Journal 7: Couplet

A couplet is a pair of lines of meter in poetry. It usually consists of two lines that rhyme and have the same meter.  Using The Canterbury Tales by Chaucer as an example, create your own couplet poem.  The poem should be at least 14 lines long and establish a repeating meter. Incorporate as many poetic devices as possible.   

Faith Experience

https://docs.google.com/presentation/d/1TKfCP5LK4SKiFbiGuQd5TJiPy-ZQsg7nRJqzNhMlfsM/edit#slide=id.p13

Journal 6: Narrative

Write a 12 line (minimum) narrative poem for Wednesday.

Use three poetic devices: 

Rhymes: slant; masculine; feminine; end; Simile; Metaphor; Personification; Symbolism; Imagery; Onomatopoeia; Alliteration; Assonance; Consonance; Allusion; Metonymy; Synecdoche; Hyperbole; Oxymoron; Allegory; Paradox; Understatement.

Journal 5: Elegy

Write an elegy of 10 lines minimum using 4 of the following 6 poetic devices. IDENTIFY THE DEVICE YOU USE BY UNDERLINING IT (within your poem) AND WRITING IT (the type of device) IN THE MARGIN.

Allusion; Metonymy; Synecdoche; Hyperbole; Understatement; Litotes.


Below is a sample elegy by Lorca.



Lament for Ignacio Sanchez Mejias


1. Cogida and death

At five in the afternoon.
It was exactly five in the afternoon.
A boy brought the white sheet
at five in the afternoon.
A frail of lime ready prepared
at five in the afternoon.
The rest was death, and death alone.

The wind carried away the cottonwool
at five in the afternoon.
And the oxide scattered crystal and nickel
at five in the afternoon.
Now the dove and the leopard wrestle
at five in the afternoon.
And a thigh with a desolated horn
at five in the afternoon.
The bass-string struck up
at five in the afternoon.
Arsenic bells and smoke
at five in the afternoon.
Groups of silence in the corners
at five in the afternoon.
And the bull alone with a high heart!
At five in the afternoon.
When the sweat of snow was coming
at five in the afternoon,
when the bull ring was covered with iodine
at five in the afternoon.
Death laid eggs in the wound
at five in the afternoon.
At five in the afternoon.
At five o'clock in the afternoon.

A coffin on wheels is his bed
at five in the afternoon.
Bones and flutes resound in his ears
at five in the afternoon.
Now the bull was bellowing through his forehead
at five in the afternoon.
The room was iridiscent with agony
at five in the afternoon.
In the distance the gangrene now comes
at five in the afternoon.
Horn of the lily through green groins
at five in the afternoon.
The wounds were burning like suns
at five in the afternoon.
At five in the afternoon.
Ah, that fatal five in the afternoon!
It was five by all the clocks!
It was five in the shade of the afternoon!



2. The Spilled Blood

I will not see it!

Tell the moon to come,
for I do not want to see the blood
of Ignacio on the sand.

I will not see it!

The moon wide open.
Horse of still clouds,
and the grey bull ring of dreams
with willows in the barreras.

I will not see it!

Let my memory kindle!
Warm the jasmines
of such minute whiteness!

I will not see it!

The cow of the ancient world
passed har sad tongue
over a snout of blood
spilled on the sand,
and the bulls of Guisando,
partly death and partly stone,
bellowed like two centuries
sated with threading the earth.
No.
I will not see it!

Ignacio goes up the tiers
with all his death on his shoulders.
He sought for the dawn
but the dawn was no more.
He seeks for his confident profile
and the dream bewilders him
He sought for his beautiful body
and encountered his opened blood
Do not ask me to see it!
I do not want to hear it spurt
each time with less strength:
that spurt that illuminates
the tiers of seats, and spills
over the cordury and the leather
of a thirsty multiude.
Who shouts that I should come near!
Do not ask me to see it!

