Poetry & Drama Midterm

Full of vexation come I, with complaint Against my child, my daughter Hermia. Stand forth, Demetrius. My noble lord, This man hath my consent to marry her. Stand forth, Lysander: and my gracious duke, This man hath bewitch'd the bosom of my child; Thou, thou, Lysander, thou hast given her rhymes, And interchanged love-tokens with my child: Thou hast by moonlight at her window sung, With feigning voice verses of feigning love, And stolen the impression of her fantasy With bracelets of thy hair, rings, gawds, conceits, Knacks, trifles, nosegays, sweetmeats, messengers Of strong prevailment in unharden'd youth: With cunning hast thou filch'd my daughter's heart, Turn'd her obedience, which is due to me, To stubborn harshness: and, my gracious duke, Be it so she; will not here before your grace Consent to marry with Demetrius, I beg the ancient privilege of Athens, As she is mine, I may dispose of her: Which shall be either to this gentleman Or to her death, according to our law Immediately provided in that case.

A Mid Summer Night's Dream Act I Scene I lines 22-46 -Spoken by Egeus -Talks about how Lysander has put Hermia under a spell and given her all of these things to steal her heart. He says he can either make her marry Demetrius or have her killed -Power movement to support men in marriage -Teens believe love is needed for marriage

More strange than true. I never may believe These antique fables nor these fairy toys. Lovers and madmen have such seething brains, 5Such shaping fantasies, that apprehend More than cool reason ever comprehends. The lunatic, the lover, and the poet Are of imagination all compact. One sees more devils than vast hell can hold— 10That is the madman. The lover, all as frantic, Sees Helen's beauty in a brow of Egypt. The poet's eye, in fine frenzy rolling, Doth glance from heaven to Earth, from Earth to heaven. And as imagination bodies forth 15The forms of things unknown, the poet's pen Turns them to shapes and gives to airy nothing A local habitation and a name. Such tricks hath strong imagination, That if it would but apprehend some joy, 20It comprehends some bringer of that joy. Or in the night, imagining some fear, How easy is a bush supposed a bear!

A Midsummer Night's Dream Act 5 Scene I lines 2-22 -Spoken by Theseus -blank verse of imabic pentameter

My student, thrown by a horse) I remember the neckcurls, limp and damp as tendrils; And her quick look, a sidelong pickerel smile; And how, once started into talk, the light syllables leaped for her. And she balanced in the delight of her thought, A wren, happy, tail into the wind, Her song trembling the twigs and small branches. The shade sang with her; The leaves, their whispers turned to kissing, And the mould sang in the bleached valleys under the rose. Oh, when she was sad, she cast herself down into such a pure depth, Even a father could not find her: Scraping her cheek against straw, Stirring the clearest water. My sparrow, you are not here, Waiting like a fern, making a spiney shadow. The sides of wet stones cannot console me, Nor the moss, wound with the last light. If only I could nudge you from this sleep, My maimed darling, my skittery pigeon. Over this damp grave I speak the words of my love: I, with no rights in this matter, Neither father nor lover.

"Elegy for Jane" by Roethke -Does not follow the actual tradition elegy "rules" -Speaker is remembering jane and wishes he could bring her back and declares his love for his student -Elegy should lament the loss of someone or something -Free verse lines different because its a teacher/student relationship -Speaker feels society does not understand the kind of love he felt for his student -Leaping syllables to hear the music -Two stressed single syllabus words create attention (damp grave) -

In Worcester, Massachusetts, I went with Aunt Consuelo to keep her dentist's appointment and sat and waited for her in the dentist's waiting room. It was winter. It got dark early. The waiting room was full of grown-up people, arctics and overcoats, lamps and magazines. My aunt was inside what seemed like a long time and while I waited I read the National Geographic (I could read) and carefully studied the photographs: the inside of a volcano, black, and full of ashes; then it was spilling over in rivulets of fire. Osa and Martin Johnson dressed in riding breeches, laced boots, and pith helmets. A dead man slung on a pole --"Long Pig," the caption said. Babies with pointed heads wound round and round with string; black, naked women with necks wound round and round with wire like the necks of light bulbs. Their breasts were horrifying. I read it right straight through. I was too shy to stop. And then I looked at the cover: the yellow margins, the date. Suddenly, from inside, came an oh! of pain --Aunt Consuelo's voice-- not very loud or long. I wasn't at all surprised; even then I knew she was a foolish, timid woman. I might have been embarrassed, but wasn't. What took me completely by surprise was that it was me: my voice, in my mouth. Without thinking at all I was my foolish aunt, I--we--were falling, falling, our eyes glued to the cover of the National Geographic, February, 1918. I said to myself: three days and you'll be seven years old. I was saying it to stop the sensation of falling off the round, turning world into cold, blue-black space. But I felt: you are an I, you are an Elizabeth, you are one of them. Why should you be one, too? I scarcely dared to look to see what it was I was. I gave a sidelong glance --I couldn't look any higher-- at shadowy gray knees, trousers and skirts and boots and different pairs of hands lying under the lamps. I knew that nothing stranger had ever happened, that nothing stranger could ever happen. Why should I be my aunt, or me, or anyone? What similarities-- boots, hands, the family voice I felt in my throat, or even the National Geographic and those awful hanging breasts-- held us all together or made us all just one? How--I didn't know any word for it--how "unlikely". . . How had I come to be here, like them, and overhear a cry of pain that could have got loud and worse but hadn't? The waiting room was bright and too hot. It was sliding beneath a big black wave, another, and another. Then I was back in it. The War was on. Outside, in Worcester, Massachusetts, were night and slush and cold, and it was still the fifth of February, 1918.

