Transcript of Poetry is a literary form characterized by a strong sense of rhythm and meter and an emphasis on the...
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- Poetry is a literary form characterized by a strong sense of
rhythm and meter and an emphasis on the interaction between sound
and sense. The study of the elements of poetry is called
prosody.
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- Right Brain: Creativity Emotions Left Brain: Logic Reality The
Human Brain Divided into 2 parts Each half has its own
function
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- To clarify... When you are looking at big puffy clouds... Your
right brain tells you, Hey! That one looks like a bunny. While your
left brain tells you...
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- Its a cloud, Stupid!
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- SO, WHICH HALF DO YOU USE WHEN STUDYING POETRY? Here are a few
hints: Poetry requires creativity Poetry requires emotion Poetry
requires an artistic quality Poetry requires logic
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- An image is a word or sequence of words that refers to any
sensory experience(Kennedy and Gioia 741). Figurative language uses
figures of speech to convey unique images and create some sort of
special effect or impression. A figure of speech is an intentional
deviation from the ordinary usage of language.
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- A simile is a type of metaphor, a figure in which an explicit
comparison is made using the comparative words like or as.
(Sometimes, one may use resembles or than as well.) Similes are
easy to spot. My love is like a red, red rose. My love was as
beautiful as a rose My love resembles a rose. My love is redder
than a rose.
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- A metaphor also compares, but a metaphor is a bit more
sophisticated than a simile. For one thing, in a metaphor, the
words like or as are missing. So readers have to recognize the
comparison on their own without those easy words which help us to
spot a simile so quickly.
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- The term metaphor has two meanings, a broad, more general
meaning and a concise, specific meaning. All figures of speech
which use association, comparison, or resemblance can generally be
called types of metaphor, or metaphorical. One specific figure of
speech which compares two things by saying that one IS the other is
called a metaphor. Love is a battlefield. My brother is a prince.
Cox Stadium was a slaughterhouse Friday night.
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- Richard was a lion in the fight. Her eyes are dark emeralds.
Her teeth are pearls. But avoid Mixed Metaphors (combining two or
more incompatible images in a single figure of speech): Management
extended an olive branch in an attempt to break some of the ice
between the company and the workers.
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- What is implied here about the speakers love? Oh, my love has
petals and sharp thorns. Oh, I placed my love into a long-stemmed
vase And I bandaged my bleeding thumb. And here, what is implied
about the city and the subway? The subway coursed through the
arteries of the city.
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- This kind of metaphor may run through an entire work. Sometimes
a poet will use an extended metaphor throughout a poem rather than
simply as one single figure of speech in a poem.
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- A dead metaphor has been so used and overused that it has lost
its power to surprise, delight, or effectively compare. A clich is
a dead metaphor, a phrase so often repeated that it no longer has
force: He hit the nail on the head. She was cool as a cucumber.
Jump out of the frying pan and into the fire. This PowerPoint show
is crystal clear. Avoid the use of clichs in your own writing!
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- Another kind of comparison is called personification. Here,
animals, elements of nature, and abstract ideas are given human
qualities. John Milton calls time the subtle thief of youth (599).
Homer refers to the rosy fingers of dawn (599). Other examples of
personification The stars smiled down on us. An angry wind slashed
its way across the island.
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- Oxymoron - two contradictory terms are placed side by side,
usually for an effect of intensity: darkness visible (John Milton)
burning ice Blinding brightness People often enjoy joking
sarcastically by declaring certain pairs of words to be oxymorons:
military intelligence
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- Hyperbole (hy per bo lee) is intentional exaggeration or
overstating, often for dramatic or humorous effect: Your
predicament saddens me so much that I feel a veritable flood of
tears coming on.
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- The intentional understatement is used for effect also: Thank
you for this Pulitzer Prize: I am pleased. Another kind of
understatement called Litotes occurs when a negative is used to
state a positive: When I won the Pulitzer Prize, I was not
unhappy.
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- A person or thing which is absent is addressed: What thoughts I
have of you tonight, Walt Whitman (Ginsberg 599). Oh sun, I miss
you, now that its December.
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- In this figure (m tawn nimee) one thing is replaced by another
thing associated with it: The Crown is amused (The Crown is the
Queen). The White House is furious (The White House is the
President).
