"
tl
tr 1
<3
... wor-ds arranged in
ltI-lYTHN\lC pattern with regular ACCEI"TS
(1ike BEATS
in mU5ic)
(f~orn opening lines of
.~
. . ~on9fe/lOW'5 I/Evange/iY)e"j
... wOyds c~reftJlly 5elec,ted . -for sound, oCceh+ ~Yld' . meaning .. ;. +0 express '~' '.
IMAGINATIVE,~Y' ",: . idea$ "and ernoJl~~jiY;ii;.
"i:"<,",~:"
". -t,,,,.
}\::"
~.' .~.
'.A_" ..'.. .0.-, ,.""
..
'-';",
_ ~:.
-l.
':,
"~'
(I\J f. COME
To
tHE END OF
u~e6
poetry when
MY
ROPE
IN CON"E~SATlof'J...
. he. speaks or write~lNjth words th-a-t- create
5,such as
A
i~. a per~6Y\ Yhore endowed vvithi\'Y''d9 in-ation who tries to e"-pres5 -an ided with words fh-at. .
give it FO~N\ "and
BEAUT'f---
~
1
Each poem h~s (t)RHYTHM, (7.:MELOD~(3)/MAGERY,OVld And POETRY h-as"a"L.ANGUAGE" allir$owh ...
(4)
FoRi
--
ACeNS-'of the sy IrM;I~;s;-:i~ +hi: Wb~(
fJll -otre9vlo.~:"
1b~t(~i~f"~t~~~ .:
\'I\I\ETP-IC .PATTE~"W
(e;>-<cepi in ''free verse ")
called a
*"
f8iZ ijl. XY..\f.
intervals, like'the
BrAT of JVlUSIC
-tecf.iNlcAL
NAfY\E.
-ACCENTEO: / DUMM" UNACCtJTEO: u IIde II
2-
---3- TR0GIA8C.1 OuMM de I' C~M ~;g ul -3' ANAPESTIC Iude de OUMM I-V\)/ f~E l~~ -3 .DACriLIC IDtMM de de 1-.t~ :, ;~im
~~Vl
-
I"Mt C f1 pi
IV ~ I de DUMM
-a WAY 1 WILL
NOTE:
C:;ometil'Y1e5
"PAu5E
~d~
(CAESU- .'
Cln
t;,ke. the
place of S"I-~
~
urJAcctNTED
LESS {~PONOEe(DUMMoU~M)j P)1_ItRAlG(d e detTP-IBACH (d~ d'e de) USED AM""'IBAACH ( d~ DU~M de) j AAPH.MACE(t (OlJ(~rt dS D/V~A J
~~Q!-~
I
I
t~
r I
--the \\BEAT" of POETRY llFEE-T" is called
''METE~
I FOOT
4
'Ih
1\
tl II It
FREE VE5E,1
is
Y\J
ihere
0\"\
h'etricol
5
6
pottern -- it- ~15 based
the notoi'"'3/
C'ddenC8~
of ~eec.h.
--EACH
poeM ~L<;O liAS f\MELoOylf~-
~.
t-ll<.E MU~IC, I;ACHPOeM ",AS.
", .: -:, ." '. I. ' "'0 ~
~.'\ \.1/
",-
..:~.
5'~GlE.} Jove ~J-l'/ME. dove
r-:
OOUBLE L
~HYMe J
~'1ME.
nappin9
t~ppih9
oTttE6t I<H'/MIHG I~
IlmM5
AN \'.MPERFEC.Y" RHYME
two words look alike. but don't sound alike, such as "LOVE" and "JOVE"
lttlPlE }
~corYlful Iy
mouvnfvHy
SOMETIMES too MANY rhymes detract from poem -- sound too _jingly.
IN AN "IHTEItNAL!' RH'IME.
the rhyme occurs inside a line such as -- "Let's beatthe heat"
'1I\tA~UUf4E"2
,,""YME
-.5
where last syll abl e accented such as "rake," "stake" more than one syllable rhymed -- accent not on last syllable such as "weather" "heather"
'IFEMUUNE }
;tHYME..
