Writing that forms a concentrated image in language chosen and arranged to create a specific emotional response and meaning through ___________________,
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Figurative language--words that create comparisons
1. simile--using "like" or "as" to compare 2 unlike things
2. metaphor--comparing 2 unlike things without using "like" or "as"
3. personification--giving human qualities to an inanimate object
4. hyperbole--using overexaggeration to create an effect
5. symbolism--using an object or thing to represent an idea
4. hyperbole--using overexaggeration to create an effect
5. symbolism--using an object or thing to represent an idea
Irony--a contradiction; the opposite of what you expect or of what is really meant
Imagery--words that create a sensory image
1. sight
2. sound
3. touch
4. smell
5. taste
Sound Effects and Patterns
1. Alliteration--the repetition of consonant sounds in nearby words
2. Onomatopoeia--a sound effect word, like buzz, crash, pop, sizzle
2. Repetition--repeating a word, phrase, line, or refrain to create an effect
3. Rhyme a. end rhyme--where the rhyme is at the end of the lines of poetry b. internal rhyme--where the rhyme is in the middle of the lines of poetry
4. Meter--a pattern created by the arrangement of syllables to create an effect a. metric feet--"feet" is how we measure the beats in poetry b. couplet-- two lines, usually rhyming, having the same meter and often forming a complete thought c. sonnet--a 14 line poem with the meter in iambic pentameter with the rhyme pattern of abab cdcd efef gg

List the 3 similes used in the 1 st stanza:
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How are the similes in the first stanza similar?
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Describe what quality the persona is saying a flint has that the other stones don't, besides a lack of beauty?
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Explain the meaning of the two metaphors.
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Explain what effect do the two metaphors give to the
tone of this poem?
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What do you put catsup (ketchup) on?
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Where will you find a bottle of ketchup?
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When the persona says, "It's Hunt's catsup," what is the antecedent of "it's"?
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Explain how catsup is being used as a metaphor?
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Explain why you think the persona uses an everyday object like a bottle of ketchup as a metaphor in this poem and the effect this metaphor has.
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I've got the children to tend
The clothes to mend
The floor to mop
The food to shop
Then the chicken to fry
The baby to dry
I got company to feed
The garden to weed
I've got shirts to press
The tots to dress
The can to be cut
I gotta clean up this hut
Then see about the sick
And the cotton to pick.
Shine on me, sunshine
Rain on me, rain
Fall softly, dewdrops
And cool my brow again.
Storm, blow me from here
With your fiercest wind
Let me float across the sky
'Til I can rest again.
Fall gently, snowflakes
Cover me with white
Cold icy kisses and
Let me rest tonight.
Sun, rain, curving sky
Mountain, oceans, leaf and stone
Star shine, moon glow
You're all that I can call my own.
What can you infer about the persona's life from the first stanza?
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How does the tone change in the second section?
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Why does the persona personify sunshine, storm, snowflakes, and other objects in nature?
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Find an example of personification in each stanza. by Wilfred Owen
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Let the boy try along this bayonet-blade
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How cold steel is, and keen with hunger of blood;
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Blue with all malice, like a madman's flash;
And thinly drawn with famishing for flesh.
What qualities is the persona saying these objects have?
Lend him to stroke these blind, blunt bullet-heads
Which long to muzzle in the hearts of lads.
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Or give him cartridges of fine zinc teeth,
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Sharp with the sharpness of grief and death.
For his teeth seem for laughing round an apple.
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What does the persona know about
There lurk no claws behind his fingers supple; war that the boy doesn't?
And God will grow no talons at his heels,
Nor antlers through the thickness of his curls.
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by Robert Frost
Why do you think the persona is in the woods?
Whose woods these are I think I know.
His house is in the village, though;
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He will not see me stopping here
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To watch his woods fill up with snow.
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My little horse must think it queer
What kind of promises do you think the persona To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound's the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep,
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep. has made? To whom?
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Describe the the effect the repetition has on you.
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By Langston Hughes
What region of the country is the "bible belt"?
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Explain why the title is ironic.
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What is the persona saying about religion and racism in the “bible belt” part of the country?
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What do you think the tone of this poem is?
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by Edwin Arlington Robinson
Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean-favoured and imperially slim.
And he was always quietly arrayed,
And he was always human when he talked;
But still he fluttered pulses when he said,
"Good Morning!" and he glittered when he walked.
And he was rich, yes, richer than a king,
And admirably schooled in every grace:
In fine -- we thought that he was everything
To make us wish that we were in his place.
So on we worked and waited for the light,
And went without the meat and cursed the bread,
And Richard Cory, one calm summer night,
Went home and put a bullet in his head.
Why did the people on the pavement look at
Richard?
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What impression do you get of Richard from the phrases "quietly arrayed" and "human when he talked"?
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What does "fluttered pulses" mean?
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No one really "glitters" when he walks. What purpose does this hyperbole serve?
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Why is the ending of the poem ironic?
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How does the rhythm and rhyme of the poem add to this irony?
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Paraphrase each stanza. (Write one sentence for each stanza.)
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What do you think is the message (theme) of this poem?
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by Langston Hughes
Well, son, I'll tell you:
Life for me ain't been no crystal stair.
It's had tacks in it,
And splinters,
And boards torn up,
And places with no carpet on the floor—
Bare.
But all the time
I'se been a-climbin' on,
And reachin' landin's,
And turnin' corners,
And sometimes goin' in the dark
Where there ain't been no light.
So, boy, don't you turn back.
Don't you set down on the steps.
'Cause you finds it's kinder hard.
Don't you fall now—
For I'se still goin', honey,
I'se still climbin',
And life for me ain't been no crystal stair.
List three separate qualities of the staircase in the poem.
What aspect of life do you think each quality represents?
What message is the mother giving to her son?
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AUTOBIOGRAPHY IN FIVE SHORT CHAPTERS by Portia Nelson
I
I walk down the street.
There is a deep hole in the sidewalk
I fall in.
I am lost ... I am helpless.
It isn't my fault.
It takes me forever to find a way out.
II
I walk down the same street.
There is a deep hole in the sidewalk.
I pretend I don't see it.
I fall in again.
I can't believe I am in the same place but, it isn't my fault.
It still takes a long time to get out.
III
I walk down the same street.
There is a deep hole in the sidewalk.
I see it is there.
I still fall in ... it's a habit. my eyes are open
I know where I am.
It is my fault.
I get out immediately.
IV
I walk down the same street.
There is a deep hole in the sidewalk.
I walk around it.
V
I walk down another street.
How does the persona deal with the hole in the sidewalk differently in each stanza?
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What does the hole in the sidewalk represent in this poem?
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How does the poet extend this metaphor throughout the poem?
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Why do you think she calls this poem an autobiography?
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What do you think the rose symbolizes?
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What is the worm doing in the first stanza?
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What might the worm symbolize?
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What is the relationship between the worm and the rose? Use words from the poem to show this relationship.
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What is Robert Frost telling us about life
through this symbolism?
What does the color green symbolize in nature?
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What does Eden symbolize?
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Why did it “sink to grief”?
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by Alfred Lord Tennyson
Below the thunders of the upper deep;
Far, far beneath in the abysmal sea,
His ancient, dreamless, uninvaded sleep
The Kraken sleepeth: faintest sunlights flee
About his shadowy sides: above him swell
Huge sponges of millennial growth and height;
And far away into the sickly light,
From many a wondrous grot and secret cell
Unnumbered and enormous polypi
Winnow with giant arms the slumbering green.
There hath he lain for ages and will lie
Battening upon huge sea-worms in his sleep,
Until the latter fire shall heat the deep;
Then once by man and angels to be seen,
In roaring he shall rise and on the surface die.
List three examples of visual imagery in this poem. What image does each create?
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Image of:_________________________
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Image of:_________________________
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Image of:_________________________