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- Here, (sin nec duh kee) a part represents the whole: All hands
on deck! Lend me your ears. Lets buy one hundred head of
cattle!
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- Referring to some thing famous that shows a comparison. [The
mantis shrimp] is Ghengis Khan bathed in sherbet ice cream.
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- a statement that appears to be self-contradictory or silly but
may include a latent truth. Your enemys friend is your enemy. I am
nobody. What a pity that youth must be wasted on the young. George
Bernard Shaw I can resist anything but temptation. Oscar Wilde All
animals are equal, but some are more equal than others. George
Orwell
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- Onomatopoeia sounds like the word (buzz, pop, sizzle) Pun play
on words (Ask for me tomorrow and you will find me a grave man.)
Idiom only an idiot would take it literally (Raining cats and dogs)
Allegory - a story, poem, or picture that can be interpreted to
reveal a hidden meaning, typically a moral or political one (Animal
Farm) Analogy comparison to show a deeper meaning (men and ants are
alike) Alliteration Repetition of first letter (Peter Piper picked)
Assonance Repetition of a vowel sound (rain in Spain) Consonance
Repetition of a consonant sound not at the beginning of the words
(Ill look to like if looking liking move. this is both alliteration
and consonance)
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- good sound Refers to language that is smooth and musically
pleasant to the ear Many consider cellar door one of the most
euphonious phrases in English.
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- harsh sounds The clash of discordant sounds within a sentence
or phrase. A familiar feature of tongue twisters but can also be
used to poetic effect. It is language that is discordant and
difficult to pronounce. Player Piano never my numb plunker fumbles.
-John Updike
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- In Shakespeares Macbeth: Lifes but a walking shadow, a poor
player, That struts and frets his hour upon the stage And then is
heard no more. It is a tale Told by an idiot, full of sound and
fury, Signifying nothing.
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- Poetry that follows no rules. Just about anything goes. This
does not mean that it uses no devices, it just means that this type
of poetry does not follow traditional conventions such as
punctuation, capitalization, rhyme scheme, rhythm and meter, etc.
Fog by: Carl Sandburg The fog comes on little cat feet. It sits
looking over harbor and city on silent haunches and then, moves on.
No Rhyme No Rhythm No Meter This is free verse.
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- The repetition of sounds Example: hat, cat, brat, fat, mat, sat
My Beard by Shel Silverstein My beard grows to my toes, I never
wears no clothes, I wraps my hair Around my bare, And down the road
I goes.
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- A A B B C C D D E E F F The Life Of A Cupcake 1.They put me in
the oven to bake. 2.Me a deprived and miserable cake. 3.Feeling the
heat I started to bubble. 4.Watching the others I knew I was in
trouble. 5.They opened the door and I started my life. 6.Frosting
me with a silver knife. 7.Decorating me with candy jewels. 8.The
rest of my batch looked like fools. 9.Lifting me up, she took off
my wrapper. 10.Feeling the breeze, I wanted to slap her. 11.Opening
her mouth with shiny teeth inside. 12.This was the day this cupcake
had died. Give a letter to each new rhyming word and each time in
the poem that rhyme is used, it assigned the same letter:
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- End rhyme = the last word in each line rhymes Internal rhyme =
words within a line rhyme
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- Using the same key word or phrase throughout a poem. This
should be fairly self- explanatory, but at risk of sounding like a
broken record...
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- Time to spend; time to mend. Time to hate; time to wait. Time
is the essence; time is the key. Time will tell us what we will be.
Time is the enemy; time is the proof. Time will eventually show us
the truth. Time is a mystery; time is a measure. Time for us is
valued treasure. Time to spend; time to mend. Time to cry... Time
to die. Valued Treasue by Chris R. Carey
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- The repetition of one or more phrases or lines at the end of a
stanza. It can also be an entire stanza that is repeated
periodically throughout a poem, kind of like a chorus of a
song.
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- Phenomenal Woman by Maya Angelou Pretty women wonder where my
secret lies. Im not cute or built to suit a fashion models size But
when I start to tell them, They think Im telling lies. I say, Its
in the reach of my arms, The span of my hips, The stride of my
step, The curl of my lips. Im a woman Phenomenally. Phenomenal
woman, Thats me. This is repeated throughout the poem.
