Poetry Compare and Contrast

Total Page:16

File Type:pdf, Size:1020Kb

Poetry Compare and Contrast POETRY COMPARE AND CONTRAST Poetry Prose A type of literature A type of literature Appeals to the heart Appeals to head Appeals to Logical emotions/feelings Uses verses/stanzas Uses sentences/ Ideas are expressed in paragraphs shorter, more Ideas expressed using powerful form a lot more words POETRY TERMS Poetry A written expression of ideas in a concentrated, imaginative, and rhythmical terms Sound and meaning of words are combined to express feelings, thoughts, and ideas The poet chooses words carefully Poetry is usually written in lines Usually contains rhyme and a specific meter, but does not have to Stanza A division of a poem based on the form Named and numbered by the number of verses they contain Couplet: 2 lines Tercet: 3 lines Quatrain: 4 lines Cinquain: 5 lines Sestet: 6 lines Verse One line of poetry Three kinds based on rhyme and meter Rhymed verse- Verse with end rhyme and regular meter Blank verse- No end rhyme but a definite meter Free verse- No end rhyme and no meter Diction Poet’s distinctive choices in vocabulary Form Refers to the shape of the poem, the way the words and lines are arranged on the page Speaker The imaginary voice assumed by the writer of the poem The poet Human character Object or animal More than one speaker Rhyme The likeness of sound existing between two or more words Words do not have to be spelled the same to be considered rhyming This is the most common sound device in poetry End rhyme- Same sound at the end of the verse Hat and cat Cloud and allowed Internal rhyme- Same sound within a verse Near or slant rhyme- Words that appear to rhyme, but don’t Great and treat These words are assigned the same rhyme scheme letter A, B, C, etc Rhyme Scheme The pattern/sequence in which rhyme occurs. Uses the letters of the alphabet to show pattern Meter A pattern of stressed and unstressed syllables Stressed Emphasized word part Unstressed Un-emphasized word part Angel- AN-gel (not an-GEL) Complete- com-PLETE (not COM-plete) Foot A group pf syllables constructing a metrical unit consisting of stressed and unstressed syllables da DUM da DUM da DUM FIVE MAIN PATTERNS FOR FEET Iambic 1 unstressed syllable followed by 1 stressed syllable Repose (re- POSE) Belief (be-LIEF) Complete (com- PLETE) Trochaic 1 stressed syllable followed by 1 unstressed syllable Garland (GAR- land) Speaking (SPEAK- ing) Value (VAL- ue) Anapestic 2 unstressed syllables followed by 1 stressed syllable On the road Interrupt (in-ter-RUPT) Unabridged (un-a-BRIDGED) Dactylic 1 stressed syllable followed by 2 unstressed syllables Happiness (HAP-pi-ness) Galloping (GAL-lop-ing) Spondaic All syllables have equal stress Heartbreak “Out, out…” Heartburn COMBINATIONS OF POETIC FEET Monometer: 1 foot per line Dimeter: 2 feet per line Trimeter: 3 feet per line Tetrameter: 4 feet per line Pentameter: 5 feet per line Hexameter: 6 feet per line TYPE + NUMBER = METER Type of Feet Number of feet per Line Iambic Monometer Trochaic Diameter Anapestic Trimeter Dactylic Tetrameter Spondaic Pentameter Hexameter STRESSED syllable Unstressed syllable Meter: PUTTING IT ALL TOGETHER - Unstressed followed by stressed = Iambic - Four feet per line = Tetrameter - Therefore: Iambic Tetrameter Whose woods these are I think I know. A His house is in the village, though; A Stanza He will not see me stopping here B To watch his woods fill up with snow. A My little horse must think it queer B To stop without a farmhouse near B Between the woods and frozen lake C The darkest evening of the year. B He gives his harness bells a shake C To ask if there is some mistake. C The only other sounds the sweep D Of easy wind and downy flake. C The woods are lovely, dark, and deep, D But I have promises to keep, D And miles to go before I sleep, And miles to go before I sleep. D D Verse/Line POETIC DEVICES Alliteration Deliberate repetition of consonant sounds Black gloves, a broad black hat Assonance Deliberate repetition of vowel sounds And so, all the night-tide, I lie down by the side Consonance The repetition o final consonant sounds in stressed syllables with different vowel sounds Hat and sit Tone The poet’s attitude toward the subject Mood Atmosphere of a piece of writing The emotions a selection arouses in a reader Trailer Horror Rhyme Repetition of the same sounds Rhyming couplet A pair of lines whose end rhyme expresses one clear thought Rhythm The internal feel of beat and meter perceived when poetry is read aloud Figurative language Writing or speech not meant to be interpreted literally Simile Metaphor Hyperbole Personification Metaphor A comparison not using the word like or as He is a snake Simile A comparison