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Page 1: POETRY AND US. Poetry and versification What poetry is not and what poetry is. What poetry is not and what poetry is. What does versification study? What

POETRYPOETRY

AND USAND US

Page 2: POETRY AND US. Poetry and versification What poetry is not and what poetry is. What poetry is not and what poetry is. What does versification study? What

Poetry and versificationPoetry and versification What poetry is not and what poetry is.What poetry is not and what poetry is. What does versification study?What does versification study? Kinds of rhyme and rhyming patterns.Kinds of rhyme and rhyming patterns. Rhythm and meter; poetic units: syllable, foot, line and Rhythm and meter; poetic units: syllable, foot, line and

stanzastanza Metrical patterns: iamb, trochee, anapest, dactyl; their Metrical patterns: iamb, trochee, anapest, dactyl; their

modifications: spondee, pyrric footmodifications: spondee, pyrric foot Meters: dimeter, trimeter, tetrameter, pentameter, Meters: dimeter, trimeter, tetrameter, pentameter,

hexameter, pentameter, octameterhexameter, pentameter, octameter Stanza patterns: heroic couplet; ballad; ottava rima, Stanza patterns: heroic couplet; ballad; ottava rima,

Spenserian stanza; sonnet (Petrarchan and Shakespearean)Spenserian stanza; sonnet (Petrarchan and Shakespearean) Modern and exotic forms of verseModern and exotic forms of verse

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Page 4: POETRY AND US. Poetry and versification What poetry is not and what poetry is. What poetry is not and what poetry is. What does versification study? What

Daffodil -Daffodil -

A plant of the genus A plant of the genus Asphodelus or Narcissus Asphodelus or Narcissus (N. Pseudo-narcissus). (N. Pseudo-narcissus). It has a bulbous root and It has a bulbous root and beautiful flowers, usually beautiful flowers, usually of a yellow hue.of a yellow hue.

Page 5: POETRY AND US. Poetry and versification What poetry is not and what poetry is. What poetry is not and what poetry is. What does versification study? What

From the diary of Dorothy Wordworth, From the diary of Dorothy Wordworth, Thursday, April 15, 1802.Thursday, April 15, 1802.

When we were in the woods beyond When we were in the woods beyond Cowbarrow park we saw a few daffodils Cowbarrow park we saw a few daffodils close to the water side, we fancied that close to the water side, we fancied that the lake had floated the seeds ashore and the lake had floated the seeds ashore and that the little colony had so sprung up – that the little colony had so sprung up – But as we went along there were more & But as we went along there were more & and yet more & at last under the boughs and yet more & at last under the boughs of the trees, we saw that there was aof the trees, we saw that there was a

longlong belt of them along the shore, about the breadth of a country turnpike belt of them along the shore, about the breadth of a country turnpike road. I never saw daffodils so beautiful they grew among the mossy road. I never saw daffodils so beautiful they grew among the mossy stones about & about them, some rested their heads upon these stones as stones about & about them, some rested their heads upon these stones as on a pillow for weariness & and the rest tossed & reeled & danced & on a pillow for weariness & and the rest tossed & reeled & danced & seemed as if they verily laughed with the wind that blew upon them over seemed as if they verily laughed with the wind that blew upon them over the Lake, they looked so gay ever glancing ever changing…the Lake, they looked so gay ever glancing ever changing…

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William WordsworthWilliam Wordsworth

I WANDERED lonely as a cloudI WANDERED lonely as a cloud That floats on high o'er vales and hills,That floats on high o'er vales and hills, When all at once I saw a crowd,When all at once I saw a crowd, A host, of golden daffodils;A host, of golden daffodils; Beside the lake, beneath the trees,Beside the lake, beneath the trees, Fluttering and dancing in the breeze.Fluttering and dancing in the breeze. Continuous as the stars that shineContinuous as the stars that shine And twinkle on the milky way,And twinkle on the milky way, They stretched in never-ending lineThey stretched in never-ending line Along the margin of a bay: Along the margin of a bay: Ten thousand saw I at a glance,Ten thousand saw I at a glance, Tossing their heads in sprightly dance.Tossing their heads in sprightly dance. The waves beside them danced; but theyThe waves beside them danced; but they Out-did the sparkling waves in glee:Out-did the sparkling waves in glee: A poet could not but be gay,A poet could not but be gay, In such a jocund company:In such a jocund company: I gazed--and gazed--but little thoughtI gazed--and gazed--but little thought What wealth the show to me had brought:What wealth the show to me had brought: For oft, when on my couch I lieFor oft, when on my couch I lie In vacant or in pensive mood,In vacant or in pensive mood, They flash upon that inward eyeThey flash upon that inward eye Which is the bliss of solitude;Which is the bliss of solitude; And then my heart with pleasure fills,And then my heart with pleasure fills, And dances with the daffodils. March 19, 1804And dances with the daffodils. March 19, 1804