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- When reading a poem out loud, you may notice a sort of
sing-song quality to it, just like in nursery rhymes. This is
accomplished by the use of rhythm.
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- These identify patterns of stressed and unstressed syllables in
a line of poetry. That means one syllable is pronounced stronger,
and one syllable is softer. iambic: anapestic: trochaic: dactylic:
unstressed stressed
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- SpondeePyrrhic Amphibrach Amphimacer (the amphibrach and
amphimacer are often omitted when scanning poetry.)
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- The Iambic foot. By far the most common foot in the English
language. It is the sound of the human heart.
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- Whose woods these are I think I know
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- The trochaic foot. The trochee is the opposite of the
iamb.
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- Double, double, toil and trouble, fire burn and cauldron
bubble.
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- The anapestic foot. The anapest is the galloping foot. Imagine
a horse galloping along; hear the sounds of its hooves beating
out
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- I will go to the lake in the woods
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- The Dactylic foot. The dactylic foot is the rhythm of the
waltz: ONE two three, ONE two three, ONE two three
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- Just for a handful of silver he left us be.
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- You know that it would be untrue, You know that I would be a
liar,
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- SpondeePyrrhic Spondee and pyrrhic are called feet, even though
they contain only one kind of stressed syllable. They are never
used as the sole meter of a poem; if they were, it would be like
the steady impact of nails being hammered into a board--no pleasure
to hear or dance to. Inserted now and then, spondee and pyrrhic can
lend emphasis and variety to a meter.
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- Amphibrach Amphimacer The amphibrach and amphimacer are often
omitted when scanning poetry.
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- Anacursis: the extra unaccented syllable at the beginning of a
line. Catalexis: the unaccented syllable at the end of a line.
Enjambment: a run-on line, continuing into the next line without a
pause.
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- Metric feet make up lines of poetry. Lines of poetry make up
stanzas. Stanzas make up cantos in much longer poems.
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- Couplet=a two line stanza Triplet (Tercet)=a three line stanza
Quatrain=a four line stanza Quintet=a five line stanza Sestet
(Sextet)=a six line stanza Septet=a seven line stanza Octave=an
eight line stanza
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- The length of a line of poetry, based on what type of rhythm is
used. The length of a line of poetry is measured in metrical units
called FEET. Each foot consists of one unit of rhythm. So, if the
line is iambic or trochaic, a foot of poetry has 2 syllables. If
the line is anapestic or dactylic, a foot of poetry has 3
syllables.
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- (This is where its going to start sounding like geometry class,
so you left- brainers are gonna love this!) Each set of syllables
is one foot, and each line is measured by how many feet are in it.
The length of the line of poetry is then labeled according to how
many feet are in it. *there is rarely more than 8 feet* 1:
Monometer 2: Dimeter 3: Trimeter 4: Tetrameter 5: Pentameter 6:
Hexameter 7: Heptameter 8: Octameter
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- She Walks in Beauty She walks in beauty, like the night Of
cloudless climes and starry skies; And all thats best of dark and
bright Meet in her aspect and her eyes: Thus mellowed to that
tender light Which Heaven to gaudy day denies. Reading this poem
out loud makes the rhythm evident. Which syllables are more
pronounced? Which are naturally softer? Count the syllables in each
line to determine the meter. Examination of this poem reveals that
it would be considered iambic tetrameter.
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- Sonnet, Villanelle, Elegy, Ode, and Sestina
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- Follows a fairly strict form 14 lines, usually iambic Three
kinds (Petrarchan, Shakespearean, Spenserian) Originated in
ItalyFrancesco Petrarch From the Italian word sonnetto = little
song Love = original topic of the sonnet Shifted form when adapted
by the English Sonnet was very popular during the Renaissance
period and had a revival with the 19 th century romantic poets.
Modern perspective: easily comprehended and balances the narrative
with the lyric.
