Transcript Poetry!

POETRY!
NARRATIVE POETRY
Poetry that tells a story
 Can you put the poem in a plot diagram?

If you can, it’s a narrative poem!
 ** The Odyssey classifies not only as an “Epic Poem,”
but also as a narrative poem!

DONALD JUSTICE
by Donald Justice
-- Coronado Beach, California, March, 1905
In a hotel room by the sea, the Master
Sits brooding on the continent he has crossed.
Not that he foresees immediate disaster,
Only a sort of freshness being lost -Or should he go on calling it Innocence?
The sad-faced monsters of the plains are gone;
Wall Street controls the wilderness. There's an
immense
Novel in all this waiting to be done.
But not, not -- sadly enough -- by him. His talents,
Such as they may be, want a different theme,
Rather more civilized than this, on balance.
For him now always the recurring dream
Is just the mild, dear light of Lamb House falling
Beautifully down the pages of his calling.
CASEY AT THE BAT
By Ernest Lawrence Thayer Taken From the San Francisco Examiner - June 3,
1888
The outlook wasn't brilliant for the Mudville nine that day;
The score stood four to two, with but one inning more to play,
And then when Cooney died at first, and Barrows did the same,
A pall-like silence fell upon the patrons of the game.
A straggling few got up to go in deep despair. The rest
Clung to that hope which springs eternal in the human breast;
They thought, "If only Casey could but get a whack at that —
We'd put up even money now, with Casey at the bat."
But Flynn preceded Casey, as did also Jimmy Blake,
And the former was a hoodoo, while the latter was a cake;
So upon that stricken multitude grim melancholy sat;
For there seemed but little chance of Casey getting to the bat.
But Flynn let drive a single, to the wonderment of all,
And Blake, the much despised, tore the cover off the ball;
And when the dust had lifted, and men saw what had occurred,
There was Jimmy safe at second and Flynn a-hugging third.
Then from five thousand throats and more there rose a lusty yell;
It rumbled through the valley, it rattled in the dell;
It pounded on the mountain and recoiled upon the flat,
For Casey, mighty Casey, was advancing to the bat.
There was ease in Casey's manner as he stepped into his place;
There was pride in Casey's bearing and a smile lit Casey's face.
And when, responding to the cheers, he lightly doffed his hat,
No stranger in the crowd could doubt 'twas Casey at the bat.
Ten thousand eyes were on him as he rubbed his hands with dirt.
Five thousand tongues applauded when he wiped them on his shirt.
Then while the writhing pitcher ground the ball into his hip,
Defiance flashed in Casey's eye, a sneer curled Casey's lip.
And now the leather-covered sphere came hurtling through the air,
And Casey stood a-watching it in haughty grandeur there.
Close by the sturdy batsman the ball unheeded sped —
"That ain't my style," said Casey. "Strike one!" the umpire said.
From the benches, black with people, there went up a muffled roar,
Like the beating of the storm-waves on a stern and distant shore;
"Kill him! Kill the umpire!" shouted some one on the stand;
And it's likely they'd have killed him had not Casey raised his hand.
With a smile of Christian charity great Casey's visage shone;
He stilled the rising tumult; he bade the game go on;
He signaled to the pitcher, and once more the dun sphere flew;
But Casey still ignored it, and the umpire said "Strike two!"
"Fraud!" cried the maddened thousands, and echo answered "Fraud!"
But one scornful look from Casey and the audience was awed.
They saw his face grow stern and cold, they saw his muscles strain,
And they knew that Casey wouldn't let that ball go by again.
The sneer has fled from Casey's lip, the teeth are clenched in hate;
He pounds with cruel violence his bat upon the plate.
And now the pitcher holds the ball, and now he lets it go,
And now the air is shattered by the force of Casey's blow.
Oh, somewhere in this favored land the sun is shining bright,
The band is playing somewhere, and somewhere hearts are light,
And somewhere men are laughing, and little children shout;
But there is no joy in Mudville — mighty Casey has struck out.
DRAMATIC POETRY

Speaker is clearly someone other than the poet
Does the poem have more than one speaker?
 Does it kind of work like a play?


