Toward a Definition of Opera

By looking at Aristotle the article looks to determine if Opera is music or dramatic poetry. I found the answers to the guided questions as follows.
The purpose of music in the realm of drama is to help express a situation or crisis by imitating feeling.
The classical theory of imitation argues that as the article says "3 forms of art based on 3 possible objects of imitation: nature, feeling, and action" exists. Dramatic poetry falls into both feeling and action.
Aristotle's Poetics state that the difference between comedy and tragedy is the nature of emotions aroused. Tragedy's emotions are pity and fear versus Comedy's laughter and charm.
The difference in music and poetry is the presentation of an aspect. In music the aspect is human feeling where poetry is the presentation of an aspect of action.
Drama when believable pulls the audience in and creates feelings. If it is not believable the audience no longer cares about the piece, emotion will not be aroused and the audience loses interest.
Catharsis is a purging of emotion. "Catharsis of aroused emotion" is when the audience senses meaning in a work of dramatic art.
At the end of the article it is decided that opera is a form of dramatic poetry that uses music to achieve catharsis.

Elfking Poems

I took a look at all three of the poems and I agree with most of the posts by other students. The first two poems both seem extremely similar and they focus on seduction, while the third one does not. The second poem, The Erlking’s Daughter, portrays Sir Oluf riding to his marriage but is preoccupied by the music of the elves. While the third poem, Goethe’s Erlking, portrays the death of a little boy that is attacked by a supernatural being. The father does not realize what is going on, and tries to rush home to save him but it is too late. This poem seems to raise a lot of questions that I do not fully understand. The characters are also different since they use a father and his son, instead of Sir Oluf. Plus, they are going to a farm, rather than a castle. I noticed in all three versions of the poem that the setting takes place in the woods and involves the main character being killed by some sort of power.

Elfking poems

When I was reading all three poems, the first two sounded exactly the same to me expect for the endings. In the first they groom and wife to be ended up dead along with the mother of the soon. I personally felt like that was a bit much considering the fact that he was the one who was cursed. The second version made a lot more sense, and the end he was the only one found dead.

The last version of the poem seemed completely different. I read it over a few times. The bride to be and the mother were not even included. It also seemed as if the man was a young boy who was trying to avoid the temptation of the daughters.

Overall if i had to choose which one i enjoyed more it would definitely be the second version.

-Cierra

Rammstein

The original story was, what looked like a children's poem that was speaking of fighting temptation. It seemed to be focused on a girl that was being watched by a boy and he used a red rose to tempt her and eventually rape her taking her innocence. In the Rammstein version it was focused on the girl seducing the boy to kill her parents and eventually having him killed. This version also seemed to have more involved in the story than just a boy and a rose. This showed how the girl used the rose, and many other red props in the video to be the eventual demise of the man by the end.

Compare and Contrast of Elfking poems

I enjoyed all three versions of this poem as well as Rammstein's version. Goethe's version of the poem differed from the first two in that it changed the characters from Sir Oluf to a father and his son. He also changed the circumstances in the poem by having the Elfking call out to the child and tell him that his daughters would take care of him instead of the Elfking's daughter attempting to seduce Sir Oluf the day before his wedding. Another difference I noticed is that the first two versions seem to be about seduction whereas Goethe's version is about the Elfking wanting to steal the boy away from his father. I do not believe the Elfking is trying to seduce the young boy.

In both poems, the main character, either the boy or Sir Oluf die at the hands of the Elfking or the Elfking's daughter. Also, in all three versions, the main character is traveling through the woods and resists being seduced or taken and is instead killed by force.

Rammstein's lyrics were very intriguing. I was very interested when reading them and found a lot of links to Goethe's interpretation of the poem. In both poems, a boy and his father are traveling to their home. The young boy in both stories is also the character that hears or feels the call of the Elfking or God. In the Goethe poem, the father doesn't believe him throughout the poem and finally does when he notices the agony of his son and hurries home. He could have killed him as he clutched him to his chest as he rode. In the Rammstein lyrics the son claims that the thunder and turbulance on the plane is God calling him to be with him. The father seems scared and wants to protect his child. He clutches the child to his chest but doesn't realize he is suffocating him and accidentally kills him. I find many similarities here and think that this is just a contemporary version of the poem with contemporary fears.
Past fear: riding in the woods and spirits
Contemporary fear: flying and God

Feel free to comment

Tiffany Pope

Heidenroslein

Since this thing wouldn't work for me... we will try this yet AGAIN.