His eyes did not close
when he saw the horns near,
but the terrible mothers
lifted their heads.
And across the ranches,
an air of secret voices rose,
shouting to celestial bulls,
herdsmen of pale mist.
There was no prince in Sevilla
who could compare to him,
nor sword like his sword
nor heart so true.
Like a river of lions
was his marvellous strength,
and like a marble toroso
his firm drawn moderation.
The air of Andalusian Rome
gilded his head
where his smile was a spikenard
of wit and intelligence.
What a great torero in the ring!
What a good peasant in the sierra!
How gentle with the sheaves!
How hard with the spurs!
How tender with the dew!
How dazzling the fiesta!
How tremendous with the final
banderillas of darkness!

But now he sleeps without end.
Now the moss and the grass
open with sure fingers
the flower of his skull.
And now his blood comes out singing;
singing along marshes and meadows,
sliden on frozen horns,
faltering soulles in the mist
stumbling over a thousand hoofs
like a long, dark, sad tongue,
to form a pool of agony
close to the starry Guadalquivir.
Oh, white wall of Spain!
Oh, black bull of sorrow!
Oh, hard blood of Ignacio!
Oh, nightingale of his veins!
No.
I will not see it!
No chalice can contain it,
no swallows can drink it,
no frost of light can cool it,
nor song nor deluge oh white lilies,
no glass can cover it with silver.
No.
I will not see it!



3. The Laid Out Body

Stone is a forehead where dreames grieve
without curving waters and frozen cypresses.
Stone is a shoulder on which to bear Time
with trees formed of tears and ribbons and planets.

I have seen grey showers move towards the waves
raising their tender riddle arms,
to avoid being caught by lying stone
which loosens their limbs without soaking their blood.

For stone gathers seed and clouds,
skeleton larks and wolves of penumbra:
but yields not sounds nor crystals nor fire,
only bull rings and bull rings and more bull rings without walls.

Now, Ignacio the well born lies on the stone.
All is finished. What is happening! Contemplate his face:
death has covered him with pale sulphur
and has place on him the head of dark minotaur.

All is finished. The rain penetrates his mouth.
The air, as if mad, leaves his sunken chest,
and Love, soaked through with tears of snow,
warms itself on the peak of the herd.

What is they saying? A stenching silence settles down.
We are here with a body laid out which fades away,
with a pure shape which had nightingales
and we see it being filled with depthless holes.

Who creases the shroud? What he says is not true!
Nobody sings here, nobody weeps in the corner,
nobody pricks the spurs, nor terrifies the serpent.
Here I want nothing else but the round eyes
to see his body without a chance of rest.

Here I want to see those men of hard voice.
Those that break horses and dominate rivers;
those men of sonorous skeleton who sing
with a mouth full of sun and flint.

Here I want to see them. Before the stone.
Before this body with broken reins.
I want to know from them the way out
for this captain stripped down by death.

I want them to show me a lament like a river
wich will have sweet mists and deep shores,
to take the body of Ignacio where it looses itself
without hearing the double planting of the bulls.

Loses itself in the round bull ring of the moon
which feigns in its youth a sad quiet bull,
loses itself in the night without song of fishes
and in the white thicket of frozen smoke.

I don't want to cover his face with handkerchiefs
that he may get used to the death he carries.
Go, Ignacio, feel not the hot bellowing
Sleep, fly, rest: even the sea dies!



4. Absent Soul

The bull does not know you, nor the fig tree,
nor the horses, nor the ants in your own house.
The child and the afternoon do not know you
because you have dead forever.

The shoulder of the stone does not know you
nor the black silk, where you are shuttered.
Your silent memory does not know you
because you have died forever

The autumn will come with small white snails,
misty grapes and clustered hills,
but no one will look into your eyes
because you have died forever.

Because you have died for ever,
like all the dead of the earth,
like all the dead who are forgotten
in a heap of lifeless dogs.

Nobady knows you. No. But I sing of you.
For posterity I sing of your profile and grace.
Of the signal maturity of your understanding.
Of your appetite for death and the taste of its mouth.
Of the sadness of your once valiant gaiety.

It will be a long time, if ever, before there is born
an Andalusian so true, so rich in adventure.
I sing of his elegance with words that groan,
and I remember a sad breeze through the olive trees.