"In the Waiting Room" by Bishop -Five stanza poem focuses on reaction of a young girl who is waiting for her aunt in the dentist's waiting room -Takes the reader into the mind of this young six year old, attracted and horrified by what she sees in adult magazine -What it means to come of age -Bishops style is typically about specific descriptions of the physical world and struggle of sense of belonging -Free verse -No rhythmic pattern -Some trimeter and dimeter lines -Enjambment -Alliteration -Simile -Uses punctuation to regulate the reader's pace to reflect the girl's reaction -Imagery -She is her aunt, two become one and the girl is falling out of her childhood into a different dimension -Growing into an adult will be painful but unavoidable

It is a beauteous evening, calm and free, The holy time is quiet as a Nun Breathless with adoration; the broad sun Is sinking down in its tranquility; The gentleness of heaven broods o'er the Sea; Listen! the mighty Being is awake, And doth with his eternal motion make A sound like thunder—everlastingly. Dear child! dear Girl! that walkest with me here, If thou appear untouched by solemn thought, Thy nature is not therefore less divine: Thou liest in Abraham's bosom all the year; And worshipp'st at the Temple's inner shrine, God being with thee when we know it not.

"It is a Beauteous Evening" by Wordsworth -Romantic -The speaker is walking with a girl by the ocean and explains how she is so innocent. -Religious imagery/terminology -Simle -Petrarchan sonnet -Rhyme pattern changes in second stanza when focus is on child -Maybe the off rhythm shows that he had trouble connecting with his daughter

I met a traveller from an antique land, Who said—"Two vast and trunkless legs of stone Stand in the desert. . . . Near them, on the sand, Half sunk a shattered visage lies, whose frown, And wrinkled lip, and sneer of cold command, Tell that its sculptor well those passions read Which yet survive, stamped on these lifeless things, The hand that mocked them, and the heart that fed; And on the pedestal, these words appear: My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away

"Ozymandias" by Shelley -Iambic pentameter Sonnet -Everyone will fall even the most powerful -The speaker describes meeting a traveler from an antique land. The traveler tells a story to the speaker where he describes visiting this place and seeing a large statue. He can tell the sculptor must have know his subject well because he looked like a great leader from the look of his face -Petrarchan sonnet -Different rhythm maybe to represent corruption of authority -Extended metaphor -Imagery -Atypical poem for shelley because english romanticism but major themes are about rebellion against authority which fits -Caesura

Remember me when I am gone away, Gone far away into the silent land; When you can no more hold me by the hand, Nor I half turn to go yet turning stay. Remember me when no more day by day You tell me of our future that you plann'd: Only remember me; you understand It will be late to counsel then or pray. Yet if you should forget me for a while And afterwards remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad.

"Remember" by Rossetti -Romantic era -Sonnet 1849 - -Remember that you will die -The narrator encourages the unseen reader to remember her after her death and at the end of the poem decides that he is allowed to forget her -Alliteration of remember -Metaphor of death to taking a journey -"Silent land" religious -Iambic pentameter -Petrarchan Sonnet with a turn -Choice of rhyme scheme makes it seem like things always manage to come back to where they started

Call the roller of big cigars, The muscular one, and bid him whip In kitchen cups concupiscent curds. Let the wenches dawdle in such dress As they are used to wear, and let the boys Bring flowers in last month's newspapers. Let be be finale of seem. The only emperor is the emperor of ice-cream. Take from the dresser of deal, Lacking the three glass knobs, that sheet On which she embroidered fantails once And spread it so as to cover her face. If her horny feet protrude, they come To show how cold she is, and dumb. Let the lamp affix its beam. The only emperor is the emperor of ice-cream.

