What You Need to Know
Notes
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The important stuff.
By Mr. Moshé
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Poetry is [an] attempt to paint the color of the wind.
— Maxwell Bodenheim, poet
 . . . the essential use of the language.
 . . . the most compact form of literature - in
other words, poets express their ideas in as few
words as possible.
 . . . using a few carefully chosen words to
express a range of emotions, tell epic stories,
and reveal truths. To say so much, poets use a
variety of forms, sound devices, imagery, and
figurative language.
Form and Structure, Sound, Imagery, Figurative Language
 Form/Structure —the way the poem is
arranged on the page.
 Sound —how the poem sounds when read
aloud.
 Imagery —words or phrases that appeal to
the five senses.
 Figurative Language —words or phrases
that mean something different than the
actual definitions of the words.
 Form — how the poem looks on the page.
 Free verse — a poem without a set structure.
 Structure — different types of poems have different
types of structures
 Haiku – 3 lines with line 1 – 5 sylables, line 2 – 7
sylables, line 3 – 5 sylables, limerick, villanelle, or
sonnet.
 Concrete Poetry — a poem where the words are
arranged into a shape.
 Sonnet Poetry – 14 lines, couplet at the end
 Speaker —the voice of the poem, like a narrator in the
story. From the title, “Mother to Son,” by Langston
Hughes, we can infer that the speaker is a woman, who
is speaking to her son.
 Stanza —a grouping of lines in a poem, like a
paragraph in prose.
 Rhyme - repetition of sounds.
These terms are
all the same idea.
SYNONYMS
• Near, Half, Close or Imperfect Rhymes –
Rhymes that share EITHER the same vowel or
consonant sound BUT NOT BOTH.
 House and Dose
 Like and beek
 abide and kite
Near, Half, Close or Imperfect
Rhymes sound similar but
not the same.
 End Rhyme - rhymes found at the ends of lines.
Whose woods these are I think I know,
His house is in the village, though;
He will not see me stopping here
To watch his woods fill up with snow.
--Robert Frost, “Stopping by the Woods on a Snowy
Evening”
Internal Rhyme — A word inside a line
rhymes with another word on the same
line.
Men swift to see done, and outrun, their
extremist commanding—
Of the tribe which describe with a jibe the
perversions of Justice—
Panders avowed to the crowd whatsoever
its lust is.
--Rudyard Kipling, “The City of Brass”
 Rhyme Scheme — the pattern of end rhyme in a poem.
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visitor," I muttered, "tapping at my chamber door Only this, and nothing more."
A
B
C
B
B
B
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore For the rare and radiant maiden whom the angels name Lenore Nameless here for evermore.
D
B
E
B
B
B
-- from “The Raven” by Edgar Allan Poe
 Consonance— repetition of consonant
sounds anywhere they occur.
Rap rejects my tape deck, ejects projectile
Whether jew or gentile I rank top
percentile.
--The Fugees, “Zealots”
CONSONANCE
• The repeated consonant sounds can be
anywhere in the words
• Similar to alliteration EXCEPT . . .
• Alliteration is a special case of consonance where
the repeated consonant sound is at the beginning
of each word
• pitt patter
consonance
• silken, sad, uncertain, rustling . .
alliteration
• lady lounges lazily
• dark deep dread crept in
• Peter Piper picked a peck of pickled
peppers.
 Assonance— repetition of vowel
sounds.
I must confess that in my quest I felt
depressed and restless.
--Thin Lizzy, “With Love”
ASSONANCE
• Repeated VOWEL sounds in a line or
lines of poetry.
• Often creates near rhyme.
Lake Fate
Base
Fade
(All share the long “a” sound.)
ASSONANCE cont.
Examples of ASSONANCE:
“Slow the low gradual moan came in the
snowing.”
- John Masefield
“Shall ever medicine thee to that sweet sleep.”
- William Shakespeare
Meter— the pattern of stressed and
unstressed syllables in poetry.
To swell the gourd, and plump
the hazel shells.