Journal 4: Free Verse

Free verse is an open form (see Poetry analysis) of poetry that does not use consistent meter patterns, rhyme, or any other musical pattern. It thus tends to follow the rhythm of natural speech. Although free verse requires no meter, rhyme, or other traditional poetic techniques, a poet can still use them to create some sense of structure. A clear example of this can be found in Walt Whitman's poems, where he repeats certain phrases and uses commas to create both a rhythm and structure. Much pattern and discipline is to be found in free verse: the internal pattern of sounds, the choice of exact words, and the effect of associations give free verse its beauty

http://en.wikipedia.org/wiki/Free_verse

1. Construct your own free verse poem using 4 of the following devices.  LABEL EACH DEVICE IN YOUR POEM! (Minimum of 12 lines)

Rhymes: slant; masculine; feminine; end; Simile; Metaphor; Personification; Symbolism; Imagery; Onomatopoeia; Alliteration; Assonance; Consonance; Allusion; Metonymy; Synecdoche; Hyperbole;  Paradox; Understatement; Litotes; Irony; Caesura, Enjambment.

Journal 3: Poem: Sonnet

Write a sonnet!  Use some poetic devices.

Sonnet

(sonn-IT): a sonnet is a distinctive poetic style that uses system or pattern of metrical structure and verse composition usually consisting of fourteen lines, arranged in a set rhyme scheme or pattern. There are two main styles of sonnet, the Italian sonnet and the English sonnet. The Italian or Petrarchan sonnet, named after Petrarch (1304-1374) a fourteenth century writer and the best known poet to use this form, was developed by the Italian poet Guittone of Arezzo (1230-1294) in the thirteenth century. Usually written in iambic pentameter, it consists first of an octave, or eight lines, which asks a question or states a problem or proposition and follows the rhyme scheme a-b-b-a, a-b-b-a. The sestet, or last six lines, offers an answer, or a resolution to the proposed problem, and follows the rhyme scheme c-d-e-c-d-e.

When I consider how my light is spent                                                  a

Ere half my days, in this dark world and wide,                                      b

And that one talent which is death to hide                                           b

Lodged with me useless, though my soul more bent                            a

To serve therewith my Maker, and present                                           a

My true account, lest he returning chide;                                              b

"Doth God exact day-labor, light denied?"                                            b

I fondly ask; but Patience to prevent                                                      a

That murmur, soon replies, "God doth not need                                   c

Either man's work or his own gifts; who best                                       d

Bear his mild yoke, they serve him best. His state                               e

Is kingly. Thousands at his bidding speed                                              c

And post o'er land and ocean without rest:                                           d

They also serve who only stand and wait."                                           e

John Milton, "When I Consider How My Light Is Spent"

The sonnet was first brought to England by Thomas Wyatt and Henry Howard, Earl of Surrey, in the sixteenth century, where the second sonnet form arose. The English or Shakespearean sonnet was named after William Shakespeare (1564-1616) who most believed to the best writer to use the form. Adapting the Italian form to the English, the octave and sestet were replaced by three quatrains, each having its own independent rhyme scheme typically rhyming every other line, and ending with a rhyme couplet. Instead of the Italianic break between the octave and the sestet, the break comes between the twelfth and thirteenth lines. The ending couplet is often the main thought change of the poem, and has an epigrammatic ending. It follows the rhyme scheme a-b-a-b, c-d-c-d, e-f-e-f, g-g.

 

Shall I compare thee to a summer’s day?                                             a

  Thou art more lovely and more temperate:                                        b

  Rough winds do shake the darling buds of May,                                                 a

  And summer’s lease hath all to short a date:                                     b

  Sometime too hot the eye of heaven shines,                                      c

  And often is his gold complexion dimm’d:                                          d

  And every fair from fair sometime declines,                                       c

  By chance, or nature’s changing course, untrimm’d.                          d

  By thy eternal summer shall not fade                                                                 e

  Nor lose possession of that fair thou owest;                                       f

  Nor shall Death brag thou wandered in his shade,                             e

  When in eternal lines to time thou growest:                                      f

  So long as men can breathe, or eyes can see,                                     g

  So long lives this, and this gives life to thee.                                      g

Shakespeare, Sonnet XVIII. See Benet’s Readers Encyclopedia, Handbook to Literature, Literature: An Introduction to Fiction, Poetry, and Drama. Michael Prevatte, Student, University of North Carolina at Pembroke

Ode: Due Friday

Create an ode of 10 lines minimum.  Use at least 3 of the following 4 poetic devices.

