Poetry IIPoetry II

Rhetorical Devices Rhetorical Devices

SchemesSchemes (Satzfiguren)(Satzfiguren)

TropesTropes

(Wortfiguren)(Wortfiguren)

Phonological SchemesPhonological Schemesalliterationalliteration

„„Five miles meandering with a mazy motion“ Five miles meandering with a mazy motion“ (Coleridge, (Coleridge, Kubla KhanKubla Khan))

assonanceassonance

„„The Lotus blooms below the barren peak:The Lotus blooms below the barren peak:

The Lotus blows by every winding creek:“The Lotus blows by every winding creek:“

consonanceconsonance

slip, slop; black, blockslip, slop; black, block

onomatopoeia (Lautmalerei)onomatopoeia (Lautmalerei)

dong, crackle, moo, pop, whizz, whoosh, zoomdong, crackle, moo, pop, whizz, whoosh, zoom

Example: OnomatopoeiaExample: Onomatopoeia

the sound of the word imitates the sound of the the sound of the word imitates the sound of the thing which the word denotes thing which the word denotes

e.g. Hear the loud alarum bells –e.g. Hear the loud alarum bells –

Brazen bells!Brazen bells!

What a tale of terror, now, their turbulency tells! What a tale of terror, now, their turbulency tells! [...] [...]

How they clang, and clash and roar!How they clang, and clash and roar!

(Poe, „The Bell“) (Poe, „The Bell“)

Morphological Schemes:Morphological Schemes:

anaphora anaphora

epiphoraepiphora

repetitionrepetition„„Tyger! Tyger! burning bright…“ (William Blake, „The Tyger“)Tyger! Tyger! burning bright…“ (William Blake, „The Tyger“)

homonymhomonym

seal; restseal; rest

synonymsynonyminsane, mad, dementedinsane, mad, demented

tautology tautology I myself personally….I myself personally….

Example: Anaphora Example: Anaphora

a word or phrase is repeated at the beginning of a word or phrase is repeated at the beginning of successive phrases, clauses or lines successive phrases, clauses or lines

e.g. e.g. „„And I know that the hand of God is the elderhand of my own,And I know that the hand of God is the elderhand of my own,And I know that the spirit of God is the eldest brother of my own,And I know that the spirit of God is the eldest brother of my own,And that all the men ever born are also my brothers….and theAnd that all the men ever born are also my brothers….and the

women my sisters and lovers,women my sisters and lovers,And that the kelson of the creation is love,;And that the kelson of the creation is love,;And limitless are leaves stiff or drooping in the fields,And limitless are leaves stiff or drooping in the fields,and brown ants in the little wells beneath them, …“and brown ants in the little wells beneath them, …“(Walt Whitman, „Song for Myself“) (Walt Whitman, „Song for Myself“)

Syntactic Schemes:Syntactic Schemes:

asyndetonasyndeton

polysyndetonpolysyndeton

chiasmuschiasmus

ellipsisellipsis

hyperbatonhyperbaton

inversioninversion

parallelismparallelism

zeugmazeugma

Example: AsyndetonExample: Asyndeton

omission of conjunctions to coordinate omission of conjunctions to coordinate phrases, clauses, or wordsphrases, clauses, or words

e.g. e.g. „„Hog Butcher for the World,Hog Butcher for the World,Tool Maker, Stacker of Wheat,Tool Maker, Stacker of Wheat,Player with Railroads and the Nation‘s Freight Player with Railroads and the Nation‘s Freight

Handler;“Handler;“(Carl Sandburg, „Chicago“)(Carl Sandburg, „Chicago“)

Example: PolysyndetonExample: Polysyndeton

joins phrases by conjunctionsjoins phrases by conjunctions

e.g. e.g. „„To one another! for the world, which seemsTo one another! for the world, which seems

To lie before us like a land of dreams,To lie before us like a land of dreams,

So various, so beautiful, so new…“ So various, so beautiful, so new…“

(Matthew Arnold, „Dover Beach“)(Matthew Arnold, „Dover Beach“)

Example: ChiasmusExample: Chiasmus

two corresponding pairs are arranged in two corresponding pairs are arranged in inverted, mirror-like order (a-b, b-a) to inverted, mirror-like order (a-b, b-a) to achieve antithesis or parallelismachieve antithesis or parallelism

e.g. e.g. From Rome to London and from London to Rome.From Rome to London and from London to Rome.

Example: EllipsisExample: Ellipsis

word or phrase in a sentence is omitted word or phrase in a sentence is omitted though implied by the contextthough implied by the context

e.g. e.g. My wife went but I didn‘t…My wife went but I didn‘t…

Example: HyperbatonExample: Hyperbaton

figure of syntactic dislocation where phrase or figure of syntactic dislocation where phrase or words that belong together are separatedwords that belong together are separated

e.g. e.g. „„High on a throne of royal state, which farHigh on a throne of royal state, which farOutshone the wealth of Ormuz of Ind,Outshone the wealth of Ormuz of Ind,Or where the gorgeous East, with richest handOr where the gorgeous East, with richest handShowers on her kings barbaric pearl and gold,Showers on her kings barbaric pearl and gold,Satan exalted sat.“Satan exalted sat.“(Milton, (Milton, Paradise LostParadise Lost))

Example: InversionExample: Inversion

the usual word order is rearranged, often for the usual word order is rearranged, often for the effect of emphasis or to maintain the the effect of emphasis or to maintain the metremetre

e.g. e.g.

„„Sometime Sometime too hottoo hot the eye of heaven shines, the eye of heaven shines, And And often isoften is his gold complexion dimm‘d;“ his gold complexion dimm‘d;“

(Shakespeare, „Sonnet 18“)(Shakespeare, „Sonnet 18“)

Example: ParallelismExample: Parallelism

repetition of identical or similar syntactic elements (word, repetition of identical or similar syntactic elements (word, phrase, clause), phrases or sentences of similar phrase, clause), phrases or sentences of similar constructionconstruction

e.g. e.g. „„The connoisseur peers along the exhibition-gallery with halfshut The connoisseur peers along the exhibition-gallery with halfshut

eyes bent sideways,eyes bent sideways,The deckhands make fast the steamboat, the plank is thrown for The deckhands make fast the steamboat, the plank is thrown for

the shoregoing passengers,the shoregoing passengers,The young sister holds out the skein, the elder sister winds it offThe young sister holds out the skein, the elder sister winds it off

in a ball and stops now and then for the knots,…“in a ball and stops now and then for the knots,…“(Walt Whitman, „Song of Myself“)(Walt Whitman, „Song of Myself“)

Example: ZeugmaExample: Zeugma

the same word (verb or preposition) is the same word (verb or preposition) is applied to two others in different sensesapplied to two others in different senses

e.g. e.g. „„she looked at the object with suspicion and a she looked at the object with suspicion and a

magnifying glass.“magnifying glass.“

(Charles Dickens)(Charles Dickens)

Types of Poetry Types of Poetry

Lyrical Poetry Lyrical Poetry

Narrative Poetry Narrative Poetry

Descriptive Poetry Descriptive Poetry

Dramatic Poetry Dramatic Poetry

Lyric Poetry Lyric Poetry

A relatively short, non-narrative poem in which a A relatively short, non-narrative poem in which a single speaker presents a state of mind or an single speaker presents a state of mind or an emotional state.emotional state.

subcategoriessubcategories: elegy, ode, sonnet, most : elegy, ode, sonnet, most occasional poetry.occasional poetry.

Example: SonnetExample: Sonnet

originally a love poem originally a love poem religious experience (e.g. Donne, Milton)religious experience (e.g. Donne, Milton) reflections on art (e.g. Keats, Shelley) reflections on art (e.g. Keats, Shelley) war experience (e.g. Brooke, Owen)war experience (e.g. Brooke, Owen)

originated in Italy originated in Italy

became popular in England in the Renaissance became popular in England in the Renaissance

Petrarcan vs. Shakespearean Petrarcan vs. Shakespearean

octet (eigth lines) octet (eigth lines) rhyming rhyming abbaabbaabbaabba

sestet (six lines) sestet (six lines) rhyming rhyming cdecdecdecde

variations apply variations apply

three quatrains (four three quatrains (four lines) rhyming lines) rhyming abab abab cdcd efefcdcd efef

one final couplet (two one final couplet (two lines) rhyming lines) rhyming gggg

variations applyvariations apply

Example: Petrarchan Sonnet Example: Petrarchan Sonnet

Doth any maiden seek the glorious fame Doth any maiden seek the glorious fame Of chastity, of strength, of courtesy? Of chastity, of strength, of courtesy? Gaze in the eyes of that sweet enemy Gaze in the eyes of that sweet enemy Whom all the world doth as my lady name! Whom all the world doth as my lady name! How honour grows, and pure devotion's flame, How honour grows, and pure devotion's flame, How truth is joined with graceful dignity, How truth is joined with graceful dignity, There thou may'st learn, and what the path may be There thou may'st learn, and what the path may be To that high heaven which doth her spirit claim; To that high heaven which doth her spirit claim; There learn soft speech, beyond all poet's skill, There learn soft speech, beyond all poet's skill, And softer silence, and those holy ways And softer silence, and those holy ways Unutterable, untold by human heart. Unutterable, untold by human heart. But the infinite beauty that all eyes doth fill, But the infinite beauty that all eyes doth fill, This none can copy! since its lovely rays This none can copy! since its lovely rays Are given by God's pure grace, and not by art. Are given by God's pure grace, and not by art. Translated by Thomas Wentworth Higginson.Translated by Thomas Wentworth Higginson.

Example: Shakespearean Example: Shakespearean SonnetSonnet

Since brass, nor stone, nor earth, nor boundless seaSince brass, nor stone, nor earth, nor boundless seaBut sad mortality o’er-sways their power,But sad mortality o’er-sways their power,How with this rage shall beauty hold a plea,How with this rage shall beauty hold a plea,Whose action is no stronger than a flower?Whose action is no stronger than a flower?O, how shall summer’s honey breath hold outO, how shall summer’s honey breath hold outAgainst the wreckful siege of battering days,Against the wreckful siege of battering days,When rocks impregnable are not so stout,When rocks impregnable are not so stout,Nor gates of steel so strong, but Time decays?Nor gates of steel so strong, but Time decays?O fearful meditation! where, alack,O fearful meditation! where, alack,Shall Time’s best jewel from Time’s chest lie hid?Shall Time’s best jewel from Time’s chest lie hid?Or what strong hand can hold his swift foot back?Or what strong hand can hold his swift foot back?Or who his spoil of beauty can forbid?Or who his spoil of beauty can forbid?O, none, unless, this miracle have mightO, none, unless, this miracle have mightThat in black ink my love may still shine bright.That in black ink my love may still shine bright.(Shakespeare, “Sonnet 65”)(Shakespeare, “Sonnet 65”)

Example: Claude McKay Example: Claude McKay His spirit in smoke ascended to high heaven.His spirit in smoke ascended to high heaven.His father, by the cruelest way of pain,His father, by the cruelest way of pain,Had bidden him to his bosom once again;Had bidden him to his bosom once again;The awful sin remained still unforgiven.The awful sin remained still unforgiven.All night a bright and solitary starAll night a bright and solitary star(Perchance the one that ever guided him,(Perchance the one that ever guided him,Yet gave him up at last to Fate‘s wild whim)Yet gave him up at last to Fate‘s wild whim)Hung pitifully o‘er the swinging char.Hung pitifully o‘er the swinging char.Day dawned, and soon the mixed crowds came into viewDay dawned, and soon the mixed crowds came into viewThe ghastly body swayingin the sun.The ghastly body swayingin the sun.The women thronged to look, but never a oneThe women thronged to look, but never a oneShowed sorrow in her eyes of steely blue.Showed sorrow in her eyes of steely blue.

