Elements of Poetic Form

1. Elements of Poetic Form

2. Sound Devices in Poetry

3. One element that is most noticeable within poetry is the arrangements of sounds in a sentence. • From Poetry we learn that it matters what sounds we use when we write something.

4. Rhyme • One of the most common patterns in poetry. • When words end with the same sounds, or almost the same sounds. And everywhere a silver, With ropes of sand To keep it from effacing The track called land.

5. End Rhyme • Occurs in the last words of lines There are plenty of trees, And plenty of ease,

6. Internal Rhyme • When rhymes occur within lines, rather than at the ends. The Gothic looks solemn, The plain Doric column

7. Near Rhyme • Words that almost rhyme are called near rhyme, off rhyme or slant rhyme. Mirrorand near Turnsand mourns

8. Masculine and Feminine Rhyme • One syllable rhymes are called Masculine rhyme • Arch-larch, sings-rings, trees-ease • Two syllable rhymes are Feminine Rhyme • Solemn- column or Crozier-Hosier

9. Reverse Rhyme • Rhyming with the first syllables of a words instead of the last syllables Chantry and Chancellor Sniffle and griffin

10. Leonine • A form of internal rhyme; it is when a word in the middle of a line rhymes with the word at the end of the same line. I bring fresh showers for the thirsting flowers, From the seas and the streams; I bear light shade for the leaves when laid In their noonday dreams

11. I sift the snow on the mountains below And their great pines groan aghast And all the night ‘tis my pillow white, While I sleep in the arms of the blast

12. Patterns Beyond Rhyme Sound Play

13. from The Scarlet Letter by Nathanial Hawthorne What you will see next is the first paragraph from the novel above. It is filled with hard, harsh, scratchy sounds to express the unpleasant strictness, rigidity, and judgmental character of the Puritans.

14. Sounds are important to poetry and to prose for expression of tone, mood, emotion, purpose, etc. A throng of bearded men, in sad-colored garments and gray steeple-crowned hats, intermixed with women, some wearing hoods, and others bareheaded, was assembled in front of a wooden edifice, the door of which was heavily timbered with oak an studded with iron spikes.

15. Sounds are important to poetry and to prose for expression of tone, mood, emotion, purpose, etc. A throng of bearded men, in sad-coloredgarments andgray steeple-crowned hats, intermixed with women, some wearing hoods, and others bareheaded, was assembled in front of a wooden edifice, the door of which was heavily timbered with oak an studded with iron spikes.

16. Alliteration • Repeating only the initial (beginning) sound of a word. It wraps it, rail by rail, It ruffles wrists of posts. Poets use repetition in classic ways. Alliterating an adjective with its noun , or a subject with its predicate, or the connected terms of a compound. Consistent structures like this are obvious evidence of the intent of the poet. Certainly words will show repetition by accident, but such consistent application shows the artistic effort.

17. Alliteration • was especially important in Old English verse, establishing the rhythm and structure of the poetic line. • is one of the poet's most important sound techniques. It makes particular words stand out. It also connects the words to be emphasized. It can highlight concepts and relationships. Look for the repeated consonant sounds in this poem: Then up and spake an old sailor,  Had sailed to the Spanish Main,"I pray thee, put into yonder port,  For I fear a hurricane." --Henry W. Longfellow, "The Wreck of Hesperus"

18. Often the sounds and meanings of the words combine to create a mood. Here, repetition of b and t stresses a feeling of urgency: Hear the loud alarum bells--Brazen bells!What a tale of terror, now, their turbulencytells! --Edgar Allen Poe, from "The Bells"

20. Assonance • Pattern of a vowel sound in the middle of words. Blake and fame = assonance not : Blake and snake = rhyme And not : Blake and book = alliteration But Glooms of the live-oaks, beautiful-braided and woven With intricate shades of the vines that myriad-cloven Clamber the forks of the multiform bought. . .

21. Assonance "Assonance, (or medial rime) is the agreement in the vowel sounds of two or more words, when the consonant sounds preceding and following these vowels do not agree. Thus, strike and grind, hat and man, 'rime' with each other according to the laws of assonance."(J.W. Bright, Elements of English Versification, 1910)

22. From “Memorial Service”by George Garrett Forgiving the living is hard enough, shrugging away all the wounds delivered with kisses and curses, the thousand and one petty slights that bled me to an albino shade, that shadow meeven in dreams.

23. Wait ----Practice Open, roll way the stone, overturn and blasting, groan In the above line there is an example of alliteration, rhyme and assonance. Can you identify each? What kind of rhyme is it?

24. Wait ----Practice Open, roll way the stone, overturn and blasting, groan In the above line there is an example of alliteration, rhyme (Leonine)and assonance.

