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What is Poetry? "Poetry is the art of uniting pleasure with truth, by calling imagination to the help of reason." -Samuel Johnson- “Poetry is the best words in the best order.” -Samuel Taylor Coleridge- “I by no means rank poetry high in the scale of intelligence—this may look like affectation—but it is my real opinion—it is the lava of the imagination, whose eruption prevents an earthquake.” -Lord Byron- “All that is worth remembering in life is the poetry of it.” -William Hazlitt- “The poem... is a little myth of man's capacity of making life meaningful. And in the end, the ​ poem is not a thing we see—it is, rather, a light by which we may see—and what we see is life.” -Robert Penn Warren- “Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of personality, but an escape from personality. But, of course, only those who have personality and emotions know what it means to want to escape from these things.” -T.S. Eliot- “With the farming of a verse/ Make a vineyard of the curse.” -W.H. Auden- List of Terms: 1.Meter-The dominant pattern of stressed and unstressed syllables in a line of poetry (verse) ​ 2.Rhyme-Correspondence of sound between words or the endings of words. ​ Variety 1: Visual rhyme-Occurs when two words are spelled with similar endings but have ​ ​ different sounds, e.g., “plough” and “rough”, “love” and “move”. Variety 2: Slant rhyme-Occurs when words end with similar, but not identical sounds, e.g., ​ ​ “faces” and “houses” or “rejoin” and “refine”. William Butler Yeats’ poetry is full of these. 3.Alliteration-The repetition of consonant sounds within a group of words placed closely ​ together (e.g., “The wolf that follows the fawn that flies” or “Behemoth, biggest born of earth upheaved”) 4.Assonance-The repetition of vowel sounds within a group of words placed closely together ​ (e.g., “On either side the river lie” or “When I have fears that I may cease to be”) 5.Caesura-A pause in the middle of a line of poetry (e.g., “My name is Ozymandias, King of ​ Kings” or “To err is human; to forgive, divine”) 6.Apostrophe-A literary device when an absent person, or thing, or abstraction is addressed as ​ though in fact present. (e.g., “Death, be not proud” or “Arise, fair sun, and kill the envious moon”) 7.Blank verse-Unrhymed iambic pentameter. This is the meter of most of Shakespeare’s plays, ​ John Milton’ Paradise Lost, and many other great works. 8.Imagery-Use of figurative or descriptive language that appeals to any of the five senses ​ (e.g., “The moan of doves in immemorial elms,/ And murmuring of innumerable bees”) 9.Simile-A figure of speech in which one thing is compared to another by means of the words ​ “like” or “as” (e.g., “She sat like patience on a monument,/ Smiling at grief.” or “Beauty, like ice, our footing does betray:/ Who can tread sure in the smooth slippery way?”) 10.Epigram-A very short poem, usually witty and often mocking. (“God bless our good and ​ gracious king,/ Whose promise none relies on;/ Who never said a foolish thing,/ Nor ever did a wise one.” or “Treason doth never prosper: what’s the reason?/ Why, if it prosper, none dare call it treason.”) 11.Metaphor-A figure of speech in which a word or phrase is applied to an object or action to ​ which it is not literally applicable. (“When I have fears that I may cease to be/ Before my pen has gleaned my teeming brain” or “Flesh is but the glass, which holds the dust/ That measures all our time.” Or “All honor’s mimic, all wealth alchemy.” “Death hath ten thousand several doors/ For men to take their exits.”) 12.Sonnet-A poem of fourteen lines, typically written in iambic pentameter. There are two major ​ categories of sonnet: the Italian, also called the Petrarchan sonnet, and the English, which is often called the Shakespearean sonnet. The difference between the two is in their respective patterns of rhyme: an Italian sonnet is usually divided into an octave (group of eight lines) rhyming abba abba and a sestet (group of six lines) rhyming cdc cdc, or alternatively cde cde. ​ ​ ​ ​ ​ ​ The English sonnet is divided into three quatrains (groups of four lines) rhyming abab cdcd efef ​ and a concluding couplet rhyming gg. A famous example of the Italian sonnet form is John ​ ​ Donne’s “Batter My Heart, Three-Person’d God. An equally well-known example of the English sonnet is William Shakespeare’s “That Time of Year Thou Mayst in Me Behold.” 13.Ballad-A type of narrative poem, medieval in origin, that tells a story of short to moderate ​ length. Usually written in rhymed quatrains. Coleridge’s “Rhyme of the Ancient Mariner” and John Keats’ “La Belle Dame Sans Merci” are famous examples. 14.Epic-A long poem written in an elevated style in which are told the exploits and adventures ​ of ancient heroes and other mythical characters. Epics typically begin with an invocation of the muse, and nearly always involve the interactions of God or gods and men. Homer’s Iliad and Odyssey, Vergil’s Aeneid, Ovid’s Metamorphoses, Dante’s Divine Comedy, and Milton’s Paradise Lost are all great examples of epic. 15.Lyric poem-Generally a short poem descriptive of a wide range of subjects, from love to ​ nature to joy to dejection to goldfish. Lyric is normally understood as a category separate from narrative poetry. 