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Page 8: POETRY AND US. Poetry and versification What poetry is not and what poetry is. What poetry is not and what poetry is. What does versification study? What

What is poetry?What is poetry?

What is Poetry?What is Poetry?According to the Merriam Webster Dictionary According to the Merriam Webster Dictionary it isit is: writing that formulates a concentrated : writing that formulates a concentrated imaginative awareness of experience in imaginative awareness of experience in language chosen and arranged to create a language chosen and arranged to create a specific emotional response through specific emotional response through meaning, sound, and rhythm. meaning, sound, and rhythm.

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DEAD POETS SOCIETYDEAD POETS SOCIETY

““Understanding Poetry”, Understanding Poetry”, by Dr. J. Evans Pritchard, Ph.D. by Dr. J. Evans Pritchard, Ph.D.

To fully understand poetry, we must first be fluent with To fully understand poetry, we must first be fluent with its meter, rhyme, and figures of speech. its meter, rhyme, and figures of speech.

Then ask two questions: One, how artfully has the Then ask two questions: One, how artfully has the objective of the poem been rendered, and two, how objective of the poem been rendered, and two, how important is that objective. Question one rates the important is that objective. Question one rates the

poem's perfection, question two rates its importance. poem's perfection, question two rates its importance. And once these questions have been answered, And once these questions have been answered,

determining a poem's greatest becomes a relatively determining a poem's greatest becomes a relatively simple matter. simple matter.

Page 10: POETRY AND US. Poetry and versification What poetry is not and what poetry is. What poetry is not and what poetry is. What does versification study? What

Why?Why?

We don't read and write poetry because it's cute. We read and We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. write poetry because we are members of the human race. And the human race is filled with passion. Medicine, law, And the human race is filled with passion. Medicine, law, business, engineering, these are all noble pursuits, and business, engineering, these are all noble pursuits, and necessary to sustain life. necessary to sustain life.

But poetry, beauty, romance, love, these are what we stay alive But poetry, beauty, romance, love, these are what we stay alive for. To quote from Whitman: "O me, o life of the for. To quote from Whitman: "O me, o life of the questions of these recurring, of the endless trains of the questions of these recurring, of the endless trains of the faithless, of cities filled with the foolish. What good faithless, of cities filled with the foolish. What good amid these, o me, o life? Answer: that you are here. That life amid these, o me, o life? Answer: that you are here. That life exists, and identity. That the powerful play goes on, exists, and identity. That the powerful play goes on, and you may contribute a verse. and you may contribute a verse.

What will your verse be?What will your verse be?

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VERSIFICATIONVERSIFICATION

Objectives of VERSIFICATION:Objectives of VERSIFICATION: to study kinds of to study kinds of rhymesrhymes and and rhyming patternsrhyming patterns to analyze to analyze stressed/unstressed syllables stressed/unstressed syllables

alterationalteration to classify to classify stanza patternsstanza patterns to differentiate lines according to the to differentiate lines according to the number number

of syllablesof syllables to examine the presence /absence of pause at to examine the presence /absence of pause at

the end of the line [the end of the line [enjambment or run-on line enjambment or run-on line and end-stopped line]and end-stopped line]

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Poetic TermsPoetic Terms RHYTHM(Webster): regular recurrence of elements or RHYTHM(Webster): regular recurrence of elements or

features; periodicity of different types.features; periodicity of different types. METER : any kind of periodicity in verse determined by the METER : any kind of periodicity in verse determined by the

character character (stressed/unstressed) and/or (stressed/unstressed) and/or number number of syllables in a of syllables in a line; systematically arrange and measured rhythm in verse; line; systematically arrange and measured rhythm in verse; rhythm that continuously repeats a single basic pattern; fixed rhythm that continuously repeats a single basic pattern; fixed metrical pattern verse formmetrical pattern verse form

