CREATIVE-WRITING-READING AND WRITING POETRY.pptx

CREATIVE-WRITING-READING AND WRITING POETRY.pptx

1. Creative Writing Lesson 2 Various elements, techniques, and literary devices in specific forms of poetry

2. Learning task 1: Arrange to Know Directions: Arrange the jumbled letters to identify the words that are relevant to our topic. Definitions will help you to determine the hidden words. TSEEUQCNHI 1. A way of carrying out a task, especially the execution or a scientific procedure. YTOPER 2. A literary work in which special intensity is given to the expression of feelings and ideas using distinctive style and rhythm. MOFR 3. The physical structure and system of a poem. NMLEEET 4. A part or aspect of something abstract, especially one that is essential or characteristic. AOTDRTAIINL 5. A synonym of conventional.

3. What is Poetry? • Poetry is a form of literature which allows the writers who called to be “poets” to express their thoughts, feelings, emotions, ideas about a particular theme or topic. • Poet – the author of the poem/literary piece. • Persona – the speaker/narrator of the poem. • Basically, poetry has significant elements that can be used by the poets to strengthen their techniques and sustain it for recognition of poetic styles. Elements will help the poets to address the message of the literary pieces to the audience or readers.

4. “THEME”

5. Theme: What is theme? • Theme is the lesson about life or statement about human nature that the poem expresses. - Though related to the concept of a moral , or lesson , themes are usually more complicated and ambiguous . - To describe the theme of a poem is to discuss the overarching abstract idea or ideas being examined in the poem. - A major theme is an idea that a writer repeats in his work, making it the most significant idea in a literary work. - A minor theme , on the other hand, refers to an idea that appears in a work briefly and gives way to another minor theme .

6. Presentation of Themes: • The feelings of the main character about the subject written about. • Through the thoughts and conversations of different characters. • The experiences of the main character in the course of the literary work. • The actions and events taking place in the narrative.

7. Functions of Themes: • Binds together various other essential elements of a poem. • Is a truth that exhibits universality and stands true for people of all cultures. • Gives readers better understanding of the main character’s conflicts, experiences, discoveries, and emotions. • Gives readers an insight into how the world works or human life can be viewed.

8. Theme vs. Subject: • A poem’s subject is the topic of the poem, or what the poem is about . • The theme is an idea that the poem expresses about the subject or uses the subject to explore .

9. Example: • So, for example, in the Edgar Allan Poe poem “The Raven” , the subject is the raven , who continually repeats a single word in response to the speaker’s questions. • The theme of the poem, however, is the irreversibility of death —the speaker asks the raven, in a variety of ways, whether or not he will see his dead beloved again, to which the raven always replies “nevermore.”

10. “TONE”

11. Tone: In fact, it suggests two attitudes: one concerning the people you’re addressing (your audience) and the other concerning the thing you’re talking about (your subject). That’s what the term tone means when it’s applied to poetry as well. Tone can also mean the general emotional weather of the poem. – the attitude expressed in a poem that a reader sees and feels – the writer’s attitude toward the subject or audience.

12. A. Structure: • Form is the appearance of the words on the page of the reference. It may be different nowadays since layout artist may simply adjust and create the desired form of poem. • Poetic Line or Line is a group of words that form a single line of poetry. Example: “„Twas the night before Christmas, when all through the house” is the well-known first poetic line of “A Visit from Saint Nicholas” by Clement Clarke Moore.

13. • Stanza is a section of a poem named for the number of lines it contains. Example: A couplet is a stanza of two lines. The first stanza from “Barbara Frietchie” by John Greenleaf Wittier is a couplet: Up from the meadows rich with corn, Clear in the cool September morn, KINDS OF STANZA: Couplet = 2 line stanza Triplet (Tercet) = 3 line stanza Quatrain = 4 line stanza (common kind of stanza) Quintet = 5 line stanza Sestet (Sextet) = 6 line stanza Septet = 7 line stanza Octave = 8 line stanza

14. • Enjambment is when there is no written or natural pause at the end of a poeticline, so that the word-flow carries over to the next line. It affects the forms of the poem on a page. It can create certain form relevant to a poem’s content. The general rules of Capitalization and Punctuation in poetry are not always followed; instead, they are at the service of the poet’s artistic vision. • Verse is a line in traditional poetry that is written in meter. Example: In “When I do count the clock that tells the time” from Shakespeare’s “Sonnet Number Twelve,” the underlined syllables are accented, giving the line a metric pattern known as an iambic pentameter (see Meter).