AND EACHPOEM--. -AL~OHAS
(I)
SUCH AS "The man paced
like a hungry lion."
(2)
(3)
two unlike things directly compared (without using "like" SUCH AS "The river is a snake which coils on itself."
or "as")
-= giving
human qualities to things SUCH AS "The trees danced in the breeze."
PHe =
~
addressing some abstract object SUCH AS "0 world! Tell me thy pain."
(I
= referring metaphorically to persons, from history or previous literature.
places,
and things
-and by
(OHVPSlBC1E
such as
saying more thon is true
(4) A~TITHESIS USing
Conirast5 for effect
are wet. "
"He wore his fingers to the bone. '',
such as . "Deserts are dry; oceans
.(2.)-utJDe~STATfMEt&T 5'8yir.g/ess th-aY) is true
such as "Losing his [ob meant he could sleep late. '~ such as "All hands on deck. "
(3) I~MY. saying Eposite to wh'3r j~ -true
such as "War is kind."
(6) f/l1fJNYMY ~ub~+jtotiOt"of one word
for dt"other closelv ve''OteJ
: such as "The pot's boiling."
\N'ovd
Never
MIX metaphors, such as "He threw in the sponge before
he hit the [ockpot, " 7
Avoid comparisons
thcit are too obvious or far-fetched.
~'!:' ;
'"
\'
",
AI'!D:~\' ....
fll'l~l.l)'.
-- --~r-,a-rj :J.'a ...
If you
A love
I
are
u";
compaSSionate!
You. wi I! walk with
thi';1ear: ....
Who are here
We -face a glaciol dis,tance -HuddJ'd At your feet. ...
(Burford) . . " -':
Dr. William Burford, "A Christmas Tree" . from the book "Man Now" (,Dallas; Southern . Methodist University Pres's, 1954).
. =-
'"'.
~~~~oMe
No.of
LINES
' tSPEC'AL NAMES foy STANZAS '"""""""'~~
with diffevent number of line~
WHAT 111S CALLED
\t'Il-4P.T IS-IT
2 lines with identical RHYMES. RHYMES. '
2.
~tiYMED
'~EROIC
COUPLE.
COUPLE, TRIPLET
2 IAMBIC PENTAMETER LINES with identical 3 lines -- any rhyme scheme or meter 4 lines -- any rhyme scheme Rhyme scheme -- a b c b lst and 3rd Iines"'-IAMBIC TETRAMETER; 5 lines -- rare 6 Iines (often 3 sets of couplets). 7 line IAMBIC PENTAMETER stanza Rhyme scheme -- a b a b b c c 8 line stanza 8 lines -- IAMBIC PENTAMETER Rhyme scheme -- a b a b a b c c 8 lines --'- IAMBIC PENTAMETER 1 line -- IAMBIC HEXAMETER Rhyme scheme -- a b a b b c b c c abab abba abcb
-3
I Te.1lCET,
'4 ,4
,5
,6
QUATRAIN
any length and meter.
BALl~O
qUATRA'N
2nd and 4th Iines-IAMBIC TRIMETER
Qu,NTE.T
(CINquAIN)
SESTET
~IME. fl,OYAL. oCTAVE
7 8
used from Chaucer to Masefield
OTTAVA RIMA
See Keats' " Isabella" See Spenser's "Faerie Queen
II
" 14
SoNNE" -.:.
complete poem of 14 lines of IAMBIC PENTAMETER
ONE FORM -ANOTHER Usually
3 quatrciins plus couplet rhyme scheme--a b a b c d c d e f e f 9 9 8 lines rhyming -- a b b a, a b b a, 6 lines rhyming -- c d e c d e (or) c d c d e e See Shakespeare's Plays See Walt Whitman
BLANK VE~SE
IAMBIC PENTAMETER but no rhyme rhythmic pattern or use of rhyme
No regular
MOST'_P~IM'.,FI%,~L--,~:r;,oTtf-6se
'~, >.:'." "';""::.. -. ,~' .:, .:: -,".':.:',',-., . ,;;:.'
_"
;-/ "
e~6"'1~ tzOflt~f4(E.
