4.-POETRY.pptx


 derived from the Greek word “poiesis”
which literally translates to “making” or
“creating”.
 A Literary work in which special intensity
is given to the expression of feelings and
ideas by the use of distinctive style and
rhythm.
POETRY


a. Speaker g. Tone
b. Audience h. Imagery
c. Content i. Diction
d. Theme j. Figures of Speech
e. Structure k. Sound-Effect Devices
f. Shape and Form
ELEMENTS OF POETRY


The creative narrative voice of the
poem i.e. the person the reader is
supposed to imagine talking or
speaking in the poem.
SPEAKER


 The person or people to
whom the speaker is
speaking.
AUDIENCE


The subject or the idea or the thing
that the poem concerns or
represents.
CONTENT


The theme of the poem relates to
the general idea or ideas
continuously developed
throughout the poem.
THEME


The structure varies with different
types of poetry.
Poets combine the use of language and
a specific structure to create
imaginative and creative work.
STRUCTURE


 LINE
 ENJAMBMENT
 END-STOPPED LINE
 CAESURA
 STANZA
STRUCTURE


A unit of language in which a poem is
divided, which operates on principles
which are distinct from not necessarily
coincident with grammatical structures,
such as the sentence or single clauses in
sentences.
LINE


The running-over of a sentence
or a phrase from one poetic line
to the next, without terminal
punctuatuon.
ENJAMBMENT

I think I shall never see
A poem as lovey as a tree.
A tree whose hungry mouth is prest
Against the earth’s sweet flowing breast;
A tree that looks at God all day,
And lifts her leafy arms to pray;
A tree that may in Summer wear
A nest of robins in her hair.
Trees
Joyce Kilmer

the back wings
of the
hospital where
nothing
will grow lie
cinders
in which shine
the broken
pieces of a green
bottle
Between Walls
William Carlos Williams


A feature in poetry in which
the syntactic unit (phrase,
clause, or sentence)
corresponds in length to the
line.
END-STOPPED LINE

All else is off the point: the Flood, the Day
Of Eden, or the Virgin Birth – Have done!
The Question is, did God send us the Son
Incarnate crying Love! Love is the Way!
The Gap
Sheldon Vanauken


A natural pause or break in a
line of poetry, usually near the
middle of the line.
CAESURA

He thought he’d ‘list, perhaps,
Off-hand-like – just as I –
Was out of work had sold his traps –
No other reason why.
The Man He Killed
Thomas Hardy


 Occurs after a non-stressed
and short syllable in a poetic
line.
Feminine Caesura
“I hear lake water lapping ││ with low sounds
by the shore…”


 Occurs after a long or
accented syllable in a line.
Masculine Caesura
“of reeds and stalk-crickets││fiddling the dank air
lacing his boots with vines ││steering glazed beetles”


A grouped set of lines within a
poem, usually set off from other
stanzas by a blank line or
indentation.
STANZA


 2 lines – couplet
 3 lines – tercet
 4 lines – quatrain
 5 lines – quintet
 6 lines – sestet
 7 lines - septet
 8 lines - octave
Stanza Breaks

I had no time to hate, because
the grave would hinder me,
And life was not so ample I
Could finish enmity.
Nor had I to love, but since
Some industry must be,
The little toil of love, I thought,
Was large enough for me Emily Dickinson


 one of the most inventive form
of poetry is to take on the shape
of its subject.
SHAPE

A sign of spring beginnings,
delicate white with powder pink veins,
petals join at the center with spider legs,
the gentle tangy sweet aroma of apples
complete the vision that floats
like sea foam upon limbs
seemingly barren only
a month ago.
Trees
neatly
lined
side
by
side
bloom
in unison.
Spring Blossoms
Judi Van Gorder


Typography
 A general character or appearance of
printed matter.
 the art and technique of arranging type
to make written language legible,
readable, and appealing when
displayed.

Who
Are you
Who is born
In the next room
So loud to my own
That I can hear the womb
Opening and the dark run
Over the ghost and the dropped son
Behind the wall thin as a wren’s bone?
In the birth bloody room unknown
To the burn and turn of time
And the heart print of man
Bows no baptism
But dark alone
Blessing on
The wild
Child.
Vision and Prayer
Dylan Thomas


 a pattern for making the poem.
 structured
 free verse
FORM


 The writers attitude toward the
subject or audience.
 It can be playful, humorous,
serious, ironic, anything – it can
change as the poem goes along.
TONE

I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
The Road Not Taken
Robert Frost


 Mental pictures perceived with
the senses created by poetic
language.
IMAGERY

his brown skin hung in strips
like ancient wallpaper
and its pattern of darker brown
was like wallpaper:
shapes like full-brown roses
stained and lost through age. The Fish
Elizabeth Bishop