And little lads, lynchers that were to be,And little lads, lynchers that were to be,Danced round the dreadful thing in fiendish glee.Danced round the dreadful thing in fiendish glee.(McKay, „The Lynching“)(McKay, „The Lynching“)

Example: Robert Gernhardt Example: Robert Gernhardt

Sonette find ich sowas von beschissen,so eng, rigide, irgendwie nicht gut;es macht mich ehrlich richtig krank zu wissen,daß wer Sonette schreibt. Daß wer den Muthat, heute noch so'n dumpfen Scheiß zu bauen;allein der Fakt, daß so ein Typ das tut,kann mir in echt den ganzen Tag versauen.Ich hab da eine Sperre. Und die Wutdarüber, daß so'n abgefuckter Kackermich mittels seiner Wichserein blockiert,schafft in mir Aggressionen auf den Macker.Ich tick nicht, was das Arschloch motiviert.Ich tick es echt nicht. Und wills echt nicht wissen:Ich find Sonette unheimlich beschissen.

(Gernhardt, (Gernhardt, Materialen zu einer der bekanntesten Gedichtformen Materialen zu einer der bekanntesten Gedichtformen Italienischen UrsprungsItalienischen Ursprungs))

Narrative Poetry Narrative Poetry

Poem which gives verbal representation, in verse, Poem which gives verbal representation, in verse, of a sequence of connected events; it propels of a sequence of connected events; it propels characters through a plot and is told by a narrator.characters through a plot and is told by a narrator.

subcategoriessubcategories: epics, mock-epic, ballad: epics, mock-epic, ballad

Example: Epic Example: Epic

Epics usually operate on large scale, both in Epics usually operate on large scale, both in length and topic, such as the founding of a length and topic, such as the founding of a nation, hero sagas, or (mockeries of) grand nation, hero sagas, or (mockeries of) grand narratives.narratives.

e.g. Virgil‘s e.g. Virgil‘s AeneidAeneid

e.g.e.g. Beowulf Beowulf

e.g. Milton‘s e.g. Milton‘s Paradise LostParadise Lost

Example: BalladExample: Ballad

A ballad is a song, originally transmitted orally, A ballad is a song, originally transmitted orally, which tells a story. which tells a story.

usually four-line stanzas, alternating tetrameter usually four-line stanzas, alternating tetrameter and trimeterand trimeter

folk balladfolk ballad steet balladsteet ballad literary ballad literary ballad

Descriptive and Dramatic Poetry Descriptive and Dramatic Poetry

Both lyric and narrative poetry can contain Both lyric and narrative poetry can contain lengthy and detailed descriptions (descriptive lengthy and detailed descriptions (descriptive poetry) or scenes in direct speech (dramatic poetry) or scenes in direct speech (dramatic poetry). poetry).

Didactic Poetry Didactic Poetry

The purpose of a didactic poem is primarily to The purpose of a didactic poem is primarily to teach something.teach something. e.g. James Thomson‘s „The Seasons“e.g. James Thomson‘s „The Seasons“ e.g. Alexander Pope‘s „Essay on Criticism“e.g. Alexander Pope‘s „Essay on Criticism“

Horace (65-8 BC): Horace (65-8 BC): prodesse (learning) prodesse (learning) delectare (pleasure) delectare (pleasure)

MetreMetre

Metre is the measured arrangements of Metre is the measured arrangements of accents and syllables in poetry. The metre accents and syllables in poetry. The metre is defined by the kind and number of feet.is defined by the kind and number of feet.