using the word like or as She is like a rose Hyperbole An exaggeration fro dramatic effect I am so hungry, I could eat a horse Personification Attribution of human motives or behaviors to impersonal agencies (non-humans) The stars danced in the sky Onomatopoeia Use of words resembling the sounds they mean Buzz, woof, bang, slurp Echo/Repetition Repetition of key word or idea Creates a pattern Increases rhythm Imagery Using words to create pictures (images) in your mind Appeals to the five senses Sight, hearing, taste, touch, and smell Oxymoron A seeming contradiction by putting two words together Jumbo shrimp Allusion A reference to a well-known person, place, event, or artistic work ‘Christy didn’t like to spend money. She was no Scrooge, but she seldom purchased anything except the bare necessities. Refers to Scrooge, the famous penny-pinching character of Charles Dickens’ classic novel A Christmas Carol Harry Potter Roman mythology Remus Lupin • The founders of Rome, Romulus and Remus, were said to be raised by wolves, which Remus’ name and anamagus form allude to. Also, in The Deathly Hallows, his codename is Romulus, another direct allusion to this Greek mythology Fluffy, the three-headed dog guarding the Sorcerer's Stone in The Sorcerer's Stone • Mythological creature Cerberus: a three-headed dog that guarded the Underworld • Greek hero Orpheus was able to put Cerberus to sleep by playing music on his lyre Fluffy’s weakness is music • Hagrid claims to have purchased Fluffy from a Greek man AUTHOR’S PURPOSE o The poet has an “author’s purpose” when he writes a poem. The purpose can be to: Share feelings (joy, sadness, anger, fear, loneliness) Tell a story Send a message (theme - something to think about) Be humorous Provide description* (e.g., person, object, concept) TYPES OF POEMS NARRATIVE POETRY Narrative Poetry The Highwayman Poetry that tells a story Follows the plot diagram of narrative literature LYRIC POETRY Lyric Poetry Poetry that is written in highly musical language that expresses the thoughts, observations, and feelings of a single speaker TANKA Tanka A verse form poem with five unrhymed lines of five, seven, five, seven, and seven syllables Conveys a single vivid Beautiful mountains emotion Rivers with cold, cold water. White cold snow on rocks Trees over the place with frost White sparkly snow everywhere. LIMERICK Limerick A funny five line poem Lines 1, 2, and 5 rhyme Lines 3 and 4 rhyme There Seems to Be a Problem Lines 3 and 4 are I really don’t know about Jim. shorter When he comes to our farm for a swim, The fish as a rule, Line 5 refers back to line 1 jump out of the pool. Is there something the matter with him? By John Ciardi CONCRETE POEM Concrete Poem Can also be called a shape poem Written in the shape of its subject HAIKU Haiku A Japanese poem form Written in three lines of five, seven, and five syllables Captures a moment in Little frog among time rain-shaken leaves, are you, too, splashed with fresh, green paint? by Gaki COUPLET Couplet Poem written in two lines Usually rhymes The Jellyfish By Ogden Nash Who wants my jellyfish? I’m not sellyfish! TERCET Tercet Poem written in three lines Usually rhymes Lines 1 and 2 can rhyme Lines 1 and 3 can Winter Moon By Langston Hughes rhyme How thin and sharp is the moon tonight! Sometimes all three lines rhyme How thin and sharp and ghostly white Is the slim curved crook of the moon tonight! QUATRAIN Quatrain The Lizard By John Gardner The lizard is a timid thing A poem written in four That cannot dance or fly or sing; lines He hunts for bugs beneath the floor Most common stanza And longs to be a dinosaur. used in poetry Usually rhymes Can be written in a variety of rhyming patterns CINQUAIN Cinquain Poem written in five lines Does not rhyme Contains 22 syllables Line 1 = 2 syllables Line 2 = 4 syllables Oh, cat Line 3 = 6 syllables are you grinning Line 4 = 8 syllables curled in the window seat Line 5 = 2 syllables as sun warms you this December morning? By Paul B. Janezco FREE VERSE Revenge Free Verse When I find out Poem that does not who took use rhyme or pattern the last cooky Can vary in length, out of the jar stanzas, and subject and left matter me a bunch of stale old messy crumbs, I'm going to take me a handful and crumb up someone's bed. By Myra Cohn Livingston Blank Verse Poem written with a regular meter Almost always iambic pentameter Does not rhyme Villanelle A nineteen line lyric poem Written in five three line stanzas and ending in a four line stanza Sonnet A lyric poem consisting of fourteen lines Written in three four line stanzas called quatrains and ending with two rhymed lines known as a couplet TPCASTT Getting Started… •This is a process to help you organize your analysis of poetry.
