AGENDA

• Discussion: Sestina/Villanelle
• Terms 24- 30
• Lecture: Free Verse
• Guided Writing: Free Verse
• Project #1
THE REVIEW

18. English Sonnet
19. Italian Sonnet
20. Stanza

21. Couplet
22. Quatrain
23. Octave

24. Sestet
DISCUSSION SUBJECT: 10 MINUTES

THE VILLANELLE
THE SESTINA
Share your work. Identify both
form and general conventions.
TERMS
24 Sestina
A poem of thirty-nine lines and written in iambic
pentameter. Its six-line stanzas repeat in an intricate...
26. Tercet
A three-line stanza, as the stanzas in Frost's "Acquainted With
the Night" and Shelley's "Ode to the West Wind....
29. Free verse (Open form)
Poetry without a regular pattern of meter or rhyme. The verse is "free" in not
being bound by e...
• FREE VERSE

LECTURE SUBJECT
Writing Free Verse
In A Station Of The Metro
by Ezra Pound
The apparition of these faces in the
crowd:
Petals on a wet, black bough.

Title i...
The Snow Man
by Wallace Stevens
One must have a mind of winter
To regard the frost and the boughs
Of the pine-trees cruste...
The Snow Man
by Wallace Stevens

Metaphor: A snow man for
a man in the snow

One must have a mind of winter
To regard the ...
La Figlia Che Piange (The Weeping Girl)
by T. S. Eliot
Stand on the highest pavement of the stair —
Lean on a garden urn —...
La Figlia Che Piange (The Weeping Girl)
by T. S. Eliot
Stand on the highest pavement of the stair —
Lean on a garden urn —...
Free verse, despite the seeming lack of
restrictions, should be as carefully fashioned
as any formal poem. It is as diffic...
There is no standard, of course, for how long
a free verse poem line should be. Usually a
line will have at least three be...
Even though the lines of a free verse poem don't have
to have a fixed meter, they should still have cadences
and patterns ...
A big challenge is avoiding the abstract and focusing on
the concrete to create images.
An abstraction is anything that is...
Formatting a poem can make an essential difference in rhythm and
meaning. Short lines, emphasis, and indentations create p...
Grammatical Errors: Do not disregard common grammatical rules
unless there is substantial need for it. Use punctuation tha...
Know what you are writing about. If you can’t
completely dissect your poem and tell a reader what
every single word’s purp...
GUIDED WRITING
This Is Just To Say
by William Carlos
Williams
I have eaten
the plums
that were in
the icebox
and which
you were probably
...
Make a list of ten
words. Incorporate
these words into a
poem made up of
three stanzas
composed of five
lines each.

Langu...
Choose an aphorism and
write a poem that
incorporates the words or
meaning into it.
The three grand
essentials of
happines...
Make a list of
things you're
grateful for.
Beneath each
item, freeassociate a list of
objects. Pick ten
from your lists of...
POETRY: PROJECT #1: 50 POINTS
 For this project, choose two or three different kinds
of poems from your collection to sub...
HOMEWORK

• Post # 5: Free Verse
• Choose two or three different-style
poems to revise for project 1.
• Bring copies of yo...
Ewrt 30 class 5
Upcoming SlideShare
Loading in …5
×

Ewrt 30 class 5

484 views
369 views

Published on

Published in: Education, Spiritual
0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total views
484
On SlideShare
0
From Embeds
0
Number of Embeds
55
Actions
Shares
0
Downloads
1
Comments
0
Likes
0
Embeds 0
No embeds