Accentual metreAccentual metre

Syllabic metreSyllabic metre

Accentual-Syllabic metreAccentual-Syllabic metre

Free verseFree verse

Scansion, to scanScansion, to scan

We won't talk of stress,We won't talk of stress, o 1 –o– 1o 1 –o– 1 or x/xx/or x/xx/We won't talk of feet.We won't talk of feet. o 1 –o– 1o 1 –o– 1 as in “daffodil”as in “daffodil”We'll talk about rhythm,We'll talk about rhythm, / x x / x x o 1 –o– 1 (o)o 1 –o– 1 (o)We'll talk about beat.We'll talk about beat. o 1 –o– 1o 1 –o– 1

(from Carper/Altridge 2004)(from Carper/Altridge 2004)

Metre and Line Length Metre and Line Length

iamb (o1)iamb (o1)

trochee (1o)trochee (1o)

dactyl (1oo)dactyl (1oo)

anapaest (oo1)anapaest (oo1)

spondee (11)spondee (11)

monometremonometre

dimetredimetre

trimetretrimetre

tetrametretetrametre

pentametrepentametre

hexametrehexametre

heptametreheptametre

octametreoctametre

So What?So What?

Metre must be suitable for the poem. Otherwise Metre must be suitable for the poem. Otherwise it leads to more or less ridiculous contradictions it leads to more or less ridiculous contradictions and thematic incoherence. and thematic incoherence.

The interplay of metre, rhythm and topic can The interplay of metre, rhythm and topic can also achieve a comic, satirical, alienating, also achieve a comic, satirical, alienating, shocking effect. shocking effect.

Example: Unsuitable Metre Example: Unsuitable Metre

The poplars are fell’d, farewell to the shadeThe poplars are fell’d, farewell to the shadeAnd the whispering sound of the cool colonnade,And the whispering sound of the cool colonnade,The winds play no longer, and sing in the leaves,The winds play no longer, and sing in the leaves,Nor Ouse on his bosom their image receives.Nor Ouse on his bosom their image receives.

Twelve years have elaps’d since I last took a viewTwelve years have elaps’d since I last took a viewOf my favourite field and the bank where they grew,Of my favourite field and the bank where they grew,And now in the grass behold they are laid,And now in the grass behold they are laid,And the tree is my seat that once lent me a shade.And the tree is my seat that once lent me a shade.(Cowper, „The Poplar Field(Cowper, „The Poplar Field““))

Example: Metre as Comic EffectExample: Metre as Comic Effect

CorinnaCorinna, Pride of , Pride of Drury-LaneDrury-Lane,,

For whom no Shepherd sighs in vain;For whom no Shepherd sighs in vain;

Never did Never did Covent Garden Covent Garden boastboast

So bright a batter’d, strolling Toast;So bright a batter’d, strolling Toast;

No drunken Rake to pick her up,No drunken Rake to pick her up,

No Cellar where on Tick to sup;No Cellar where on Tick to sup;

Returning at the Midnight Hour;Returning at the Midnight Hour;

Four stories climbing to her Bow’r;Four stories climbing to her Bow’r;

Then, seated on a three-legg’d Chair,Then, seated on a three-legg’d Chair,

Takes off her artificial Hair:Takes off her artificial Hair:

Now picking out a Crystal Eye,Now picking out a Crystal Eye,

She wipes it clean, and lays it by.She wipes it clean, and lays it by.

Her Eye-Brows from a Mouse’s hyde,Her Eye-Brows from a Mouse’s hyde,

Stuck on with Art on either Side,Stuck on with Art on either Side,

Pulls off with Care, and first displays ’em,Pulls off with Care, and first displays ’em,

Then in a Play-Book smoothly lays ’em.Then in a Play-Book smoothly lays ’em.

Now dextrously her Plumpers draws,Now dextrously her Plumpers draws,

That serve to fill her hollow Jaws.That serve to fill her hollow Jaws.

Untwists a Wire; and from her GumsUntwists a Wire; and from her Gums

A Set of Teeth completely comes. […]A Set of Teeth completely comes. […]

(From: Swift, „A Beautiful Young (From: Swift, „A Beautiful Young Nymph Nymph Going to Bed“)Going to Bed“)

Free Verse Free Verse

Free verse does not use any particular pattern of Free verse does not use any particular pattern of stress or number of syllables per line. stress or number of syllables per line.