Recommended publications
  • Qt2wn8v8p6.Pdf
    UCLA UCLA Electronic Theses and Dissertations Title Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) Permalink https://escholarship.org/uc/item/2wn8v8p6 Author Gomez, Isabel Cherise Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Hispanic Languages and Literatures by Isabel Cherise Gomez 2016 © Copyright by Isabel Cherise Gomez 2016 ABSTRACT OF THE DISSERTATION Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) by Isabel Cherise Gomez Doctor of Philosophy in Hispanic Languages and Literatures University of California, Los Angeles, 2016 Professor Efraín Kristal, Co-Chair Professor José Luiz Passos, Co-Chair What becomes visible when we read literary translations as gifts exchanged in a reciprocal symbolic economy? Figuring translations as gifts positions both source and target cultures as givers and recipients and supplements over-used translation metaphors of betrayal, plundering, submission, or fidelity. As Marcel Mauss articulates, the gift itself desires to be returned and reciprocated. My project maps out the Hemispheric Americas as an independent translation zone and highlights non-European translation norms. Portuguese and Spanish have been sidelined even from European translation studies: only in Mexico and Brazil do we see autochthonous translation theories in Spanish and Portuguese. Focusing on translation strategies that value ii taboo-breaking, I identify poet-translators in Mexico and Brazil who develop their own translation manuals.
    [Show full text]
  • University Interscholastic League Literary Criticism Contest • Invitational a • 2021
    University Interscholastic League Literary Criticism Contest • Invitational A • 2021 Part 1: Knowledge of Literary Terms and of Literary History 30 items (1 point each) 1. A line of verse consisting of five feet that char- 6. The repetition of initial consonant sounds or any acterizes serious English language verse since vowel sounds in successive or closely associated Chaucer's time is known as syllables is recognized as A) hexameter. A) alliteration. B) pentameter. B) assonance. C) pentastich. C) consonance. D) tetralogy. D) resonance. E) tetrameter. E) sigmatism. 2. The trope, one of Kenneth Burke's four master 7. In Greek mythology, not among the nine daugh- tropes, in which a part signifies the whole or the ters of Mnemosyne and Zeus, known collectively whole signifies the part is called as the Muses, is A) chiasmus. A) Calliope. B) hyperbole. B) Erato. C) litotes. C) Polyhymnia. D) synecdoche. D) Urania. E) zeugma. E) Zoe. 3. Considered by some to be the most important Irish 8. A chronicle, usually autobiographical, presenting poet since William Butler Yeats, the poet and cele- the life story of a rascal of low degree engaged brated translator of the Old English folk epic Beo- in menial tasks and making his living more wulf who was awarded the 1995 Nobel Prize for through his wit than his industry, and tending to Literature is be episodic and structureless, is known as a (n) A) Samuel Beckett. A) epistolary novel. B) Seamus Heaney. B) novel of character. C) C. S. Lewis. C) novel of manners. D) Spike Milligan. D) novel of the soil.