It might be dramatic poetry!
INCIDENT IN A ROSE GARDEN
Gardener
Sir, I encountered Death
Just now among our roses
Thin as a scythe he stood there.
Master
Sir, you must be that stranger
Who threatened my gardener.
This is my property, sir.
I knew him by his pictures
I welcome only friends here.
He had on his black coat
Black gloves, and broad black hat. Death
Sir, I knew your father.
I think he would have spoken,
And we were friends at the end.
Seeing his mouth stood open.
Big it was, with white teeth.
As for your gardener,
As soon as he beckoned, I ran.
I ran untill I found you.
Sir, I'm quitting my job.
I want to see my sons
Once more before I die.
I want to see California.
I did not threaten him.
Old men mistake my gestures.
I only ment to ask him
To show me to his master.
I take it you are he?
SPEAKER

Voice that “talks” to the reader
George Gray
by Edgar Lee Masters
I have studied many times
The marble which was chiseled for me -A boat with a furled sail at rest in a harbor.
In truth it pictures not my destination
But my life.
For love was offered me and I shrank from its disillusionment;
Sorrow knocked at my door, but I was afraid;
Ambition called to me, but I dreaded the chances.
Yet all the while I hungered for meaning in my life.
And now I know that we must lift the sail
And catch the winds of destiny
Wherever they drive the boat.
To put meaning in one's life may end in madness,
But life without meaning is the torture
Of restlessness and vague desire -It is a boat longing for the sea and yet afraid.
LYRIC POETRY

Writers express their thoughts and feelings about
a subject in a brief but musical way

Does the poem have a songlike quality?
THE FUNERAL, BY GORDON PARKS
After many snows I was home again.
Time had whittled down to mere hills the great
mountains of my childhood.
Raging rivers I once swam trickled now like gentle
streams
And the wide road curving on to China or Kansas City
or perhaps Calcutta
Had withered to a crooked path of dust
Ending abruptly at the county burial ground.
Only the giant that was my father remained the same.
A hundred strong men strained beneath his coffin
When they bore him to his grave.
WORD CHOICE IN POETRY

What kind of mood does the poem have?
Feeling a poem creates
 Does the poem feel happy? Sad? Joyful?


What kind of tone does the poem have?

Attitude that a poet takes toward his or her subject
and the readers

Choice of words – are they friendly? Sad? Mad?
JABBERWOCKY BY LEWIS CARROLL
(from Through the Looking-Glass and What Alice Found There, 1872)
`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!"
He took his vorpal sword in hand:
Long time the manxome foe he sought -So rested he by the Tumtum tree,
And stood awhile in thought.
And, as in uffish thought he stood,
The Jabberwock, with eyes of flame,
Came whiffling through the tulgey wood,
And burbled as it came!
One, two! One, two! And through and through
The vorpal blade went snicker-snack!
He left it dead, and with its head
He went galumphing back.
"And, has thou slain the Jabberwock?
Come to my arms, my beamish boy!
O frabjous day! Callooh! Callay!'
He chortled in his joy.
`Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
IMAGERY

A poet’s use of words to create a mental picture
or image that communicates experiences

Can you “sense” the poem using your five senses?

It’s that whole “showing not telling thing again!!
"MEMORY," BY MARGARET WALKER
Read the poem then complete the assignment that follows.
I can remember wind-swept streets of cities
on cold and blustery nights, on rainy days;
heads under shabby felts and parasols
and shoulders hunched against a sharp concern;
seeing hurt bewilderment on poor faces,
smelling a deep and sinister unrest
these brooding people cautiously caress;
hearing ghostly marching on pavement stones
and closing fast around their squares of hate.
I can remember seeing them alone,
at work, and in their tenements at home.
I can remember hearing all they said:
their muttering protests, their whispered oaths,
and all that spells their living in distress.
• Identify the tone in this poem; and
• describe two examples from the poem in which the author's use of imagery helps create the
tone that you identified.
FIGURATIVE LANGUAGE

Language that uses figures of speech to create
pictures – saying one thing but meaning another

Does the poem use Literary Elements to paint it’s
picture?
Simile
 Metaphor
 Personification

"I WANDERED LONELY AS A CLOUD"
by William Wordsworth
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.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced; but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed---and gazed---but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.
MUSICAL DEVICES IN POETRY!

When poets use the sound of words to enrich
their poetry
Alliteration – repetition of the same consanant sound
 Assonance – repetition of vowel sounds
 Onomatopoeia – use of a word whose sound imitates
or suggests sound


Can you think of examples of each?

