Rhyming Poetry

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Name __________________________ Date _________ Rhyming Poetry There are three main types of rhyming poetry. Couplets, triplets, and quatrains. Couplets are two lines that rhyme. Triplets are three lines that can all rhyme or just have the first and third line rhyme. Quatrains are four lines that can either be two couplets (the first two lines rhyme and the last two lines rhyme), or the first and third line rhyme while the second and fourth line rhyme. Put It To Use: Let us write a couplet, triplet, and a quatrain about going to the beach. Step 1: Think It Through Brainstorm a short list of things you do and items you bring when you go to the beach. You can also think of other beach ideas, like the sunny weather and wearing your bathing suit. Brainstorms: Hot outside, sun is shining, swimming with the fish, building sand castles, tanning on the beach towel, hearing the waves, sand in my toes, finding seashells, watching people surfboard and jet ski, forgot my sunscreen Step 2: Write Your Poem Couplet I thought going to the beach would be grand. Then I remembered I was allergic to sand. Triplet The sun was shining today I could not wait to play The beach would be my getaway. Quatrain I went swimming in the waves I made friends with the fish The I laid on my towel and soaked up some rays And made living at the beach my only wish. © This poetry worksheet is from www.teach-nology.com Name __________________________ Date _________ Try Your Hand at Rhyming Poetry Now it is your turn to give it a shot! Challenge: Write a couplet, triplet, and a quatrain for going to the park. Step 1: Brainstorm Jot down ideas on a trip to the park. Examples include what you do, what do you see, how is the weather, or who do you play with. Brainstorm Box Step 2: Write Your Poem Couplet Triplet Quatrain © This poetry worksheet is from www.teach-nology.com .

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Editor's Introduction
Editor’s Introduction: Scansion DAVID NOWELL SMITH _______________________ I would like to start from an intuition.1 This might seem an abuse of editorial privilege, and indeed might strike one as more generally tendentious: is an issue on ‘scansion’ the place for discussing one’s intuitions at all? For a start, it contravenes quite brazenly the strict separation between description and performance, lain down most powerfully by John Hollander well over half a century ago. For Hollander, a ‘descriptive’ system of scansion would aim at presenting schematically the whole ‘musical’ structure of a poem, whether this consists, in any particular case, of the prosodic features of the language in which it is written, the arrangement of elements completely foreign to that language (syllable counting in English verse for example), or even the arrangement of type on a page. A performative system of scansion, on the other hand, would present a series of rules governing a locutionary reading of a particular poem, before a real or implied audience. It would end up by describing not the poem itself, but the unstated canons of taste behind the rules. Performative systems of scansion, disguised as descriptive ones, have composed all but a few of the metrical studies of the past. Their subjectivity is far more treacherous than even that of reading poems into oscilloscopes and claiming that the image produced describes, or even is, the true poem.2 1 My great thanks to Ewan Jones on his comments on an earlier draft of this introduction. 2 John Hollander, ‘The Music of Poetry’, The Journal of Aesthetics and Art Criticism vol.
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Rubai (Quatrain) As a Classical Form of Poetry in Persian Literature
INTERNATIONAL JOURNAL OF RESEARCH CULTURE SOCIETY ISSN: 2456-6683 Volume - 2, Issue - 4, Apr – 2018 UGC Approved Monthly, Peer-Reviewed, Refereed, Indexed Journal Impact Factor: 3.449 Publication Date: 30/04/2018 Rubai (Quatrain) as a Classical Form of Poetry in Persian Literature Ms. Mina Qarizada Lecturer in Samangan Higher Education, Samangan, Afghanistan Master of Arts in English, Department of English Lovely Professional University, Punjab, India Email – [email protected] Abstract: Studying literature, including poetry and prose writing, in Afghanistan is very significant. Poetry provides some remarkable historical, cultural, and geographical facts and its literary legacy of a particular country. Understanding the poetic forms is important in order to understand the themes and the styles of the poetry of the poets. All the Persian poets in some points of the time composed in the Rubai form which is very common till now among the past and present generation across Afghanistan. This paper is an overview of Rubai as a classical form of Poetry in Persian Literature. Rubai has its significant role in the society with different stylistic and themes related to the cultural, social, political, and gender based issues. The key features of Rubai are to be eloquent, spontaneous and ingenious. In a Rubai the first part is the introduction which is the first three lines that is the sublime for the fourth line of the poem. It represents the idea if sublet, pithy and clever. It also represents the poets’ literary works, poetic themes, styles, and visions. Key Words: Rubai, Classic, Poetry, Persian, Literature, Quatrain, 1. INTRODUCTION: Widespread geography of Persian speakers during the past centuries in the history of Afghanistan like many other countries, it can be seen and felt that only great men were trained in the fields of art and literature.
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English 201 Major British Authors Harris Reading Guide: Forms There
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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.
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ED 105 498 CS 202 027 Introduction to Poetry. Language Arts
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Ottava Rima and Novelistic Discourse
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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
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INTRODUCTION Tennyson, Hallam, and the Poem in October of 1833
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Tiruvalluvar.Pdf
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