 Poetic Diction refers to the
linguistic style , the vocabulary, the
metaphors used in the writing of
poetry.
DICTION


 type of language that varies from
the norms of literal language.
FIGURE OF SPEECH


 Asyndeton
 Chiasmus
 Litotes
FIGURE OF SPEECH
 Oxymoron
 Synecdoche
 Synesthesia


 a stylistic scheme in which
conjunctions are deliberately
omitted from a series of related
clauses.
 “unconnected”
ASYNDETON

I can show you the world
Shining, shimmering, splendid
Tell me, princess, now when did
You last let your heart decide? …
Unbelievable sights,
Indescribable feeling
Soaring, tumbling, freewheeling
Through an endless diamond sky
A Whole New World from
“Aladdin”


 two or more clauses are related to
each other through a reversal of
structures in order to make a larger
point.
 displays inverted parallelism
CHIASMUS

“Do I love you because you’re beautiful?
Or are you beautiful because I love you?”
“Love as if you would one day hate,
and hate as if you would one day love.”
“Never let a Fool Kiss You
or a Kiss Fool You.”


 an ironical understatement in
which affirmative is expressed by
the negation of the opposite.
LITOTES

Romeo and Juliet
William Shakespeare
No, 'tis not so deep as a well nor so wide as a
church-door, but 'tis enough, 'twill serve. Ask for
me tomorrow, and you shall find me a grave man.
[Beowulf] raised the hard weapon by the hilt, angry
and resolute – the sword wasn’t useless to the
warrior…
(Beowulf, line 1575)


 two opposite ideas are joined to
create an effect.
OXYMORON

“Why, then, O brawling love! O loving hate!
O anything, of nothing first create!
O heavy lightness! Serious vanity!
Misshapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire, sick health!
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.
Dost thou not laugh?”
Romeo and Juliet
William Shakespeare


 a part is used for the whole, the
whole for a part.
SYNECDOCHE

“His eye met hers as she sat there paler and
whiter than anyone in the vast ocean of anxious
faces about her.”
"Beautiful are the feet that bring the good news."
"Friends, Romans, Countrymen, lend me
your ears."


 an attempt to fuse different senses
by describing one in terms of the
other.
e.g. “Back to the region where the
sun is silent.”
SYNESTHESIA


 Alliteration
 Anaphora
 Assonance
 Consonance
 Onomatopoeia
 Rhyme
 Rhythm
SOUND EFFECT DEVICES


 The repetition of the initial
consonant sounds of stressed
syllables in neighboring words or
short intervals within a line or
passage.
ALLITERATION

A flea and a fly in a flue
Were imprisoned, so what could they do?
Said the fly, "let us flee!"
"Let us fly!" said the flea.
So they flew through a flaw in the flue.
A Flea And A Fly In A Flue
Ogden Nash


 A rhetorical device that consists of
repeating a sequence of words at
the beginnings of neighboring
clauses, thereby lending emphasis.
ANAPHORA

“It was the best of times, it was the worst of
times, it was the age of wisdom, it was the age of
foolishness, it was the epoch of belief, it was
the epoch of incredulity, it was the season of
Light, it was the season of Darkness, it was
the spring of hope, it was the winter of despair.”
A Tale of Two Cities
Charles Dickens


 Repetition of vowel sounds to
create internal rhyming within
phrases or sentences.
ASSONANCE

“I wandered lonely as a cloud
That floats on high o‘er dales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze…”
Daffodils
William Wordsworth


 Refers to the juxtaposition of
words producing a harsh sound.
CACOPHONY

” ‘Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
“Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Beware the Jubjub bird, and shun
The frumious Bandersnatch!”
Jabberwocky
Lewis Carroll


 Cunning combination of
consistently copied consonants.
CONSONANCE

“Rap rejects my tape deck, ejects projectile
Whether Jew or gentile, I rank top percentile
Many styles, more powerful than gamma rays
My grammar pays, like Carlos Santana plays.”
Zealots
Fugees


 omission of an unstressed vowel
or syllable to preserve the meter of
a line in poetry.
ELLISION

“But with thy brawls thou hast disturb’d our sport
The ox hath therefore stretch’d his yoke in vain,
The ploughman lost his sweat, and the green corn
Hath rotted ere his youth attain’d a beard;
And crows are fatted with the murrion flock;
The nine men’s morris is fill’d up with mud…”
A Midsummer’s Night Dream
William Shakespeare


 juxtaposition of words producing
a pleasant sound.
EUPHONY

“Season of mists and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch –eves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees…”
Ode to Autumn
John Keats


 formation or use of words which
imitates or suggests the source of
the sound that of describes.
ONOMATOPOEIA

water plops into pond
splish-splash downhill
warbling magpies in tree
trilling, melodic thrill
whoosh, passing breeze
flags flutter and flap
frog croaks, bird whistles
babbling bubbles from tap Running Water
Lee Emmett


 the repeating of a word or a
phrase.
 used to add emphasis and stress
in writing and speech.
REPETITION

“It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know …
I was a child and she was a child,
In this kingdom by the sea,
But we loved with a love that was more than love —
I and my Annabel Lee …”
Annabelle Lee
Edgar Allan Poe


 a type of echoing which utilizes a
correspondence of sound in the
final accented vowels and all that
follows of two and more words but
the preceding consonant sounds
must differ.
RHYME

Humpty Dumpty sat on a wall,
Humpty Dumpty had a great fall.
All the king’s horses and all the king’s men
Couldn’t put Humpty together again.