--John Keats, “Ode to Autmn”
Rhythm— the musical quality produced by the
repetition of stressed and unstressed syllable patterns.
Fát bláck búcks ĭn ă wíne-bárrĕl róom
Barrel-house kings, with feet unstable, (Copy this line)
Sagged and reeled and pounded on the table,
Pounded on the table,
Beat an empty barrel with the handle of a broom,
Hard as they were able
Boom, boom, BOOM,
With a silk umbrella and the handle of a broom,
Boomlay, boomlay, boomlay, BOOM.
--Vachel Lindsay, “The Congo”
1. What types of rhyme are here? Label them.
2. What syllables are STRESSED which are
unstressed? Label them.
Men swift to see done, and outrun, their extremist commanding—
Consonant Alliterate
Internal Rhyme
Assonant Internal Rhyme
Of the tribe which describe with a jibe the perversions of Justice—
Assonant Internal Rhyme
End Rhyme
Panders avowed to the crowd whatsoever its lust is.
Assonant Internal Rhyme
--Rudyard Kipling, “The City of Brass”
Figurative Language is any
time words are used in a way
that is different from their
usual dictionary definition,
or literal meaning.
 COPY THESE DOWN, and try to guess what type
of figurative language each is an example of.
1.
2.
3.
4.
5.
6.
I’ve told you that a million times.
It cut like a hot knife through
butter.
You’re skating on thin ice, pal.
America is a melting pot.
The rain kissed my cheeks.
And then, poof! He was gone.
Idiom — a figure of speech, usually slang,
when language is used in a non-literal
sense.
 He passed the exam by the skin of his
teeth.
 She’s really bringing home the bacon.
 The two fell in love instantly.
 I’m laying down the law.
In an idiom,
the sum is NOT EQUAL
to its parts.
Idiom
(A Culturally Specific Expression)
• An expression where the literal meaning of the words is
not the meaning of the expression.
• It means something other than what it actually says.
• Idioms are phrases and sentences that do not mean
exactly what they say.
• Even if you know the meaning of every word, you may
not understand the idiom because you don't understand
the culture behind it.
EXAMPLES
•
•
•
•
It’s raining cats and dogs.
Your barking up the wrong tree.
Dear John letter
He’s down in the dumps.
•I’m broke!
•She got cold feet.
•Couch potato.
 An idiom is a figurative
language technique that
does not mean what is
being said.
 Idioms are culturally
specific.
What
does that
mean?
((Hands
please))
What
kinds of
problems
could
arise
from
this?
Remember what literal means?
This is the opposite.
Think about it.
When you tell your hommie “Chill!”
are you suggesting s/he walk into a
freezer?
No.
The expression “chill,” is an
idiom that means: relax, take it
What figures of
easy or don’t worry. speech are in the
passages on this
page?
There are tons of idioms. I’m sure
you use several all the time,
without thinking about it.
 Take it easy.
 Stay cool.
 Relax
Which of these
could also be
considered
IDIOMATIC?
 Calm down or I'll deck you!
 Please stop because you're
distressing me.
 Stop as in “ You wanna chill here?
 Hang out as in “Yeah, let’s chill
here?”
An idiom is a speech form
or an expression of a given
language that is peculiar to
itself grammatically or
cannot be understood
from the individual
meanings of its elements.
Idioms are known as
regional speech, dialect,
slang, jargon, or legal
idiom.
Dude!
I can’t understand the idiom
all by itself. It takes reference.
Idiom — a figure of speech, usually
slang, when language is used in a
non-literal sense.
 He passed the exam by the skin of
his teeth.
 She’s really bringing home the
bacon.
 The two fell in love instantly.
 I’m laying down the law.
More examples of idioms:
Mommy says: “Daddy is a little
pigeon toed.”
We were chewing the fat.
It’s raining cats and dogs.
She’s as sharp as a tack.
I wish he would kick the bucket.
Simile — a comparison of two
different things using “like” or “as”.
Similar – get it.
 She was as big as a house.