I listened to both videos twice because the first time, I watched the male sing it and I got a completely different experience than when I simply listened to him. I felt that Ms. Bonney sang the words smoother than in the Schubert piece. I felt that her version felt more upbeat and playful whereas, the Schubert piece seemed as though the singer was stressed and rushed in his intent. I felt more stressed as he sang. I also feel that Ms. Bonney floated over the notes easier and conveyed a much lighter feeling in the lyrics. I feel that the Schubert piece had a lot of range in it even though Ms. Bonney's performance was in a high octave. He seemed to move on a greater scale. When I watched the Schubert piece,I felt that the piece was a very happy song because of the singer's facial expressions and body language. I am pretty sure that the lyrics are not meant to be happy or "smiley".

I thought that the songs would convey more feeling and drama through not only the singer's voice, but also through the accompaniment. Both songs seemed to have background musicthat was also lighthearted. I do not believe I would ever get the meaning or seriousness of the pem without a translation in my hand.

Tiffany Pope

Elf King

The most apparent things I noticed that the in the Danish version and Herder's there were two lines per stanza and in Goethe's version there were four lines per stanza. Also the character change in Goethe's version was another noticeable thing from the poems. The other two kept the same characters and setting whereas Goethe made the man a boy and his father and they were going to the farm instead of the castle. He also changed it by maing the Elf King himself trying to lure the boy in instead of the King's daughter. The King didn't try to bribe the son in with things either instead he told the boy how his daughters would take care of him and when the boy refused he tried to use force to steal him from his father and when the boy still refused he was killed more quickly than in the other poems.

Heidenröslein

In the poem I could only help but think it was a clever way to talk about a terrible act and a reflection of the extreme sexism in those times. The Rammstien version on the other hand put a twist on the story. In their version the girl uses her sex appeal to make the man do what she wants, rather then doing what he wants. While I think there lyrics are just as clever an poetic as the much older version I also think it is just as wrong. The Rammstien version is still putting forth a sexist message. In the poem the girl is raped as she is appealing to the man, in the Rammstien version the girl takes power because she is appealing. In both cases if the girl was not attractive to the men she would be nothing to them. Their twist on the story is still interesting none the less as a reflection of the changes and similarity between two very different times.

Rammstein

I found that Reise, Reise, Rammstein's instrumental metal band, did a fine job portraying the music in his piece, Dalai Lama. It is interesting that Reise, Reise means Arise, Arise in one German translation, but it means travel or journey in another form. Ironically, I have noticed that in other pieces by Rammstein, he tends to use double meanings. I also found that his lyrics are rarely simple and cannot always be perfectly translated. It seems like there are always double meanings in his pieces, so I wonder what inspires him to do this? I just found this very interesting and clever of him and didn't know if anyone else had anything to add or had any explanations that I may have glanced over or forgot about.

Rammstein

One significant change that Rammstein made to the story is that, as seen in the first, he took out the rhyme. Also, the original version, with the use of pictures seemed to be more of a childrens poem, that was developed to ensure children followed the rules of their parents. Rammstein, on the other hand transformed this poem into, what could be considered a Edgar Allan Poe poem because of the darkness that is felt while reading it. If not Poe, it could also be looked at as a poem of passion with the narrator saying the fire loves him/her or doesn't love. Finally, Rammstein's version of "Hilf Mir," unlike the original verson, wasn't set in a real form of rhythm and the syllables were scattered more throughout the piece.

Compare and Contrast of the Elf King

Stanley: The original dutch poem was somewhat the same as herder's poem with a few differences. Both talked about Sir Oluf riding inviting poeple to his wedding, and the elf king's daughters were the one's trying to seduce him to dance with them. Also, there were a two line format and 20 or more stanzas in both of these poems. A few differences are in the dutch version oluf, the mother, and maiden dies. In herder's verison just oluf dies, and it states house instead of castle in the dutch version. In the goethe version he takes the poem to a new perspective, were it's about a child. Instead of the elf king's daughters talking it's the elf king himself seducing a boy, and this poem has 8 stanzas. The boy tells his dad the elf king is trying to seduce him, but his dad doesn't listen he gives an explanation for his son's visions. It's said that the elf king visit poeple who are dying, so maybe the father was rushing his son home for help. This would explain why his father didn't see any of the images. Also, this poem has been interpreted as homoeroticism saying the elf king uses force (rape) if his advances didn't work. I wouldn't think this was about rape, but it depends on the person. It's said that Goethe came up with this version of the elf king while visiting a friend and seeing a farmer rushing his son to a doctor.