No notes for slide

Ewrt 30 class 5

  1. 1. AGENDA • Discussion: Sestina/Villanelle • Terms 24- 30 • Lecture: Free Verse • Guided Writing: Free Verse • Project #1
  2. 2. THE REVIEW 18. English Sonnet 19. Italian Sonnet 20. Stanza 21. Couplet 22. Quatrain 23. Octave 24. Sestet
  3. 3. DISCUSSION SUBJECT: 10 MINUTES THE VILLANELLE THE SESTINA Share your work. Identify both form and general conventions.
  4. 4. TERMS 24 Sestina A poem of thirty-nine lines and written in iambic pentameter. Its six-line stanzas repeat in an intricate and prescribed order the final word in each of the first six lines. After the sixth stanza, there is a three-line envoi, which uses the six repeating words, two per line. 25 Villanelle A nineteen-line lyric poem that relies heavily on repetition. The first and third lines alternate throughout the poem, which is structured in six stanzas --five tercets and a concluding quatrain. Examples include Bishop's "One Art," Roethke's "The Waking," and Thomas's "Do Not Go Gentle into That Good Night."
  5. 5. 26. Tercet A three-line stanza, as the stanzas in Frost's "Acquainted With the Night" and Shelley's "Ode to the West Wind." The three-line stanzas or sections that together constitute the sestet of a Petrarchan or Italian sonnet. 27. Elision The omission of an unstressed vowel or syllable to preserve the meter of a line of poetry. Alexander uses elision in "Sound and Sense": "Flies o'er th' unbending corn...." 
 28. Personification The endowment of inanimate objects or abstract concepts with animate or living qualities. An example: "The yellow leaves flaunted their color gaily in the breeze." Wordsworth's "I wandered lonely as a cloud" includes personification.
  6. 6. 29. Free verse (Open form) Poetry without a regular pattern of meter or rhyme. The verse is "free" in not being bound by earlier poetic conventions requiring poems to adhere to an explicit and identifiable meter and rhyme scheme in a form such as the sonnet or ballad. Modern and contemporary poets of the twentieth and twenty-first centuries often employ free verse. Williams's "This Is Just to Say" is one of many examples. 30. Image A concrete representation of a sense impression, a feeling, or an idea. Imagery refers to the pattern of related details in a work. In some works one image predominates either by recurring throughout the work or by appearing at a critical point in the plot. Often writers use multiple images throughout a work to suggest states of feeling and to convey implications of thought and action. Some modern poets, such as Ezra Pound and William Carlos Williams, write poems that lack discursive explanation entirely and include only images. Among the most famous examples is Pound's poem "In a Station of the Metro": The apparition of these faces in the crowd; Petals on a wet, black bough.
  7. 7. • FREE VERSE LECTURE SUBJECT Writing Free Verse
  8. 8. In A Station Of The Metro by Ezra Pound The apparition of these faces in the crowd: Petals on a wet, black bough. Title is really a line in the poem No extra words Imagery/ metaphor List of the "don'ts" that Pound laid down in his 1913 essay on imagism: "Use no superfluous word," "Go in fear of abstractions," "Don't be 'viewy.'"
  9. 9. The Snow Man by Wallace Stevens One must have a mind of winter To regard the frost and the boughs Of the pine-trees crusted with snow; And have been cold a long time To behold the junipers shagged with ice, The spruces rough in the distant glitter Of the January sun; and not to think Of any misery in the sound of the wind, In the sound of a few leaves, Which is the sound of the land Full of the same wind That is blowing in the same bare place For the listener, who listens in the snow, And, nothing himself, beholds Nothing that is not there and the nothing that is. What conventions make this a poem rather than prose?
  10. 10. The Snow Man by Wallace Stevens Metaphor: A snow man for a man in the snow One must have a mind of winter To regard the frost and the boughs Of the pine-trees crusted with snow; Assonance: one must: metaphor/ mind of winter Imagery And have been cold a long time To behold the junipers shagged with ice, The spruces rough in the distant glitter imagery Assonance: distant glitter Of the January sun; and not to think Of any misery in the sound of the wind, In the sound of a few leaves, Any misery in Sound/wind Sound Which is the sound of the land Full of the same wind That is blowing in the same bare place Sound/land Same Wind Same place For the listener, who listens in the snow, Listener/listens And, nothing himself, beholds Nothing x3 Nothing that is not there and the nothing that is.
  11. 11. La Figlia Che Piange (The Weeping Girl) by T. S. Eliot Stand on the highest pavement of the stair — Lean on a garden urn — Weave, weave the sunlight in your hair — Clasp your flowers to you with a pained surprise — Fling them to the ground and turn With a fugitive resentment in your eyes: But weave, weave the sunlight in your hair. What conventions make this a poem rather than prose? So I would have had him leave, So I would have had her stand and grieve, So he would have left As the soul leaves the body torn and bruised, As the mind deserts the body it has used. I should find Some way incomparably light and deft, Some way we both should understand, Simple and faithless as a smile and a shake of the hand.
  12. 12. La Figlia Che Piange (The Weeping Girl) by T. S. Eliot Stand on the highest pavement of the stair — Lean on a garden urn — Weave, weave the sunlight in your hair — Clasp your flowers to you with a pained surprise — Fling them to the ground and turn With a fugitive resentment in your eyes: But weave, weave the sunlight in your hair. A B A C B D A repetition of line three So I would have had him leave, A repetition of So I So I would have had her stand and grieve, would have had So he would have left A As the soul leaves the body torn and bruised, B As the mind deserts the body it has used. C Repetition of As I should find D Some way incomparably light and deft, E Some way we both should understand, B Rep of Some way Simple and faithless as a smile and a shake of the hand. F couplet F simile
  13. 13. Free verse, despite the seeming lack of restrictions, should be as carefully fashioned as any formal poem. It is as difficult to write a good free verse poem as one in a traditional form because you must not only invent your own conventions but fulfill them as well.