 His eyes were round as saucers.
 The fog was so thick, it was like
driving through soup.
Simile — a comparison of two
seemingly different things using
“like”, “as” and other comparative
language structures.
Similes tell us that two things are
Similar in some way.
 She was as big as a house.
 His eyes were round as saucers.
 The fog was so thick, it was like driving through
soup.
 His feet were as big as boats.
 She is as beautiful as a sunrise.
 She is as the sun rising over my horizon.
A simile is a figurative language
technique where a comparison
is made using like or as.
Examples of similes:
She is like a rainy day.
He is as busy as a bee.
They are like two peas in a pod.
A figure of speech in which
two essentially unlike things
are compared, often in a
phrase introduced by like or
as, as in: “How like the winter
hath my absence been” or “So
are you to my thoughts as
food to life” (Shakespeare).
The cat was as scary as a ____.
The night is like a ____.
The moon is like a ____
The scarecrow was as scary as ____
Metaphor — a comparison of two
seemingly different things without
using “like” or “as”.
 Her hair was spun gold.
 This homework is a breeze.
 There are plenty of fish in the sea.
Metaphor — a comparison of two
different things without using “like”
or “as”.
 Her hair was spun gold.
 This homework is a breeze.
 There are plenty of fish in the sea.
METAPHOR
• A direct comparison of two unlike things
• A direct relationship where one thing or idea
substitutes for another
For example: Her hair is silk. (The sentence
is comparing or stating that hair is silk).
EXTENDED METAPHOR
• A metaphor that goes several lines or
possibly the entire length of a work.
IMPLIED METAPHOR
• The comparison is hinted at but not clearly
stated.
• “The poison sacs of the town began to
manufacture venom, and the town swelled
and puffed with the pressure of it.”
- from The Pearl
- by John Steinbeck
A poetic comparison that does
not use the words like or as.
Examples of metaphors:
She is a graceful swan.
He is a golden god.
They are honey from the
honeycomb.
A figure of speech in which a
word or phrase that ordinarily
designates one thing is used to
designate another, thus making
an implicit comparison, as in “a
sea of troubles” or “All the world's
a stage” (Shakespeare).
Brian was a wall, bouncing every
tennis ball back over the net.
This metaphor compares Brian to
a wall because __________.
a. He was very strong.
b. He was very tall.
c. He kept returning the balls.
d. His body was made of cells.
We would have had more pizza to
eat if Tammy hadn’t been such a
hog.
Tammy was being compared to a
hog because she __________.
a. looked like a hog
b. ate like a hog
c. smelled like a hog
d. was as smart as a hog
Cindy was such a mule. We couldn’t
get her to change her mind.
The metaphor compares Cindy to a
mule because she was __________.
a. always eating oats
b. able to do hard work
c. raised on a farm
d. very stubborn
The poor rat didn’t have a chance.
Our old cat, a bolt of lightning,
caught his prey.
The cat was compared to a bolt of
lightning because he was _______.
a.
b.
c.
d.
very fast
very bright
not fond of fleas
very old
Even a child could carry my dog,
Dogface, around for hours. He’s
such a feather.
This metaphor implies that Dogface:
a. is not cute
b. looks like a bird
c. is not heavy
d. can fly
Hyperbole — when the truth is
exaggerated for humor or
emphasis.
 Your mama’s so fat, if someone
yells, “Kool-aid,” she’ll jump
through a wall!
 I nearly died laughing.
 I could eat a horse.
Hyperbole — when the truth is
exaggerated for humor or
emphasis.
 I nearly died laughing.
 I’m so hungry, I could eat a horse.
 My backpack weighs a ton!
 That’s the worst idea in the world!
• Is when one exaggerates.
• We use hyperbole (the figure of
speech) all the time when we
want to impress or stress.
• Hyperboles are used gazillions of
times a minute.
“He never speaks to her.”
Never? That is a very long time.
Hyperbole means to exaggerate.
• We have a ton of work.
A ton is a lot of work. A ton is
also a thousand pounds.
