DOCSLIB.ORG

Term 5 Y7 War Poetry Knowledge Organiser

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Term 5 Y7 War Poetry Knowledge Organiser Knowledge Organiser: War Poetry Poet: Poem Writer’s Intent Key Idea Explanation How it’s seen in the text In the First World War, the government needed the people to support Sassoon was a fierce critic of the 1st World the soldiers and the war effort. Dying for your country was presented as War and the way it was being run. He War as a Siegfried Sassoon a noble end and England was portrayed as the noblest country to die In ‘The Soldier’ war is presented as a expresses feelings of personal patriotic ‘Sick Leave’ for. At the start of the war, journalists were not allowed to report from patriotic duty. responsibility for the men who died under duty. the Western Front. However, by 1915, the ban on journalists had been his command. removed and journalists were able to report on the reality of war. Vernon Scannell Scannell portrays the traumatic effect of The First World War marked a turning point in perceptions of warfare. Robert Grave’s ‘The Dead Boche’ ‘Casualty Mental war on a soldier’s mental health. In August 1914, a quick victory was expected. No-one was prepared for describes the damaged body of the dead Ward’ The horror the length and brutality of the war, which resulted in the death of soldier. Thomas Hardy of war millions by 1918. The loss of life was greater than in any previous war. In Clare Shaw’s ‘It could have been’, she Hardy highlights the senselessness and ‘The Man He Civilians and soldiers began to challenge the idea that war was glorious lists a series of atrocities which have wasteful tragedy of human conflict. Killed’ and critique the actions of governments. affected civilians caught up in war. ‘Shell shock’ was the term that was used to describe the psychological Wilfred Owen Owen laments the young lives lost to war. The ongoing mental suffering caused by Mental trauma that people can experience after living through war. Today it is ‘Anthem for He criticises the traditional pomp and war is explored in ‘Sick Leave’ and trauma known as Post-traumatic stress disorder. It is used to describe the Doomed Youth’ ceremony that surrounds it. ‘Casualty Mental Ward’. physical and mental suffering linked to memories of traumatic events. John Agard Agard suggests that the emotional conflict Writer’s methods ‘In Times of and traumatic memories associated with Key Definition Example Purpose Peace’ war continue to bleed into civilian life. Method Brooke views war in a patriotic and The ‘speaker’ in a poem who is a Causley adopts the persona of a A persona is used to build a sense of Rupert Brooke idealistic way. He implies that a soldier Persona created character, not the casualty of war to convey his character and can give a different ‘The Soldier’ should be willing to sacrifice his life for the poet. memories and experiences at sea. perspective on an issue good of his country. Charles Causley Causley wanted to reflect the thoughts and The way a poem is set out, or a The form of a poem is often associated ‘The Song of the feelings of an anonymous and dying term used to categorise poems Dramatic monologue; Ballad; with the ideas it expresses e.g. a sonnet Form Dying Gunner casualty as he reflects on his time at sea as which follow particular Sonnet; Elegy; Free verse. is associated with love and an elegy is AA1’ a Gunner. conventions. associated with loss. Graves challenges the idea that war is Imagery allows the poet to shape the Literary device(s) used to create a Robert Graves ‘A glorious by describing the rotting body of a Similes, metaphors, reader’s reaction to the subject matter Imagery particular image to convey the Dead Boche’ dead soldier. He emphasises the horror of personification. e.g. the use of graphic and gory imagery key ideas/ themes in a text. war and its human cost. in a ‘Dead Boche’. Shaw explores the effect of war on The general character or attitude Rupert Brooke adopts a patriotic Tone is used to highlight the attitude of Clare Shaw ‘It children. The poem suggests that innocent Tone of a place, piece of writing, tone in ‘The Soldier’ to highlight the persona or writer towards their could have been’ children are often the ones who suffer situation the soldier’s love for his country. subject matter. most in war. NOA English Department Knowledge Organiser: War Poetry Key Word Glossary Word Definition Example Word in Action The repetition of the same consonant sound, often at the beginning of Alliteration words. Assonance The repetition of a vowel sound for emphasis. Ballad A narrative poem which is typically written in short stanzas. A rhythmical pause within a line of poetry expressed in writing by a Caesura piece of punctuation. Dramatic A poem in which an imagined speaker addresses a silent listener, usually monologue not the reader. Elegy A poem of serious reflection, typically a lament for the dead. Emotive language Word choice which is used to evoke emotion in the reader. The overlapping of a sentence onto the following line, usually to Enjambment emphasise a word or phrase at the start of a line or verse. When two or more ideas, images, words etc. are placed side by side to Juxtaposition develop comparisons and contrasts. Onomatopoeia The use of a word that sounds like its meaning. Metaphor A comparison in which one thing is said to be another. Pace The speed at which a poem flows. Personification The attribution of human feelings, emotions, or sensations to an inanimate object. Repetition A literary device which repeats the same word or phrase a few times to make it memorable. Rhyme scheme The pattern of a poem’s rhyme, often identified using letters e.g. ABABCC. Simile A comparison that uses ‘like’ or ‘as’. Sonnet A poem that has 14 lines and a particular pattern of rhyme (traditionally ABAB CDCD EFEF GG) Structure The way a poem is organised. The arrangement of words and phrases to create sentences in a Syntax language. Volta A turning point in a poem. NOA English Department .