"The Emperor of Ice Cream" by Stevens -Rhyming couplets -Enjambment for a casual free conversation -Free verse -Eat the ice cream before time melts it away -Life is precious -An important person wants a strong man to roll cigars and fix ice cream. It talks about how things are short lived and only good for a short time. The emperor of ice cream is the person who understands the good things in the present. Only way to be rich is to enjoy now because the beauties will not last -20th century -Creativity was his style

If all the world and love were young, And truth in every Shepherd's tongue, These pretty pleasures might me move, To live with thee, and be thy love. Time drives the flocks from field to fold, When Rivers rage and Rocks grow cold, And Philomel becometh dumb, The rest complains of cares to come. The flowers do fade, and wanton fields, To wayward winter reckoning yields, A honey tongue, a heart of gall, Is fancy's spring, but sorrow's fall. Thy gowns, thy shoes, thy beds of Roses, Thy cap, thy kirtle, and thy posies Soon break, soon wither, soon forgotten: In folly ripe, in reason rotten. Thy belt of straw and Ivy buds, The Coral clasps and amber studs, All these in me no means can move To come to thee and be thy love. But could youth last, and love still breed, Had joys no date, nor age no need, Then these delights my mind might move To live with thee, and be thy love.

"The Nymph's Reply to the Shepherd" by Raleigh -Iambic tetrameter -Uses sharp end stops and provides stron caesuras -Response to Marlowes poem -Sets up rejection "i might be persuaded to come live with u but i have real problems" -Shepherds promises are too good to be true -If then statements -Time changes everything -Imagery

Come live with me and be my love, And we will all the pleasures prove, That Valleys, groves, hills, and fields, Woods, or steepy mountain yields. And we will sit upon the Rocks, Seeing the Shepherds feed their flocks, By shallow Rivers to whose falls Melodious birds sing Madrigals. And I will make thee beds of Roses And a thousand fragrant posies, A cap of flowers, and a kirtle Embroidered all with leaves of Myrtle; A gown made of the finest wool Which from our pretty Lambs we pull; Fair lined slippers for the cold, With buckles of the purest gold; A belt of straw and Ivy buds, With Coral clasps and Amber studs: And if these pleasures may thee move, Come live with me, and be my love. The Shepherds' Swains shall dance and sing For thy delight each May-morning: If these delights thy mind may move, Then live with me, and be my love.

"The Passionate Shepherd to His Love" by Marlowe -AABBCCDD rhyme -Creates a sing-song like melody -Describes the life that a shepherd wishes to create for his lover if she agrees to come and live with him. They not only will be happy and in love, he will give her gifts. -It is not clear whether she accepts the author but he understands that it is up to her and he has done his best and is waiting for an answer -Imagery and sound (shallow rivers and melodious birds) -Iambic tetrameter -Renaissance era pronunciation makes it rhyme perfectly -Forces line 9 to have extra unstressed syllable -Changes of meter from trochee to iamb to create variety and texture within the meter so the poem avoids sounding child like

Had we but world enough and time, This coyness, lady, were no crime. We would sit down, and think which way To walk, and pass our long love's day. Thou by the Indian Ganges' side Shouldst rubies find; I by the tide Of Humber would complain. I would Love you ten years before the flood, And you should, if you please, refuse Till the conversion of the Jews. My vegetable love should grow Vaster than empires and more slow; An hundred years should go to praise Thine eyes, and on thy forehead gaze; Two hundred to adore each breast, But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, lady, you deserve this state, Nor would I love at lower rate. But at my back I always hear Time's wingèd chariot hurrying near; And yonder all before us lie Deserts of vast eternity. Thy beauty shall no more be found; Nor, in thy marble vault, shall sound My echoing song; then worms shall try That long-preserved virginity, And your quaint honour turn to dust, And into ashes all my lust; The grave's a fine and private place, But none, I think, do there embrace. Now therefore, while the youthful hue Sits on thy skin like morning dew, And while thy willing soul transpires At every pore with instant fires, Now let us sport us while we may, And now, like amorous birds of prey, Rather at once our time devour Than languish in his slow-chapped power. Let us roll all our strength and all Our sweetness up into one ball, And tear our pleasures with rough strife Through the iron gates of life: Thus, though we cannot make our sun Stand still, yet we will make him run.