    [Show full text]
  • The Play of Memory and Imagination in the Arena of Performance: an Attempt to Contextualise the History and Legend of Amar Singh
    The Play of Memory and Imagination in the Arena of Performance: An Attempt to Contextualise the History and Legend of Amar Singh Rathore as taken forward by various Performing Arts First Six-Monthly Report Tripurari Sharma This report attempts to compile and analyse certain aspects that have come to the fore while exploring the various dimensions that emerge from the subject of study. It is true, that Amar Singh as a character has been celebrated in the Folk Performing Arts, like, Nautanki, Khayal and Puppetry. However, that is not all. There are also songs about him and some of the other characters who are part of his narrative. Bards also tell his story and each telling is a distinct version and interpretation of him and his actions. As his presence expands through various cultural expressions of Folklore, it seems necessary to explore the varying dimensions that have enabled this legend construct. A major challenge and delight in this research has been the discovering of material from various sources, not in one place and a lot by interaction and engaging with artists of various Forms. Books, that deal with History, Cultural Studies, Folk poetry, Life styles of Marwar and Rajputs, Mughal Court, Braj Bhasha and Folklore have been studied in detail. The N.M.M.L. has provided much material for reading. This has facilitated, thinking, formulating connections with the Legend, Society and Performative Arts. There have been discussions with artists engaged with Puppetry and Nautanki. Some of them have been preliminary in nature and some fairly exhaustive. Archival material of some senior artists has been examined and more is in process.
    [Show full text]
  • Poetry Vocabulary
    Poetry Vocabulary Alliteration: Definition: •The repetition of consonant sounds in words that are close together. •Example: •Peter Piper picked a peck of pickled peppers. How many pickled peppers did Peter Piper pick? Assonance: Definition: •The repetition of vowel sounds in words that are close together. •Example: •And so, all the night-tide, I lie down by the side Of my darling, my darling, my life and my bride. -Edgar Allen Poe, from “Annabel Lee” Ballad: Definition: •A song or songlike poem that tells a story. •Examples: •“The Dying Cowboy” • “The Cremation of Sam McGee” Cinquain: Definition: • A five-line poem in which each line follows a rule. 1. A word for the subject of the poem. 2. Two words that describe it. 3. Three words that show action. 4. Four words that show feeling. 5. The subject word again-or another word for it. End rhyme: Definition: • Rhymes at the ends of lines. • Example: – “I have to speak-I must-I should -I ought… I’d tell you how I love you if I thought The world would end tomorrow afternoon. But short of that…well, it might be too soon.” The end rhymes are ought, thought and afternoon, soon. Epic: Definition: • A long narrative poem that is written in heightened language and tells stories of the deeds of a heroic character who embodies that values of a society. • Example: – “Casey at the Bat” – “Beowulf” Figurative language: Definition: • An expressive use of language. • Example: – Simile – Metaphor Form: Definition: • The structure and organization of a poem. Free verse: Definition: • Poetry without a regular meter or rhyme scheme.
    [Show full text]
  • Understanding Poetry Are Combined to Unstressed Syllables in the Line of a Poem
    Poetry Elements Sound Includes: ■ In poetry the sound Writers use many elements to create their and meaning of words ■ Rhythm-a pattern of stressed and poems. These elements include: Understanding Poetry are combined to unstressed syllables in the line of a poem. (4th Grade Taft) express feelings, ■ Sound ■ Rhyme-similarity of sounds at the end of thoughts, and ideas. ■ Imagery words. ■ The poet chooses ■ Figurative ■ Alliteration-repetition of consonant sounds at Adapted from: Mrs. Paula McMullen words carefully (Word the beginning of words. Example-Sally sells Language Library Teacher Choice). sea shells Norwood Public Schools ■ Poetry is usually ■ Form ■ Onomatopoeia- uses words that sound like written in lines (not ■ Speaker their meaning. Example- Bang, shattered sentences). 2 3 4 Rhythm Example Rhythm Example Sound Rhythm The Pickety Fence by David McCord Where Are You Now? ■ Rhythm is the flow of the The pickety fence Writers love to use interesting sounds in beat in a poem. The pickety fence When the night begins to fall Give it a lick it's their poems. After all, poems are meant to ■ Gives poetry a musical And the sky begins to glow The pickety fence You look up and see the tall be heard. These sound devices include: feel. Give it a lick it's City of lights begin to grow – ■ Can be fast or slow, A clickety fence In rows and little golden squares Give it a lick it's a lickety fence depending on mood and The lights come out. First here, then there ■ Give it a lick Rhyme subject of poem.