Load more

Recommended publications
  • The How of Literature
    Oral Tradition, 20/2 (2005): 164-187 The How of Literature Ruth Finnegan In a challenging article that starts not from the conventional Western literary canon but from traditional Japanese theatre, Andrew Gerstle (2000:43) has raised the interesting question of whether the concept of “performance literature” might be illuminating as an analytic and comparative tool when approaching the literatures of Africa and Asia. Further light on this has been shed by the impressive crosscultural range of the articles in this volume of Oral Tradition (20) and the comparative and interdisciplinary workshops that gave rise to them. My article also follows up Gerstle’s question, seeing it as of potential relevance not just for Africa or Asia but also for any literary forms in which performance has a part and thus for theories of “literature” more generally.1 It is a question well worth addressing. For despite the now-accepted problematizing of the concepts of “text” and of “literature,” conventional approaches to studying literature and literary theory still regularly bypass performance. As pointed out directly or indirectly in several of the articles here (notably those by Peter Middleton [2005] and John Miles Foley [2005]) the implicit starting point still seems to be that the defining heart of “literature” lies in “texts,” prototypically texts in writing; and that this is how and where literature exists. Most textbooks and glossaries on literature contain little or nothing about the complex performed aspects of literature in the sense of its realization as a publicly enacted display in the here and now; 1 My paper draws heavily on presentations, discussions, and follow-up interchanges related to the four comparative and interdisciplinary workshops on “Literature and Performance,” organized by Andrew Gerstle and Rosalind Thomas between 2001 and 2003 at the School of Oriental and African Studies, University of London.
    [Show full text]
  • How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1999 How the Villanelle's Form Got Fixed. Julie Ellen Kane Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kane, Julie Ellen, "How the Villanelle's Form Got Fixed." (1999). LSU Historical Dissertations and Theses. 6892. https://digitalcommons.lsu.edu/gradschool_disstheses/6892 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been rqxroduced from the microfilm master. UMI films the text directfy firom the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter fiice, vdiile others may be from any typ e o f com pater printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e g., maps, drawings, charts) are reproduced by sectioning the original, b^innm g at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • 1. Alliteration, Consonance and Assonance 2. Allusion 3. Analogy 4. Apostrophe
    A Few Literary and Poetic Devices: (words underlined in bold represent “figurative” language) 1. Alliteration, consonance and assonance • The repetition of sounds where consonance uses consonants and assonance uses vowels Ex. From “The Raven” by Edgar Allan Poe Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of someone gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.” 2. Allusion • a literary device in which an author uses subject matter refer to an event, place, or other work – usually not directly stated • An indirect reference to a piece of knowledge not explicitly mentioned in the text, e.g. “Chocolate was her Achilles Heel” Ex. When Nature sleeps and stars are mute, To mar the silence ev’n with lute. At rest on ocean’s brilliant dyes An image of Elysium lies:” 3. Analogy • A literary device that creates a relationship based on parallels or connections between two ideas. By establishing this relationship, the new idea is introduced through a familiar comparison, thus making the new concept easier to grasp. Analogy is more extensive and elaborate than either a simile or a metaphor. Ex. From Romeo and Juliet “What’s in a name? That which we call a rose By any other word would smell as sweet. So Romeo would, were he not Romeo called,” 4. Apostrophe • An apostrophe used in literature is an arrangement of words addressing a non-existent person or an abstract idea in such a way as if it were present and capable of understanding feelings.