"To His Coy Mistress" by Marvell -1650s -Lustful desires of man attempting to entice a female virgin into sex -Seduction poem -Life is too short, let's get it on before you and I decay -Assonance: ou (and you should if you please, refuse) -AABB -Iambic tetrameter (had WE but WORLD enOUGH, and TIME) -Metaphysical Poets because he wrote on subjects such as man''s place in the universe, existence, love and religion -Imagery: (deserts of vast eternity and then worms...) -Consonance: i (and while thy willing soul transpires) -enjambment to show poet sketched a vivd and real picture of the transience of life and his quest for love -Time becomes a metaphor for love -Tone changes from love to serious because time is flying -

It little profits that an idle king, By this still hearth, among these barren crags, Match'd with an aged wife, I mete and dole Unequal laws unto a savage race, That hoard, and sleep, and feed, and know not me. I cannot rest from travel: I will drink Life to the lees: All times I have enjoy'd Greatly, have suffer'd greatly, both with those That loved me, and alone, on shore, and when Thro' scudding drifts the rainy Hyades Vext the dim sea: I am become a name; For always roaming with a hungry heart Much have I seen and known; cities of men And manners, climates, councils, governments, Myself not least, but honour'd of them all; And drunk delight of battle with my peers, Far on the ringing plains of windy Troy. I am a part of all that I have met; Yet all experience is an arch wherethro' Gleams that untravell'd world whose margin fades For ever and forever when I move. How dull it is to pause, to make an end, To rust unburnish'd, not to shine in use! As tho' to breathe were life! Life piled on life Were all too little, and of one to me Little remains: but every hour is saved From that eternal silence, something more, A bringer of new things; and vile it were For some three suns to store and hoard myself, And this gray spirit yearning in desire To follow knowledge like a sinking star, Beyond the utmost bound of human thought. This is my son, mine own Telemachus, To whom I leave the sceptre and the isle,— Well-loved of me, discerning to fulfil This labour, by slow prudence to make mild A rugged people, and thro' soft degrees Subdue them to the useful and the good. Most blameless is he, centred in the sphere Of common duties, decent not to fail In offices of tenderness, and pay Meet adoration to my household gods, When I am gone. He works his work, I mine. There lies the port; the vessel puffs her sail: There gloom the dark, broad seas. My mariners, Souls that have toil'd, and wrought, and thought with me— That ever with a frolic welcome took The thunder and the sunshine, and opposed Free hearts, free foreheads—you and I are old; Old age hath yet his honour and his toil; Death closes all: but something ere the end, Some work of noble note, may yet be done, Not unbecoming men that strove with Gods. The lights begin to twinkle from the rocks: The long day wanes: the slow moon climbs: the deep Moans round with many voices. Come, my friends, 'T is not too late to seek a newer world. Push off, and sitting well in order smite The sounding furrows; for my purpose holds To sail beyond the sunset, and the baths Of all the western stars, until I die. It may be that the gulfs will wash us down: It may be we shall touch the Happy Isles, And see the great Achilles, whom we knew. Tho' much is taken, much abides; and tho' We are not now that strength which in old days Moved earth and heaven, that which we are, we are; One equal temper of heroic hearts, Made weak by time and fate, but strong in will To strive, to seek, to find, and not to yield.

"Ulysses" by Tennyson -Odysseus says there is little point in his staying home and feels like he needs to live to the fullest. His travels have exposed him to many people and ways of living. It is boring to stay in one place and you will rust if you do so. He then talks about his son taking over while Ulysses travels. Odysseus talks to the mariners that even though they are old they still have potentional and tells them to use their old age. He says his goal is to sail onward beyond the sunset until his death. -Blank verse iambic pentameter -Fluid and natural quality of his speech -Enjambment because pushing forward beyond human thought -Dramatic monologue

When you are old and grey and full of sleep, And nodding by the fire, take down this book, And slowly read, and dream of the soft look Your eyes had once, and of their shadows deep; How many loved your moments of glad grace, And loved your beauty with love false or true, But one man loved the pilgrim soul in you, And loved the sorrows of your changing face; And bending down beside the glowing bars, Murmur, a little sadly, how Love fled And paced upon the mountains overhead And hid his face amid a crowd of stars.

"When you were old" by Yeats -Addressed to speaker's lover that she should open a book which a poem can be found and she can recall how many people loved her especially her beauty. Speaker goes on and tells the lover that one man loved her and the speaker tells her that she should remember that this love did not last and she should be rilled with regret because of it -Iambic pentameter -Imagery