Also . . . . Parallelism – repetition of similarly
structured lines
THE BELLS BY EDGAR ALLEN POE
I
Hear the sledges with the bellsSilver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars that oversprinkle
All the heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bellsFrom the jingling and the tinkling of the bells.
II
Hear the mellow wedding bells,
Golden bells!
What a world of happiness their harmony foretells!
Through the balmy air of night
How they ring out their delight!
From the molten-golden notes,
And an in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells,
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the Future! how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells,bells,
Bells, bells, bellsTo the rhyming and the chiming of the bells!
III
Hear the loud alarum bellsBrazen bells!
How they clang, and clash, and
What a tale of terror, now, their
roar!
turbulency tells!
What a horror they outpour
In the startled ear of night
On the bosom of the palpitating
How they scream out their
air!
affright!
Yet the ear it fully knows,
Too much horrified to speak,
By the twanging,
They can only shriek, shriek,
And the clanging,
Out of tune,
How the danger ebbs and flows:
In a clamorous appealing to the
Yet the ear distinctly tells,
mercy of the fire,
In the jangling,
In a mad expostulation with the
And the wrangling,
deaf and frantic fire,
How the danger sinks and swells,
Leaping higher, higher, higher,
By the sinking or the swelling in
With a desperate desire,
the anger of the bellsAnd a resolute endeavor,
Of the bellsNow–now to sit or never,
Of the bells, bells, bells, bells,
By the side of the pale-faced
Bells, bells, bellsmoon.
In the clamor and the clangor of
Oh, the bells, bells, bells!
the bells!
What a tale their terror tells
Of Despair!
IV
Hear the tolling of the bellsA paean from the bells!
Iron Bells!
And his merry bosom swells
What a world of solemn thought
With the paean of the bells!
their monody compels!
And he dances, and he yells;
In the silence of the night,
Keeping time, time, time,
How we shiver with affright
In a sort of Runic rhyme,
At the melancholy menace of their
To the paean of the bellstone!
Of the bells:
For every sound that floats
Keeping time, time, time,
From the rust within their throats In a sort of Runic rhyme,
Is a groan.
To the throbbing of the bellsAnd the people–ah, the peopleOf the bells, bells, bellsThey that dwell up in the steeple,
To the sobbing of the bells;
All Alone
Keeping time, time, time,
And who, tolling, tolling, tolling,
As he knells, knells, knells,
In that muffled monotone,
In a happy Runic rhyme,
Feel a glory in so rolling
To the rolling of the bellsOn the human heart a stoneOf the bells, bells, bells:
They are neither man nor womanTo the tolling of the bells,
They are neither brute nor
Of the bells, bells, bells, bellshumanBells, bells, bellsThey are Ghouls:
To the moaning and the groaning
And their king it is who tolls;
of the bells.
And he rolls, rolls, rolls,
THE END
Rolls
STRUCTURE OF POETRY

Stanza – unit with a set number of lines
Couplet – Stanza of two rhymed lines
 Quatrain – Stanza of four rhymed lines


Meter – pattern of accented and unaccented syllables
that form the basis of a poem’s rhythm
Number of rhythmic beats or “feet” in a line and the
arrangement of accented and unaccented syllables
 A line that has five beats or feet is called a pentameter
 If a foot has an unaccented syllable followed by an accented
syllable it is called an iamb.
If a poem has no regular meter it is called “Free Verse”

WHAT’S THE STRUCTURE?
maggie and milly and molly and may
By e.e. cummings
maggie and milly and molly and may
went down to the beach (to play one day)
and maggie discovered a shell that sang
so sweetly she couldn't remember her troubles, and
milly befriended a stranded star
whose rays five languid fingers were;
and molly was chased by a horrible thing
which raced sideways while blowing bubbles; and
may came home with a smooth round stone
as small as a world and as large as alone.
For whatever we lose (like a you or a me)
it's always ourselves we find in the sea
SONNET – WELCOME TO SHAKESPEARE’S WORLD!
Lyric poem of 14 lines with a set rhyme scheme
 Normally written in iambic pentameter

A line of ten syllables in which every second syllable
is accented
 Usually unaccented lines are marked with a “u”
while accented syllables are marked with a “/”
 A rhyme scheme is marked by coordinating alphabet
letters for each rhyme.

For example, if the 1st and 3rd lines rhyme and the 2nd and
4th line rhyme, the rhyme scheme would be abab.
 Shakespearean rhyme scheme is abab cdcd efef gg

SONNET 116 BY WILLIAM SHAKESPEARE
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:
O no! it is an ever-fixed mark
That looks on tempests and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken.
Love's not Time's fool, though rosy lips and cheeks
Within his bending sickle's compass come:
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.
HAIKU
Three lines of verse
 Five syllables, seven syllables, five syllables


Usually about nature
Temple bells die out.
The fragrant blossoms remain.
A perfect evening.
- Basho
CONCRETE POETRY

Poetry in which the words are arranged to look
like, or suggest something about, the subject
being presented.