    [Show full text]
  • English 201 Major British Authors Harris Reading Guide: Forms There
    English 201 Major British Authors Harris Reading Guide: Forms There are two general forms we will concern ourselves with: verse and prose. Verse is metered, prose is not. Poetry is a genre, or type (from the Latin genus, meaning kind or race; a category). Other genres include drama, fiction, biography, etc. POETRY. Poetry is described formally by its foot, line, and stanza. 1. Foot. Iambic, trochaic, dactylic, etc. 2. Line. Monometer, dimeter, trimeter, tetramerter, Alexandrine, etc. 3. Stanza. Sonnet, ballad, elegy, sestet, couplet, etc. Each of these designations may give rise to a particular tradition; for example, the sonnet, which gives rise to famous sequences, such as those of Shakespeare. The following list is taken from entries in Lewis Turco, The New Book of Forms (Univ. Press of New England, 1986). Acrostic. First letters of first lines read vertically spell something. Alcaic. (Greek) acephalous iamb, followed by two trochees and two dactyls (x2), then acephalous iamb and four trochees (x1), then two dactyls and two trochees. Alexandrine. A line of iambic hexameter. Ballad. Any meter, any rhyme; stanza usually a4b3c4b3. Think Bob Dylan. Ballade. French. Line usually 8-10 syllables; stanza of 28 lines, divided into 3 octaves and 1 quatrain, called the envoy. The last line of each stanza is the refrain. Versions include Ballade supreme, chant royal, and huitaine. Bob and Wheel. English form. Stanza is a quintet; the fifth line is enjambed, and is continued by the first line of the next stanza, usually shorter, which rhymes with lines 3 and 5. Example is Sir Gawain and the Green Knight.
    [Show full text]
  • The Poetry Handbook I Read / That John Donne Must Be Taken at Speed : / Which Is All Very Well / Were It Not for the Smell / of His Feet Catechising His Creed.)
    Introduction his book is for anyone who wants to read poetry with a better understanding of its craft and technique ; it is also a textbook T and crib for school and undergraduate students facing exams in practical criticism. Teaching the practical criticism of poetry at several universities, and talking to students about their previous teaching, has made me sharply aware of how little consensus there is about the subject. Some teachers do not distinguish practical critic- ism from critical theory, or regard it as a critical theory, to be taught alongside psychoanalytical, feminist, Marxist, and structuralist theor- ies ; others seem to do very little except invite discussion of ‘how it feels’ to read poem x. And as practical criticism (though not always called that) remains compulsory in most English Literature course- work and exams, at school and university, this is an unwelcome state of affairs. For students there are many consequences. Teachers at school and university may contradict one another, and too rarely put the problem of differing viewpoints and frameworks for analysis in perspective ; important aspects of the subject are omitted in the confusion, leaving otherwise more than competent students with little or no idea of what they are being asked to do. How can this be remedied without losing the richness and diversity of thought which, at its best, practical criticism can foster ? What are the basics ? How may they best be taught ? My own answer is that the basics are an understanding of and ability to judge the elements of a poet’s craft. Profoundly different as they are, Chaucer, Shakespeare, Pope, Dickinson, Eliot, Walcott, and Plath could readily converse about the techniques of which they are common masters ; few undergraduates I have encountered know much about metre beyond the terms ‘blank verse’ and ‘iambic pentameter’, much about form beyond ‘couplet’ and ‘sonnet’, or anything about rhyme more complicated than an assertion that two words do or don’t.