15. • Traditional Form: -Poems with rhyme and with meter. • Free Verse: -Unlike metered poetry, free verse poetry does NOT have any repeating patterns of stressed and unstressed syllables. Does NOT have rhyme. -Free verse poetry is very conversational - sounds like someone talking with you. A more modern type of poetry. • Blank Verse: -Written in lines of iambic pentameter but does NOT use end rhyme. -With METER without end RHYME

16. B. Sound: • Rhythm is the basic beat in a line of a poem. Example: “Whose woods these are, I think I know” is the first line from “Stopping by Woods on a Snowy Evening” by Robert Frost. Notice that the accented words (underlined) give the line a distinctive beat. • Meter is a pattern of stressed and unstressed syllables. Meter happens when the stressed and unstressed syllables of the words in a poem are arranged in a repeating pattern. In meter, when poets write, they need to count out the number of stressed (strong) syllables and unstressed (weak) syllables for each line. They repeat the pattern throughout the poem. • FOOT is a unit of meter. -A foot can have two or three syllables. -Usually consists of one stressed and one or more unstressed syllables.

17. Types of Feet: 1. trochee (adjective form, trochaic ) stressed-unstressed a. Never/ never/ never/ never/ never b. In the/ spring a/ young man's/ fancy/ lightly/ turns to/ thoughts of/ love. 2. anapest ( anapestic ) unstressed-unstressed-stressed a. It was man/y and man/y a year/ ago (The variation in the last foot is common.) b The Assyr/ian came down/ like a wolf/ on the fold, And his co/horts were gleam/ing in purp/le and gold.

18. 3. dactyl ( dactylic ) stressed-unstressed-unstressed a. This is the/ forest pri/meval, the/ murmuring/ pines and the/ hemlocks (The two stressed syllables in the last foot are required by the classical Greek form of the epic, which Longfellow is imitating.) b. What if a/ much of a/ which of a/ wind 4. spondee ( spondaic ) stressed-stressed The spondee appears in isolated feet and never as a dominant meter in an entire poem. It is a convenient way of describing feet in which it is hard to determine which syllable is stressed (e. g., young man's and hemlocks above) and of describing passages like the following from sonnets, where Donne uses the spondees to hammer home the woes people can face in life and Hopkins uses them along with internal rhyme, assonance, and alliteration for an unusual sound effect. a. All whom/ war, death,/ age, ag/ues, tyr/annies, Despair,/ law, chance,/ hath slain,/ and you/ whose eyes Shall be/hold God b. Crushed. Why/ do men/ then now/ not reck/ his rod?

19. 5. pyrrhic ( pyrrhic ) unstressed-unstressed. See 6 d. below for an example. At the/ round earth's/ ima/gined cor/ners blow. The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee. This combination (called a Double or Ionic Foot) often appears at the beginning of a line. 6. iamb ( iambic ) unstressed-stressed The iamb is far and away the most common foot in English, comprising as much as 90-95 percent of English verse. It is also the most conversational of the feet and therefore the most flexible and most susceptible to variations. One such variation, as illustrated in the previous two quotes, is the substitution of spondees for iambs. Others are listed below: a. Five years/ have passed,/ five sum/mers with/ the length Of five/long wint/ers! . . .

20. In addition to the spondees in the first line, the word with receives what is called a courtesy accent ; that is, it must be given more than normal conversational stress to fill out the line. Critics have argued that the basic rhythm of spoken English usually dictates about four stresses per line (the form of Old English verse) and that lines of poetry with five feet will therefore contain one courtesy accent. This example also shows how a poet can manipulate meter for effect. Wordsworth stresses the sense of the time lapse by repeating five and long (and its noun form length) and stressing these words in normally unstressed positions. b. Scoffing / his state/ and grin/ning at/ his pomp. In addition to the courtesy accent in the fourth foot, Shakespeare includes a trochee in the first foot. A trochee in an iambic line is called a reversed foot . In iambic pentameter verse, a reversed foot occurs frequently in the first foot, sometimes in the third and fourth, and almost never in the second and fifth.

21. c. To be/ or not/ to be;/ That is/ the question. The extra unstressed syllable at the end of the line, though not common, is still a possible variation in an iambic line. Note the fourth foot is reversed (unless you startle people by saying "That IS the question," as Peter O'Toole is said to have done in one production of Hamlet). d. At the/ round earth's/ ima/gined cor/ners blow. The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee. This combination (called a Double or Ionic Foot ) often appears at the beginning of a line. e. Of all/ that in/solent Greece/ or haught/y Rome, An anapest in an iambic line is more common in some ages and poets (here, Jonson) than in others.

22. f. And my/ tears make/ a heaven/ly Lethe/an flood. This line by Donne shows such a wide range of variations that we might not call it iambic if it were not in a sonnet with other iambic lines. As a clergyman, Donne almost certainly pronounced heaven as one syllable (the way it is in hymns), and he appears to have stressed the second syllable of Lethean. The line thus contains three regular feet, a spondee, and an anapest. Donne generally makes his "Holy Sonnets" very irregular to combine powerful emotion and a oratorical effect as in a sermon. But the point is that knowing what the regular meter was supposed to be helps us identify and describe the effect Donne creates. There are some other exotic feet such as the amphibrach (unstressed-stressed-unstressed), but for all practical purposes, these six are the ones you need to know).