 Greek “rhythmos” meaning
“measured motion”.
 A literary device which demonstrate
the long and short patterns through
stressed and unstressed syllables.
RHYTHM


1. iamb ( U __ )
2. trochee ( __ U )
3. dactyl ( __ U U )
4. anapest (U U __ )
5. spondee ( __ __ )
RHYTHM
da DUM
DUM da
DUM da da
da da DUM
DUM DUM


 the rhythm of syllables in a line of
verse or in a stanza of a poem.
Depending on the language, this
pattern may have to do with stressed
and unstressed syllables, syllable
weight, or number of syllables.
METER


 The study of meter forms as
well as the use of meter in
one’s own poetry is called
prosody.
METER


2. dimeter
3. trimeter
4. tetrameter
5. pentameter
6. hexameter
7. heptameter
8. octameter
METER

Come live with me and be my love,
And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.
The Passionate Shepherd to His Love
Christopher Marlowe

Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sonnet 18
William Shakespeare

Reason, in itself confounded,
Saw division grow together,
To themselves yet either neither,
Simple were so well compounded. (41-44)
The Phoenix and the Turtle
William Shakespeare

Like a high-born maiden
In a palace-tower,
Soothing her love-laden
Soul in secret hour
With music sweet as love,
which overflows her bower:
To a Skylark
Percy Shelley

Like a|high-born|maiden
In a|palace|tower,
__ U / __ U / __ U
__ U / __ U / __ U
1 2 3
1 2 3
TROCHAIC TRIMETER

This is the forest primeval. The murmuring
pines and the hemlocks,
Bearded with moss, and in garments green,
indistinct in the twilight,
Stand like Druids of eld, with voices sad and
prophetic,
Stand like harpers hoar, with beards that rest on
their bosoms.
Evangeline
Henry Wadsworth Longfellow

Just for a handful of silver he left us,
Just for a riband to stick in his coat—
Found the one gift of which fortune bereft us,
Lost all the others she lets us devote;
The Lost Leader
Robert Browning

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.
The Destruction of Sennacherub
Lord Byron

‘Twas the night before Christmas, when all
through the house
Not a creature was stirring, not even a mouse;
The stockings were hung by the chimney with
care…
While visions of sugar plums danced in their
heads…
A Visit from St. Nicholas
Clement Clarke Moore


Measure the following
poems based on their rhythm
and meter.
ACTIVITY

The way a crow
Shook down on me
The dust of snow
From a hemlock tree
Dust of Snow
Robert Frost
1

I wandered lonely as a cloud
That floats on high o‘er dales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Daffodils
William Wordsworth
2

But, soft! what light through yonder
window breaks?
It is the east, and Juliet is the sun.
Arise, fair sun, and kill the envious
moon,
Who is already sick and pale with grief
Romeo and Juliet
William Shakespeare
3

And the Raven, never flitting, still is sitting,
still is sitting
On the pallid bust of Pallas just above my
chamber door;
And his eyes have all the seeming of a
demon’s that is dreaming,
And the lamp-light o’er him streaming
throws his shadow on the floor;
The Raven
Edgar Allan Poe
4

On the fifteenth of May, in the jungle of Nool,
In the heat of the day, in the cool of the pool,
He was splashing... enjoying the jungle's great
joys...
When Horton the elephant heard a small noise.
Horton Hears a Who!
Dr. Seuss
5

Are you still standing there east of the Garden of Eden, or
were you relieved by the flood that revised our geography?
Cherubim tasked with protecting the Tree of Life, surely you
saw when that tree was returned to us lifting our Lord on it.
Angels’ First Assignment
Stan Galloway
6

You have brains in your head.
You have feet in your shoes.
You can steer yourself
any direction you choose.
Oh, the Places You’ll Go
Dr. Seuss
7

I love the jocund dance,
The softly breathing song,
Where innocent eyes do glance,
And where lisps the maiden's tongue.
Song
William Blake
8

She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes;
She Walks in Beauty
Lord Byron
9

Double, double toil and trouble;
Fire burn, and caldron bubble.
Scale of dragon; tooth of wolf;
Witches' mummy; maw and gulf.
10
Macbeth
William Shakespeare

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