Allen-a-Dale by Sir Walter...

Allen-a-Dale by Sir Walter Scott

Allen-‐a-‐Dale has no fagot for burning, Allen-‐a-‐Dale has no furrow for turning, Allen-‐a-‐Dale has no fleece for the spinning, Yet Allen-‐a-‐Dale has red gold for the winning. Come, read me my riddle! come, hearken my

tale! And tell me the cra@ of bold Allen-‐a-‐Dale. The Baron of Ravensworth prances in pride, And he views his domains upon Arkindale side; The mere for his net, and the land for his game; The chase for the wild and the park for the tame; Yet the fish of the lake, and the deer of the vale, Are less free to Lord Dacre than Allen-‐a-‐Dale!


Allen-‐a-‐Dale was ne'er belted a knight, Though his spur be as sharp, and his blade be as bright; Allen-‐a-‐Dale is no baron or lord, Yet twenty tall yeomen will draw at his word, And the best of our nobles his bonnet will vail Who at Rere-‐cross on Stanmore meets Allen-‐a-‐Dale! Allen-‐a-‐Dale to his wooing is come; The mother, she ask'd of his household and home; "Though the castle of Richmond stand fair on the hill, My hall," quoth bold Allen, "shows gallanter sNll; 'T is the blue vault of heaven, with its crescent so pale, And with all its bright spangles," said Allen-‐a-‐Dale.


The father was steel and the mother was stone;

They li@ed the latch, and they made him begone;

But loud, in the morrow, their wail and their cry!

He had laughed on the lass with his bonny black eye,

And she fled to the forest to hear a love-‐tale, And the youth it was told by was Allen-‐a-‐

Dale!

Futility by Wilfred Owen

Move him into the sun— Gently its touch awoke him once, At home, whispering of fields unsown, Always it woke him, even in France, UnNl this morning, and this snow, If anything might rouse him now The kind old sun will know.

Think how it wakes the seeds— Woke once the clay of a cold star Are limbs, so dear-‐achieved, are sides Full-‐nerved, sNll warm, too hard to sNr? Was it for this the clay grew tall? -‐-‐O what made fatuous sunbeams toil To break earth’s sleep at all?

Poetry Terms/Vocabulary From “Allan-‐a-‐Dale” by Sir Walter Sco< [Sco>sh; Wrote Ivanhoe; “Allan-‐a-‐Dale” is a ballad

ballad (n) a poem or song that tells a story

compulsory (adj) compel (v)

required by a law or rule; having the power of forcing someone to do something

yeomen (man) (n) a commoner who owns land and is pledged to defend his lord

From “FuBlity” by Wilfred Owen [wrote about WWI; “shell-‐shock =PTSD]

fatuous (adj) unconsciously or complacently foolish

aestheNc (adj) aestheNcally (adv)

ar[ul; pleasing in appearance; relaNng to the definiNon of what is beauNful

Poetry Terms/Vocabulary See definiNons and examples on p. 306

definiNon Example

perfect rhyme two or more words having idenNcal sounds in the last stressed vowel and all sounds following that vowel

imaginaNon / agitaNon

slant rhyme two words with similar but slightly mismatched sounds are paired

star / door

eye rhyme words pairs that are spelled alike but are pronounced differently

cough / bough / enough

end rhyme rhymes that fall at the ends or corresponding lines of poetry

Come, read me my riddle! come harken my tale!

And tell me the cra@ of bold Allen-‐a-‐Dale.

internal rhyme rhyme occurring within a line of poetry

Yet Allen-‐a-‐Dale has red gold for the winning, . . .

And tell me the cra@ of bold Allen-‐a-‐Dale.

rhyme scheme ababcdcdefef

Poetry Terms/Vocabulary

(p. 310) definiNon Example

onomatopoeia words that sound like what they mean

buzz, sip, hiss

assonance repeNNon of similar vowel sounds in a series of words

glade / frail / grace

alliteraNon the repeNNon of beginning sounds of words

She sells seashells . . . Fe! Fie! Fo! Fum!

consonance repeNNon of terminal consonant sounds

fights / jackets glass / boss


Meter definiNon Example

meter the regular arrangement of stressed and unstressed syllables—the rhythm of a poem

scansion the process of idenNfying the poeNc foot and the number of repeats in a line of poetry

poeNc foot the specific combinaNon of two or three stressed and/or unstressed syllables that repeats throughout a line of poetry


Meter p. 311 definiNon Example

iambic foot unstressed + stressed

defeat, create, repeat

trochaic foot stressed + unstressed

poem,

anapesNc foot unstressed + unstressed + stressed

violin, reinforce,

dactylic foot stressed + unstressed + unstressed

finally, unity, emphasize

spondaic foot stressed + stressed

out, out

pyrrhic foot unstressed + unstressed

Combining pyrrhic and spondaic paferns:

Poetry Terms/Metrical Line

Metrical Line = combinaNon of poeNc foot with the number of Nme it repeats

1x monometer

2x dimeter

3x trimeter

4x tetrameter

5x pentameter

Combine the poeBc foot with meter for a line of poetry to idenBfy the metrical line

spondaic monometer =

dactylic dimeter =

anapesNc trimeter =

trochaic tetrameter =

iambic pentameter =

Short quiz over notes 1. Words that have the same beginning sounds show _______.

2. Words that mimic the sounds that they represent are called _____ [Examples: hiss, buzz]

Write the following words on your paper. Use scansion marks to denote accents. Beside each word, also write the correct poeBc foot or meter pa<ern.

3. renegade, 4. problem, 5. defeat 6. conceal 7.  Kite/fight is an example of _____ rhyme. 8.  Road/food is an example of _____ rhyme. 9.  Home/come is an example of _____ rhyme. 10.  If something is ar[ul and pleasing to the eye, it is said

to be _____ pleasing.

The Charge of the Light Brigade by Alfred, Lord Tennyson


Half a league, half a league, Half a league onward, All in the valley of Death Rode the six hundred. "Forward, the Light Brigade! "Charge for the guns!" he said: Into the valley of Death Rode the six hundred. "Forward, the Light Brigade!" Was there a man dismay'd? Not tho' the soldier knew Someone had blunder'd: Theirs not to make reply, Theirs not to reason why, Theirs but to do and die: Into the valley of Death Rode the six hundred.

Cannon to right of them, Cannon to le@ of them, Cannon in front of them Volley'd and thunder'd; Storm'd at with shot and shell, Boldly they rode and well, Into the jaws of Death, Into the mouth of Hell Rode the six hundred. Flash'd all their sabres bare, Flash'd as they turn'd in air, Sabring the gunners there, Charging an army, while All the world wonder'd: Plunged in the bafery-‐smoke Right thro' the line they broke; Cossack and Russian Reel'd from the sabre stroke Shafer'd and sunder'd. Then they rode back, but not Not the six hundred.

Cannon to right of them, Cannon to le@ of them, Cannon behind them Volley'd and thunder'd; Storm'd at with shot and shell, While horse and hero fell, They that had fought so well Came thro' the jaws of Death Back from the mouth of Hell, All that was le@ of them, Le@ of six hundred. When can their glory fade? O the wild charge they made! All the world wondered. Honor the charge they made, Honor the Light Brigade, Noble six hundred.


The Destruction of Sennacherib

by George Gordon, Lord Byron

The Assyrian came down like the wolf on the fold, And his cohorts were gleaming in purple and gold; And the sheen of their spears was like stars on the sea, When the blue wave rolls nightly on deep Galilee. Like the leaves of the forest when Summer is green, That host with their banners at sunset were seen: Like the leaves of the forest when Autumn hath blown, That host on the morrow lay withered and strown. For the Angel of Death spread his wings on the blast, And breathed in the face of the foe as he passed; And the eyes of the sleepers waxed deadly and chill, And their hearts but once heaved, and for ever grew sNll!

The Destruction of Sennacherib (conNnued) by George Gordon, Lord Byron

And there lay the steed with his nostril all wide, But through it there rolled not the breath of his pride; And the foam of his gasping lay white on the turf, And cold as the spray of the rock-‐beaNng surf. And there lay the rider distorted and pale, With the dew on his brow, and the rust on his mail: And the tents were all silent, the banners alone, The lances unli@ed, the trumpet unblown. And the widows of Ashur are loud in their wail, And the idols are broke in the temple of Baal; And the might of the GenNle, unsmote by the sword, Hath melted like snow in the glance of the Lord!