  14. 14. There is no standard, of course, for how long a free verse poem line should be. Usually a line will have at least three beats to it if it's to have any substance to it. A single word as an entire line is to be used sparingly as it gives one word inordinate emphasis.
  15. 15. Even though the lines of a free verse poem don't have to have a fixed meter, they should still have cadences and patterns and repetitions of sounds, which give the words their music. These rhythms help carry the reader along or slow the reader down. Natural stresses of the language will call attention to certain words. In a free verse poem, you have the freedom to place these words so they draw extra attention to create tension. Likewise, while lines of rhymed poetry are more regularly end stopped, the syntax of free verse allows for enjambment. These pauses are part of the meter and rhythm of the line.
  16. 16. A big challenge is avoiding the abstract and focusing on the concrete to create images. An abstraction is anything that is not tangible, a noun that does not bring a picture to mind. Love, hate, grief, justice, and time are all abstractions. Images are nouns that are universally seen similarly in our minds. Tables, canyons and trees are all images. People imagine them in similar ways. Concrete images give us the ability to understand another viewpoint. Abstractions are often unavoidable, and that’s where metaphor, simile, and personification come in handy. You can use this figurative language to help connect an abstraction with an image: My love is a rose
  17. 17. Formatting a poem can make an essential difference in rhythm and meaning. Short lines, emphasis, and indentations create pauses in the reader’s mind. Try indenting to break up ideas or isolate lines you see as important. Experiment with formatting; use it to change rhythm and speed. Formatting also includes italicization, bolding, quotation marks, and parentheses. These devices can be used to identify different voices. Use italics to suggest a whisper and bold as a shout or clear-ringing voice. Parentheses will likely be read as an aside. Quotation marks emphasize words. Use these techniques to make the voices more exciting and dynamic.
  18. 18. Grammatical Errors: Do not disregard common grammatical rules unless there is substantial need for it. Use punctuation that fits the purpose: capitalize and use correct spelling. Clichés: Don’t write something you’ve heard. Analyze images and ideas for originality. Abstractions are far more overused than images, so think of something fresh and new to describe. Alliteration: Forms of alliteration can make a poem taste good. Just don’t overdo it. Assonance is less noticeable but often more effective than consonance or alliteration. Repetition: Repetition works sometimes, but it is often overused. Don’t repeat the same exact lines just to take up space. Repetition in formatting and theme is often necessary and very effective.
  19. 19. Know what you are writing about. If you can’t completely dissect your poem and tell a reader what every single word’s purpose is, then you can improve your verse. Be aware of how every symbol and metaphor complements your poem as you write it. Later you can edit it, but if there isn’t a strong base there will not be a strong finished piece. The more you read and write poetry, the better you’ll read and write poetry.
  20. 20. GUIDED WRITING
  21. 21. This Is Just To Say by William Carlos Williams I have eaten the plums that were in the icebox and which you were probably saving for breakfast Forgive me they were delicious so sweet and so cold Think about something that you did or said to someone that you regret. Write a poem of apology, comprising three to five four-line stanzas, with the same number of stressed syllables in each line. Avoid sentimentality. Rely on images, rhythm, and structure to convey your regret.
  22. 22. Make a list of ten words. Incorporate these words into a poem made up of three stanzas composed of five lines each. Languor Listlessness, inactivity. Harbinger Messenger with news of the future Lithe Slender and flexible. resist resonate Ratatouille A spicy French stew. Furtive Shifty, sneaky. Propinquity An inclination. Brood Umbrella To Protection from think alone.. Mellifluous Sweet Opulent Lush, sun or rain. sounding. luxuriant. Dalliance A brief willowy love affair. Flowers, panther, cinnamon, sunset, rain, cookies desolate Ephemeral Shortlived. Penumbra A halfshadow. drab Ingénue A naïve young woman. Fetching Pretty Gossamer The finest piece of thread, a spider's silk Susquehanna A river in Pennsylvania. mundane isolate justify Epiphany A sudden revelation. envision evaluate tarnished deepen define Bungalow A small, Bucolic In a lovely rural setting cozy cottage.
  23. 23. Choose an aphorism and write a poem that incorporates the words or meaning into it. The three grand essentials of happiness are: something to do, someone to love, and something to hope for. -Alexander Chalmers "The first rule of Fight Club is-you do not talk about Fight Club." (Brad Pitt as Tyler Durden, Fight Club) "When you have nothing to say, say nothing." - Charles Caleb Colto "The only thing necessary for the triumph of evil is for good men to do nothing." -Edmunde Burke
  24. 24. Make a list of things you're grateful for. Beneath each item, freeassociate a list of objects. Pick ten from your lists of objects and use them to write a poem. Write a poem that addresses a past or future version of yourself. Write in the second-person singular. Reassure a younger self, send warnings to a future self, or ask questions to which you don’t know the answers.
  25. 25. POETRY: PROJECT #1: 50 POINTS  For this project, choose two or three different kinds of poems from your collection to submit for a grade. For example, you might submit a Haiku, Free Verse, and a Sonnet. If you are submitting longer poems, you might submit only two: for example, a Sestina and a Villanelle or your Blank Verse and a Sonnet.  Writer’s Feedback Workshop: Class 6  Final project due by email at 7:00 am, Saturday of week four: palmoreessaysubmission@gmail.com
  26. 26. HOMEWORK • Post # 5: Free Verse • Choose two or three different-style poems to revise for project 1. • Bring copies of your proposed project for each member of your group to our next class meeting. • Study Terms: 1-30

×