Compare the attached altered first stanza of “Now Winter Nights Enlarge” to the original first stanza. How does the altered poem differ from the actual? How do the alterations change the speaker’s speech action – what the speaker does with words? How does it give the reader a different reading experience? Working with the reading strategy attached, be as specific as you can. Of course, the alterations make the speech action/reading experiences less involving, compelling and generative. Explain why and how, specifically. Elucidate the differences that really alter your sense of the speech act or speaker and your experience of reading the poem. (1) First stanza of Campion, “Now Winter Nights Enlarge"Altered from first stanza of "Now Winter NightsEnlarge"It is that time of yearWhen days have fewer hours;We get stormy weatherUpon the airy towers.We light fires that blazeAnd pour cups full of wine,We speak words t'amazeWith harmony divine.We bring waxen lightsTo spark a mood of loveAnd partake in revels, masques, and courtlysights,That all sleep's spells remove.Actual "Now Winter Nights Enlarge" by ThomasCampionNow winter nights enlargeThe number of their hours;And clouds their storms dischargeUpon the airy towers.Let now the chimneys blazeAnd cups o'erflow with wine,Let well-turned words amazeWith harmony divine.Now yellow waxen lightsShall wait on honey loveWhile youthful revels, masques, and courtly sightsSleep's leaden spells remove. AVerySmartWay,MyLittle (orLiterary)Pal* REVISED VERSION, NEW in FALL 2022! *Address & Apostrophe --Who is speaking to whom, or to what?What personal pronouns does the speaker use, if any? How would the poem orspeech be different if--for example--the speaker used third person instead of firstand second person, or vice-versa? Rewrite the poem in different persons to findout. (An "apostrophe" is an address to a being or concept not present.) →Verb tenses & Verbs --What verb tense does the speaker begin speaking in? Where and when do verbtenses shift, and to what effect? (This is one of the most overlooked and revealingquestions you can pursue. Connect your observations to the question of tension inthe poem.) Also note the power of verbs themselves in the poem. A verb cansingle-handedly create personification or suggest a surprising analogy. →Sentences & SyntaxWhat kinds of sentences and clauses make up the poem-- declarative, imperative(commands), interrogative (questions) or exclamative? Are any sentencesstructured hierarchically, with lots of dependent clauses building up to orsurrounding a main clause? Are there compound sentences? Short simplesentences? Sentence fragments? How do the sentences and all the words withinthem-unfold? In what order, and why? Consider sentence and syntax inconnection with meter, line and stanza (see below); what tension to you findbetween the unit of sense (sentence & clause) and the metrical structure? →SoundPay attention to all kinds of sound, not only full end rhyme but slant rhyme,internal rhyme, assonance, alliteration, and other kinds of sound weaving, and theways the sounds of words are arranged through meter, line, stanza, form. Andask yourself, how does this built-in sound-track frame and influence myexperience of the unfolding sense of the poem? Unless proactively payingattention to this phenomenon of the poem's soundscape and sound structure,readers do not usually notice how much the aural patterns of affect them. →Words --Why this specific word instead of another? What connotations do theseparticular words have? Is the diction-the register of the words-- colloquial,formal, general, specific? Is there a shift of register at different points in thepoem? To learn more about particular words, use resources like the Oxford EnglishDictionary (OED), notes in scholarly editions of the poems, and searches throughan author's other works and other works of the period, particularly works he orshe read. →Motivation [overarching question =>]MetaphorMetaphor is often the mitochondria of a poem! Note the major metaphors at workin the poem. "Metaphor" in a broad sense includes simile, personification, andevery other kind of comparison of two different things. →LineWhat kind of lines make up the poem--short, long, end-stopped, enjambed? Arethe lines measured by meter? What tension do you experience between abstractpattern (line and stanza) and the meanings and rhythms of speech (sentence &clause)? Tension between abstract pattern and speech rhythm might also happenwith metrical variation. →Purpose [overarching question =>]Elizabeth Sagaser, Colby CollegeWhy and how do thespecifics in eachcategory matter to thepoem as a whole? Howdo they give you a senseof the speaker'smotivation for orpurpose in speaking,thinking or writing?How do they enacttension in the poem?What is the speakerdoing with words, ortrying to do, and why in apoem instead of aparagraph? And how dothe specifics contribute tothat effort?Why and how do thespecifics in eachcategory matter to thepoem as a whole? Howdo they give you a senseof the speaker'smotivation for orpurpose in speaking,thinking or writing?How do they enacttension in the poem?What is the speakerdoing with words, ortrying to do, and why in apoem instead of aparagraph? And how dothe specifics contribute tothat effort?

The altered stanza of “Now Winter Nights Enlarge” by Thomas Campion differs from the actual in…

Answered: Compare the attached altered first…

Social Psychology (10th Edition)

10th Edition

ISBN:9780134641287

Author:Elliot Aronson, Timothy D. Wilson, Robin M. Akert, Samuel R. Sommers

Publisher:Elliot Aronson, Timothy D. Wilson, Robin M. Akert, Samuel R. Sommers

Chapter1: Introducing Social Psychology

Section: Chapter Questions

Problem 1RQ1

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Compare the attached altered first stanza of “Now Winter Nights Enlarge” to the original first stanza. How does the altered poem differ from the actual? How do the alterations change the speaker’s speech action – what the speaker does with words? How does it give the reader a different reading experience? Working with the reading strategy attached, be as specific as you can. Of course, the alterations make the speech action/reading experiences less involving, compelling and generative. Explain why and how, specifically. Elucidate the differences that really alter your sense of the speech act or speaker and your experience of reading the poem.