Although without regular metre, it is not without Although without regular metre, it is not without rhythmic effect and organisation. It can be rhythmic effect and organisation. It can be organised around syntactic units, words or organised around syntactic units, words or sound repetitions.sound repetitions.

Example: Free Verse Example: Free Verse

Some quick to arm,Some quick to arm,

some for adventure,some for adventure,

some from fear of weakness,some from fear of weakness,

some from fear of censure,some from fear of censure,

some for love of slaughter, in imagination,some for love of slaughter, in imagination,

some learning later ...some learning later ...

some in fear, learning love of slaughter;some in fear, learning love of slaughter;

(Pound, „Hugh Selwyn Mauberley“)(Pound, „Hugh Selwyn Mauberley“)

Rhythm:Rhythm:

Poetry exploits rhythms to create additional Poetry exploits rhythms to create additional meaning. meaning.

Rhythm is „a series of alterations of build-up and Rhythm is „a series of alterations of build-up and release, movement and counter-movement, release, movement and counter-movement, tending toward regularity but complicated by tending toward regularity but complicated by constant variations and local inflections.“ constant variations and local inflections.“ (Attridge (Attridge 1995: 3)1995: 3)

Rhythm is influenced by:Rhythm is influenced by:

pausespauses

elisions (omission or slurring of a syllable)elisions (omission or slurring of a syllable)

e.g. „e.g. „Hung pitifully o‘er the swinging char.“ (Claude Hung pitifully o‘er the swinging char.“ (Claude McKay)McKay)

vowel length vowel length

consonant clusters consonant clusters

modulation (adjustment of tone, modulation (adjustment of tone, pitch/Tonhöhe, or volume of sound)pitch/Tonhöhe, or volume of sound)

PausesPauses

end-stopped lines (Zeilenstil)end-stopped lines (Zeilenstil)e.g. „e.g. „Since brass, nor stone, nor earth, nor boundless seaSince brass, nor stone, nor earth, nor boundless sea

But sad mortality o’er-sways their power,” (Shakespeare)But sad mortality o’er-sways their power,” (Shakespeare)

run-on-lines (Enjambement)run-on-lines (Enjambement)e.g. e.g. „„And that all the men ever born are also my brothers….and theAnd that all the men ever born are also my brothers….and the

women my sisters and lovers,“ (Whitman)women my sisters and lovers,“ (Whitman)

caesura (Zäsur) caesura (Zäsur) comma, colon, full stop at end of linecomma, colon, full stop at end of linee.g. „The sea is calm to-night.“ (Arnold)e.g. „The sea is calm to-night.“ (Arnold)

Example: PausesExample: Pauses

The sea is calm to-night. The tide is full, the moon The sea is calm to-night. The tide is full, the moon lies fair upon the straits; on the French coast the lies fair upon the straits; on the French coast the light gleams and is gone; the cliffs of England light gleams and is gone; the cliffs of England stand, glimmering and vast, out in the tranquil bay. stand, glimmering and vast, out in the tranquil bay. Come to the window, sweet is the night air! Only, Come to the window, sweet is the night air! Only, from the long line of spray where the sea meets from the long line of spray where the sea meets the moon-blanched land, listen! you hear the the moon-blanched land, listen! you hear the grating roar of pebbles which the waves draw grating roar of pebbles which the waves draw back, and fling, at their return, up the high strand, back, and fling, at their return, up the high strand, begin, and cease, and then again begin, with begin, and cease, and then again begin, with tremulous cadence slow, and bring the eternal tremulous cadence slow, and bring the eternal note of sadness in.note of sadness in.

