find out a folk tale of your own language and present it in the form of a ballad?
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For the slow form of popular music such as love songs and pop & rock ballads, see Sentimental ballad.
"Balladeering" redirects here. For the album, see Balladeering (album).
Illustration by Arthur Rackham of the Scots ballad "The Twa Corbies"
A ballad /ˈbæləd/ is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "danced songs''. Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century. They were widely used across Europe, and later in Australia, North Africa, North Americaand South America. Ballads are often 13 lines with an ABABBCBC form, consisting of couplets (two lines) of rhymed verse, each of 14 syllables. Another common form is ABAB or ABCB repeated, in alternating 8 and 6 syllable lines.
Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century, the term took on the meaning of a slow form of popular love songand is now often used for any love song, particularly the sentimental ballad of pop or rock.
Ballads were originally written to accompany dances, and so were composed in couplets with refrains in alternate lines. These refrains would have been sung by the dancers in time with the dance.[7] Most northern and west European ballads are written in ballad stanzasor quatrains (four-line stanzas) of alternating lines of iambic (an unstressed followed by a stressed syllable) tetrameter (eight syllables) and iambic trimeter (six syllables), known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed (in the scheme a, b, c, b), which has been taken to suggest that, originally, ballads consisted of couplets (two lines) of rhymed verse, each of 14 syllables.[8] This can be seen in this stanza from "Lord Thomas and Fair Annet":
The horse | fair Ann | et rode | upon |
He amb | led like | the wind |,
With sil | ver he | was shod | before,
With burn | ing gold | behind |.[4]
There is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. In southern and eastern Europe, and in countries that derive their tradition from them, ballad structure differs significantly, like Spanish romanceros, which are octosyllabicand use consonance rather than rhyme.[9]
Ballads usually are heavily influenced by the regions in which they originate and use the common dialect of the people. Scotland's ballads in particular, both in theme and language, are strongly characterised by their distinctive tradition, even exhibiting some pre-Christian influences in the inclusion of supernatural elements such as travel to the Fairy Kingdom in the Scots ballad "Tam Lin".[10] The ballads do not have any known author or correct version; instead, having been passed down mainly by oral tradition since the Middle Ages, there are many variations of each. The ballads remained an oral tradition until the increased interest in folk songs in the 18th century led collectors such as Bishop Thomas Percy (1729–1811) to publish volumes of popular ballads.[7]
In all traditions most ballads are narrative in nature, with a self-contained story, often concise, and rely on imagery, rather than description, which can be tragic, historical, romantic or comic.[8] Themes concerning rural laborers and their sexuality are common, and there are many ballads based on the Robin Hood legend.[11] Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas.[4]
PLZ MRK ME BRAINLIEST IF ITS HELPFUL....
"Balladeering" redirects here. For the album, see Balladeering (album).
Illustration by Arthur Rackham of the Scots ballad "The Twa Corbies"
A ballad /ˈbæləd/ is a form of verse, often a narrative set to music. Ballads derive from the medieval French chanson balladée or ballade, which were originally "danced songs''. Ballads were particularly characteristic of the popular poetry and song of the British Isles from the later medieval period until the 19th century. They were widely used across Europe, and later in Australia, North Africa, North Americaand South America. Ballads are often 13 lines with an ABABBCBC form, consisting of couplets (two lines) of rhymed verse, each of 14 syllables. Another common form is ABAB or ABCB repeated, in alternating 8 and 6 syllable lines.
Many ballads were written and sold as single sheet broadsides. The form was often used by poets and composers from the 18th century onwards to produce lyrical ballads. In the later 19th century, the term took on the meaning of a slow form of popular love songand is now often used for any love song, particularly the sentimental ballad of pop or rock.
Ballads were originally written to accompany dances, and so were composed in couplets with refrains in alternate lines. These refrains would have been sung by the dancers in time with the dance.[7] Most northern and west European ballads are written in ballad stanzasor quatrains (four-line stanzas) of alternating lines of iambic (an unstressed followed by a stressed syllable) tetrameter (eight syllables) and iambic trimeter (six syllables), known as ballad meter. Usually, only the second and fourth line of a quatrain are rhymed (in the scheme a, b, c, b), which has been taken to suggest that, originally, ballads consisted of couplets (two lines) of rhymed verse, each of 14 syllables.[8] This can be seen in this stanza from "Lord Thomas and Fair Annet":
The horse | fair Ann | et rode | upon |
He amb | led like | the wind |,
With sil | ver he | was shod | before,
With burn | ing gold | behind |.[4]
There is considerable variation on this pattern in almost every respect, including length, number of lines and rhyming scheme, making the strict definition of a ballad extremely difficult. In southern and eastern Europe, and in countries that derive their tradition from them, ballad structure differs significantly, like Spanish romanceros, which are octosyllabicand use consonance rather than rhyme.[9]
Ballads usually are heavily influenced by the regions in which they originate and use the common dialect of the people. Scotland's ballads in particular, both in theme and language, are strongly characterised by their distinctive tradition, even exhibiting some pre-Christian influences in the inclusion of supernatural elements such as travel to the Fairy Kingdom in the Scots ballad "Tam Lin".[10] The ballads do not have any known author or correct version; instead, having been passed down mainly by oral tradition since the Middle Ages, there are many variations of each. The ballads remained an oral tradition until the increased interest in folk songs in the 18th century led collectors such as Bishop Thomas Percy (1729–1811) to publish volumes of popular ballads.[7]
In all traditions most ballads are narrative in nature, with a self-contained story, often concise, and rely on imagery, rather than description, which can be tragic, historical, romantic or comic.[8] Themes concerning rural laborers and their sexuality are common, and there are many ballads based on the Robin Hood legend.[11] Another common feature of ballads is repetition, sometimes of fourth lines in succeeding stanzas, as a refrain, sometimes of third and fourth lines of a stanza and sometimes of entire stanzas.[4]
PLZ MRK ME BRAINLIEST IF ITS HELPFUL....