Mothers of America let your kids go to the movies! get them out of the house so they won't know what you're up to it's true that fresh air is good for the body but what about the soul that grows in darkness, embossed by silvery images and when you grow old as grow old you must they won't hate you they won't criticize you they won't know they'll be in some glamorous country they first saw on a Saturday afternoon or playing hookey they may even be grateful to you for their first sexual experience which only cost you a quarter and didn't upset the peaceful home they will know where candy bars come from and gratuitous bags of popcorn as gratuitous as leaving the movie before it's over with a pleasant stranger whose apartment is in the Heaven on Earth Bldg near the Williamsburg Bridge oh mothers you will have made the little tykes so happy because if nobody does pick them up in the movies they won't know the difference and if somebody does it'll be sheer gravy and they'll have been truly entertained either way instead of hanging around the yard or up in their room hating you prematurely since you won't have done anything horribly mean yet except keeping them from the darker joys it's unforgivable the latter so don't blame me if you won't take this advice and the family breaks up and your children grow old and blind in front of a TV set seeing movies you wouldn't let them see when they were young

"Ave Maria" by O'Hara -Speaker is addressing the mothers of america and there kids -Disjointed lines add free form connection between mothers and kids and the speakers perspective in both -First half is about the impact of having kids search the world on their own, then kids will thank their mothers for becoming serious and funny -Speaker uses "may" so theres a chance they wont be grateful -Kind of goes on to critique kids for staying home -Speaker is more enlightening the mothers, if the home is to peacful it will be like a movie and you will be only seen as a saint

Bent double, like old beggars under Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs, And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots, But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of gas-shells dropping softly behind. Gas! GAS! Quick, boys!—An ecstasy of fumbling Fitting the clumsy helmets just in time, But someone still was yelling out and stumbling And flound'ring like a man in fire or lime.— Dim through the misty panes and thick green light, As under a green sea, I saw him drowning. In all my dreams before my helpless sight, He plunges at me, guttering, choking, drowning. If in some smothering dreams, you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues,— My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori.

"Dulce et Decorum Est" by Owen - Alliteration: coughing and curse -His experiences of fighting in the trenches in Northern France during WWI -1920 posted after death -Written by soldier recovering from his wounds who was brave enough to return to the battfield -Title means it is sweet and proper to die for one's country but Owen takes the opposite stance -Unusual opening strong line -Slightly broken iambic pentameter until the use of punctuation to reflect the disjointed efforts of the men to keep pace -Vivid imagery -Assonance: (double, under, cursed, sludge,) Almost like the background rumbling of distant explosions -Alliteration: (men marched asleep many) -Inconsitent rhythm reflects strangness of situation -Poet wants reader to know that war is not glorious -Imagery

English Sonnet (Shakespearean)

-Most important form -ABAB CDCD EFEF GG -Introduction of a concluding couplet which typically sums up, restates, recast, or again turns the major argument of the poem

In the waiting room

Bishop

My Last Duchess

Browning

The Sun Rising

Donne

As virtuous men pass mildly away, And whisper to their souls to go, Whilst some of their sad friends do say The breath goes now, and some say, No: So let us melt, and make no noise, No tear-floods, nor sigh-tempests move; 'Twere profanation of our joys To tell the laity our love. Moving of th' earth brings harms and fears, Men reckon what it did, and meant; But trepidation of the spheres, Though greater far, is innocent. Dull sublunary lovers' love (Whose soul is sense) cannot admit Absence, because it doth remove Those things which elemented it. But we by a love so much refined, That our selves know not what it is, Inter-assured of the mind, Care less, eyes, lips, and hands to miss. Our two souls therefore, which are one, Though I must go, endure not yet A breach, but an expansion, Like gold to airy thinness beat. If they be two, they are two so As stiff twin compasses are two; Thy soul, the fixed foot, makes no show To move, but doth, if the other do. And though it in the center sit, Yet when the other far doth roam, It leans and hearkens after it, And grows erect, as that comes home. Such wilt thou be to me, who must, Like th' other foot, obliquely run; Thy firmness makes my circle just, And makes me end where I begun.

Donne -Iambic tetrameter -Common with Donne's poetry are themes of death, celebration of love and spirituality -Describes a group of friends who are around the death bed of a great man. Talking about when this man is going to die and comapres his love to how he and his wife will separate -Carpe Diem poem -Metaphor of how love is like a compass and will always find his way back to her -Imagery of death

As virtuous men pass mildly away, And whisper to their souls to go, Whilst some of their sad friends do say The breath goes now, and some say, No: So let us melt, and make no noise, No tear-floods, nor sigh-tempests move; 'Twere profanation of our joys To tell the laity our love. Moving of th' earth brings harms and fears, Men reckon what it did, and meant; But trepidation of the spheres, Though greater far, is innocent. Dull sublunary lovers' love (Whose soul is sense) cannot admit Absence, because it doth remove Those things which elemented it. But we by a love so much refined, That our selves know not what it is, Inter-assured of the mind, Care less, eyes, lips, and hands to miss. Our two souls therefore, which are one, Though I must go, endure not yet A breach, but an expansion, Like gold to airy thinness beat. If they be two, they are two so As stiff twin compasses are two; Thy soul, the fixed foot, makes no show To move, but doth, if the other do. And though it in the center sit, Yet when the other far doth roam, It leans and hearkens after it, And grows erect, as that comes home. Such wilt thou be to me, who must, Like th' other foot, obliquely run; Thy firmness makes my circle just, And makes me end where I begun.

