Sonetos (Spanish Edition)

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Poemas y sonetos (Spanish Edition): Sor Juana Inés De la Cruz: www.newyorkethnicfood.com: Books

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Come back Max, tell us what's going on with these sonnets!

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Spanish's poetic licenses apply to vowel sounds and are mostly perceived in reciting more than in writing. Neruda's sonnet 27 is a nonrhyming sonnet where most verses are Alexandrine 14 syllables. For example "Desnuda eres" is grammatically separated into "Des - nu - da - e - res" whereas the application of synalepha would render a "Des - nu - dae - res" separation, therefore reducing the syllable count by one.

The same process may be applied in "como una.

Spanish Section, Department of Classical and Modern Languages

Both "eres" and "una" are stressed on the first syllable, that is the syllable containing the second part of the synalepha, making the recitation sound a little awkward in such places. Synalepha sounds more natural when none of the intervening syllables are stressed. So, in this case we speak of a "Sinalefa compleja" complicated synalepha or "Sinalefa opcional" optional synalepha.

Most authors recommend not to apply synalepha in this doubtful cases, whereas for other authors it's optional. To my personal taste, I prefer the sound of a synalepha where the involved syllables are unstressed. It sounds more natural to me. Synalepha isn't possible because there's no word ending in a vowel sound immediately before another word beginning in a vowel sound.

When pronounced, the 3-syllabic version sounds a little slower because of the pause introduced by the diaeresis, and therefore a little less natural according to Spanish phonology. Synaeresis is the creation of an artificial diphthong where there's no grammatical diphthong, therefore reducing the syllable count by one.

We can say that synaeresis is a very natural feature of Spanish phonology, happening especially in rapid speech. Many grammarians keep yelling that this is wrong, and it is grammatically wrong, but in the field of meter counting poetry is more related to speech than it is to grammar rules, and this is how native speakers do speak In "como el" we have a beautifully natural synalepha, where both involved syllables "mo" and "el" are unstressed. Originally Posted by Jack of Hearts. All the poetry of Pablo Neruda is strictly of this earth, and extremely sensual.

Many have tried to categorize him as a Romantic without success. There are no nebulous starts or ends like you might find in Becquer, who has been categorized as a post-romantic lyricist but still not quite out of Romanticism. Neruda is a unique trip. Yeah, Max's post is super meaty. In Spanish, when one word ends in a vowel and the next starts with a vowel, these vowels can get combined into one syllable.

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This is called Synalepha and there are variations of it based on whether or not any of the combined syllables are stressed. This seems like the opposite of Synaeresis, where two syllables of vowel sounds are combined to one syllable of two vowel sounds. So, wait a second- this reader is having trouble understanding the difference between 'synalepha' and 'synaeresis. Is 'Synalepha' the same thign as 'synaeresis' only different in that it combines two words?

\\\'Cien sonetos de amor\\\'

It makes a dipthong out of two vowel sounds from two different words? Also, for the English translation of soneto XVII aka the best sonnet , what is the best approximate translation for some of these phrases? Caminos de manzana- apple pathways or paths of apples or roads of apples? What about 'Desnuda eres delgada como el trigo desnudo'? Isn't 'el' the definite article in Spanish?

And 'trigo' means 'wheat', but does the 'el' specifically refer to a partitive aspect of the concept of 'wheat'? Indeed, does Spanish even have partitive articles? What is the best translation of this line? Thou needst not give me more to have me love Thee, for, had I not such hope of being near Thee, I yet would love Thee just as now I love Thee. Nor does hell so dreadful move me To leave all that offends you.

You move me, Lord. It moves me to see you Mocked, nailed to that cross. It moves me to see your body so wounded. Your dishonour moves me, and your death. You are the one that moves me, Lord, When to your cross I turn my eyes To see your wounds, hear insults, lies; I'm grieved to know you're dying, Lord.