16.Narrative poem-Any poem which tells a complete story. “Annabel Lee” by Edgar Allan Poe, ​ “The Lady of Shalott” by Alfred Lord Tennyson and “Venus and Adonis” by William Shakespeare are well-known examples. 17.Elegy-A serious, normally melancholy reflective poem that frequently takes the form of a ​ lament for a deceased friend or loved one. John Milton’s “Lycidas”, Percy Shelley’s “Adonais” and Alfred Lord Tennyson’s “In Memoriam” are among the most read examples in English. 18.Allusion-Indirect reference to a person, place, or event; in English literature, allusions are ​ frequently Biblical and classical, and can have either a comic or serious intention: e.g., “Death as the Psalmist sayeth, is certain to all; all shall die. How a good yoke of bullocks at Stamford Fair?” or “It out herods Herod. Pray you, avoid it.” or “See what a grade was seated on this brow,/ Hyperion’s curls, the front of Jove himself,/ An eye like Mars’ to threaten and command…”. Pastoral-A subgenre of love poetry in which the lives and romances of shepherds and ​ shepherdesses are idealized; very popular in the 18th century. Major Periods of English Poetry (From Sixteenth Century Onwards) Renaissance/ Elizabethan Era Roughly 1550-1600 Major poets include: Shakespeare, Sir Philip Sidney, Sir Edmund Spenser, Christopher Marlowe, John Webster, and Ben Jonson. Representative Works: Shakespeare’s Plays and Sonnets, Spenser’s Amoretti, Epithalamion and Fairie Queene, Sidney’s Astrophel and Stella Metaphysical and Cavalier Period 1600-1675 Major poets include: John Donne, George Herbert, Henry Vaughan, Andrew Marvell, Robert Herrick, and John Milton. Representative Works: Donne’s Holy Sonnets, Herbert’s The Temple, Herrick’s love poems, Milton’s Paradise Lost, Il Pensoroso, L’Allegro, and Lycidas Restoration and Neoclassical Period 1675-1789 Major Poets include: John Dryden, Samuel Butler, Jonathan Swift, Alexander Pope, and Oliver Goldsmith. Representative Works: Butler’s Hudibras, Dryden’s Mac Flecknoe, Pope’s Dunciad and Essay on Criticism, Swift’s Description of a City Shower Romantic Period 1789-1840 Major Poets include: William Blake, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Shelley, and John Keats Representative Works: Blake’s Songs of Innocence and Experience, Wordsworth’s and Coleridge’s Lyrical Ballads, Byron’s Childe Harold’s Pilgrimage and Don Juan, Shelley’s Prometheus Unbound, Keats’ Sonnets, Ode to a Grecian Urn, and Ode to Autumn Sonnet XXXIX (from Astrophel and Stella) (Renaissance) By Sir Philip Sidney Come Sleep! O Sleep, the certain knot of peace, (A) The baiting-place of wit, the balm of woe, (B) The poor man's wealth, the prisoner's release, (A) Th' indifferent judge between the high and low. (B) With shield of proof shield me from out the prease (A) Of those fierce darts despair at me doth throw: (B) O make in me those civil wars to cease; (A) I will good tribute pay, if thou do so. (B) Take thou of me smooth pillows, sweetest bed, (C) A chamber deaf to noise and blind to light, (D) A rosy garland and a weary head: (C) And if these things, as being thine by right, (D) Move not thy heavy grace, thou shalt in me, (E) Livelier than elsewhere, Stella's image see. (E) Easter Wings (Metaphysical) By George Herbert Lord, Who createdst man in wealth and store, Though foolishly he lost the same, Decaying more and more, Till he became Most poor: With Thee O let me rise, As larks, harmoniously, And sing this day Thy victories: Then shall the fall further the flight in me. My tender age in sorrow did beginne; And still with sicknesses and shame Thou didst so punish sinne, That I became Most thin. With Thee Let me combine, And feel this day Thy victory; For, if I imp my wing on Thine, Affliction shall advance the flight in me. Selection from An Essay on Man: Epistle II (Neoclassical) By Alexander Pope Know then thyself, presume not God to scan; The proper study of mankind is man.
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  • The Tyger by William Blake

    The Tyger by William Blake

    The Tyger by William Blake Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry? In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire? And what shoulder, and what art, Could twist the sinews of thy heart? SINEWS And when thy heart began to beat, What dread hand? and what dread feet? Tendons, or taut, strong cords of What the hammer? what the chain? connective tissue In what furnace was thy brain? What the anvil? what dread grasp Dare its deadly terrors grasp? When the stars threw down their spears, And watered heaven with their tears, Did he smile his work to see? Did he who made the lamb make thee? Tyger! Tyger! burning bright In the forests of the night, What immortal hand or eye, Dare frame thy fearful symmetry? Name: _________________________ Teacher: _______________________ “The Tyger” Interpretation Write your answers in COMPLETE SENTENCES in the spaces below. 1. Describe the message of the poem. 2. What kind of animal does William Blake consider the tiger? 3. List the traits of the tiger as described by William Blake. 4. What is the focus of each stanza? (What is the main idea of each stanza?) 5. How does the poet feel about the tiger? How do you know? 6. Write a list of the traits and habits of an animal of your choice. Be sure to use words and phrases in such a way that your poem communicates how you feel about this animal.