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- Divided into two sections Octave (how many lines?) Sestet (how
many lines?) Meter = usually iambic pentameter Rhyme scheme
(usually these two) Abbaabba/cdcdcd Abbaabba/cdecde
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- 1. Alone, and lost in thought, the desert glade 2. Measuring I
roam with lingering steps and slow; 3. And still a watchful glance
around me throw, 4. Anxious to shun the print of human tread: 5. No
other means I find, no surer aid 6. From the world's prying eye to
hide my woe: 7. So well my wild disordered gestures show, 8. And
love-lorn looks, the fire within me bred, 9. That well I think each
mountain, wood and plain, 10. And river knows, what I from man
conceal, 11. What dreary hues my life's fool chances dim. 12. Yet
whatever wild or savage paths I've taken, 13. Wherever I wander,
love attends me still, 14. Soft whispering to my soul, and I to
him.
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- Theory: originated by Shakespeare? Noadapted. Brought to
England in the 16 th century by Thomas Wyatt and the Earl of
Surrey. three quatrains and the couplet is the defining feature
Meter = is usually iambic pentameter = light/heavy emphasis Rhyme
scheme abab/cdcd/efef/gg NOTE: Spenserian Sonnet Format: three
quatrains and a couplet; rhyme scheme = abab/bcbc/cdcd/ee
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- 1. Shall I compare thee to a summers day? 2. Thou art more
lovely and more temperate: 3. Rough winds do shake the darling buds
of May, 4. And summers lease hath all too short a date; 5.
Sometimes too hot the eye of heaven shines, 6. And often is his
gold complexion dimmed; 7. And every fair from fair sometime
declines, 8. By chance or natures changing course untrimmed; 9. But
thy eternal summer shall not fade, 10. Nor lose possession of that
fair thou owst; 11. Nor shall death brag thou wandrest in his
shade, 12. When in eternal lines to Time thou growst: 13. So long
as men can breathe, or eyes can see, 14. So long lives this, and
this gives life to thee.
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- Consider: What happens? Break it down--what is being said in
each unit? Where are the shifts? THINK FORM! Who is the speaker?
Whom is the speaker addressing? Is there a problem and solution? A
theme and a comment? A question and an answer? What are they? What
imagery is used? What senses does the imagery correspond to? How
does the imagery contribute to the poems overall meaning/theme? Are
any of the recurring images symbolic? If so, what do they
mean?
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- Identify as Italian or English. How do you know this? Identify
as modern or older. What clues do you have? Think diction, detail,
imagery, syntax, and tone Explain what the poem is about, develop a
statement of theme, and cite at least one line as evidence.
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- 1. I met a traveler from an antique land 2. Who said: Two vast
and trunkless legs of stone 3. Stand in the desertNear them, on the
sand, 4. Half sunk, a shattered visage lies, whose frown, 5. And
wrinkled lip, and sneer of cold command, 6. Tell that its sculptor
well those passions read 7. Which yet survive, stamped on these
lifeless things, 8. The hand that mocked them, and the heart that
fed: 9. And on the pedestal these words appear: 10. My name is
Ozymandias, king of kings: 11. Look on my works, ye Mighty, and
despair! 12. Nothing beside remains. Round the decay 13. Of that
colossal wreck, boundless and bare 14. The lone and level sands
stretch far away.
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- 1. The world is too much with us; late and soon, 2. Getting and
spending, we lay waste our powers: 3. Little we see in Nature that
is ours; 4. We have given our hearts away, a sordid boon! 5. This
sea that bares her bosom to the moon; 6. The winds that will be
howling at all hours, 7. And are up-gathered now like sleeping
flowers; 8. For this, for everything, we are out of tune; 9. It
moves us not.--Great God! Id rather be 10. A Pagan suckled in a
creed outworn; 11. So might I, standing on this pleasant lea, 12.
Have glimpses that would make me less forlorn; 13. Have sight of
Proteus rising from the sea; 14. Or hear old Triton blow his
wreathd horn.
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- 1. Their ordeal over, now the only trouble 2. Was conveying
somehow to a boy of three 3. That for a week or two hed be seeing
double. 4. Surely he wouldnt recall the surgery 5. Years later, but
what about the psychic scars? 6. And so, when the patch came off,
they bought the toy 7. Hed wanted most. He held it high. Two cars!
