Poetry, two plots for analysis within 24 hours

Prose Terms and Definitions:

 Speaker/Listener: o Speaker

 the narrator of the poem, the narrator’s personality and perspective  the identity of the speaker is constructed through diction, chosen images,

and the overall tone of the voice

o Listener  the intended audience of the poem  this person or persons can either be addressed directly or the reader can

puzzle out who would most understand and appreciate what the poem is

saying

 Imagery: o Images

 representations of people, animals, things, etc. that produce sights, sounds, tastes, scents, and sensations in the reader’s mind

 Ex. – John Donne’s “The Good Morrow”

 My face in thine eye, thine in mine appears,

 And true plain hearts do in the faces rest;

 Where can we find two better hemispheres,

 Without sharp north, without declining west? (15-18).

 Rhyme: o Rhyme

 words that sound the same.

 Ex. dense and sense o Assonance

 words where vowel sounds repeat.

 Ex. The women wore a wool sweater. o Consonance

 repetition of consonant sounds

 Ex. Sam saw a snake sliding under her seat. o Onomatopoeia

 The use of onomatopoeia in poetry is to make the readers believe they can hear certain words when they read them. These words mainly resemble

things that make the noise that is being said. The readers imagination is

also involved in this technique because once they are reading the word

they would say it in their head and try to picture the actual noise.

 Ex. Beep beep!; ribbit ribbit; clap o Eye Rhyme

 The use of eye rhyme is to really trick the reader while they're reading, but once the words are said aloud there is clarification. This technique is to

make the reader think the two words will sound alike based off of their

spelling and the way that they look, but when they are said outloud they

really do not sound alike. Although the words may not sound alike, the

main purpose is to make the reader think that they do.

 Ex. father, rather; mother, bother;

o Near/Slant Rhyme  The technique of near/slant rhyme is to kind of rhyme the words but not to

their full extent. The words may sound kind of similar, but not enough to

actually show that the writer is trying to rhyme them exactly. In the

example, the words sound similar but do not rhyme.

 Ex. “Not Waving but Drowning” by Stevie Smith; moaning, drowning;

o End rhyme  rhymes at the end of the line

 Ex. o Now, of my three score years and ten, o Twenty will not come again o And take from seventy springs a score o It only leaves me fifty more

o Perfect Rhyme  words that are spelled or have the same sound but have different meanings

 Ex. rain and reign o Masculine Rhyme

 when the rhyme is on the last syllable of the words

 Ex. stay and away o Feminine Rhyme

 when the words that rhyme are on the weak syllable of the word.

 Ex. Table and Lable, Season and Reason, and Thunder and Wonder

o Internal Rhyme  when the poet uses a rhyme in the beginning of the sentence than at the

end.

 Ex. The hen played in the pen. o Rhyme Scheme

 the rhyming arrangement in the poem

 Ex. AB AB, CD CD, EE o Rhyme Royal

 rhyme Scheme: A-B-A-B-B-C-C

 Ex. o They flee from me, that sometimes did me seek o With naked foot stalking in my chamber o I have seen them, gentle, tame, and meek o That now are wild, and do not remember o That sometime they put themselves in danger o To take bread at my hand; and now they range o Busily seeking with continual change” (701)

 Lineation: o End-Stopped

 if the meaning of the line is definite by its end.

 Ex. o I long to hear love's gentle tune.

o I only mourn it ends so soon. o Line of a poem

 words or letters that are on one line or that are next to each other from one end of a page to the other. In the example below, a is one line and b is

another line.

 Ex. o They flee from me, that sometimes did me seek, o With naked foot staking in my chamber

o Enjambment  an incomplete line in a stanza that does not end and keeps the same

thought or idea in the next line.

 Example: o Oh, to feel the soft, soft touch of spring o Again, and the April softness it will bring!” (701)

 Meter: o Meter

 the rhythm that a poem is using. It takes a while to figure it out. You have to use syllables in words, more specifically where the accents usually fall

in words, and sometimes you have to guess what rhythm should sound

like. Consider "Twinkle, Twinkle, Little Star." We figure out the rhythm

because of the word "twinkle," where the stress is on the first syllable.

 Ex. o Twinkle, twinkle, little star, o How I wonder what you are. o Up above the world so high, o Like a diamond in the sky.

o Foot  the rhythmic pattern that make up meter. (pg 715)

 Ex. Whose woods these are I think I know o Scansion

 viewing a poem to find its meter (715) o Blank Verse

 Lines that do not rhyme (720)

 Ex. o I walked to the store o I held my mommy's hand o I counted trees as we walked

o Caesura  a pause in a line for dramatic effect (719)

 Ex. o She jumped// and broke her neck when she landed

o Accent  the stress you put behind a certain word (714)

 Ex. dis(`) en(u) chant(`) ed(u) o Stressed Syllables

 a strong emphasis on syllables. Often expressed with a line over the syllable

 Ex. EAT, HEAting, toDAY. o Unstressed Syllables

 a weak emphasis on syllables. Often expressed with a 'u' over the syllable

 Ex. ToTAlly, TOmato, liTTLE, parts in caps are not stressed o Anapest, Anapestic Meter

 when there is a weak stress put on the first two words and a strong stress put on the third one

 Ex.

