry in the middle of the 20th century, following such movements as the

confessional poets of the 1950s and '60s such that included Sylvia Plath and Anne Sexton.,[29]: 155  the Black Mountain movement with Robert Creeley, Organic Verse represented by Denise Levertov, Projective verse or "open field" composition as represented by Charles Olson, and also Language Poetry
which aimed for extreme minimalism along with numerous other experimental verse movements throughout the remainder of the 20th century, up into today where these questions of what constitutes poetry, lyrical or otherwise, are still being discussed but now in the context of hypertext and multimedia as it is used via the Internet.

Footnotes

  1. ^ A kithara was a professional-grade, medium-voiced (‘tenor’ / ‘baritone’) instrument in the lyre-family.
    Further information: kithara
    .

References

  1. ^ Scott, Clive (1990). Vers Libre: The emergence of free verse in France, 1886–1914. Oxford, UK: Clarendon Press.
    ISBN 9780198151593
    .
  2. ISBN 978-087220291-7. Archived
    from the original on 17 October 2023. Retrieved 15 November 2015.
  3. ^ Adams, Stephen (1997). Poetic Designs: An introduction to meters, verse forms, and figures of speech. Broadview Press. p. 55.
    ISBN 1-55111-129-2
    .
  4. ^ Staatliche Antikensammlungen (Inv. 2416)
  5. ^ Bowra, Cecil (1961). Greek Lyric Poetry: From Alcman to Simonides.
    Oxford, England
    : Oxford University Press. p. 3.
  6. ^ Halporn, J.; et al. (1994). The Meters of Greek and Latin Poetry. Hackett Publishing. p. 16.
    ISBN 0-87220-243-7
    .
  7. ^ Bing, P.; et al. (1991). Games of Venus: An anthology of Greek and Roman erotic verse from Sappho to Ovid. New York, NY: Routledge.
  8. ^ a b 袁行霈 [Yuán Xíngpèi]; et al. (1992). Zhōngguó Wénxué Shǐ 《中国文学史》 [A History of Chinese Literature] (in Chinese). Vol. 1. Beijing, CN: 高等教育出版社 [Gāoděng Jiàoyù Chūbǎn Shè]. p. 632.
    ISBN 978-704016479-4. Archived from the original on 4 October 2013. Retrieved 14 July 2013 – via Guangxi Normal University
    (www.gxnu.edu.cn). "Historical Records: Biography of Qu Yuan Jia Shengform" has a style of deep grief and anger. :CHINESE: 「《史记·屈原贾生列传》 形成悲愤深沉之风格特征。」
  9. ^ Thym, J.; et al. (2010). Of Poetry and Song: Approaches to the nineteenth-century lied. Rochester, NY: University of Rochester Press. p. 221.
  10. ^ Shaw, Mary (2003). The Cambridge Introduction to French Poetry.
    ISBN 0-521-00485-3
    .
  11. ^ Kay, S; et al. (2006). A Short History of French Literature.
    ISBN 0-19-815931-5
    .
  12. ^ a b S., Johnson; et al. (2000). Medieval German Literature: A companion. Routledge. pp. 224–225.
    ISBN 0-415-92896-6
    .
  13. ^ Tavani, Giuseppe (2002). Trovadores e Jograis: Introdução à poesia medieval galego-portuguesa (in Portuguese). Lisbon, PT: Caminho.
  14. ^ 「抒情性文学…的创作开创了元代理学家诗文创作的先河。」[8]
  15. ^ a b Corns, Thomas (1993). The Cambridge Companion to English Poetry, Donne to Marvell.
    ISBN 0-521-42309-0
    .
  16. ^ Wilson, Albert, Sir (1957). Lindsay, J.O. (ed.). The New Cambridge Modern History.
    ISBN 0-521-04545-2.{{cite book}}: CS1 maint: multiple names: authors list (link
    )
  17. ^ "Lyric Poetry". Encyclopedia of Diderot & d'Alembert - Collaborative Translation Project. Encyclopedia of Diderot & d'Alembert. Translated by Collaborative Translation Project. University of Michigan Library. 20 December 2004. Archived from the original on 2 April 2015. Retrieved 1 April 2015.
  18. ^ a b Murray, Christopher John (2004). Encyclopedia of the Romantic Era, 1760–1850. Taylor & Francis. p. 700.
    ISBN 1-57958-422-5
    .
  19. ^ Bygrave, Stephen (1996). Romantic Writings. Routledge. p. ix.
    ISBN 0-415-13577-X
    .
  20. ^ Slinn, E. Warwick (26 October 2000). Bristow, Joseph (ed.). The Cambridge Companion to Victorian Poetry. Cambridge University Press. p. 56.
    ISBN 0-521-64680-4
    .
  21. ^ Sagarra, Eda; Skrine, Peter (1997). A Companion to German Literature: From 1500 to the present. Blackwell Publishing. p. 149.
    ISBN 0-631-21595-6
    .
  22. ^ Lukács, György (1993). German Realists in the Nineteenth Century.
    ISBN 0-262-62143-6
    .
  23. ^ a b Prendergast, Christopher (1990). Nineteenth-Century French Poetry: Introductions to close reading.
    ISBN 0-521-34774-2
    .
  24. ^ Max, Pensky (1993). Melancholy Dialectics: Walter Benjamin and the Play of Mourning.
    ISBN 1-55849-296-8
    .
  25. ^ Jakobson, Roman (1981). Selected Writings. Walter de Gruyter. p. 282.
    ISBN 90-279-7686-4
    .
  26. ^ Richardson, W.; et al. (2005). Literature of the World: An introductory study'. Kessinger Publishing. p. 348.
    ISBN 1-4179-9433-9
    .
  27. ^ MacGowan, Christopher (2004). Twentieth-Century American Poetry. Blackwell Publishing. p. 9.
    ISBN 0-631-22025-9
    .
  28. ^ Foster, Robert (1998). W.B. Yeats: A life.
    ISBN 0-19-288085-3
    .
  29. ^ a b Beach, Christopher (2003). The Cambridge Introduction to Twentieth-Century American Poetry.
    ISBN 0-521-89149-3
    .
  30. ^ Fredman, Stephen (2005). A Concise Companion to Twentieth-Century American Poetry. Blackwell Publishing. p. 63.
    ISBN 1-4051-2002-9
    .

Further reading
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