From Elf to God?

I realize that this is not a mandatory post, but I am quite intrigued by the evolution of this fable from its folk-tale origins into Rammstein's Dalai Lama.

In Elverskud, which I suspect to the be the earliest version of the myth, the plot features Sir Oluf who, on the day prior to his wedding, encounters an elf who wishes him to "dance" with her (a possible metaphor about sex) and is willing to compensate him for his time. Oluf denies the elf and in response she curses him, which not only leads to Oluf's death, but his future wife's and mother's. Thus one may assume that the story was a cautionary tale meant to instill a fear of the woods into its audience.

When Herder chose to retell these events in The Elfking's Daughter, he kept the plot primarily the same but he altered two scenes completely. In Elverskud, the elf warns Sir Oluf that if he doesn't dance with her, "Disease and sickness shall follow" him. This makes his refusal more heroic as Oluf knows that he will suffer, but he would rather suffer than become unfaithful to his fiance. The Elfking's Daughter removes this warning and instead consists of the Elf telling Sir Oluf to return to his maiden before she hits him to instill the curse (or maybe just to maximize the pain Oluf feels). The other alteration is that Oluf is the only one who dies.

These changes fail in comparison to those that Goethe makes in The Erlking. If Sir Oluf appears in the plot, he is not revealed by name. Instead his role is replaced by a father and son traveling through the woods. The Elf woman is also replaced with The Erlking (Elf King). The son warns his father about the Erlking, who is trying to tempt the boy into leaving his father. The father informs his son that it is only fog. The Erlking continues to the tempt the boy, but eventually he gives up and kills the boy in his father's arms. This transforms the fable from a propagandist warning into a parable about the importance of listening children. Although the supernatural always have played a role in these stories, this is the first in which an interpretation could involve the concept of belief.

This brings us to Rammstein who transformed the story to a modern setting and emphasized the religious component of the work. The Erlking is now the King of Heaven/Wind, a possible metaphor for the Christian God or Satan and the father and son are now traveling on a plane. The King tempts the boy through what appears as a storm, which continues to become worse throughout the song until the father accidentally suffocates his son. My question to you, the reader, is: who do you believe the King of Heaven is and why? I realize that we may discuss this on Monday, but a little pre-discussion is always good for getting the old gears moving.

Heidenröslein

Peter Schreier and Barbara Bonney both had great vocal abilities; however, they differed in their deliveries.  Bonney invoked a more light and playful tone.  Her voice was soft and angelic, which made the piece pleasing ot hear.  Schreier placed emphasis on his words, which made the performance shrewd to the ear.  Schreier used more intonation and diction when compared to Bonney.  Also, his animations made it difficult to enjoy because of the exaggerated facial expressions he used.  The musicality between the two performances were all in all quite different.

Heidenröslein

Peter Schreier and Barbara Bonney both had great vocal abilities; however, they differed in their deliveries.  Bonney invoked a more light and playful tone.  Her voice was soft and angelic, which made the piece pleasing ot hear.  Schreier placed emphasis on his words, which made the performance shrewd to the ear.  Schreier used more intonation and diction when compared to Bonney.  Also, his animations made it difficult to enjoy because of the exaggerated facial expressions he used.  The musicality between the two performances were all in all quite different.

Compare and Contrast

  After watching both performances of Franz Schubert's Heidenrosiein, I believe Barbara Bonney's rendition of the song was most vocally effective. I also believe the message conveyed through her performance was more truthful. Her ability to take the song and express true emotion behind it truly touched my heart. While her performance encompassed a variety of dynamic elements, her vocals were still soothing to my soul. Barbara Bonney approach to the song with a more melodic sound painting each word that she sang to express meaning. While Barbarra also sang with emphasis, she still remained true to herself singing with a legato flow.
  I believe Schreier's approach to the song was much more aggresive. As singers, we have to constantly be aware of how each performance is progressing. While each performer can hit or miss every so often, we never want to make the mistake of over-performing. In the Schreier's case i believe he over performed which took away from his performance. However, there were many good qualities of Schreier performance as well. Schreier sang with diction; articulating each word he sang. Schreier has a very powerful voice which often times attracts attention. Schreier sang with a variety of dynamics such as; vibrato, diction, and word painting. When painting his words he sang so gracefully which was like butter...it was so beautiful versus singing with heavy vibrato throuhout the song or over annunciating the lyrics for dition purposes. 
  Overall i believe each performer was in their element doing what they do best. While we often judge the performance of others, no one has the right to try to compare one artist vocal performnace to anothers. Everybody's gift is different and everyone's reason behind doing what they do is different. We all tell a story through our perspective art. 
  Concerning the poem, i believe rose represented the young girls virginity. However i believe that the young girls intentions were to suduce the older gentleman into sexual relations which caused him to fall from grace losing his purity. This not only caused the older gentleman his spiritual life but his natural life as well.