Donne -Iambic tetrameter but switches to trochaic tetrameter to show that the moving of the earth which is being described -Donne writes alot about death, love, and spirality which is common in this poem -Poem begins about death of virtuous man and compares to peaceful partying to the way he and his wife will seperate and due to her firm loyalty he will always find his way back -Carpe diem poem -Metaphor

Pentameter

Five feet (speech like)

Tetrameter

Four feet (most poetic song like)

The Voice

Hardy

What is the meter of "Forlorn! The very word is like a bell. To toll me back from thee to my sole self!"

Iambic pentameter

What meter is "If all the world and love were young, And truth in every shepherd's tongue,"

Iambic tetrameter -Unstressed-stress -Four feet

Meter

In nouns denoting lines of poetry with a specific number of feet or measures

Petrarchan Sonnet

Italian poet Petrarch -ABBAABBA CDECDE or ABBAABBA CDCDCD -Italian is much more rhyme heavy language than english and it is easier to write in a form that demands repetition in rhyme -Turn usually happens around line 9

Sestet

Last 6 lines of the poem

Scansion

Marking the stressed and unstressed syllables in a poem and then discening whether those sullables are arrayed in a discernible form or pattern

The Passionate Shepherd to His Love

Marlowe

to his coy Mistress

Marvell

That's my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now; Fra Pandolf's hands Worked busily a day, and there she stands. Will't please you sit and look at her? I said "Fra Pandolf" by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, 'twas not Her husband's presence only, called that spot Of joy into the Duchess' cheek; perhaps Fra Pandolf chanced to say, "Her mantle laps Over my lady's wrist too much," or "Paint Must never hope to reproduce the faint Half-flush that dies along her throat." Such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?— too soon made glad, Too easily impressed; she liked whate'er She looked on, and her looks went everywhere. Sir, 'twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody's gift. Who'd stoop to blame This sort of trifling? Even had you skill In speech—which I have not—to make your will Quite clear to such an one, and say, "Just this Or that in you disgusts me; here you miss, Or there exceed the mark"—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse— - E'en then would be some stooping; and I choose Never to stoop. Oh, sir, she smiled, no doubt, Whene'er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will't please you rise? We'll meet The company below, then. I repeat, The Count your master's known munificence Is ample warrant that no just pretense Of mine for dowry will be disallowed; Though his fair daughter's self, as I avowed At starting, is my object. Nay, we'll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!

My Last Duchess by Browning -16th century Renaissance Italy, Victorian age written -Dramatic monologue -Rhyming couplets in a single long stanza, heroic couplets, iambic pentameter lines -Browning because his talent for developing character in a persona and research into aspects of renaissance -A man's attempt to explain a picture behind the curtains, an excuse that her has control over his wife -Creating more untruths by pretending to reveal the truth -The wife was too kind and welcoming and women were seen as property -Listener on poem is a marriage broker -Control over her even in death -Jealous that the artist made his wife blush -Poet changes some lines to not pure iambic to change beats and stress to bring emphasis or not to certain words and phrases

Ave Maria

O'Hara

Dulce et Decorum Est

Owen

the nymph's Reply to shepherd

Raleigh

Remember

Rosetti

No longer mourn for me when I am dead Than you shall hear the surly sullen bell Give warning to the world that I am fled From this vile world with vildest worms to dwell: Nay, if you read this line, remember not The hand that writ it, for I love you so That I in your sweet thoughts would be forgot, If thinking on me then should make you woe. O if, I say, you look upon this verse When I perhaps compounded am with clay, Do not so much as my poor name rehearse, But let your love even with my life decay, Lest the wise world should look into your moan And mock you with me after I am gone.

Shakespeare Sonnet 71 -Renaissance -The poet believes he will die and his departed youth is lost -Poet asks the young man not to grieve when he is dead or even remember his name. He doesn't want to cause the youth pain

Hexameter

Six feet

Ye tradefull Merchants that with weary toyle do seeke most pretious things to make your gain: and both the Indias of their treasures spoile, what needeth you to seeke so farre in vaine? For loe my love doth in her selfe containe all this worlds riches that may farre be found: if Saphyres, loe her eies be Saphyres plaine, if Rubies, loe hir lips be Rubies found: If Pearles, hir teeth be pearles both pure and round; if Yvorie, her forhead yvory weene; if Gold, her locks are finest gold on ground; if silver, her faire hands are silver sheene, But that which fairest is, but few behold, her mind adornd with vertues manifold.