• “I ate a ton of pasta.”
Ton
= 907.185 kg
= 2000 pounds (US)
= 2240 lbs. (UK)
This person must be trying to tell us that
s/he ate a lot. What an appetite.
• I told you a million times.
I don’t mind repeating myself,
but a million times? That’s a
lot.
Litotes
• Understatement - basically the opposite
of hyperbole. Often it is ironic.
• Ex. Calling a slow moving person
“Speedy”
Onomatopoeia — when a word’s
sound suggests its meaning.
 Pop goes the weasel.
 I heard a snap as the branch
broke.
 The bacon sizzled on the skillet.
Onomatopoeia — when a word’s
sound suggests its meaning.
 Pop goes the weasel.
 I heard a snap as the branch
broke.
 The bacon sizzled on the skillet.
Examples onomatopoeia:
Bang, went the gun!
Swoosh went the basketball
through the hoop.
ONOMATOPOEIA
• Words that imitate the sound they are
naming
BUZZ, SHOT,
• OR sounds that imitate or suggest the sound
associated with something
“The silken, sad, uncertain, rustling of
each purple curtain . . .”
In the above example ALLITERATION is used
to achieve ONOMATOPOEIA.
The formation or use of
words such as buzz,
murmur or boo that
imitate the sounds
associated with the objects
or actions they refer to.
61
Onomatopoeia is the use of
words whose sounds make you
think of their meanings.
For example; buzz, thump, pop.
Many comic strips use
onomatopoeia.
 Personification — when something
not human is given human
characteristics.
 The trees danced in the wind.
 Oreo: Milk’s Favorite Cookie.
 Fear knocked on the door, and
Faith answered.
 Personification — when something
not human is given human
characteristics.
 The trees danced in the wind.
 Oreo: Milk’s Favorite Cookie.
 Fear knocked on the door, and
Faith answered.
Personification is a
figurative language
technique in which human
characteristics are given to
nonhuman things.
Joyet
2004
66
The heat ripped the breath
from her lungs.
The leaves danced in the wind.
 When inanimate objects or
abstractions (things that are not
human) are endowed with human
qualities or are represented as
possessing human form.
 Giving human qualities, feelings, actions,
or characteristics to animals or non-living
objects.
 Hunger sat shivering on the road.

Hunger doesn’t sit, people do.
 Flowers danced about the lawn.

Flowers don’t dance, people do.
 The sun smiled on me.

The verb, smile, is a human action.
Joyet
2004
69
 The sleeping water reflected the
evening sky.
 Humidity breathed in the girl's face
and ran its greasy fingers through her
hair.
 The tree arrested the oncoming car.
Joyet
2004
70
Check your guesses. . . Which types of
figurative language do the following
exemplify:
 I’ve told you that a million times.
 And then, poof! He was gone.
 The rain kissed my cheeks.
 You’re skating on thin ice, pal.
 It cut like a hot knife through butter.
 America is a melting pot.
Examples
Explanation
 I’ve told you that a million
 Hyperbole—it might have been said
times.
 And then, poof! He was
gone.
 The rain kissed my cheeks as
it fell.
 You’re skating on thin ice,
pal.
 It cut like a hot knife
through butter.

 America is a melting pot.
often, but not a million times.
 Onomatopoeia—there was not an
actual puff of smoke as the subject
left.
 Personification—the rain didn’t
really kiss the speaker’s cheeks; this
is a human quality.
 Idiom—he’s not actually on ice, but
irritating someone.
 Simile—comparison made by using
like or as.
 Metaphor—American isn’t really a
pot of things melting together, but
home to a variety of cultures that
Figurative Language versus Literal
Language
•Figurative Language – any use of
language where the intended meaning
differs from the actual literal meaning of
the words themselves.
•Literal Language – our everyday
language. We mean what we say!
IMAGERY
• Language that appeals to any of the
five senses.