G) ~~ CS4
VIRGil' DANTE'S MilTON'S 5 "Aeneid" "Divine Comedy" lost" "SONG "KING OF ROLAND" ARTHUR" "Faerie "lady Queen"
~ J'
"Paradise
SPENSER'S SCOTT'S'
of the lake" "Idylls of the King"
Or -- about a GROUP of PEOPLE (a folk epic) SUCH AS HOMER'S GERMAN "Iliad" and "Odyssey"
TENNYSON'S
'and MET~ICAL TALE5 (short stories)
SUCH AS'
"Niebelungenlied" "Beowulf"
WH ITTIER' S "Barbara BROWNING'S
Frietchie" of the French Cam "
EARLY ENGLISH
"Incident
@BALLAD
A
very ,f,ort
LE
usuolly <3bout ohim'dls-- \ with d f')10V"d I THOSE BY .
sucH At;
e;tory
~LlCH AS
Ijjj? ) t!fj
~
-"Wreck of
A short story--
R~ ~ G\.
v~~y
IOY'l9s+ory-+ic...-tion iV1 poe-.try fen')"\
COLERIDGE -- "Rime of the Ancient Mariner"
LONGFELLOW
~fI
SUCH AS
10
the Hesperus" AND MUCH .FOlK MUSIC ancient and contemporary
WALTER DE lA MARE ARTHUR GU !TERMAN G. K. CHESTERSON
OLIVER lAFARGE .',- "Each to the Other"
...
~
-
...
..
"l\@eLEGY
! .fl. . ~0 r~~
\
l 't
.
in
A lomeni"'
0\1"
@ SONNE"
A popl.llorform of
lyric poetry havi~g
me.mory
of Someone
14 \ines
u---\ L
~ ~
(j) EPITAPH
tfJ
.
.
PAAMATfC LYf2JC.
0'
short elegy to
inscribe ana MonuMent
An
emO+ion-a1 monologue di<3logue.
---
j!ro . n .'";:J !L,-~ I
DIDACTiC Foy purpo~e6 of ihstruction
. h ()
/\.'1r /., 0
I
) 02~ ~
~.l
"? / t~- /.
/"
.
M r7
~
/( /
]]:
.
.ltl L
I
SuCH ,.,5
HORACE -- IIArt of Poetry" VIRGIL -- "Georgics"
70') ~ ~ --I I 'wf""""--'
10 -att-ack -Folly via riJjcu/e
S'lJCH
AS
.
POPE -- "Rape of the l.ock " LOWELL -- "Biqlow Papers'"
ATIC
" . felling 5tory throu9h speeche5
of c.haracters
<;;vCH A5 FROST -- "Death of Hired Man T. S. ELIOT -- "Cocktail Party"
ll
ErCQI incJudiVlg
VERS DE SOCIETE1 (light a~d witty) PARODY (imitations) HUMOROUS (dialect, limerick, jingle) OGDEN NASH SUCH AS T. A. DALY { F. P. ADAMS 11
\ v-J 1
~
Ci7~cJ\ '
L"
Poetry that is very~1 in treatment -Imaginative dealing Love, etc., strict metrical . by such poets as
'1
II
but in patterns _ with Nature,
by such poets as PERCY BYSSHE SHELL
SAMUEL JOHNSON JOHN MILTON
\'
E LI
Candid of every
II
presentation Realistic concerned
ICALf
poetry with man's life -INNER THOUGHTS by such poets as ROBERT FROST T. S. ELIOT
s!y
by such poets as
:)
WALT WHITMAN
STEPHEN CRANE
GT'I
Highly symbolic. Poet's interpretation extremely personal -including such terms as by such poets as GINSBERG and the "BEATNIK"
12
"
IIIMPRESSIONISTIC" "FUTURISTIC" "NON-OBJECTIVE" "SYMBOLIC" POETS "NEO-CLASSIC l' "PRIMITIVE" I "EXISTENTIAL" IISURREALISTIC II
which are often also used in ART and MUSIC
\J'JHAT'5 THE
MESSAGE <>
,"'
1)i-fferentpoetsmay';
"I THINK OF THE WOMEN AND CHILDREN LEFT BEHIND TO WAIT!