Poetry Terms: Verse Forms p. 316 definiNon Example

Verse refers broadly to composiNons wrifen in meter. rhymed verse—having an end rhyme and regular meter blank verse—unrhymed iambic pentameter; Shakespeare used this pafern because it mimics natural speech free verse—poems having neither regular meter nor rhyme

The Eagle by Alfred, Lord Tennyson

He clasps the crag with crooked hands;

Close to the sun in lonely lands, Ringed with the azure world, he

stands.

The wrinkled sea beneath him crawls;

He watches from his mountain walls,

And like a thunderbolt he falls.

from Julius Caesar by William Shakespeare

Cowards die many Nmes before their deaths;

The valiant never taste of death but once.

Of all the wonders that I yet have heard,

It seems to me most strange that men should fear;

Seeing that death, a necessary end, Will come when it will come.

Splinter by Carl Sandburg

The voice of the last cricket Across the first frost Is one kind of good-‐by. It is so thin a splinter of singing.

Poetry Terms: TradiBonal Elements/Forms of Poetry p. 318 definiNon

stanza divisions of a poem based on thought, meter, or rhyme and are usually recognized by the number of lines they contain

refrain a line or group of lines repeated throughout a poem

ballad a narraNve poem, usually intended to be recited or sung

sonnet a lyric (songlike) poem of 14 lines

Italian sonnet first 8 lines: [abbaabba] forms a complete thought last 6 lines (2 or 3 new rhymes)—another thought

English sonnet whole thought over 3 quatrains with a concluding couplet [ababcdcdefefgg]

Poetry Terms: TradiBonal Elements/Forms of Poetry p. 318 definiNon Example

haiku Japanese form of poetry used to create vivid imagery or someNmes to enlighten the mind

cinquain (note pronunciaNon: sin-‐kane)

a quintet (5-‐lined poem) focusing on imagery First line = one stressed syllable Second line = two syllables Third line = three syllables Fourth line = four syllables Fi@h line = one stressed syllable that renames the first line and makes a point

Bonnie George Campbell HIE upon Hielands, and laigh upon Tay, Bonnie George Campbell rode out on a day. He saddled, he bridled, and gallant rode he, And hame cam his guid horse, but never cam he. Out cam his mother dear, greeNng fu sair, And out cam his bonnie bryde, riving her hair.

“The meadow lies green, the corn is unshorn, But bonnie George Campbell will never return,” Saddled and bridled and booted rode he, A plume in his helmet, A sword at his knee. But toom cam his saddle, all bloody to see, Oh, hame cam his guid horse, but never cam he!

Haiku “17 syllables of wonder”

•  hfp://www.youtube.com/watch?v=pwnqUmmJ-‐zE

Limerick

•  hfp://www.youtube.com/watch?v=niAaXPzYtgo&NR=1

Poetry Terms: ArBsBc Techniques

p. 325 definiNon Example

anaphora the repeNNon of specific words or phrases at the beginnings of specific words or grammaNcal units

“It was the best of Nmes, it was the worst of Nmes, it was the age of wisdom, it was the age of foolishness . . .” From A Tale of Two Ci=es by Charles Dickens

parallelism similarity in the structure or two or more phrases, clauses, or sentences

See above.

chiasmus [kī-‐az-‐mus(z)]

inverts the parallel structure, keeping the elements of the original phrase, clause, or sentence, but reversing them in the following unit

“With what I most enjoy contented least . . .” from Sonnet 29 (adv, v, v, adj)

A broken ALTAR, Lord, thy servant rears, Made of a heart and cemented with tears; Whose parts are as thy hand did frame; No workman's tool hath touch'd the same. A HEART alone Is such a stone, As nothing but Thy pow'r doth cut. Wherefore each part Of my hard heart Meets in this frame To praise thy name. That if I chance to hold my peace, These stones to praise thee may not cease. Oh, let thy blessed SACRIFICE be mine, And sancNfy this ALTAR to be thine.

The Altar by George Herbert

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