Heidenröslein Comparison

• Vocal Concerns

In both performances, I was impressed with the intonation, diction, and vocal abilities of the singers. The piece seemed suitable for both voices, although I did prefer Barbara Bonney's delicate sound and coloring on the high G's. As far as the text delivery, both portrayed the first, light-hearted verse with daintiness, but in the final verse Peter Schreier seemed to capture more intensity and indignation, while Barbara Bonney sounded more agitated – both effective ways to portray the story of the song, but separate approaches to the piece.

• Pianistic Concerns

The first thing I noticed was how quiet the piano accompaniment in the Peter Schreier recording was. I could hardly hear it until my ears had adjusted from Barbara Bonney's vocal/accompaniment balance. (In addition to the pianist simply playing quieter or the recording not picking the piano up as well, this could also be because the lower male voice blended more with the piano than the bright-sounding soprano voice.) I felt that Geoffrey Parsons, the pianist in Barbara Bonney's recording, had more variation in his accompaniment, at least partially because there were tempo changes in her verses, which encouraged the different articulation (or perhaps the articulation in part encouraged the tempo change?). Rudolf Buchbinder, the more subdued pianist in Peter Schreier's recording, had less variation and more of a muted, under-lying quality, letting the singer dominate most of the emotional variation of the piece. However, in both recordings (though more so in Barbara Bonney's), the articulation in the piano seems to become shorter as the piece progresses.

• Acoustical Concerns

The quality of the Barbara Bonney recording was clearer and easier to focus on for me, especially because of the balance between singer/piano. However, I found it more effective to watch the recording of Peter Shreier as he performed the piece than to only be able to analyze the aural aspect of Bonney's performance. The emotion of the piece was enhanced even further in watching him sing, even though he didn't use exaggerated, theatrical facial expressions like performers often do. The ability to make a visual connection with the performer increased the power of the performance as a whole.

• Artistic/Ensemble Concerns

Both performers, while capturing the mood of the piece, have slightly different interpretations of Schubert's Heidenröslein, as discussed briefly in the Vocal Concerns. Barbara Bonney increased the tempo of the piece as the intensity of the story grew, while Peter Shreir – though still following the “nachgebend” and fermata markings (like Bonney) – kept the overall tempo of the piece much the same as the story progressed. Overall Shreir seemed to stay more faithful to the written piece, while Bonney took a few liberties in tempo and even notes, as she added ornamentation to the second high G of the second verse.

• General Concerns

Overall, while I probably prefer Bonney's version, I would not change anything about either recording (except perhaps to increase the volume of the piano in Shreier's). Each are valid and beautiful performances of the piece, executed with separate perspectives but equal artistry. While I particularly liked the piece sung in the voice of a soprano, Shreier achieved more of the quality that Schubert likely intended in creating his piece, as he seemed to follow the music more closely and accurately. However, both singers captured valid artistry and musicality in their recordings that make them enjoyable to listen to and analyze.

Heidenroeslein Analysis

The obvious contrast between the two videos of Heidenröslein is one is sung by a man and the other a woman. Another differences in the video is their sound quality. The live recording sung by Peter Schreier seems to have a poor sound quality when compared to the rendition sung by Barbara Bonney, maybe it is because it is live and not digitally recorded and it seems to be an older video. This I believe makes it more abstract because their is nothing added or taken away from the original sound of the singer himself. To me I related more to him because it allowed me to focus in more on his actually vocal abilities as a singer and catch mistakes if any in his rendition. He conveyed the text of the song well in the live recording and because his voice was more powerful in singing I believe it but more emphasis on what the original artist was trying to convey.