VERSE: a line of metrical writing VERSE: a line of metrical writing

FOOT: unit used in poetry composed of syllables in some FOOT: unit used in poetry composed of syllables in some pattern of unaccented and accented syllables (UNITS OF pattern of unaccented and accented syllables (UNITS OF POETRY : SyllablePOETRY : Syllablefootfootlinelinestanza)stanza)

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METRICAL PATTERNS METRICAL PATTERNS

Iamb Iamb - --- a foot consisting of 2 syllables a foot consisting of 2 syllables where the accent lies on the 2nd syllable where the accent lies on the 2nd syllable

TrocheeTrochee ---- a foot in which 1 accented a foot in which 1 accented syllable is followed by 1 unaccented foot syllable is followed by 1 unaccented foot

Anapest Anapest ---- 3 syllable foot made of 2 3 syllable foot made of 2 unstressed syllables followed by 1 stressed unstressed syllables followed by 1 stressed syllablesyllable

Dactyl Dactyl ---- 3 syllable foot which is 3 syllable foot which is accented on the 1st syllable accented on the 1st syllable

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IambIamb

An An iambiamb is a is a metrical foot used in formal used in formal poetry. It consists of a . It consists of a short (unstressed) syllable followed by a followed by a long (stressed) one. (stressed) one.

The The iambic pentameter is one of the most is one of the most powerful measures in powerful measures in English poetry. .

To To strivestrive, to , to seekseek, to , to findfind, and , and notnot to to yieldyield.. -- -- Alfred TennysonAlfred Tennyson

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AnapaestAnapaest An An anapaestanapaest is a metrical foot used in formal poetry that may be is a metrical foot used in formal poetry that may be

seen as a reversed dactyl. seen as a reversed dactyl. Because of its length and the fact that it ends with a stressed syllable Because of its length and the fact that it ends with a stressed syllable

and so allows for strong rhymes, anapaest can produce a very and so allows for strong rhymes, anapaest can produce a very rolling, galloping feeling verse, and allows for long lines with a rolling, galloping feeling verse, and allows for long lines with a great deal of internal complexity. The following is from Byron: great deal of internal complexity. The following is from Byron:

The AsThe Assyrsyrian came ian came downdown like a like a wolfwolf on the on the foldfold And his cohorts were gleaming in purple and goldAnd his cohorts were gleaming in purple and gold And the sheen of their spears was like stars on the seaAnd the sheen of their spears was like stars on the sea When the blue wave rolls nightly on deep Galilee.When the blue wave rolls nightly on deep Galilee. An even more complex example comes from Yeats. He intersperses An even more complex example comes from Yeats. He intersperses

anapests and iambs, using six-foot lines (rather than four feet as anapests and iambs, using six-foot lines (rather than four feet as above). Since the anapaest is already a long foot, this makes for very above). Since the anapaest is already a long foot, this makes for very long lines. long lines.

Fled foam underneath us and 'round us, a wandering and milky smokeFled foam underneath us and 'round us, a wandering and milky smoke As high as the saddle-girth, covering away from our glances the tideAs high as the saddle-girth, covering away from our glances the tide And those that fled and that followed from the foam-pale distance And those that fled and that followed from the foam-pale distance

broke.broke. The imThe immormortal detal desiresire of im of immormortals we tals we sawsaw in their in their facfaces and es and sighedsighed..