Example: end-stopped lineExample: end-stopped lineThe sea is calm to-night.The sea is calm to-night.The tide is full, the moon lies fairThe tide is full, the moon lies fairUpon the straits; on the French coast the lightUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Gleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night air!Come to the window, sweet is the night air!Only, from the long line of sprayOnly, from the long line of sprayWhere the sea meets the moon-blanched land,Where the sea meets the moon-blanched land,Listen! you hear the grating roarListen! you hear the grating roarOf pebbles which the waves draw back, and fling,Of pebbles which the waves draw back, and fling,At their return, up the high strand,At their return, up the high strand,Begin, and cease, and then again begin,Begin, and cease, and then again begin,With tremulous cadence slow, and bringWith tremulous cadence slow, and bringThe eternal note of sadness in.The eternal note of sadness in.(From: Matthew Arnold, „Dover Beach“)(From: Matthew Arnold, „Dover Beach“)

Sound Patterns (Rhyme)Sound Patterns (Rhyme)

When two words have the same sound When two words have the same sound (phoneme) from the last stressed vowel (phoneme) from the last stressed vowel onwards, they are considered to onwards, they are considered to rhymerhyme..

Forms of RhymesForms of Rhymes

masculine (man – fan)masculine (man – fan)

feminine (gender – bender)feminine (gender – bender)

triple (treacherous – lecherous)triple (treacherous – lecherous)

identical rhyme (know – no)identical rhyme (know – no)

eye-rhyme (move –dove)eye-rhyme (move –dove)

half-rhyme (loads – lids; foam – moan)half-rhyme (loads – lids; foam – moan)

internal (East, west, home‘s best)internal (East, west, home‘s best)

external (aabb, abab, abba, abcabc)external (aabb, abab, abba, abcabc)

External RhymeExternal Rhyme

rhyming couplet (aabb)rhyming couplet (aabb)

alternate / cross rhyme (abab)alternate / cross rhyme (abab)

embracing / enclosing rhyme (abba)embracing / enclosing rhyme (abba)

tail rhyme (abcabc)tail rhyme (abcabc)

So What?So What?

Sylistic devices can Sylistic devices can draw one‘s attention to certain elements draw one‘s attention to certain elements create connections between certain elements create connections between certain elements make a text more comprehensive make a text more comprehensive characterize the speakercharacterize the speaker elicit certain emotional responses in readers elicit certain emotional responses in readers

or listeners or listeners

Analysis of Poetry:Analysis of Poetry:

situation / subject mattersituation / subject matter

concepts / oppositions (love – hate, life - death) concepts / oppositions (love – hate, life - death)

lyrical persona or implicit voice lyrical persona or implicit voice

fictional addresseefictional addressee

mood, tonemood, tone

poetic form (metre, rhythm, sound, type of poetic form (metre, rhythm, sound, type of poem)poem)

rhetorical form (figurative language) tropes, rhetorical form (figurative language) tropes, schemesschemes

Reference / Sources:Reference / Sources:

Thomas Carper, Derek Attridge. Thomas Carper, Derek Attridge. Meter and Meaning: an Meter and Meaning: an Introduction to Rhythm in PoetryIntroduction to Rhythm in Poetry. London & New York: . London & New York: Routledge, 2004.Routledge, 2004.

Jeffrey Wainright. Jeffrey Wainright. Poetry: The BasicsPoetry: The Basics. London & New . London & New York: Routledge, 2004.York: Routledge, 2004.

Chris Baldick. Chris Baldick. Oxford Concise Dictionary of Literary Oxford Concise Dictionary of Literary TermsTerms. Oxford and New York: Oxford UP, 2004 . Oxford and New York: Oxford UP, 2004

J. A. Cuddon. J. A. Cuddon. The Penguin Dictionary of Literary Terms The Penguin Dictionary of Literary Terms and Literary Theoryand Literary Theory. London: Penguin Books, 1998.. London: Penguin Books, 1998.

Michael Meyer. Michael Meyer. English and American Literatures.English and American Literatures. Tübingen and Basel: A. Francke, 2004.Tübingen and Basel: A. Francke, 2004.