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BRAINLY ANSWER BY ABHAY THE ACE
HOMEWORK HELP > THE RIME OF THE ANCIENT MARINER
In "The Rime of the Ancient Mariner" Coleridge draws on both the typical style and content of the English ballad to create an appropriate and unique atmosphere for the timeless message he imparts.
One of the first things a reader notices is Coleridge's use of words that had become archaic long before his own time, such as "eftsoons," and the unusual spellings and capitalizations, in the "Argument" ("Ancyent Marinere," for example) and in the poem itself. The impression is one of a poem that is, like the Mariner himself, "ancient." It's instructive to compare the metrical form with that of an actual folk ballad, such as "True Thomas." Coleridge uses the same rhyme scheme, A-B-C-B, with quatrains in iambic tetrameter. In both, the effect is what we would expect if someone were telling us a story, without artifice. In spite of the archaic usages, Coleridge's language is simple and appears deliberately childlike at times, with repetitions and statements of obvious things poets of his time normally would have avoided as less than sophisticated:
The sun came up upon the left,
Out of the sea came he!
And he shone bright, and on the right
Went down into the sea.
At the start of part 2 the quatrain is repeated almost verbatim but with the direction of the sun's rising and setting reversed. Prior to this, at the close of part 1, the revelation of the Mariner's having shot the albatross occurs without preparation, in the artless and matter-of-fact way typical of the ballad form. It is not unlike the abrupt statement at the end of "True Thomas":
And until seven years were gone and past
True Thomas on earth was never seen.
The balladeer presents this fact unemotionally, as if it is part of the normal, unsurprising process of life. The same is true in the ballad "Edward," where at the very start the abrupt question "Why does your brand sae drip wi' blood, / Edward, Edward?" reveals in an instant the tragedy being enacted.
Coleridge, however, does not wish merely to replicate the form and style of the folk ballad. His poem is, rather, a self-conscious reimagining of an artless kind of verse. The great length of the poem, and the fact that it concludes with its famous, explicit moral, "He prayeth best, who loveth best, / All things both great and small" separate it from the folk ballads Coleridge so obviously has in mind as models.
Just as his friend Wordsworth, in spearheading the new movement we call Romanticism, sought to use simple, everyday language in his verse and to avoid "poetic diction," Coleridge takes a similar but individual path of his own in creating a kind of super ballad. This work derives from the poetry of the people but transforms into a work unique in style, form, and content in the history of English poetry.
BRAINLY ANSWER BY ABHAY THE ACE
HOMEWORK HELP > THE RIME OF THE ANCIENT MARINER
In "The Rime of the Ancient Mariner" Coleridge draws on both the typical style and content of the English ballad to create an appropriate and unique atmosphere for the timeless message he imparts.
One of the first things a reader notices is Coleridge's use of words that had become archaic long before his own time, such as "eftsoons," and the unusual spellings and capitalizations, in the "Argument" ("Ancyent Marinere," for example) and in the poem itself. The impression is one of a poem that is, like the Mariner himself, "ancient." It's instructive to compare the metrical form with that of an actual folk ballad, such as "True Thomas." Coleridge uses the same rhyme scheme, A-B-C-B, with quatrains in iambic tetrameter. In both, the effect is what we would expect if someone were telling us a story, without artifice. In spite of the archaic usages, Coleridge's language is simple and appears deliberately childlike at times, with repetitions and statements of obvious things poets of his time normally would have avoided as less than sophisticated:
The sun came up upon the left,
Out of the sea came he!
And he shone bright, and on the right
Went down into the sea.
At the start of part 2 the quatrain is repeated almost verbatim but with the direction of the sun's rising and setting reversed. Prior to this, at the close of part 1, the revelation of the Mariner's having shot the albatross occurs without preparation, in the artless and matter-of-fact way typical of the ballad form. It is not unlike the abrupt statement at the end of "True Thomas":
And until seven years were gone and past
True Thomas on earth was never seen.
The balladeer presents this fact unemotionally, as if it is part of the normal, unsurprising process of life. The same is true in the ballad "Edward," where at the very start the abrupt question "Why does your brand sae drip wi' blood, / Edward, Edward?" reveals in an instant the tragedy being enacted.
Coleridge, however, does not wish merely to replicate the form and style of the folk ballad. His poem is, rather, a self-conscious reimagining of an artless kind of verse. The great length of the poem, and the fact that it concludes with its famous, explicit moral, "He prayeth best, who loveth best, / All things both great and small" separate it from the folk ballads Coleridge so obviously has in mind as models.
Just as his friend Wordsworth, in spearheading the new movement we call Romanticism, sought to use simple, everyday language in his verse and to avoid "poetic diction," Coleridge takes a similar but individual path of his own in creating a kind of super ballad. This work derives from the poetry of the people but transforms into a work unique in style, form, and content in the history of English poetry.
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