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METER- 1) systematically arranged and measured rhythm in verse A) rhythm that continuously repeats a single basic pattern B) rhythm characterized by regular recurrence of systematic arrangement of basic patterns in larger figure (such as a ballad)2) measure or unit of metrical verse usually used in combination3) fixed metrical pattern-verse form

dimeter, a line of poetry containing 2 metrical feet

trimeter, a line of poetry containing 3 metrical feet

tetrameter, a line of poetry containing 4 metrical feet

pentameter, a line of poetry containing 5 metrical feet

hexameter, a line of poetry containing 6 metrical feet

heptameter, a line of poetry containing 7 metrical feet

octameter a line of poetry containing 8 metrical feet

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MODIFICATIONS MODIFICATIONS of metrical patternsof metrical patterns

spondee - spondee - -- pyrric foot - pyrric foot - hypometric line hypometric line hypermetric linehypermetric line

TONIC, SYLLABIC, TONIC, SYLLABIC,

AND SYLLABO-TONIC VERSEAND SYLLABO-TONIC VERSE

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RHYME – repetition of identical or similar terminal RHYME – repetition of identical or similar terminal sound combinations of words that are placed at a sound combinations of words that are placed at a

regular distance from each other, usually at the end regular distance from each other, usually at the end of the corresponding linesof the corresponding lines

RHYMING MODELS:RHYMING MODELS: Couplet AA Couplet AA Triplet AAA Triplet AAA Cross rhyming ABAB Cross rhyming ABAB Framing ABBA Framing ABBA

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STANZA PATTERNSSTANZA PATTERNSStanzaStanza - division of a poem consisting of a series of lines arranged - division of a poem consisting of a series of lines arranged

together in a usual recurring pattern of rhyme and metertogether in a usual recurring pattern of rhyme and meter (HEROIC) COUPLET aa(HEROIC) COUPLET aa BALLAD abcbBALLAD abcb QUATRAIN: unit or group of 4 lines of verse QUATRAIN: unit or group of 4 lines of verse LIMERICK aacca LIMERICK aacca OTTAVA RIMA (octave) abababcc OTTAVA RIMA (octave) abababcc SESTET: unit or group of 6 lines of verse SESTET: unit or group of 6 lines of verse Spenserian STANZA ababbcbccSpenserian STANZA ababbcbcc Petrarchan SONNET: – abba abba ccddee (cde cde)Petrarchan SONNET: – abba abba ccddee (cde cde) Shakespearean SONNET – abab cdcd efef ggShakespearean SONNET – abab cdcd efef gg

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My mistress's eyes are nothing like the sun;My mistress's eyes are nothing like the sun;Coral is far more red than her lip's red;Coral is far more red than her lip's red;If snow be white, why, then her breasts are dun,If snow be white, why, then her breasts are dun,If hair be wires, black wires grow on her head.If hair be wires, black wires grow on her head.I have seen roses Damasked, red and white,I have seen roses Damasked, red and white,But no such roses see I in her cheeks;But no such roses see I in her cheeks;In some perfumes is there more delightIn some perfumes is there more delightThan in the breath that from my mistress reeks.Than in the breath that from my mistress reeks.I love to hear her speak, yet well I know,I love to hear her speak, yet well I know,That music hath a far more pleasing sound;That music hath a far more pleasing sound;I grant I never saw a goddess go;I grant I never saw a goddess go;My mistress, when she walks, treads on the ground.My mistress, when she walks, treads on the ground.    And yet, by heaven, I think my love as rare    And yet, by heaven, I think my love as rare    As any she belied with false compare.     As any she belied with false compare.

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Kinds of rhymeKinds of rhyme FULL – might - right FULL – might - right EXACT(identical, perfect) – hold – behold; by hook or by crook EXACT(identical, perfect) – hold – behold; by hook or by crook INCOMPLETE (partial; vowel and consonant) – flesh – fresh – press; worth INCOMPLETE (partial; vowel and consonant) – flesh – fresh – press; worth

- forth; tale- tool; tremble – trouble- forth; tale- tool; tremble – trouble COMPOUND – bottom – forgot them – shot’im; upon her honor – won her COMPOUND – bottom – forgot them – shot’im; upon her honor – won her

ownerowner EYE-RHYME – love-prove-stove; flood – brood, have – graveEYE-RHYME – love-prove-stove; flood – brood, have – grave INTERNAL - The sails at noon left off their tuneINTERNAL - The sails at noon left off their tune MASCULINE – loud – proudMASCULINE – loud – proud FEMININE – cooking – lookingFEMININE – cooking – looking

far – bizarre; biology- ideology; far – bizarre; biology- ideology; computer – commuter; fault – oughtcomputer – commuter; fault – ought I bring fresh showers for the thirsting flowersI bring fresh showers for the thirsting flowers