Sonnet 15 by Spenser -Sonnet -Compares beloved's virtues to worldly riches like treasures in which merchants trade -The speaker makes every aspect of her charm a comparison to a particular item of value but her mind is the fairest treasure she possesses but objects decay overtime -Renaissance Blazon -Metaphor if womens body is wealth

What is the most famours form of lyric poems?

Sonnet, 14 line poem in iambic pentameter

Sonnet 15

Spenser

The EmpEror of icE crEam

Stevens

Trochee

Stress-unstress (GAther, BURning)

How Fresh, O Lord, how sweet and clean Are thy returns! ev'n as the flowers in spring; To which, besides their own demean, The late-past frosts tributes of pleasure bring. Grief melts away Like snow in May, As if there were no such cold thing. Who would have thought my shrivel'd heart Could have recover'd greennesse? It was gone Quite under ground; as flowers depart To see their mother-root, when they have blown; Where they together All the hard weather, Dead to the world, keep house unknown. These are thy wonders, Lord of power, Killing and quickning, bringing down to hell And up to heaven in an houre; Making a chiming of a passing-bell, We say amisse, This or that is: Thy word is all, if we could spell. O that I once past changing were; Fast in thy Paradise, where no flower can wither! Many a spring I shoot up fair, Offring at heav'n, growing and groning thither: Nor doth my flower Want a spring-showre, My sinnes and I joining together; But while I grow to a straight line; Still upwards bent, as if heav'n were mine own, Thy anger comes, and I decline: What frost to that? what pole is not the zone, Where all things burn, When thou dost turn, And the least frown of thine is shown? And now in age I bud again, After so many deaths I live and write; I once more smell the dew and rain, And relish versing: O my onely light, It cannot be That I am he On whom thy tempests fell all night. These are thy wonders, Lord of love, To make us see we are but flowers that glide: Which when we once can finde and prove, Thou hast a garden for us, where to bide. Who would be more, Swelling through store, Forfeit their Paradise by their pride.

The Flower by Herbert -7 stanza poem seperated in sets of seven lines of septets -ABABCCB rhyme -Herbet uses different levels of indentions in order to give the text more interest. Reader has to move their eyes through the lines -Maintains a contemplative (deep in thought) poem -Describes how the changing of the seasons impacts speakers outlook on life and relationship with God -Begins with celebrating the arrival of spring - Just like winter, like a flower, he is shriveled up in the ground finding comfort where he can -When spring comes and gods opinion of the world improves and grows up towards heaven -Most important goal in life to prove himself to god and ear a place in the garden of paradise -Uses nature as both imagery and metaphors to explain man's relationship to God -Metaphysical poet: common movement with use of metaphor and subject matter of life love religion -Opening lines talks as if the flower and explains that God does control the seasons -

Busy old fool, unruly sun, Why dost thou thus, Through windows, and through curtains call on us? Must to thy motions lovers' seasons run? Saucy pedantic wretch, go chide Late school boys and sour prentices, Go tell court huntsmen that the king will ride, Call country ants to harvest offices, Love, all alike, no season knows nor clime, Nor hours, days, months, which are the rags of time. Thy beams, so reverend and strong Why shouldst thou think? I could eclipse and cloud them with a wink, But that I would not lose her sight so long; If her eyes have not blinded thine, Look, and tomorrow late, tell me, Whether both th' Indias of spice and mine Be where thou leftst them, or lie here with me. Ask for those kings whom thou saw'st yesterday, And thou shalt hear, All here in one bed lay. She's all states, and all princes, I, Nothing else is. Princes do but play us; compared to this, All honor's mimic, all wealth alchemy. Thou, sun, art half as happy as we, In that the world's contracted thus. Thine age asks ease, and since thy duties be To warm the world, that's done in warming us. Shine here to us, and thou art everywhere; This bed thy center is, these walls, thy sphere.

The Sun Rising by John Donne -Love poem set in speaker's bedroom where he and lover in bed after sex -The sun is an unwanted dawn intruder invading couples space and is insulted before being challenged -Amorous (sexual) poems very popular by author -Father of metaphysical poets -Dawn love poem -Irregular line length -Rhyme scheme of abbacdcdee almost hybrid -Meter is varied from iambs with anapaest and spondee to produce a stuttering uncertain rhythm -Long sentences, sharp clauses, punctuation bring energy and emotion to speakers voice to help deliver arguments and images -Imagery -Speakers tone shifts from angry to that the lovers bed and room is just a small aspect of the solar system so the sun is invited to revolve around them (we are the entire world) -Love never changes and is unaffected -Metaphors

Woman much missed, how you call to me, call to me, Saying that now you are not as you were When you had changed from the one who was all to me, But as at first, when our day was fair. Can it be you that I hear? Let me view you, then, Standing as when I drew near to the town Where you would wait for me: yes, as I knew you then, Even to the original air-blue gown! Or is it only the breeze, In its listlessness Travelling across the wet mead to me here, You being ever dissolved to wan wistlessness, Heard no more again far or near?

