Utente:JhonSavor/sandbox1/SandboxEU: differenze tra le versioni

Versione delle 10:26, 17 dic 2024

Versione delle 11:29, 17 dic 2024

Riga 37:

== Critica ==

Frank Coffman afferma come questa poesia dimostri non solo l'amore di Howard per la storia e il suo uso come base dei suoi lavori, ma anche la sua padronanza della forma poetica e del suono. A causa della sua regolarità di ritmo essa è una variante della ballata denominata "ballata letteraria" che Coffman ha coniato come una espansa "''Long-line Balland''"

Realizzare una poesia in questo modo non è difficile tanto per il ritmo quanto per il numero di rime interne e questo porta Coffman a riconoscere ''L'unica macchia nera'', unitamente alla potenza narrativa dell'autore, come uno dei migliori componimenti poetici realizzato da Howard.

Secondo Coffman ''L'unica macchia nera'' mostra due aspetti del carattere di Kane: il suo odio per l'ingiustizia, forse soprattutto se legata all'abuso di potere, e la volubilità del suo temperamento, seppure la "''sua ira sia a fuoco lento''".

Secondo Coffman ''L'unicala macchia nera''poesia mostra due aspetti del carattere di Kane: il suo odio per l'ingiustizia, forse soprattutto se legata all'abuso di potere, e la volubilità del suo temperamento, seppure la "''sua ira sia a fuoco lento''".

Typical of Howard who had become a master of the narrative poem—an art that fell away from popularity among “free verse” and other “realist/modern” poets in the later 20th c. and has only in the past few decades seen a true revival—the poem is a variation of the ballad form, due to its regularity of rhythm of the type known as the “literary ballad” (as opposed to the “folk ballad” or “ballad of tradition” that has been the standard in Western language narrative poetics for over 800 years).

The poem is an expanded “Long-line Ballad” (as I have termed it in my Robert E. Howard: Selected Poems and elsewhere). Rather than the 4343 accent pattern of the traditional ballad and the normal iambic alternation of tetrameter and trimeter lines, Howard uses two 7-beat lines and one 8-beat central line in his three-line stanzas, He uses multiple internal rhymes in the “long segments.” In this poem, we might divide each stanza for the 7-8-7 accent tercets into two parts—but with much variation in the essentially iambic rhythm, often substituting an anapestic foot uu/ for the iamb or inverting the iamb u/ into a trochee /u or leaving off an initial unstressed syllable in the line (acephalous/ “headless” iambic foot = / rather than u/) for metrical variation. The basic pattern of accents and rhymes is as follows:

Basic Meter (with many variations, as noted above:

u/u/u/u/ || u/u/u/ iambic tetrameter || iambic trimeter 7 accents total

u/u/u/u/ || u/u/u/u/ iambic tetrameter || iambic tetrameter 8 accents total

u/u/u/u/ || u/u/u/ iambic tetrameter || iambic trimeter 7 accents total

Rhyme Scheme (showing the typical line divisions):

They carried him out on the barren sand 4 A

where the rebel captains died; 3 B

Where the grim grey rotting gibbets stand 4 A

as Magellan reared them on the strand, 4 A

And the gulls that haunt the lonesome land 4 A

wail to the lonely tide. 3 B

While this is not an especially difficult rhythm to achieve, the necessity for all the internal rhyming is daunting and very difficult to achieve. That fact and the typical narrative power of Howard’s verses and compact storytelling make me rank this as one of Howard’s best poetic works.

== Adattamenti ==