Page 23: POETRY AND US. Poetry and versification What poetry is not and what poetry is. What poetry is not and what poetry is. What does versification study? What

The RavenOnce upon a midnight dreary, while I pondered, weak and weary,

Over many a quaint and curious volume of forgotten lore,While I nodded, nearly napping, suddenly there came a tapping,

As of someone gently rapping, rapping at my chamber door.Tis some visitor," I muttered, "tapping at my chamber door;

Only this, and nothing more." Ah, distinctly I remember, it was in the bleak December,

And each separate dying ember wrought its ghost upon the floor.Eagerly I wished the morrow; vainly I had sought to borrow

From my books surcease of sorrow, sorrow for the lost Lenore,For the rare and radiant maiden whom the angels name Lenore,

Nameless here for evermore. 

And the silken sad uncertain rustling of each purple curtainThrilled me - filled me with fantastic terrors never felt before;So that now, to still the beating of my heart, I stood repeating,

'Tis some visitor entreating entrance at my chamber door,Some late visitor entreating entrance at my chamber door.

This is it, and nothing more."   

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Presently my soul grew stronger; hesitating then no longer,"Sir," said I, "or madam, truly your forgiveness I implore;But the fact is, I was napping, and so gently you came rapping,And so faintly you came tapping, tapping at my chamber door,That I scarce was sure I heard you." Here I opened wide the door;

Darkness there, and nothing more.  Deep into the darkness peering, long I stood there, wondering, fearing,

Doubting, dreaming dreams no mortals ever dared to dream before;But the silence was unbroken, and the stillness gave no token,And the only word there spoken was the whispered word, "Lenore?",This I whispered, and an echo murmured back the word, "Lenore!"

Merely this, and nothing more.  Back into the chamber turning, all my soul within me burning,

Soon again I heard a tapping, something louder than before,"Surely," said I, "surely, that is something at my window lattice.Let me see, then, what thereat is, and this mystery explore.Let my heart be still a moment, and this mystery explore.

'Tis the wind, and nothing more."

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Poet as an EditorPoet as an Editor Wondering at the stillness broken by reply so aptly spoken, Wondering at the stillness broken by reply so aptly spoken,

"Doubtless," said I, "what it utters is its only stock and store "Doubtless," said I, "what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster so when Hope he would adjure -Followed fast and followed faster so when Hope he would adjure -Stern Despair returned, instead of the sweet Hope he dared adjure -Stern Despair returned, instead of the sweet Hope he dared adjure -                                       That sad answer, "Never -- nevermore.“                                       That sad answer, "Never -- nevermore.“

Startled at the stillness broken by reply so aptly spoken, Startled at the stillness broken by reply so aptly spoken, "Doubtless", said I, "what it utters is its only stock and store "Doubtless", said I, "what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore-- Followed fast and followed faster till his songs one burden bore-- Till the dirges of his Hope the melancholy burden bore, Till the dirges of his Hope the melancholy burden bore, 'Nevermore--ah, nevermore!' "'Nevermore--ah, nevermore!' "

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What is a Poem?What is a Poem?Poetic FormsPoetic Forms

EpicEpic: long narrative poem in elevated style recounting the deeds of a legendary or historical : long narrative poem in elevated style recounting the deeds of a legendary or historical hero.hero. AcrosticAcrostic: composition usually in verse which sets of letters (as the initial or final letters of : composition usually in verse which sets of letters (as the initial or final letters of lines) taken in order to form a word, or phrase, or regular sequence of letters of the alphabetlines) taken in order to form a word, or phrase, or regular sequence of letters of the alphabet

Narrative PoemNarrative Poem: must tell a story: must tell a story

Prose PoemProse Poem: a composition in prose that has some qualities of a poem: a composition in prose that has some qualities of a poem

BalladBallad: narrative poem that has a musical rhythm and can be sung: narrative poem that has a musical rhythm and can be sung

Found PoemFound Poem: a poem consisting of words found in a nonpoetic context (as a product label) : a poem consisting of words found in a nonpoetic context (as a product label) and usually broken into lines that convey a verse rhythmand usually broken into lines that convey a verse rhythm