·       Literary devices

o  Paradox- seems self-contradictory but expresses a possible truth.

§  Crocodile dilemma

o  Understatement – an expression of less strength than expected

o  Caesura- a complete pause in a line of poetry, a break, usually near the middle of a verse.  IT adds variety to the beat/meter of a poem

o  Enjambment – the breaking/continuation of one line of poetry from line to the next with no syntactical pause.

 
Ode  - a celebratory poem pays homage to what the poet holds dear, another person, place, abstract idea etc.

Villanelle: Due Wednesday, February 13th

Villanelle

The villanelle has no established meter, although most 19th-century villanelles have used trimeter or tetrameter and most 20th-century villanelles have used pentameter. The essence of the fixed modern form is its distinctive pattern of rhyme and repetition. The rhyme-and-refrain pattern of the villanelle can be schematized as A1bA2 abA1 abA2 abA1 abA2 abA1A2 where letters ("a" and "b") indicate the two rhyme sounds, upper case indicates a refrain ("A"), and superscript numerals (1 and 2) indicate Refrain 1 and Refrain 2.

Refrain 1 (A1)

Line 2 (b)

Refrain 2 (A2)

Line 4 (a)

Line 5 (b)

Refrain 1 (A1)

Line 7 (a)

Line 8 (b)

Refrain 2 (A2)

Line 10 (a)

Line 11 (b)

Refrain 1 (A1)

Line 13 (a)

Line 14 (b)

Refrain 2 (A2)

Line 16 (a)

Line 17 (b)

Refrain 1 (A1)

Refrain 2 (A2)

Mad Girl's Love Song

Refrain 1 (A1)                         I shut my eyes and all the world drops dead;

Line 2 (b)                                 I lift my lids and all is born again.

Refrain 2 (A2)                         (I think I made you up inside my head.)

Line 4 (a)                                 The stars go waltzing out in blue and red,

Line 5 (b)                                 And arbitrary blackness gallops in:

Refrain 1 (A1)                         I shut my eyes and all the world drops dead.

Line 7 (a)                                 I dreamed that you bewitched me into bed

Line 8 (b)                                 And sung me moon-struck, kissed me quite insane.

Refrain 2 (A2)                         (I think I made you up inside my head.)

Line 10 (a)                               God topples from the sky, hell's fires fade:

Line 11 (b)                               Exit seraphim and Satan's men:

Refrain 1 (A1)                         I shut my eyes and all the world drops dead.

Line 13 (a)                               I fancied you'd return the way you said,

Line 14 (b)                               But I grow old and I forget your name.

Refrain 2 (A2)                         (I think I made you up inside my head.)

Line 16 (a)                               I should have loved a thunderbird instead;

Line 17 (b)                               At least when spring comes they roar back again.

Refrain 1 (A1)                         I shut my eyes and all the world drops dead.

Refrain 2 (A2)                         (I think I made you up inside my head.)




For your villanelle use 3 of the following 5 poetic devices. 

Litotes – a type of understatement, most commonly using an double negative. i.e. you are not a bad teacher.  That wasn’t too weak of an effort.  Not bad!

assonance- vowel sounds that rhyme

consonance- consonant sounds that rhyme

allusion- a reference to a well-known historical work/event

metonymy/synecdoche- substitutes a word or phrase that relates to a thing, for the thing itself/a part that is substituted for a whole.

 

http://en.wikipedia.org/wiki/Mad_Girl%27s_Love_Song

New Vocab Format: Unit 9 #1-10 Vocab due tomorrow Feb. 12th, #11-20 due the Feb. 14th

Aberration (N):  synonym: deviation
                          antonym: conformity
                          definition: (1) a defect of focus such as a blurred image
                                          (2) a deviation from what is normal
sentence: The scientist looked at the aberration in the laboratory's test results after conducting the experiement.




List the word.  (Part of Speech):  Synonym:
                                                   Antonym:
                                                   Definition: (1) (2)
Sentence: