MelopOEia


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Mel`o`pOE´ia


n.1.(Mus.) The art of forming melody; melody; - now often used for a melodic passage, rather than a complete melody.
References in periodicals archive ?
Some of the poems by Maria Concepcion Bautista Vazquez are weaker, as their melopoeia can't be re-created; however, when she uses anaphora, as in the poem "I Am," the reader can glimpse into the crackling hearth of her imagination, as she finds herself reflected in the "hummingbird" or in the "cricket at night." The stunning phanopoeia in Bolom Pale's poetry reveals a great talent.
The bronze version includes a sweeping backdrop that goes from undergrowth to canopy, fashioned with deep recesses; it was described by the artist's brother, Paul Claudel, as related to 'the Wagnerian melopoeia'--an example of how he projected his own poetic sensibility on to her work while overlooking its message of desperation.
Every bit as important as the visual imagery of such description, which Ezra Pound would call phanopoeia, was its melopoeia, or sound, especially its prose rhythm.
"In a Station of the Modern ('Ah, How I Love Pound!'): Roberts & Pound--Post-Symbolism, Imagism, Melopoeia, Phanopoeia, Logopoeia, and Mo(o)re." Stoneback and Florczyk 90-110.
Furthermore, melopoeia has various ways of manifestation:
That sense of melopoeia that leads him to compose operas--which we're just now rediscovering.
In the ABC of Reading, Pound lays out a tripartite scheme that distinguishes three kinds of poetry: melopoeia, "wherein the words are charged, over and above their plain meaning, with some musical property," phanopoeia, the "casting of images upon the visual imagination," and logopoeia, "the dance of the intellect." The scheme provides a helpful means of approaching the inner workings of Magrelli's poetry.
Lees ook "Selfportrette op vlekkelose byderwetse oppervlakke," waar al die baie selfportrette van die ek uitloop op 'n "onliriese grys," wat daarop neerkom dat met die fokusverskuiwing van die ek af weg ook nie meer geskryf word in wat Ezra Pound melopoeia genoem het nie ("wherein words are charged, over and above their plain meaning, with some music property"), nie meer die "soetsappige soort stront" nie ("Op 'n stoep in Oranjezicht") en "al daai ou cliches van waarheid / skoonheid" ("Lightning safety tips...").
This "something" might be defined in a word Pound himself uses, "melopoeia." The term is one of three announced in his 1931 pamphlet called How to Read: there we have logopoiea, "the dance of the intellect among words"; phanopoeia, the "casting of images upon the visual imagination," and finally melopoeia, wherein, Pound, says, "the words are charged, over and above their plain meaning, with some musical property, which directs the bearing or trend of that meaning." (61) Perhaps more surprisingly in view of his emphasis on verbal precision, Pound goes on to note that melopoeia amounts to "a force tending often to lull, or distract the reader from the exact sense of the language.
Pound's distinction of poetry into melopoeia, phanopoeia, and logopoeia in "How to Read"; Eliot's famous doctrine of the "objective correlative" in "Hamlet and His Problems"; the "dissociation of sensibility" in "The Metaphysical Poets"; and Warren's doctrine of "pure poetry" in "Pure and Impure Poetry").
While imagist poems privilege phanopoeia (words that "evoke or define visual phenomena") and melopoeia (words that "register or suggest auditory phenomena"), the symbolist poem enlists logopoeia, that part of poetry dependent on semiotic play and linguistic convention (Prose 321).