 By(u) the(u) sea(,)\by(u) the(u) sea(`),\ by(u) the(u) beau(`)\ti(u) ful(u) sea(`)

o Rising Meter  the poems rhythmic pattern transitioning from a weak to a strong accent  Ex.

 By the sea, by the sea, by the beautiful sea. The accent gets stronger as the sentence goes on.

o Dactyl, Dactylic Meter  the opposite of anapest, a strong stress put on the first word, then weak

stress on the second and third words (719)

 Ex.

 Down(`) by (u) the(u)\sea(`), by(u) the\ beau(`) ti(u) ful(u)\ sea(`). o Falling Meter

 a strong to weak accent (720)  Ex.

 Hip-Hop, Be-bop, treetop--freedom. o Iamb, Iambic Meter

 a foot of one weak and one strong syllable (716)  Ex. to-DAY

o Trochee  when a weak accent follows a strong one (716)  Ex. In Mary Coleridge’s “A Clever Woman”,  “You thought I had the strength of men.” The sentence is structured in a

way that the emphasis comes in at every other syllable.

o Pyrrhus  two weak accents (720)

 Ex. East of the river o Spondee

 A foot regarding two strong syllables (720)

 Ex. KNICK-KNACK

 Stanza: o Stanza

 a group of lines with a certain rhyme and meter that is proceeded by a similar pair of lines. It is the traditional way of writing in poetry (721)

 Ex. from "The Lovesong of J. Alfred Prufrock"

 The space between paragraphs signals the two stanzas.

o Let us go then, you and I, o When the evening is spread out against the sky o Like a patient etherized upon a table; o Let us go, through certain half-deserted streets, o The muttering retreats o Of restless nights in one-night cheap hotels o And sawdust restaurants with oyster-shells: o Streets that follow like a tedious argument o Of insidious intent o To lead you to an overwhelming question ... o Oh, do not ask, “What is it?” o Let us go and make our visit. o o In the room the women come and go o Talking of Michelangelo.

 Sense and Sound:

o Allusion  a reference to shared information for the purpose of having readers make a

connection between things or ideas

 He was the LeBron James of poetry, started young and wowed everyone throughout his career.

o Apostrophe  addressing something that is inanimate or not alive.

 Ex. o A lightning bolt is unsure of itself, incomprehensive, and

curious" (742)

o Connotative  related significance associated to the meaning of a word.

 Ex. o Come to my arms, my beamish child (731)

o Denotative  literal meaning of a word.

 Ex. the word "beamish" comes from the word "beaming" which literally means to shine brightly

o Diction  the writing a poet chooses in which they bring out meaning in a stylistic

manner

 Ex. “To Waken An Old Lady” (737) includes no words exceeding three syllables and keeps lines concise.

o Figurative Language (Figures of speech)  a type of language that uses abstract descriptions to convey an emblematic

meaning.

 Ex. o The weak sun flickered over the dry surface (742)

o Literal language  opposite of figurative language; words that are being used to express their

true defined meaning

 Ex. The boats did not have a drop of water on them

 The idea here is just that the boats are dry. o Hyperbole

 statements that are embellished or exaggerated and should not be taken literally

 Ex. o Carve it in doves and pomegranates, and peacocks with a

hundred eyes”

o Poetic Diction  words used in poetry that are more sophisticated than those we tend to use

in everyday life.

 Ex. o On harsh weedstalks o the flock has rested, o the snow o is covered with broken o seedhusks o and the wind tempered o by a shrill o piping of plenty. (737)

o Simile  a comparison of two unalike things used to make writing more detailed

and usually contains like or as.

 Ex. o The rain was like a waterfall of brilliant beaded light (707)

o Metaphor  a figure of speech in which something is symbolically used to represent

another thing. Differs from a simile which uses like or as

 Ex. I am the grass; I cover all o Symbol

 a word that represents some other meaning rather than the literal implication of the word.

 Ex. o A lightning bolt is unsure of itself, incomprehensible and

curious

o Oxymoron  a statement that contradicts itself

 Ex. o Darkness visible (Paradise Lost)

o Paradox  statement that seems it cannot be true, but turns out to be, or is both true

and not true at the same time

 Ex.

o This statement is false. o You can save money by spending it. o “…youth is wasted on the young” (Shaw). o I can’t resist anything but temptation (Wilde). o “I must be cruel to be kind” (Shakespeare).

o Personification  metaphor where human characteristics are given to something "inanimate,

animal, or abstract

 Ex.

 “Your lipstick grinning on our coat” o Metonymy

 type of metaphor where the writer uses the name of one thing to replace the saying of something else

 Ex. o I knew him when he was young, and I knew him in his

cradle

o Synecdoche  similar to a metaphor and metonymy, a synecdoche is used to represent

parts of a whole, or vice versa, is can use a whole to represent parts.

 Ex. o the phrase “all hands on deck” is a demand for all of the

crew to help, yet the word “hands”—just a part of the

crew—stands in for the whole crew.

o Syntax  the set order of words in a language

 Ex. In “Metaphors” (742), each line is a different synecdoche that eventually makes the entire poem.

o Tone  the overall feeling and attitude set by the author and continued throughout

their writing piece

 Ex. In “Jabberwocky”, the overall tone is whimsical o Understatement

 a literary device used to make something seem less important than it actually is

 Ex. an elephant, a ponderous house