Question PoemQuestion Poem: a poem centered around a question: a poem centered around a question

Tercet PoemTercet Poem: stanza of 3 lines, each line ending in same rhyme sound: stanza of 3 lines, each line ending in same rhyme sound

List PoemList Poem: when the writer starts a brainstorming for the poem, making a list and writes the : when the writer starts a brainstorming for the poem, making a list and writes the poem from the list. Take the list, make it into a poem; don't have to rhymepoem from the list. Take the list, make it into a poem; don't have to rhyme

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One Sentence PoemOne Sentence Poem: a poem that's one sentence long with words strategically : a poem that's one sentence long with words strategically placed to give a visual effect of the feelings of the authorplaced to give a visual effect of the feelings of the author

Bio PoemBio Poem: 11 line poem about a person that tells about that person Format in : 11 line poem about a person that tells about that person Format in lines:lines:1)name1)name2) 4 traits(adj.)2) 4 traits(adj.)3) related to (family)3) related to (family)4) cares deeply about4) cares deeply about5) who feels5) who feels6) who needs6) who needs7) who gives7) who gives8) who fears8) who fears

9) what would like to see9) what would like to see10) resident of10) resident of11) open (does not matter what is on this line)11) open (does not matter what is on this line)

ConcreteConcrete: a visual poem created with words placed on a page to create an idea : a visual poem created with words placed on a page to create an idea through shape or formthrough shape or form

Blank VerseBlank Verse: unrhymed, usually iambic, pentameter: unrhymed, usually iambic, pentameter

Free StyleFree Style: a poem that follows no given pattern: a poem that follows no given pattern

HaikuHaiku: unrhymed verse form having 3 lines; usually 5,7,5 syllables respectively: unrhymed verse form having 3 lines; usually 5,7,5 syllables respectively

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Concrete poemConcrete poem

Il pleutIl pleut Il pleut des voix de femmes comme si elles étaient mortes même Il pleut des voix de femmes comme si elles étaient mortes même

dans le souvenir c'est vous aussi qu'il pleut merveilleuses dans le souvenir c'est vous aussi qu'il pleut merveilleuses rencontres de ma vie ô gouttelettes et ces nuages cabrés se prennent à rencontres de ma vie ô gouttelettes et ces nuages cabrés se prennent à hennir tout un univers de villes auriculaires écoute s'il pleut tandis hennir tout un univers de villes auriculaires écoute s'il pleut tandis que le regret et le dédain pleurent une ancienne musique écoute que le regret et le dédain pleurent une ancienne musique écoute tomber les liens qui te retiennent en haut et en bas by Guillaume tomber les liens qui te retiennent en haut et en bas by Guillaume Apollinaire (1880-1918) [pseudonym] Apollinaire (1880-1918) [pseudonym]

It rainsIt rains It is raining of the voices of women as if they were dead even in It is raining of the voices of women as if they were dead even in

memory It is you also that it rains marvelous meetings of my life, memory It is you also that it rains marvelous meetings of my life, oh little drops And these reared-up clouds take themselves to oh little drops And these reared-up clouds take themselves to neighing an entire universe of auricular cities Listen if it rains while neighing an entire universe of auricular cities Listen if it rains while regret and disdain cry an ancient music Listen to the falling of the regret and disdain cry an ancient music Listen to the falling of the bonds that restrain you from top to bottom bonds that restrain you from top to bottom

Translation from French to English copyright © 2002 by Korin Kormick Translation from French to English copyright © 2002 by Korin Kormick

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Guillaume Apollinaire Guillaume Apollinaire (1880-1918) (1880-1918)

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William Wordsworth, 1798William Wordsworth, 1798 The knowledge both of The knowledge both of the poet and the man of sciencethe poet and the man of science is pleasure; but the knowledge of the one cleaves is pleasure; but the knowledge of the one cleaves

to us as a necessary part of our existence, our natural and unalienable inheritance; the other is a personal to us as a necessary part of our existence, our natural and unalienable inheritance; the other is a personal and individual acquisition, slow to come to us, and by no habitual and direct sympathy connecting us with and individual acquisition, slow to come to us, and by no habitual and direct sympathy connecting us with our fellow beings. our fellow beings.

