Defining Poetry and Characteristics of Poetry, Schemes and Mind Maps of Poetry

Download Defining Poetry and Characteristics of Poetry and more Schemes and Mind Maps Poetry in PDF only on Docsity! Defining Poetry and Characteristics of Poetry Poetry 1 -Ni Wayan Swardhani W.- 2014 POETRY • a universal phenomenon --- exists along human’s civilization • from primitive to developed nation • from spell to drive away evil soul to conventional one (from oral to written) • enjoyed by everyone  entertainment and understanding • never dies To define what poetry one can give his or her own understanding of it because one’s perception about poetry is established by his/her experience. The Definition of Poetry • The kind of thing poets write (Robert Frost) • The spontaneous overflow of powerful feelings (William Wordsworth) • The recollection of an emotion, which causes a new emotion (William Wordsworth) HOW TO READ POETRY? • Read it more than once  don’t scan or skim  you won’t get it • Use standardized dictionary • Don’t stop at every line  line ≠ sentence  be careful at stopping  run on-line or end stopped line? • Read the poetry aloud  to determine its rhythm  related to tone and theme  use English accent instead of Indonesian Now, let’s go check your book on page 2 Types of Poetry • lyric • Narrative • dramatic. Classifications of this kind are not exclusive. Poems in each of these categories may have elements characteristics of the other. • Types of Lyric poetry: – pastoral poem a poem telling the life in the countryside such as shepherds, cattle, hills, and mountains. – poem of praise – ode a lyric poem that expresses a noble feeling with dignity. – elegy a poem of lamentation. Narrative Poetry • tells a story • the poet takes on a role similar to of a narrator in a work of fiction • Ballad is narrative poem which is quite popular and there is Epic as well. • Ballad is strongly marked by rhythm suitable for singing • Traditional British ballads: – in quatrains, or four-line stanzas • lines 1 and 3 have four beats • lines 2 and 4 have three beats and rhyme – usually an anonymous and it deals with the comedies and tragedies of everyday life. • Modern ballads: – composed by a certain poet  no longer anonymous – the structure is generally the same • Soliloquy  the simplest form – the speaker is merely overheard, talking to no one in particular – is also called dramatic monologue (Bergman and Epstein, 1987,p.477-478). • Some examples: • William Carlos William’s The Widow’s lament in Springtime • William Blake’s The Little Vagabond Basic Approaches to Poetry • Objective approach – the oldest and traditional one – begins with a complete description of the poem’s physical properties such as its length, rhyme scheme and figures of speech – the analysis proceeds to give more complex information about why the poet chooses to include them and also how is the meaning of the poem conveyed through the use of the technical devices • Subjective Approach – begins with personal interest in the poem  respond to a poem based on our experience. – No deep analysis over the poem’s structure but more into what the poem means to us  may produce a variety of interpretation. – weakness in term of its relativity • too subjective  We should consider the various possible responses (Reaske, 1966) • this approach can lead to the ignorance of literary clues that one should take into account Prosody • the pronunciation of a song or poem • the general word describing the study of poetic sounds and rhythm • Prosody = versification  (the study of the structure of a verse), mechanics of verse, and music of poetry. • poetry often requires a regular beat, an appropriate speed and expressiveness of delivery  just like music • they help the poets convey the meanings of their words or facilitate the readers to understand the ideas, the emotions the poets communicate through their words. • the analysis of a poem’s prosodic technique cannot be separated from that of its content. Rhythm • created by the pattern of repeated sounds—in terms of both duration and quality—and ideas • a combination of vocal speeds, rises and falls, starts and stops, vigor and slackness, and relaxation and tension Wa-ter,/ wa-ter,/ ev-ery-where Metrical Feet • Poetic foot  a line of a poem seems to be divided into a number of repeated units combining the same number of accented and unaccented syllables. • A pattern of one foot is repeated or varied in the entire poem, the pattern for the poem is established • To separate one foot from another, a slash (/) is used. The Iamb Adjective: iambic; consisting of 1 unaccented syllable followed by 1 accented syllable (Wordsworth, The World Is Too Much with Us) The Anapest Adjective: anapestic; consisting of 2 unaccented syllables followed by 1 accented syllable (Key, Defence of Fort McHenry) The Dactyl Adjective: dactylic; consisting of 1 accented syllable followed by 2 unaccented syllable (Swinburne, Songs before Sunrise) The Pyrrhic 2 unaccented syllables wv Vv 7 4 wv wv 7 7 When the / blood creeps / and the / nerves prick (Tennyson, In Memoriam) End-stopped line • A line of poetry that naturally pauses at the end of the line (when it shows a complete clause or sentence) • It is the opposite of run-on line, where readers should not stop but read through to the next line. End-stopped line: My mistress' eyes are nothing like the sun. Coral is far more red than her lips red. (Shakespeare, Sonnet 130) Run-on lines: Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds Or bends with the remover to remove. . . . (Shakespeare, Sonnet 116) Rhythm exercise 1 My mistress' eyes are nothing like the sun. Coral is far more red than her lips red. Iambic Pentameter v / v / v / v / v / Let me/ not to/ the ma/rriage of /true minds v / v / v / v / v / Admit/ impe/diments. /Love is /not love v / v / v / v / v / Which al/ters when/ it al/tera/tion finds v / v / v / v / v / Or bends/ with the/ remo/ver to/ remove… Rhythm exercise 3 Double, / double / TOIL and / trouble; fire / BURN, and / caldron / bubble. (Macbeth by Shakespeare) Trochaic Tetrameter / v / v / v / v Double, / double / toil and / trouble; /v / v / v / v Fire / burn, and / caldron / bubble. Rhyme • the identical final syllables of words • may appear in two successive lines, in alternating lines, or at intervals of four, five, or more lines • if rhyming sounds are too far away from each other, they lose their immediacy and effectiveness. • Functions: – delight – strengthens a poem’s psychological impact – support memorization on the poem • How to describe rhyme scheme: – the first sound at the end of a line “a”, – the next is “b”, then “c”, “d”, and so on. – when a sound reappear  use the same letter to label the sound • Rhyme is determined by sound, not spelling. • Which of these two pair of words rhyme? puff / enough through / though Variations of Rhymes • Perfect rhyme and half rhyme – Perfect rhymes  the stressed vowel following sounds are identical  slow - grow, fleet - street, or buying –crying – Half rhymes  the final consonant sounds of the words are identical, but the vowels are different, creating similar but not identical sounds  quietness - express • Masculine and feminine rhyme – Masculine rhyme  the final syllables of the rhyming words are stressed  inquired – desired. – Feminine rhyme  the rhyming of stressed syllables followed by identical unstressed syllables  flowers – bowers. • Internal rhyme – the rhyming words are found within the line, – often a word in the middle of a line rhyming with the last word or sound of the line. Small feet were pattering, wooden shoes clattering, (Browning, The Pied Piper of Hamelin) • Onomatopoeia – a blend of consonant and vowel sounds designed to imitate or suggest a situation or action – the use of word which sound suggests its meaning  buzz, crackle, hum, etc. • Blank verse – unrhymed iambic pentameter – Shakespeare’s plays and Milton’s Paradise Lost • Free verse – free of the traditional patterns of lines and meter – the rhythm is based on the stress resulting from the meaning of the line and its natural and punctuated pauses An example of free verse After the Sea-Ship—after the whistling winds; After the white-gray sails, taut to their spars and ropes, Below, a myriad, myriad waves, hastening, lifting up their necks, Tending in ceaseless flow toward the track of the ship: Waves of the ocean, bubbling and gurgling, blithely prying, Waves, undulating waves—liquid, uneven, emulous waves, Toward that whirling current, laughing and buoyant, with curves, Where the great Vessel, sailing and tacking, displaced the surface; (After the Sea-Ship by Walt Whitman ) Some common stanzaic forms: • Couplet  a stanza of two lines which usually rhymes • Triplet/tercet  a stanza of three lines • Quatrain  a stanza of four lines • Sestet  a stanza of six lines • Rhyme royal  a stanza of seven lines written in iambic pentameter and rhyming ababbcc • Octave  a stanza of eight lines • Sonnet  a stanza of 14 lines perfect example of close relationship of form and content in poetry – Italian sonnet  an octave (rhyming abba,abba) and a sestet (rhyming cde, cde (or its variations) or cd,cd,cd).  the octave  1 idea, the sestet  the example  octave  a problem, the sestet  the solution – English/Shakespearian sonnets  3 quatrains and 1 couplet (abab, cdcd, efef, gg).  three arguments concerning with its theme in the three quatrains and draw a conclusion in the couplet • Spenserian stanza  Edmund Spenser – 9 lines  the first eight are iambic pentameter followed by a single alexandrine, a twelve-syllable iambic line. – the final line typically has a caesura, or break, after the first three feet – the stanza rhymes ababbcbcc – the Spenserian stanza is regarded as "one of the most remarkably original metric innovations in the history of English verse" (Preminger 807) Analysing “Daffodils” • Written in 1804 • First published in 1807 in Poems in Two Volumes  revised version in 1815 • Inspired by the moment when William Wordsworth was strolling along Glencoyne Bay, Ullswater in the Lake District with his sister, Dorothy in April 15, 1802 I wandered lonely as a cloud That floats on high o'er vales 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. v / v / v / v / I wan/dered lone/ly as/ a cloud v / v / v / v / That floats/ on high/ o'er vales/ and hills, v / v / v / v / When all/ at once/ I saw/ a crowd, v / v / v / v / A host/, of gol/den da/ffodils; v / v / v / v / Beside/ the lake/, beneath/ the trees, v / v / v / v / Fluttering/ and dan/cing in/ the breeze.