    [Show full text]
  • Mr. Francis European Literature Terza Rima: Verse for Literary Application
    Mr. Francis European Literature Terza Rima: verse for Literary Application Essay For your assignment on Dante's Inferno, you will compose a short verse (7-22 lines) in terza rima to introduce your circle and to serve as an epigraph to your essay. The Academy of American Poets describes the form as follows: Invented by the Italian poet Dante Alighieri in the late thirteenth century to structure his three-part epic poem, The Divine Comedy, terza rima is composed of tercets woven into a rhyme scheme that requires the end-word of the second line in one tercet to supply the rhyme for the first and third lines in the following tercet. Thus, the rhyme scheme (aba, bcb, cdc, ded) continues through to the final stanza or line. Dante chose to end each canto of the The Divine Comedy with a single line that completes the rhyme scheme with the end-word of the second line of the preceding tercet. Terza rima is typically written in an iambic line, and in English, most often in iambic pentameter. If another line length is chosen, such as tetrameter, the lines should be of the same length. There are no limits to the number of lines a poem composed in terza rima may have. Possibly developed from the tercets found in the verses of Provencal troubadours, who were greatly admired by Dante, the tripartite stanza likely symbolizes the Holy Trinity. Early enthusiasts of terza rima, including Italian poets Boccaccio and Petrarch, were particularly interested in the unifying effects of the form.1 Therefore, the shortest possible verse for this assignment will have an ABABCBC rhyme scheme; the longest will end with GHGH.
    [Show full text]
  • ED 105 498 CS 202 027 Introduction to Poetry. Language Arts
    DOCUMENT RESUME ED 105 498 CS 202 027 TITLE Introduction to Poetry. Language Arts Mini-Course. INSTITUTION Lampeter-Strasburg School District, Pa. PUB DATE 73 NOTE 13p.; See related documents CS202024-35; Product of Lampeter-Strasburg High School EDRS PRICE MF-$0.76 HC-$1.58 PLUS POSTAGE DESCRIPTORS Class Activities; *Course Descriptions; Course Objectives; *Curriculum Guides; Instructional Materials; *Language Arts; Literature; *Poetry; Secondary Education; *Short Courses IDENTIFIERS Minicourses ABSTRACT This language arts minicourse guide for Lampeter-Strasburg (Pennsylvania) High School contains a topical outline of an introduction to a poetry course. The guide includes a list of twenty course objectives; an outline of the definitions, the stanza forms, and the figures of speech used in poetry; a description of the course content .nd concepts to be studied; a presentation of activities and procedures for the classroom; and suggestions for instructional materials, including movies, records, audiovisual aids, filmstrips, transparencies, and pamphlets and books. (RB) U S Oh PAR TmENT OF HEALTH C EOUCATKIN WELFARE NAT.ONA, INSTITUTE OF EOUCATION Ch DO. Ls. 1 N THA) BE E 4 REPRO ^,,)I qAt L'e AS RECEIVED FROM 1' HI PE 4 sON OR ulICHLNIZA T ION ORIGIN :.' 4L, , T PO,N' s OF .IIE K OR OP .NICINS LiN .." E D DO NOT riFcE SSARL + RE PRE ,E % , Lr lat_ 4.% 00NAL INS T TUT e OF CD c D , .'`N POs. T 1C14 OR POLICY uJ Language Arts Mini-Course INTRODUCTION TO POETRY Lampeter-Strasburg High School ERM.SSION TO RE POODuCETHIS COPY M. 'ED MATERIAL HA; BEEN GRANTED BY Lampeter, Pennsylvania Lampeter-Strasburg High School TD ERIC AV) ORGANIZATIONS OPERATING P.t,EP AGREEMENTS .SiTH THE NATIONAL IN STTuTE Or EDUCATION FURTHER 1973 REPRO PUCTION OU'SIDE THE EPIC SYSTEMRE QUIRES PERMISS'ON OF THE COPYRIGHT OWNER N O INTRODUCTION TO POETRY OBJECTIVES: 1.