by Carl Sandburg
Drum on your drums, batter on your banjoes,
Sob on the long cool winding saxophones.
Go to it, O jazzmen.
Sling your knuckles on the bottoms of the happy tin pans,
Let your trombones ooze,
And go hushahusha-hush with the slippery sand-paper.
Moan like an autumn wind high in the lonesome tree-tops,
Moan soft like you wanted somebody terrible,
Cry like a racing car slipping away from a motorcycle cop,
Bang-bang! you jazzmen,
Bang altogether drums, traps, banjoes, horns, tin cans-
Make two people fight on the top of a stairway
And scratch each other's eyes in a clinch tumbling down the stairs.
Can the rough stuff ...
Now a Mississippi steamboat pushes up the night river
With a hoo-hoo-hoo-oo ...
And the green lanterns calling to the high soft stars ...
A red moon rides on the humps of the low river hills ...
Go to it, O jazzmen.
Find two examples of
onomatopoeia in this poem.
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What sound is each example portraying?
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What mood is created in this poem, through
onomatopoeia and rhythm?
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rhyme-a similarity of sound between the accented syllables of 2 or more words. end rhyme-when the rhyme occurs at the end of two lines.
"He clasps the crag with crooked hands
Close to the sun in lonely lands,
Ringed with the azure world, he stands." internal rhyme-when the rhyme occurs in the middle of a line.
"When I nodded nearly napping, suddenly there came a tapping."
a pattern created by the arrangement of syllables to create an effect
--"feet" is how we measure the beats in poetry. A foot can have one, two, or three syllables. A foot usually has one stressed and one or two unstressed syllables.
/ / / /
"A jug/ of wine,/ a loaf/ of bread." This phrase has four feet.
limerick
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By William Shakespeare
Shall I compare thee to a Summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And Summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And oft' is his gold complexion dimm'd;
And every fair from fair sometime declines, c
By chance or nature's changing course untrimm'd: d
But thy eternal Summer shall not fade e
Nor lose possession of that fair thou owest; f
Nor shall Death brag thou wanderest in his shade, e
When in eternal lines to time thou growest:
So long as men can breathe, or eyes can see, f g
So long lives this, and this gives life to thee. g a b a b c d

