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The expense of spirit in a waste of shame
Is lust in action; and till action, lust
Is perjured, murderous, bloody, full of blame,
Savage, extreme, rude, cruel, not to trust,
Enjoy'd no sooner but despised straight,
Past reason hunted, and no sooner had
Past reason hated, as a swallow'd bait
On purpose laid to make the taker mad;
Mad in pursuit and in possession so;
Had, having, and in quest to have, extreme;
A bliss in proof, and proved, a very woe;
Before, a joy proposed; behind, a dream.
All this the world well knows; yet none knows well
To shun the heaven that leads men to this hell.
How does a sonnet’s
structure impact its
meaning?
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
Take out your sonnet notes and yesterday’s TPCASTT on “Nuns Fret Not at Their Convent’s
Narrow Room
Finish TP-CASTTing the poem.
The beat
When reading a poem out loud, you may notice a sort of “sing-song” quality to it,
just like in nursery rhymes. This is accomplished by the use of rhythm. Rhythm is
broken into seven types.
•Iambic
•Monosyllabic
•Anapestic
•Spondaic
•Trochaic
•Accentual
•Dactylic
Most
Used
Less
Common
These identify patterns of stressed and unstressed
syllables in a line of poetry.
That means one syllable is pronounced stronger, and one syllable is softer.
iambic:
unstressed
anapestic:
stressed
trochaic:
dactylic:
The length of a line of poetry, based on
what type of rhythm is used.
The length of a line of poetry is measured in metrical
units called “FEET”. Each foot consists of one unit of
rhythm. So, if the line is iambic or trochaic, a foot of
poetry has 2 syllables. If the line is anapestic or
dactylic, a foot of poetry has 3 syllables.
(This is where it’s going to start sounding like geometry class!)
Each set of syllables is one foot, and each line is measured by how many feet are
in it. The length of the line of poetry is then labeled according to how many feet
are in it.
1: Monometer
5: Pentameter
2: Dimeter
6: Hexameter
3: Trimeter
7: Heptameter
4: Tetrameter
8: Octameter
*There are rarely more than 8 feet*
She Walks in Beauty
I.
˘ ΄ ˘ ΄ ˘ ΄ ˘ ΄
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes:
Thus mellowed to that tender light
Which Heaven to gaudy day denies.
Reading this poem out
loud makes the
rhythm evident.
Which syllables are
more pronounced?
Which are naturally
softer?
II.
One shade the more, one ray the less,
Count the syllables in
Had half impaired the nameless grace
each line to determine
Which waves in every raven tress,
the meter.
Or softly lightens o’er her face;
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.
III.
And on that cheek, and o’er that brow,
Examination of this poem
So soft, so calm, yet eloquent,
reveals that it would be
The smiles that win, the tints that glow,
considered iambic tetrameter.
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
1
Ta-TUM
Ta-TUM
Ta-TUM
4
3
2
Ta-TUM
Ta-TUM
5
Five
Feet!
Shall I
com PARE
a SUM-
thee TO
mer’s DAY?
How
sweet
the
moon
upon
light sleeps
this bank!
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To show emotion or
importance
Shakespeare was meant
to be heard! It made it
easier for the audience
to follow the lines.
It helped the actors to
memorize their lines.
It made sure that the
actors emphasized the
words Shakespeare
wanted to emphasize.
 As YOU can SEE it’s NOT that HARD to LEARN.
 You CAN see it’s not THAT hard TO learn THIS.



Which sounds better??
But I am GIV ing YOU a BET ter CAR.
I AM giv ING you A bet TER car TOO.
DO!
 As YOU can SEE it’s NOT that HARD to LEARN.
 You CAN see it’s not THAT hard TO learn THIS.
 You CAN write JUST like SHAKE speare DID back



THEN.
Did YOU know THAT I’m WRITing LIKE that NOW?
And IT gets EA si ER the MORE you TRY.
I AMB ic PEN ta ME ter’s NOT that BAD!


Write 5 lines in iambic pentameter about
yourself – ON YOUR INDEX CARD!
Write your name on your card to be collected,
but DO NOT include your name IN the poem
so we can guess who wrote it. 