25. Consonance • Repetition of certain consonant sounds. • Consonance can create a kind of percussion that adds strength to a poem. I fled him, down the nights and down the days

26. Consonance • correspondence or recurrence of sounds especially in words; specifically: recurrence or repetition of consonants especially at the end of stressed syllables without the similar correspondence of vowels (as in the final sounds of “stroke” and “luck”)

27. George Wither, "Shall I Wasting in Despair” • Great, orgood, orkind, orfair,I willne'erthemoredespair;If sheloveme, thisbelieve,Iwilldie ere sheshallgrieve;If sheslightme when I woo,I can scorn andlethergo;For if she benotforme,WhatcareIforwhom she be?

28. Sibilant: is alliteration but is a term used when s is the repeated sound. (hissing sounds as in “this” or pleasure” from Kate Chopin’s The Awakening: Thevoiceof the seais seductive; never ceasing, whispering, clamoring, murmuring,inviting thesoul to wander fora spell in abysses of solitude; tolose itself inmazes of inward contemplation. Thevoiceof the sea speaks to the soul. The touch of the seais sensuous,enfolding the body inits soft,close embrace.

29. Anaphora Repetition of a word or words at the beginning of two or more successive verses, clauses, or sentences. We shall not flag or fail. We shall go on to the end. We shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and strength in the air, we shall defend our island whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and streets, we shall fight in the hills. We shall never surrender.

30. Review • What kind of rhyme is loser bruiser? Feminine 2. What kind of rhyme is gravel gravid? Reverse • What is shock shack? Alliteration 4. What is boat boom bind? Alliteration 5. What is fail safe make stay? Assonance • What is trouble about nobody rabid ribbing? Consonance

31. More Sound Play

32. C. Meter • Beyond simple vocals, there are also rhythms. • Poets often use rhythms to support the ideas of the poems. • This is possible because the syllables of words can be either stressed or unstressed. • The arrangement of stressed and unstressed syllables in lines of poetry is called meter. • Stress is emphasis, the way we give extra voice to certain syllables.

33. Examples of emphasis or stress: • President first syllable PREZ ih dent • Petunia second syllable peh TOON ya • Malarky second syllable mah LAR kee

34. Correct stress is important: • What if someone came up to you and said. . . HIH lar EE us chih KENS DEE sin dedvur TIK lee Would you know what these words meant. . . Hilarious chickens descended vertically?

35. 1. Iamb • The most common type of poetic foot (each unit of repeating pattern of stressed and unstressed syllables). • An iamb is a two-syllable foot that is stressed in the second syllable. • It dropped / so low/ in my / re gard This entire poem is made of iambs: It dropped so low in my regard I heard it hit the ground, And go to pieces on the stones At bottom of my mind.

36. 2. Trochee • A two-syllable foot with the stress on the first syllable Trochee are often used to suggest evil or danger within a poem. Something /wicked /this way /come

37. 3. Spondee • A two-syllable foot with both syllables stressed. Spondees are often used for emphasis in a line of iambs. He looked/ surprised/ and said /no words

38. 4. Dactyl • A three-syllable foot with the stress on the first syllable Sounds like DAdadaDAdada. . . This is the/ forest prim/e val. The/ murmuring/ pines and the/ hem locks,

39. 5. Anapest • a. A three-syllable foot with the stress on the third syllable • When the voi/ ces of chil/ dren are heard/ on the green

40. II. Language

41. Figurative • A direct and factual statement often fails to get an idea across. Effect is added when comparisons are made. • Figures of speech compare an unusual experience to something someone is more likely to know about. • Original figures of speech have an element of surprise that enhances the communication.

42. 1. Simile: • a. A comparison between two things using word such as like or as to make it clear that it is a comparison. i. Beauty is like a snowfall

43. 2. Metaphor • a. a direct comparison between two things. • i. beauty is a snowfall

44. 3. Personification • a. treating something that is not a person as though it were a person. i. The mountains are an aware being, sitting up, looking alertly over the plain.

45. Synecdoche and Metonymy • The figure of speech is not a comparison but the use of a related thing to indicate something. • example:. the pen is mightier than the sword= metonymy • Using a related object, a pen, to indicate publishing, or using the sward to indicated armed force. • Or • Example: Friends, Romans, countrymen, lend me your ears = synecdoche (a substituion of a part for the whole.)

46. Imagery • Language that appeals to the five senses • Sight, smell, sound, touch, taste

47. Questions?

48. TPCASTT • T – Title • Before reading the poem, consider the title • P – Paraphrase • Paraphrase the poem at face value – put into your words • C – Connotation • Look for deeper meaning – analyze poetic elements • A – Attitude • Author’s tone • S – Shifts • Shifts in tone, rhythm, action  meaning? • T – Title • Re-evaluate the title • T – Theme • What message is this poem trying to get across?