by Theodore Roethke
The whiskey on your breath
Could make a small boy dizzy;
But I hung on like death:
Such waltzing was not easy.
We romped until the pans
Slid from the kitchen shelf;
My mother's countenance
Could not unfrown itself.
The hand that held my wrist
Was battered on one knuckle;
At every step you missed
My right ear scraped a buckle.
You beat time on my head
With a palm caked hard by dirt,
Then waltzed me off to bed
Still clinging to your shirt.
Describe the relationship between
The Father, the son, and the mother as shown in this poem.
Why do you think the father has “whiskey on his breath?”
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Why do you think the mother’s countenance
(face) could not “unfrown itself”?
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How does the poem describe the father’s hand?
List two images .
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How does the rhythm and rhyme of the poem match the title?
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Why is this ironic ?
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by Nikki Giovanni
This is a "free verse" poem. Free verse breaks many conventions of poetry yet is still poetry.
List three elements found in many previous poems that this poem does NOT have.
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What is one element of poetry that this poem does have?
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What emotions is the persona feeling?
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What words from the poem support this?
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Dreams of the Animals by Margaret Atwood
Mostly the animals dream of other animals each according to its kind
(though certain mice and small rodents
have nightmares of a huge pink
shape with five claws descending)
: moles dream of darkness and delicate mole smells frogs dream of green and golden frogs sparkling like wet suns among the lilies red and black striped fish, their eyes open have red and black striped dreams defense, attack, meaningful patterns birds dream of territories enclosed by singing.
Sometimes the animals dream of evil in the form of soap and metal but mostly the animals dream of other animals.
There are exceptions:
the silver fox in the roadside zoo
dreams of digging out
and of baby foxes, their necks bitten
the caged armadillo
near the train
station, which runs
all day in figure eights
its piglet feet pattering,
no longer dreams
but is insane when waking;
the iguana
in the petshop window on St. Catherine Street
crested, royal-eyed, ruling
its kingdom of water-dish and sawdust
dreams of sawdust

by Robert Frost
TWO roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear;
Though as for that, the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
I took the one less traveled by,
And that has made all the difference.
by Randall Jarrell
From my mother's sleep I fell into the State,
And I hunched in its belly till my wet fur froze.
Six miles from earth, loosed from its dream of life,
I woke to black flak and the nightmare fighters.
When I died they washed me out of the turret with a hose.
(Ball Turret: a rotating aircraft gun turret in the shape of a ball, usually mounted on the belly of an aircraft and enclosing the gunner.)

by Langston Hughes
That Justice is a blind goddess
Is a thing to which we black are wise:
Her bandage hides two festering sores
That once perhaps were eyes.
by Langston Hughes
In time of silver rain the earth puts forth new life again, green grasses grow and flowers lift their heads, and over all the plain the wonder spreads
Of Life,
Of Life,
Of life!
In time of silver rain the butterflies lift silken wings to catch a rainbow cry, and trees put forth new leaves to sing in joy beneath the sky as down the roadway passing boys and girls go singing, too,
in time of silver rain When spring
and life
are new.

by Oliver Herford
If this little world tonight
Suddenly should fall through space
In a hissing, headlong flight,
Shriveling from off its face,
As it falls into the sun,
In an instant every trace
Of the little crawling things-
Ants, philosophers, and lice,
Cattle, cockroaches, and kings,
Beggars, millionaires, and mice,
Men and maggots all as one
As it falls into the sun...
Who can say but at the same
Instant from some planet far
A child may watch us and exclaim:
"See the pretty shooting star!"

by Rudyard Kipling
If you can keep your head when all about you
Are losing theirs and blaming it on you,
If you can trust yourself when all men doubt you
But make allowance for their doubting too,
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated, don’t give way to hating,
And yet don’t look too good, nor talk too wise:
If you can dream–and not make dreams your master,
If you can think–and not make thoughts your aim;
If you can meet with Triumph and Disaster
And treat those two impostors just the same;
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build ‘em up with worn-out tools:
If you can make one heap of all your winnings
And risk it all on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breath a word about your loss;
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: “Hold on!”
If you can talk with crowds and keep your virtue,
Or walk with kings–nor lose the common touch,
If neither foes nor loving friends can hurt you;
If all men count with you, but none too much,
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
And–which is more–you’ll be a Man, my son!

by Maya Angelou
You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I'll rise.
Does my sassiness upset you?
Why are you beset with gloom?
'Cause I walk like I've got oil wells
Pumping in my living room.
Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I'll rise.
Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops,
Weakened by my soulful cries?
Does my haughtiness offend you?
Don't you take it awful hard
'Cause I laugh like I've got gold mines
Diggin' in my own backyard.
You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I'll rise.
Does my sexiness upset you?
Does it come as a surprise
That I dance like I've got diamonds
At the meeting of my thighs?
Out of the huts of history's shame
I rise
Up from a past that's rooted in pain
I rise
I'm a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
I rise
Into a daybreak that's wondrously clear
I rise
Bringing the gifts that my ancestors gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

By Langston Hughes
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.