8. He cried; and drove himself from joy to joy. 9. Two baby
sistersOne was enough of Clare, 10. But who could
complain?considering that another 11. Woman had stepped forward to
take care 12. Of the girls, which left him all alone with Mother.
13. Victory! Even when he went to pee, 14. He was seconded in his
virility.
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- Definition: a French verse form which utilizes repetition of
lines and rhymes. History Originally an Italian rustic song Form
today = French poet, Jean Passerat (d. 1602) influenced English
writersOscar Wilde. Structure: 19 lines Five tercets (which are??)
One Quatrain Rhyme Scheme: aba/aba/aba/aba/aba/abaa
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- 1 st line of the first stanza is repeated as the last line of
the second and fourth stanzas. 3 rd line of the first stanza is
repeated as the last line of third and fifth stanzas. These two
refrain lines are repeated as a couplet in the last two lines of
the quatrain. Sosong-like in quality, but not in narrative due to
its circular nature.
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- Read Dylan Thomas poem. Whom does the poem address? What is the
speaker saying? Villanelles are some times criticized as elaborate
exercises in trivial wordplay. Defend Thomass poem against this
charge. In other words, how does the form support the meaning of
the poem?
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- Do not go gentle into that good night, Old age should burn and
rave at close of day; Rage, rage against the dying of the light.
Though wise men at their end know dark is right, Because their
words had forked no lightning they Do not go gentle into that good
night. Good men, the last wave by, crying how bright Their frail
deeds might have danced in a green bay, Rage, rage against the
dying of the light. Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way, Do not go gentle
into that good night. Grave men, near death, who see with blinding
sight Blind eyes could blaze like meteors and be gay, Rage, rage
against the dying of the light. And you, my father, there on the
sad height, Curse, bless, me now with your fierce tears, I pray. Do
not go gentle into that good night. Rage, rage against the dying of
the light.
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- Definition: a reflective poem that laments the loss of
something or someone (or loss or death more generally). History
Greek & Roman = elegiac meter Dactylic hexameter (stressed,
unstressed, unstressed syllables) = marginal & nursery rhymes
Elizabethan Times = certain love poems 17 th Century Shift = focus
on loss Change in form
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- No set metrical form (no pattern, cadence, or repetition)
Public lament that sets out the circumstances and character of a
loss. Mourns for the person, lists his/her virtues, and seeks
consolation beyond the momentary event = grief is a public one
Structure relies on slowly evolving customs and decorums. Can have
elegiac tone! American Pie = the song!American Pie = the song!
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- Definition: A serious formal poem in which a poet grieves the
loss of a dead friend. Poet-mourner figures himself and the
individual mourned as shepherds Dead shepherd traditionally given a
Greek name Highly conventional Opens with an invocation, followed
by a statement of the poets grief, and a description of a
procession of mourners. Typically also discusses philosophy too
(fate)
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- Using O Captain! My Captain! complete the following tasks:
Identify the type of elegy. How do you know this? Quote and explain
three qualities of an elegy that the poem possesses. Analyze the
tone of the piece. You cannot say sad. Homework: Compare/Contrast
Whitmans Elegy with A.E. Housmans To an Athlete Dying Young.
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- Definition: a relatively long, serious, and usually meditative
lyric poem that treats a noble or otherwise elevated subject in a
dignified and calm manner. History: Ancient Greece; originally a
choral poem intended to be sung at a public event Dramatically
changed during the Romantic movement. Structure: Regular/Pindaric
(rare, typically characterized by a ceremonious or even exalted
tone) Irregular/Cowleyan (no pattern; rhyme scheme and stanza at
the poets discretion.) Horatian (equal length stanzas having the
same rhyme and meter.)
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- Trifold Stanzaic Strophe = sung while the chorus danced in one
direction Antistrophe = sung while the chorus danced in the
opposite direction Epode = sung while standing still Meter =
strophe and antistrophe have the same meter rule of thumbstarts
with an O
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- Both the Ode and Elegy seek to elevate a subject. How are they
different? What components of the structure of each style of poetry
helps to elevate the subjects?
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- Lyrical Musical quality Ballad Lyrical poem that tells a story
Epic Long poem that is a story Epitaph poem for a tombstone