On the otherhand, the rendition of the song by Barbara Bonney was good as well but her voice was not as strong in certain parts of the song that I thought should of have more emphasis on them. The quality of the video was better than the live recording because it was digitally enhanced. By it being that way I believe it was easier to be able to catch mistakes in breathing and emphasis in the song that might not be as easy to catch in a live recording. Even though, I thought the live recording was better, the digital recording was more pleasant to the ears because it was less of a strain to hear. She also conveyed the text of the song well besides her many soft points in the selection. The one thing I would probably change about her version would be to switch it to a live recording as well to test how abstract she is as a singer live.

At Last, I Have This Posted in the Proper Place

In the fall of 2010, I enrolled in a class entitled Oral Interpretation of Literature. In it, each student performed a variety of texts throughout the semester, but on occasion a few of these performances would be based upon the same text. Whenever this phenomenon would occur, the students were able to experience firsthand the variability in performed interpretations. Likewise, with this listening assignment, we the students are intended to notice the variance in interpretations of Schubert’s Heidenröslein. Barbara Bonney’s performance of the piece is light hearted aesthetically, an ironic approach to Goethe’s original poem (on which Heidenröslein is based) that many interpret to be about rape. Despite the talent Bonney displays by singing in an upper register, the performance fails to capture the power of Goethe’s original and, because of the cadence provided by the piano, seems to represent a lighthearted moment about a boy picking a rose rather than a metaphor for a boy stealing a girl’s virginity. If Bonney intended irony to reinforce the darkness of the lyrics or to represent a society who plays little attention to women’s rights, then these elements do not transfer over as well to an audience who does not speak German. Schreier’s performance, while it does contain the occasional high note, consists primarily on a lower octave and, in certain instances, is recitativelike, which is much more appropriate for piece, but unless an individual has a translation in front of himself or herself, the severity of the actions that occur in the poem are not fully recognized. While this is certainly not like Bonney’s Sound of Music styled narration, it is still somewhat impartial, which is perfect for a German audience but not for an international demographic. Both performances are enjoyable, but material such as Heidenröslein should not leave the audience feeling joyous without capturing the darker aspects of any interpretation of the piece.

Heidenroslein

There is a difference between the two pieces. In the Goethe's pieces the boy is the aggressor going after the girl/rose. In the Ramstien version the girl is the one that caused the boy to fall. WIth the video included it is seen that the boy or male, is deceived by lust to do the girls bidding with leads to his fall. This is opposite to the Goethe's piece which the boy is the one that attacks the girl.

Both versions aren't the brightest or happiest piece of work.

Bonny vs. Schreier

Barbara Bonny uses great expression with her voice. Even though the video didnt show her singing the song, it wasnt necessary bc of the color, dynamics, fermatas, and tempos that she chose to take. I read the text as I listened to her sing and got a real sense that she new what she was singing about and how to tell a story through her voice alone. Overall I preferred her version of Heidenroslein.
Schreier had good facial expression in the video and that clearly helped him tell the story in the song. I didnt think he expressed the words through his voice as well as Bonney, but since the story is coming from a males perspective, I liked the masculenity of his singing tone.

Heidenroslein

From the poems I felt as though the tone was supposed to be more serious as the "rose" acts as a representation of rape. Also, I thought is was interesting that the tone of the music was more "upbeat" than what you would expect of something dealing with a rape or death. I expected the music to be more in the minor chord and gloomy compared to what it actually was in the video. The music takes some of the seriousness out of the more somber version in the poems.

Heidenroslein

I noticed very subtle differences in the performance of Heidenroslein by Rene Fleming and Arleen Auger, yet there were some distinct differences. For example, the quality of Flemings voice seems more rich than Auger's. Also the tone, sounds vaguely different between the two.

Heidenroslein vs. Rosenrot

The major change I immediately noticed from Goethe's version to Rammstein's version is that it is, in Goethe's, a boy who notices the rose. Rammstein sings that a girl notices a little rose and wants/needs it. I think that variation really changes the story; for example, if the rose is supposed to be symbolic of a girl who the "brutal boy" rapes, that symbolism is lost since it is, indeed, a girl who notices and desires the rose. It could still symbolize a girl or woman, but not the one that a crime is committed against. Thus the rose becomes only a rose, or may symbolize something other than the victimized girl. Another change: the boy dies (or is very badly hurt) in the Rammstein version. He falls off a cliff in his attempt to get the rose; although it is not the rose that pricks him and causes him pain, the rose indirectly causes his death. So, I guess his girlfriend causes his death by asking for the rose (like she causes his death in the Rammstein video).