~ove quite dlffere~
.
"WAR IS A DREADFUL WASTE OF PEOPLE AND RESOURCES"
ATilTuDES toward
11
theS,AME- subject .
SUCH AS
"$URELYr THE ENEMY MUST BE AS BRAVE AS WE !"
"AS A SOLDIER, I DO NOT SEE THE WAR, BUT ONLY MY OWN MISERY"
.. ' ~.,~~'f~~:~-
"WAR MAKES MIGHTY MEN AND ELIMINATES THE WEAK"
~.
~.)
"WHAT AMAZING HEROISM AND COURAGE WAR BRINGS OUT INMEN"
eve
POET IS INFLUENCED
y--in
(1) his SELIEFS~~ve u~u81(y reflected
hj~THEMES
of hi~
(1) thePEIlIOI)--7' u~u8l1y affect5 the SlYLE
poems
(3)theSU8JeCf~often affec+s the M~I(ZICAL PAllelZN (4) hi5 C~ 'V'TY~wiJl -affect hi5 u~e of IMAGERY
1
cr'.tlcq~hp~~l~:d:i~ :9!:it~.ftb-1:'e;H:<;1!Wf.l~'l -a"Rge,tyllsgood .~:'-r. lOt V
".
. ,,;~~~f(([?~,5'j~'~~r)~dt~iP~'~~~'~~,:r,'f ...'......
$8rne.
QUESII~:PJcS;zto
iV)
(35k your5elf
-- is it
ORIGINAL?
That is -- is its theme fresh and not tri te?
.-->~.''':~';-,
-:,;..~.:.;,~,s...;t:<:''''-~''':'W.::I'.::~~-e.-':~f..~~l~~''''''''-''-'
'.
1
l
-- does it have
g
z:
!.
.~
;:
i ~
i
~
Are the form, style, imagery and metrical pattern . consistent throughout the poem?
'"
-- does it have
~t4YTHM1
Do the words and' lines seem to flow?
__
4lI.
,
r=;
-- does it produce
~ee? iinii~
J
-- does it have
That is -- are the figures of speech used both reasonab Ie and yet stimulating?
'/~
-- does it produce
.~
. That is --would it have meaning for most people, in most countries, in any age?
PUP FeeLING?
s.
That is -- an emoti ona I response, not just sentimental?
14
Why not discover your own favo~ite ~ ETS"'~. I andp EMS? ./
1~1~
, '
Browse in libraries -and bookstufS
'\
'~ ,,'
'\'"fo get dcq0~int~dwith "as
poef5d5 possible.
\IYl'dny
for sU99stioY'S.
SE A '~ITlC
~k)rne' ou'll y n~e more that" others:~ge+to kl'1ow them. A'~o'asK your fibt"dri3n
\. .,'
XflJ!
to get fu II flavor of rhythms and sounds. Ask yourself -- why do I like (or dislike) this poem? Analyze its meaning -- its technique. in your pocket or handbag to read in <, ' spare moments during\_ the day. Many cntho'loqi es '~ or collections are now available in paper backed editions.
Get to know the leodiV\9
A~T~OLtJ etS
LISTetJ TO poets~EADlfJG their oWt\PoEM~--
~j;;;jl .- '--~ ~. ~
(collec,tjO~5 of f'Oe~5) ,
'--'--......
~UCH
AS
----the "ALBUM of MODERN POETRY" (Library of Congress, Washington, D. C. 20540) presents 46 English and American poets reading their own poems on 3 LP (33-1/3 RPM) records.
"NEW MODERN AMERICAN & BRITISH POETRY" ed. by Louis Untermeyer "TREASURY of GREAT POEMS", 2 vol , ed. by Louis Untermeyer "OXFORD BOOK of AMERICAN VERSE" ed. by F. U. Matthiessen "AN ANTHOLOGY of FAMOUS ENGLISH and AMERICAN POETRY" by Benet and Aiken -- and there are many other good anthologies.
15