    [Show full text]
  • Ottava Rima and Novelistic Discourse
    Ottava Rima and Novelistic Discourse Catherine Addison In “Discourse in the Novel,” Mikhail Bakhtin goes to some lengths to dis- tinguish novelistic from poetic discourse. And yet, as noted by Neil Roberts (1), he uses a poetic text, Alexander Pushkin’s Eugene Onegin, as one of his prime examples of novelistic discourse (Bakhtin 322–24, 329). Bakhtin’s theory is that poetic genres are monologic, presupposing “the unity of the language system and . of the the poet’s individuality,” as opposed to the novel, which is dialogic, “heteroglot, multivoiced, multi- styled and often multi-languaged.” (264–65). This paper contends that, by Bakhtin’s own criteria, some verse forms are especially well designed for novelistic discourse. The form chosen for particular scrutiny is ottava rima, a stanza that has been used for narrative purposes for many cen- turies, originating in the Italian oral tradition of the cantastorie (Wilkins 9–10; De Robertis 9–15). Clearly, ottava rima could not have originated as an English oral form, for it requires too many rhymes for this rhyme-poor, relatively uninflected language. Using a heroic line—in Italian the hendecasyllabic, in English the iambic pentameter—the stanza’s rhyme scheme is ABABABCC. Thus it resembles the English sonnet in a sense, for it begins with an alternating structure and concludes with a couplet that is alien to both the rhymes and the rhyme pattern that precede it. As with this type of sonnet, a potential appears for a rupture in the discourse between the alternating structure and the couplet. Alternating verse tends to lean forward not to the next line but JNT: Journal of Narrative Theory 34.2 (Summer 2004): 133–145.
    [Show full text]
  • Poetry Types in One Collection Poems That Use Metaphors 1) the Ezra Pound Couplet Two Lines Long. Each Line Is a Metaphor for the Other
    Poetry Types in One Collection Poems that Use Metaphors 1) The Ezra Pound Couplet Two lines long. Each line is a metaphor for the other. Typically, there are two or three elements in each line. Example: People filing onto a plane Peas rolling down a knife into a giant’s mouth The people are the peas, the filing into the plane is the rolling down the knife, and the plane itself is the giant. Good Ezra Pound Couplets utilize metaphors that are very different from each other. Too much similarity creates a poor poem. Example: Children playing in a sandbox Adults playing on the beach 2) The Metaphor Poem In this poem, many different forms could be used, such as quatrains or free verse, but the essence of the poem is that the first line provides a metaphor. Take an abstract concept and compare it to a concrete object. Each line that follows describes the concrete object. Example: Love is a battlefield – each line that follows this line will describe a battlefield. Because of the metaphor already established, each of these lines automatically also describes love. We’ll create this poem, based on the song by Pat Benetar, in class now. 3) Riddle Poetry Utilizes the invisible or unknown concrete object. Similar to the above example but without stating that it is love that is being talked about. Dylan Thomas portraits – this is a three line poem that asks a question which is answered by 4-6 word pairs ending in “ing”. Here is an example: Have you ever seen the rain? Life-giving, ground-soaking Mud-making, tires-spinning Haiku – Japanese three line poem with a 5-7-5 syllable pattern.
    [Show full text]
  • Introduction to Poetry Lecture Notes Professor Merrill Cole
    Introduction to Poetry Lecture Notes Professor Merrill Cole The Basics of How to Read a Poem No good poem offers to any reader all that it has on the first reading. Poetry tends to be far denser than prose, requiring concentration on every word, every line, every rhyme, every metaphor, every sound, every image, every punctuation mark. It all matters. Poetry is not throw-away writing, like you might find in a newspaper, to be read quickly and pushed aside. The poet, Ezra Pound, said that “Literature is the news that stays news.” Good poems have something more to say on the second, fifth, or fiftieth reading. There is no easy formula you can apply to read a poem. Interpretation is not a hard science, but something more like an art. Poetry reading, like violin playing, requires practice, so the more poems you study, and the more you write about them, the better reader and writer you will become. However, there are strategies that you can use from the very beginning that can assist your understanding and make reading unfamiliar poems more fun. I would suggest that when reading a poem for the first time, don’t worry about discovering the overall meaning, but just register your initial impressions. On the second reading—there always needs to be a second reading—determine the exact sense of every word. If you don’t know or aren’t sure about a word, look it up in the dictionary. Whenever possible, it’s better to read a poem aloud, for you will hear things you did not see on the page.
    [Show full text]