    [Show full text]
  • Parallelisms in Arabic: Morphological and Lexical, Syntactic, and Textual
    International Journal for Innovation Education and Research www.ijier.net Vol.2-11, 2014 Parallelisms in Arabic: Morphological and Lexical, Syntactic, and Textual Hisham Monassar, Ph.D. Assistant Professor Department of English and Foreign Languages Cameron University Abstract Parallelism in Arabic is investigated through data from three Arabic varieties: Modern Standard Arabic (MSA), Classical Arabic (CA), and (Yemeni) Adeni Arabic (AA). Parallelism in Arabic is examined at different linguistic levels: morphological and lexical, syntactic, and textual. Parallelism seems to be inherent and is more likely in writings that aim to convince or restate theses and topics. However, the occurrence of parallelisms is genre- specific, purpose-oriented, and situation/context-dependent. It is predictable in sermons, public speeches/addresses, and opinion writing. Apparently, parallelism, particularly beyond reduplication and lexical level, triggers resonance in the mind of the listener/reader, retaining the respective information in short term memory and thus marking it for emphasis. Keywords: (Modern Standard) Arabic, Classic Arabic, Adeni Arabic, parallelism, repetition, cohesion, coherence, resonance, assonance, oral tradition, and emphasis. 1. Introduction It is worth noting that the phenomenon of parallelism is rather a linguistic universal, not a quality exclusive to Arabic. It is a well-known fact that all languages have been spoken before they were ever written, and as such they have developed their own tools and styles. Such styles and tools have been lumped as the oral tradition. In contrast to written language, which is precise and more linguistically economical, they rely on alliteration, reiteration, repetition, rhyming, assonance and resonance much like poetry. Not only did this tradition rendered texts, and hence their contents, memorable and quotable, but also enhanced the esthetic value of the form and its presentation.
    [Show full text]
  • Poetry Terms: Sound Devices, Figures of Speech, Elements of Literature, and Rhythm
    Poetry Terms: Sound Devices, Figures of Speech, Elements of Literature, and Rhythm Sound Devices Alliteration – the repetition of constant sounds in words that are close together. Assonance – the repetition of similar vowel sounds followed by different consonant sounds, especially in words close together. Consonance – the repetition of the same or similar final consonant sounds on accented syllables or in important words. Onomatopoeia – the use of a word whose sound imitates or suggests its use or meaning. Refrain/ (Repetition) – a word, phrase, line, or group of lines that is repeated, for effect, several times in a poem. Rhyme – the repetition of vowel sounds in accented syllables and all succeeding syllables. Internal – rhyme that occurs within a line of poetry or within consecutive lines. End Rhyme – rhyme that occurs at the ends of lines. Slant Rhyme – a rhyming sound that is not exact. Couplet – two consecutive rhyming lines of poetry. Common Figures of Speech – a word or a phrase that describes one thing in terms of another and that Is not meant to be taken literally. Cliché – a word or phrase, often a figure of speech, that has become lifeless because of overuse. Conceit – an elaborate metaphor or other figure of speech that compares two things that are startlingly different. Hyperbole – a figure of speech that uses an incredible exaggeration, or overstatement, for effect. Metaphor – a figure of speech that makes a comparison between two unlike things without the use of such specific words of comparison as like, as, than, or resembles. They may be directly states, implied, extended, dead, or mixed.
    [Show full text]
  • Analyzing Sonnet 130 (Shakespeare)
    Analyzing Sonnet 130 (Shakespeare) 1. Mark the rhyme scheme of the sonnet. This is dictated by the last word of each line. The first word is marked with an A. If the last word of the second line rhymes with the last word of the first line, it too is marked with an A. If it does not rhyme, however, it is marked with a B. Example: Roses are red, A Violets are blue; B Sugar is sweet, C And so are you. B 2. To the right of each line and on the blanks provided, write down what you think the line means. Put the lines in your own words. 3. Find one metaphor in the sonnet. Place a box around the metaphor. 4. Find one simile. Place a circle around the simile. 5. Sonnets have something called a turn. It’s where the author’s tone or meaning or topic seems to change a little. Where do you think the turn begins? Where in this sonnet does Shakespeare seem to change gears? (Hint: the turn usually begins the summation or overall meaning/point of the sonnet. 6. Assonance is the repetition of a vowel sound within a line or two lines of poetry. Example: The cat sat sadly on the mat because he was mad. Find two examples of assonance in the sonnet. On the line provided, write the line number and the words containing assonance. _________________________ ________________________________________________________________________ ____________________________________________________________ 7. Alliteration is the repetition of a consonant sound within a line or two lines of poetry. Example: The bad boy brought bugs and put them in the bed.
