Klon (poetry): Difference between revisions
Mathmitch7 (talk | contribs) Adding local short description: "Thai and Lao poetic form", overriding Wikidata description "Thai and Lao verse form" |
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==Thai== |
==Thai== |
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In the narrow meaning of the term, the ''klon'' is a more recently developed form of Thai poetry where a stanza has four ''wak'' (lines), each with the same number of syllables. It became the most popular form during the [[early Rattanakosin]] period, and is usually considered an original Thai form, as opposed to older forms such as ''kap'' which originated from Indic |
In the narrow meaning of the term, the ''klon'' is a more recently developed form of Thai poetry where a stanza has four ''wak'' (lines), each with the same number of syllables. It became the most popular form during the [[early Rattanakosin]] period, and is usually considered an original Thai form, as opposed to older forms such as ''kap'' which originated from Indic poetry.<ref name="Hudak klonn">{{cite web|title=กลอน Klon|work=Thai Language Audio Resource Center|url=http://thaiarc.tu.ac.th/poetry/klon/klone.html|publisher=Thammasat University|access-date=6 March 2012}} Reproduced form {{cite book|last=Hudak|first=Thomas John|title=The indigenization of Pali meters in Thai poetry|year=1990|series=Monographs in International Studies, Southeast Asia Series|issue=87|publisher=Ohio University Center for International Studies|location=Athens, Ohio|isbn=978-0-89680-159-2}}</ref> The ''klon'' metres are named by the number of syllables in a ''wak'', e.g. ''klon hok'' ({{lang|th|กลอนหก}}, {{IPA-th|klɔ̄ːn hòk|}}) has six syllables per ''wak'' (''hok'' means ''six''). All metres have the same [[rhyming scheme]], and there are also requirements on the tone of the final syllable of each ''wak''. The ''klon'' is also divided into several types according to their manner of composition, with ''klon suphap'' ({{lang|th|กลอนสุภาพ}}, {{IPA-th|klɔ̄ːn sù.pʰâːp|}}) being the basic form. |
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The following plan shows the structure of ''klon suphap'' (two stanzas) in the most common eight-syllable variety, which was employed extensively by [[Sunthorn Phu]], and is the most common form of the Rattanakosin period. The letters in parentheses represent alternative rhyming syllables. In practice, occasional ''wak'' with seven or nine syllables are also acceptable. |
The following plan shows the structure of ''klon suphap'' (two stanzas) in the most common eight-syllable variety, which was employed extensively by [[Sunthorn Phu]], and is the most common form of the Rattanakosin period. The letters in parentheses represent alternative rhyming syllables. In practice, occasional ''wak'' with seven or nine syllables are also acceptable. |
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Revision as of 09:51, 11 April 2024
The klon, also spelled glawn or gaun (Thai: กลอน, [klɔ̄ːn]; Lao: ກອນ, [kɔːn]), is a Thai/Lao term referring to either poetic verse in general, or a specific prosodic form in Thai and Lao poetry.
Thai
In the narrow meaning of the term, the klon is a more recently developed form of Thai poetry where a stanza has four wak (lines), each with the same number of syllables. It became the most popular form during the early Rattanakosin period, and is usually considered an original Thai form, as opposed to older forms such as kap which originated from Indic poetry.[1] The klon metres are named by the number of syllables in a wak, e.g. klon hok (กลอนหก, [klɔ̄ːn hòk]) has six syllables per wak (hok means six). All metres have the same rhyming scheme, and there are also requirements on the tone of the final syllable of each wak. The klon is also divided into several types according to their manner of composition, with klon suphap (กลอนสุภาพ, [klɔ̄ːn sù.pʰâːp]) being the basic form.
The following plan shows the structure of klon suphap (two stanzas) in the most common eight-syllable variety, which was employed extensively by Sunthorn Phu, and is the most common form of the Rattanakosin period. The letters in parentheses represent alternative rhyming syllables. In practice, occasional wak with seven or nine syllables are also acceptable.
| OOO OO OOA | OOA O(A) OOB | |
| OOO OO OOB | OOB O(B) OOC | |
| OOO OO OOD | OOD O(D) OOC | |
| OOO OO OOC | OOC O(C) OOO |
Lao
In the Lao context, the glawn is commonly used in song, and is the most common text in traditional mor lam. It is made up of four-line stanzas, each with seven basic syllables (although sung glawn often includes extra, unstressed syllables). There is a set pattern for the tone marks to be used at various points in the stanza, plus rhyme schemes to hold the unit together. Performances of glawn are typically memorised rather than improvised.[2]
References
- ^ "กลอน Klon". Thai Language Audio Resource Center. Thammasat University. Retrieved 6 March 2012. Reproduced form Hudak, Thomas John (1990). The indigenization of Pali meters in Thai poetry. Monographs in International Studies, Southeast Asia Series. Athens, Ohio: Ohio University Center for International Studies. ISBN 978-0-89680-159-2.
- ^ Miller, Terry E, ed. (1998). Garland Encyclopedia of World Music. v. 4 Southeast Asia. p. 325. ISBN 0-8240-6040-7.
{{cite book}}: CS1 maint: location (link) CS1 maint: location missing publisher (link)
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