By The Ohio Civil Rights Commission Contributors
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Extra info for Asian Pacific Islander Heritage Month May 01-31 (Cultural Horizons Activity book)
There is a slight variation in the rhyme scheme. Each stanza consists of two four-line units (marked by punctuation and syntax), in which the masculine rhymes surround the feminine rhymes. The difference is that the first stanza employs the same masculine rhyme in lines 1,4,5,8, while the second stanza uses two different masculine rhymes. The title simply introduces day and night, but the poem itself contrasts them, devoting the first stanza to day and the second to night. The fact that the second stanza begins with the word «Hо» (“But”) marks this contrast explicitly.
If rhyme is primarily aural, the stanza is largely visual. A listener may hear the recurring rhyme scheme and sense the stanzaic breaks, but there can be no certainty that the poet has actually written them as stanzas until one sees that they are set off graphically (marked by a skipped line between stanzas). Tiutchev’s «д eнь и ночь» (“Day and Night”), quoted in its entirety below, can illustrate the function of a stanza. Ha ми´р тaи´нствeнный духо´в, Haд этой бe´ здной бeзымя´ нной, Покро´в нaбро´шeн злaтоткa´нный Bысо´кой во´лeю бого´в.
A´ждою томи´м, B пусты´нe мрa´чной я´ влaчи´лся, и шeстикры´лый сeрaфи´м Ha пeрeпу´тьe мнe´ яви´лся. ) This passage comes from Pushkin’s «Проро´ к» (“The Prophet”). Every line is written in iambic tetrameter, yet only one of them has four stresses. Instead of the constant alternation of unstressed/stressed in the Lomonosov excerpt, we find rich rhythmic variation, no two lines having the identical stress pattern. It now becomes important to distinguish between meter (the generalized scheme) and rhythm (the actual realization of that scheme in a given line).