    [Show full text]
  • Easy Examples of Assonance
    Easy Examples Of Assonance If momentary or tender Bradley usually snugs his submarine crevasses archaeologically or actuate mickle and ton, how theological is Merry? Dog-eat-dog and gastrointestinal Vern still entomologizes his Jodhpur compulsively. Shorty gobbles his gadolinium unbuckling alphanumerically or garishly after Gunther mistitling and nigrify unsteadily, bigamous and mantic. In assonance of Once they can use assonance examples of easy. Tuesday is a good writers who is often play instruments such as like for them a poem as a certain tone or a dictionary definitions? Macbeth is using hyperbole to dread the situation. Turn up post since a Status Update to write down quick message. Certificate in international poets use consonance examples of. Is assonance examples of assonance has a few times in a particular vowel, example sentences with friends, she was the balmy air! Undoubtedly, and Celtic Studies. Like prose and other in a piece, to emphasize certain words together in assonance examples! What is easy to improve your requested content for what assonance examples in rap battle, examples of easy to demonstrate their poems. Busy old fool, Lessons and Activities for Classroom use and Home Schooling. Martin Luther King, or little calcined ribcage. What assonance examples presented in the example of easy unsubscribe at the consonance, compare two or our world expects and sisters to the. How to valid a Poet? Each sentence should contain an example of assonance. Proper, call on us? Are you sure you want to switch to basic text? We should help you adopt a puppy, integers, but the shared vowel sound links the words.
    [Show full text]
  • Translating Oral Literature
    Oral Tradition 1/1 (1986): 11-29 The Manner of Boyan: Translating Oral Literature Burton Raffel The force of oral transmission—its accuracy and integrity— is perhaps best demonstrated by comparing texts which have been transmitted in written form and orally transmitted texts, both sorts of transmission covering some fairly extensive period of time. One might expect that oral transmission would be far less effective, and that texts transmitted orally would contain many more errors, changes, deletions, accretions, and all manner of other divergences from the original form. Judah Goldin, however, describes the “baskets full of books,” the “living texts” represented by the living men who both orally transmitted and constituted, in their own persons, effective “oral publication” of Hebrew sacred material. He adds that “to us it no doubt seems that an oral text would be less trustworthy than a written one. This was not necessarily the case with the ancients” —and he cites the very plain passage in Plato’s Phaedrus which argues that writing, as opposed to oral transmission, tends to decrease rather than to increase understanding (Goldin 1955:24, n.). It must be understood, of course, not only that the ancients were accustomed both to transmitting texts orally and to acquiring texts from others via oral transmission, but also that such transmission is a very different thing from what we think of, today, as memorization. Memorization, that is, is understood by us as an essentially word-for- word affair. Oral transmission, on the other hand, plainly works with larger blocks of material, using thematic and a variety of traditionally derived patternings to aid retention.
    [Show full text]
  • Criteria, Anthology, and Explication of Poetry for First Grade Echo Mae Kime Central Washington University
    CORE Metadata, citation and similar papers at core.ac.uk Provided by ScholarWorks at Central Washington University Central Washington University ScholarWorks@CWU All Master's Theses Master's Theses 1966 Criteria, Anthology, and Explication of Poetry for First Grade Echo Mae Kime Central Washington University Follow this and additional works at: http://digitalcommons.cwu.edu/etd Part of the Curriculum and Instruction Commons, Educational Methods Commons, and the Teacher Education and Professional Development Commons Recommended Citation Kime, Echo Mae, "Criteria, Anthology, and Explication of Poetry for First Grade" (1966). All Master's Theses. 560. http://digitalcommons.cwu.edu/etd/560 This Thesis is brought to you for free and open access by the Master's Theses at ScholarWorks@CWU. It has been accepted for inclusion in All Master's Theses by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. CRITERIA, ANTHOLOGY, AND EXPLICATION OF POETRY FOR FIRST GRADE A Thesis Presented to the Graduate Faculty Central Washington State College In Partial Fulfillment of the Requirements for the Degree Master of Education by Echo Mae Kime August, 1966 1: ,,·::t:. \. ~ ,' .' I . ' • .i:. (f.. ..••• . .. • ; ; llf;,..' . = .:. ... ., ·-- - :....." .... ·.Nml~loS \ ·· .. ' .. '\. l\1133dS cl ':J?/?/7• ?! '/tt~ (]7 APPROVED FOR THE GRADUATE FACULTY ________________________________ John E. Davis, COMMITTEE CHAIRMAN _________________________________ Edith Kiser _________________________________ E. E. Samuelson
    [Show full text]
  • Priority Standards: Reading Focus: Literary
    TCSS RL = Reading Literary RI = Reading Informational Troup County School System W = Writing English/Language Arts Curriculum Map SL = Speaking and Listening British Literature and Composition L = Language Thematic Unit # 6—Modern and Post-Modern: Time of Rapid Change Alienation, Upheaval, and Justice Big Idea / Unit Goal: Unit Essential Question(s): The goal for this unit is to explore and analyze the themes of Alienation, How does literature shape or reflect society? Upheaval, and Justice in Modern and Post-modern British literature and related What is the relationship of the writer to tradition? informational texts with a focus on GSE priority standards. What are the root causes of alienation within modern society and how do these juxtapose with alienation in our society? Length of Unit: How does society react to upheaval? 30 Days What does society value in this time, what values are consistent throughout time? Unit 6 Checklist Priority Standards: RL1, RL2, RL3, RL4, RL6, RL9 RI1, RI2, RI3, RI4, RI6, RI7 W2, W3, W9 L1, L2, L4, L5. L6 SL1, SL2, SL4, SL5, SL6 Reading Focus: Literary Writing Focus: Informative/Explanatory Text Resources: Primary Writing Tasks: Extended Text (Choose one of the following as your extended text): Referring to at least 3 texts from the modern era, explain the causes of And Then There Were None alienation within that time period. Brave New World Considering several poems about war from the Modern era as well as available resources from the media center, write brief essay detailing life for the British Pygmalion World War I foot soldier. Be sure to refer to lines from the texts of the poems Mrs.