The man of scienceThe man of science seeks truth as a remote and unknown benefactor; he cherishes and loves it in his solitude: seeks truth as a remote and unknown benefactor; he cherishes and loves it in his solitude: the poetthe poet, singing a song in which all human beings join with him, rejoices in the presence of truth as our , singing a song in which all human beings join with him, rejoices in the presence of truth as our visible friend and hourly companion. visible friend and hourly companion.

PoetryPoetry is the breath and finer spirit of all knowledge; it is the impassioned expression which is in the is the breath and finer spirit of all knowledge; it is the impassioned expression which is in the countenance of all science. Emphatically may it be said of the poet, as Shakespeare hath said of man, "that countenance of all science. Emphatically may it be said of the poet, as Shakespeare hath said of man, "that he looks before and after." He is the rock of defense for human nature; an upholder and preserver, carrying he looks before and after." He is the rock of defense for human nature; an upholder and preserver, carrying everywhere with him relationship and love. In spite of difference of soil and climate, of language and everywhere with him relationship and love. In spite of difference of soil and climate, of language and manners, of laws and customs: in spite of things silently gone out of mind, and things violently destroyed; manners, of laws and customs: in spite of things silently gone out of mind, and things violently destroyed; the poet binds together by passion and knowledge the vast empire of human society, as it is spread over the the poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time . . . . whole earth, and over all time . . . .

PoetryPoetry is the first and last of all knowledge--it is as immortal as the heart of man . . . . If the time should ever is the first and last of all knowledge--it is as immortal as the heart of man . . . . If the time should ever come when what is now called science, thus familiarized to men, shall be ready to put on, as it were, a come when what is now called science, thus familiarized to men, shall be ready to put on, as it were, a form of flesh and blood, the poet will lend his divine spirit to aid the transfiguration, and will welcome the form of flesh and blood, the poet will lend his divine spirit to aid the transfiguration, and will welcome the being thus produced, as a dear and genuine inmate of the household of man. (from "Preface to the Lyrical being thus produced, as a dear and genuine inmate of the household of man. (from "Preface to the Lyrical Ballads" in Critical Theory Since Plato. Revised edition. ed. Hazard Adams. New York: Harcourt, 1992. Ballads" in Critical Theory Since Plato. Revised edition. ed. Hazard Adams. New York: Harcourt, 1992. 442. Italics mine.)442. Italics mine.)

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Goethe:Goethe:The Poet is the ruler of inspiration, he is the one to govern it.The Poet is the ruler of inspiration, he is the one to govern it.Shostakovitch:Shostakovitch:There is no art without impressions, without inspiration, without rapture, There is no art without impressions, without inspiration, without rapture,

without life experience.without life experience.Ramu:Ramu:Art is the state of soulArt is the state of soulDostoevskyDostoevsky:: The greatest gift of a writer is the ability to cross out. All great writers wrote The greatest gift of a writer is the ability to cross out. All great writers wrote

very briefly. The main point is not to repeat what has been said already very briefly. The main point is not to repeat what has been said already what is clear by itself..what is clear by itself..

LeonardoLeonardo::Painting – is a poetry to see, while poetry is a painting to hear.Painting – is a poetry to see, while poetry is a painting to hear. Stendal:Stendal:Beauty is the promise of happinessBeauty is the promise of happinessWilde:Wilde:Criticism requires much more culture than art.Criticism requires much more culture than art.Plato:Plato:Any person is a poet when he is in loveAny person is a poet when he is in love

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Thank youThank you

Tetyana VvedenskaTetyana VvedenskaAssociate Professor of Educational Psychology and English Associate Professor of Educational Psychology and English

Department, Dnipropetrovsk National University, Ukraine Department, Dnipropetrovsk National University, Ukraine [email protected]@list.ruPOETRY RESOURCESPOETRY RESOURCES http://www.poets.orghttp://www.poets.org http://www.wikipedia.comhttp://www.wikipedia.com http://www.poetarium.ruhttp://www.poetarium.ru Poe’s Virtual LibraryPoe’s Virtual Library Quotegallery.comQuotegallery.com Representative Poetry OnlineRepresentative Poetry Online Literaryhistory.comLiteraryhistory.com