I think a very important similarity that the poem and the song maintains is that there in the chorus where the color "red" is mentioned. If the rose loses some of its symbolic meaning, the color certainly does not. Red is often used to connote love or passion, sin, and death. All four of these are evident in both the lyrics for Rammstein and the straight-up poem by Goethe. Rape--"love," passion, sin, and death (in a way) for the victim. The Rammstein video shows the man fall in love with the girl (probably just infatutaion and passion), commit a sin in his passion for her, and die because of it. The girl, by setting up the man to be killed, "stained" her purity and innocence scarlet.

Kind of a side-note, I really liked Rammstein's addition of "Deep waters don't run still." I think that carries a lot of weight in their rendition of Goethe's poem. Deep waters look like they're still, but just like symbols look like what they are, they have a lot more depth and are more dynamic. I think the deep waters are symbolic of the girl in Rammstein's video. She looks innocent and seems like she doesn't mind marrying the man, but beneath the placid surface she is really scheming to get him killed. Again, the symbol of red--she is in love with another and commits her own sin by causing the man's death. She, in a way, becomes the rose-- the thing desired yet unattainable, the thing that causes death--yet was also desirous of the rose--something the man could not give her without causing his own death. Perhaps proof of his love? "Kill this other guy and I'll know you love me." Deep waters--on the surface a "simple" request but with an underlying plot that would pull its victim out to sea with no hope of return, a riptide.

Heidenröslein

I was unsure about the tone of the poem, but after listening to both musical versions, I assume that it is meant to be somewhat of a playful story. Both pieces have a piano accompanying them and fermata is used when repeating the last lines (word rather) of each section "...Röslein auf der Heiden." But, I prefer to listen to the version by Bonney because it sounds much more fun when she sings it.

Heidenroslein

The Barbara Bonney changes tempo more than Schubert and has more range. Bonney conveys more of a Staccto while Schubert is more of a Legato. Bonney is more harmonious than Schubert. They both express bits of crescendo, but I feel that Bonney's piece expresses better accompaniment.

IS 380 Song and Poetry: Adaptations of 19th-century German Poetry

IS 380 Song and Poetry: Adaptations of 19th-century German Poetry: "Here's a set of links to the song 'Hilf Mir' ('Help me') by Rammstein, which like 'Rosenrot' and 'Dalai Lama' is adapted from an earlier poe..."

What significance do the changes in the Rammstein version make for the story?


One significant change that Rammstein made to the story is that, as seen in the first, he took out the rhyme. Also, the original version, with the use of pictures seemed to be more of a childrens poem, that was developed to ensure children followed the rules of their parents. Rammstein, on the other hand transformed this poem into, what could be considered a Edgar Allan Poe poem because of the darkness that is felt while reading it. If not Poe, it could also be looked at as a poem of passion with the narrator saying the fire loves him/her or doesn't love. Finally, Rammstein's version of "Hilf Mir," unlike the original verson, wasn't set in a real form of rhythm and the syllables were scattered more throughout the piece.

heidenroslein

Stanley: The Schubert videos were a contradiction of the goethe poem which i interpret to be about rape. The song had a major key and a up tempo sound; which i think should be a minor key ( a darker sound).

Adaptations of 19th-century German Poetry

Here's a set of links to the song "Hilf Mir" ('Help me') by Rammstein, which like "Rosenrot" and "Dalai Lama" is adapted from an earlier poem, in this case "Die gar traurige Geschichte mit dem Feuerzeug" ('The quite sad story with the lighter'):


Original publication


Translation


The Rammstein adaptation with lyrics in translation

What significance do the changes in the Rammstein version make for the story?

Top Ten Jingles of the 20th Century

Here's a top-ten list of jingles posted by AdAge.com (http://adage.com/century/jingles.html)

What poetic elements appear in these successful slogans? (Note: #6 is written in iambic pentameter - a popular meter for sonnets and 'serious' poetry :-) )

TOP 10 JINGLES OF THE CENTURY

1. You deserve a break today (McDonald's)
2. Be all that you can be (U.S. Army)
3. Pepsi Cola Hits the Spot (Pepsi-Cola)
4. M'm, M'm good (Campbell's)
5. See the USA in your Chevrolet (GM)
6. I wish I was an Oscar Meyer Wiener (Oscar Mayer)
7. Double your pleasure, double your fun (Wrigley's Doublemint Gum)
8. Winston tastes good like a cigarette should (Winston)
9. It's the Real Thing (Coca-Cola)
10. A little dab'll do ya (Brylcreem)

Welcome

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