    [Show full text]
  • How Do I Love Thee? Let Me Count the Ways (Sonnets from the Portugese 43)." Litcharts LLC, May 8, 2019
    Get hundreds more LitCharts at www.litcharts.com How do I love thee? Let me count the ways as powerful as love for God. But while the speaker (SonnetsPOEM TEXT from theacknowledges Portugese the strength of her romantic43) feelings here and now, she also expresses the wish that both she and her lover 1 How do I love thee? Let me count the ways. will eventually transcend their earthly lives and go to heaven together, where their love will be, with God’s help, “better after 2 I love thee to the depth and breadth and height death.” Romantic love, for her, is ultimately closely linked to and 3 My soul can reach, when feeling out of sight perhaps even indistinguishable from love for God. 4 For the ends of being and ideal grace. The poem thus argues that true love is eternal, surpassing 5 I love thee to the level of every day’s space, time, and even death. Although the poem is often read 6 Most quiet need, by sun and candle-light. biographically, as an address from the poet Elizabeth Barrett 7 I love thee freely, as men strive for right; Browning to her husband, this depiction of eternal and all- 8 I love thee purely, as they turn from praise. powerful love could also apply to any human love, since the 9 I love thee with the passion put to use speaker and addressee are both unnamed in the poem itself. 10 In my old griefs, and with my childhood’s faith. From the poem’s first lines, the speaker describes her love in 11 I love thee with a love I seemed to lose terms that sound spiritual or religious.
    [Show full text]
  • COMPARE/CONTRAST POETRY ANALYSIS Here Are the Directions
    COMPARE/CONTRAST POETRY ANALYSIS Here are the directions for writing this essay: The poems below, published in 1789 and 1794, were written by William Blake in response to the condition of chimney sweeps. Usually small children, sweeps were forced inside chimneys to clean their interiors. Read the two poems carefully. Then, in a well-written essay, compare and contrast the two poems, taking into consideration the poetic techniques Blake uses in each. Analyze the prompt: What information are you given about the two poems? When were they written, and why were they written? The last sentence explains the tasks you must complete. You are to compare and contrast the two poems determine the overall meanings of the two poems (tones, themes, purposes, characterizations) take into consideration the poetic techniques Blake uses in each Here are some “poetic techniques”, or P2s: Textual Devices Sound Devices Forms Diction Alliteration Sonnet Imagery Assonance Ballad Figurative Language Consonance Free Verse Syntax Onomatopoeia Blank Verse Details Rhyme Tone Meter Point of View Since you obviously cannot address all these techniques in only 40 minutes, your strategy should be to read the poems and decide on which two or three to write about. These will be your P2s. Start asking questions What is the main difference you see in the poems? Is the difference in the Imagery? Diction? Point of view? Tone? Make notes on the diction and imagery in each poem. Is there a difference in the diction and imagery in each, or is the diction and imagery about the same? Notes on Diction Notes on Point-of-View Notes on Tone 1789: 1789: 1789: CATEGORY OF DICTION: CATEGORY OF POV: CATEGORY OF TONE: 1794: 1794: 1794: CATEGORY OF DICTION: CATEGORY OF POV: CATEGORY OF TONE: Writing the Introductory Paragraph Now that you have analyzed some poetic techniques, put it all together in your introductory paragraph.
    [Show full text]