23. “Rhythm”

24. Rhythm: Rhythm is the beat created by the sounds of the words in a poem. It can be created by meter, rhyme, alliteration, and refrain. A. End Rhyme has same or similar sounds at the end of words that finish different lines. Example: The following are the first two rhyming lines from “The King of Cats Sends a Postcard to His Wife” by Nancy Willard: Keep your whiskers crisp and clean , Do not let the mice grow lean , Hector the Collector Collected bits of string . Collected dolls with broken heads And rusty bells that would not ring .

25. B. Internal Rhyme has same or similar sounds at the end of words within a line. Example: A line showing internal rhyme from When they said the time to hide was mine , - “The Rabbit” by Elizabeth Maddox Roberts Once upon a midnight dreary , while I pondered weak and weary . “The Raven” by Edgar Allan Poe C. Rhyme Scheme is a pattern of rhyme in a poem. A rhyme scheme is a pattern of rhyme (usually end rhyme, but not always). Example: A quatrain – a stanza of four lines in which the second and fourth lines rhyme – has the following rhyme scheme: abcb (see Quatrain).

26. Example: The Germ by Ogden Nash A mighty creature is the g erm , Though smaller than the pachyd erm . His customary dwelling pl ace Is deep within the human r ace . His childish pride he often pl eases By giving people strange dis eases . Do you, my poppet, feel inf irm ? You probably contain a g erm .

27. Assonance: is the repetition of vowel sounds within words in a line. Example: A line showing assonance (underlined) from “A Visit from Saint Nicholas” by Clement Clarke Moore: The children were nestled all snug in their beds Sounds of a for words like Lake Fate Base Fade.

28. Consonance: is the repetition of consonant sounds within words in a line. Example: A line showing consonance (underlined) from “A Visit from Saint Nicholas” by Clement Clarke Moore: Not a creature was stirring, not even a mouse “ s ilken, s ad, un c ertain, ru s tling . .”

29. Alliteration: is the repetition of consonant sounds at the beginning of words. Example: Notice the alliteration (underlined) in “Sarah Cynthia Sylvia Stout Would Not Take the Garbage Out” by Shel Silverstein. Tongue Twisters are perfect examples of Alliteration If P eter P iper p icked a p eck of p ickled p eppers, how many p ickled p eppers did P eter P iper p ick?

30. Onomatopoeia: are words that sound like their meaning. Example: buzz, swish, hiss, gulp

31. Repitition: is sounds, words, or phrases that are repeated to add emphasis or create rhythm. Parallelism is a form of repetition. Examples: Two lines from “Jabberwocky” by Lewis Carroll showing parallelism: Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Read the poem “The Bells” by Edgar Allan Poe and listen to the way the repetition of the word “bells” adds rhythm and creates an increasingly ominous and morbid mood.

32. Refrain: a line or stanza repeated over and over in a poem or song. Example: In “Jingle Bells,” the following refrain is repeated after every stanza: Jingle Bells, jingle bells, Jingle all the way! Oh, what fun it is to ride In a one-horse open sleigh!

33. C. Elements of Fiction

34. C. Elements of Fiction: Setting is the time and place where a story or poem takes place. Point of View / Narrative Voice is the person narrating a story or poem (thestory/poem could be narrated in first person (I, we), second person (you), or third person limited or omniscient (he/she, they). Characterization is the development of the characters in a story or poem (whatthey look like, what they say and do, what their personalities are like, what they think and feel, and how they are referred to or treated by others).

35. Dialog or Dialogue is the conversation between the characters in a story orpoem. Dialect or Colloquial Language is the style of speaking of the narrator and the characters in a story or poem (according to their region, period,and social expectations). Conflict is the problem or situation a character or characters face in a story orpoem. Plot is the series of events in a story or poem.

36. Tone and Voice are the distinctive, idiosyncratic way a narrator has of telling astory or poem (tone and voice depend on the intended audience, the purpose for writing, and the way the writer or poem feels about his/her subject). Style is the way a writer uses words to craft a story or poem. Mood is the feelings and emotions the writer wants the reader to experience. Theme and Message are the main topic of a story or poem, and the message theauthor or poet wants to convey about that topic.

37. D. Forms of Poetry

38. 1. Found Poems are created through the careful selection and organization of words and phrases from existing text. These take existing texts and refashion them, reorder them, and present them as poems. The literary equivalent of a collage found poetry is often made from newspaper articles, street signs, graffiti, speeches, letters, or even other poems.