The Voice by Hardy -Written after his wife died in 1912 -Alliteration and repetition in opening lines to show grief, desire and longing for the women -His relationship with the women has changed and deteriorated -The grief of the lyrical voice uses enjambment to portray confusion and distress -Speaker wishes she could be here again and remembers more happy moments -Wind imagery -Continues to love the women and hope to keep her alive through memories -ABAB Rhymes (ballad) -Alliteration (faltering forward) -Assonance (mead, me) -Repetition makes reader feel like we can't get out of the cycle of grief -Dactylic tetrameter (four feet and stressed, unstressed, unstressed) -Uneven lines make feeling of losing our footing forcing us into position of speaker -Last stanza poet uses natural sounds to seem he is surrendering.

Octave

The divide between the first eight lines of the poem

The instructor said, Go home and write a page tonight. And let that page come out of you— Then, it will be true. I wonder if it's that simple? I am twenty-two, colored, born in Winston-Salem. I went to school there, then Durham, then here to this college on the hill above Harlem. I am the only colored student in my class. The steps from the hill lead down into Harlem, through a park, then I cross St. Nicholas, Eighth Avenue, Seventh, and I come to the Y, the Harlem Branch Y, where I take the elevator up to my room, sit down, and write this page: It's not easy to know what is true for you or me at twenty-two, my age. But I guess I'm what I feel and see and hear, Harlem, I hear you: hear you, hear me—we two—you, me, talk on this page. (I hear New York, too.) Me—who? Well, I like to eat, sleep, drink, and be in love. I like to work, read, learn, and understand life. I like a pipe for a Christmas present, or records—Bessie, bop, or Bach. I guess being colored doesn't make me not like the same things other folks like who are other races. So will my page be colored that I write? Being me, it will not be white. But it will be a part of you, instructor. You are white— yet a part of me, as I am a part of you. That's American. Sometimes perhaps you don't want to be a part of me. Nor do I often want to be a part of you. But we are, that's true! As I learn from you, I guess you learn from me— although you're older—and white— and somewhat more free. This is my page for English B.

Theme for English B by Hughes -Black young adult who is trying to figure out what is true in his life through an english assignment -Only black man in his college english class the speaker that conveys a struggle for identity and truth -He talks about how he is different and similar from his classmates but he resides in Harlem -He holds onto his black culture but it also doesn't define him -Speaker concludes that he is different from his peers but we are all americans with common likes and purposes -Everyone will learn from each other -Wrote in 1951 -Free verse and lacks organized form/meter -Consciousness style -There are multiple types of americans and everyone can strive for the american dream -

Anapest

Unstress, unstress, stress (SATurday, OBvious)

Iamb

Unstress-stress (aLAS, atteMPT)

Turn

When the argument of the poem shifts or resolves

It is a Beauteous Evening

Wordsworth

When You Are Old

Yeats

Caesura

a break between words within a metrical foot, a pause in a line of poetry that takes up a syllables space ( Stand in the desert ... || Near them, || on the sand ... My name is Ozymandias, || King of Kings;)

the flowER

hERbERt

tHEme for english B

hugHEs

Substitution/Inversion

in a line that is written in mostly one meter will have a foot that does not fit the pattern (a trochee in a line of iambs)

Monometer

one foot per line (the cat went splat beneath the bat)

Elegy of jane

roEthkE

ozYmandias

shelleY

Spondee

stress stress (Well loved)

ulYSses

tennYSon

Enjambment

the continuation of a sentence without a pause beyond the end of a line

Alliteration

the occurrence of the same letter or sound at the beginning of adjacent or closely connected words (keep the cat from clawing the couch)

Consonance

the recurrence of similar sounds, especially consonants, in close proximity (The SHip has Sailed to the SHore)

Assonance

the repetition of the sound of a vowel in non-rhyming stressed syllables (mEn sEll the wEdding bElls)

Anaphora

the use of a word referring to or replacing a word earlier in a sentence to avoid repetition (I like it= so do they)

Trimeter

three feet

Dimeter

two feet per line

Blank verse

verse without rhyme, especially that which uses iambic pentameter.