• Most images are visual, but they can
also appeal to the senses of sound,
touch, taste, or smell.
then with cracked hands that ached
from labor in the weekday weather . . .
from “Those WinTer sundays”
 Imagery — words or phrases that appeal to the five
senses: sight, touch, hearing, smell, taste.
 What can you see, feel, hear, smell,
taste?
We pulled on our clothes, crackling
underbrush, the sharp briars pulling at our
damp jeans, until we reached the watermelon
patch. As we began to cut open the nearest
melon, we could smell the pungent skin
mingling with the dusty odor of the dry earth.
Suddenly, the melon gave way with a crack,
revealing the deep, pink sweetness inside.
 Find examples of imagery in the following
passage:
The hot July sun beat relentlessly down, casting
an orange glare over the farm buildings, the
fields, the pond. Even the usually cool green
willows bordering the pond hung wilted and
dry. Our sun-baked backs ached for relief. We
quickly pulled off our sweaty clothes and
plunged into the pond, but the tepid water only
stifled us and we soon climbed onto the brown,
dusty bank. Our parched throats longed for
something cool--a strawberry ice, a tall frosted
glass of lemonade.
Allusion
• Allusion comes
from the verb
“allude” which
means “to refer to”
• An allusion is a
reference to
something else
outside the piece
you are dealing
with.
“A tunnel walled and overlaid
With dazzling crystal: we had read
Of rare Aladdin’s wondrous cave,
And to our own his name we gave.”
From “Snowbound”
John Greenleaf Whittier
Apostrophe
A person or thing which is absent is
addressed:
 “What thoughts I have of you tonight, Walt
Whitman” (Ginsberg, 599).
-- A Letter to Father by John Handferry
(whose father had died)
SYMBOLISM
• When a
person, place,
thing, or event
that has
meaning in
itself also
represents, or
stands for,
something
else.
=
=
=
Innocence
America
Peace
SYMBOLISM Examples
There are more things with symbolic meaning than
could ever be listed.
The symbol of the SS – Hitler’s Order of
the Death’s Head.
Hair symbolizes physical strength and
virility; the virtues and properties of a
person are said to be concentrated in
his hair and nails.
The heart is the locus of physical and
spiritual being . . . compassion and
understanding, life-giving and complex.
Check your guesses. . . Which types of
figurative language do the following
exemplify:
 I’ve told you that a million times.
 And then, poof! He was gone.
 The rain kissed my cheeks.
 You’re skating on thin ice, pal.
 It cut like a hot knife through butter.
 America is a melting pot.
Examples
Explanation
 I’ve told you that a million
 Hyperbole—it might have been said
times.
often, but not a million times.
 And then, poof! He was
 Onomatopoeia—there was not an
 The rain kissed my cheeks as

 You’re skating on thin ice,
 Idiom—he’s not actually on ice, but
actual puff of smoke as the subject
left.
gone.
it fell.
pal.
 It cut like a hot knife
irritating someone.
 Simile—comparison made by using
like or as.
through butter.

 America is a melting pot.
Personification—the rain didn’t really kiss
the speaker’s cheeks; this is a human
quality.
Metaphor—American isn’t really a pot of things
melting together, but home to a variety of cultures
that mix together.
Be seated in your assigned seat.
Silent Reading – Personal Novel
JOURNALING REQUIREMENTS – Personal Novel Reading
EVERY time you read, you must include the following information as part of your journal entry.
1st, 3rd, 4th Blocks
9/24/12 Title of Book,
D.E.A.R.
JS#___ Subsequent
•
•
•
•
Author’s Last Name
Pg#
-
Pg#
Lines should be composed of
Journal Writing – Next Journal Starter, Approach Paper
Work, Vocabulary Work, Evidence of any/all reading
strategies being put to work on your novel.
Class Novel Study Guide Questions
Literature Circle Job Work in Preparation for Discussions
Common Assessment Answer Reworkings & Data Crunch
Silent Room
Rules and Regulations
What are Poetic Forms?
Simply,
Poems with Rules.
They are
 There are many types of poetic forms from all over the
world.
 You’ve heard of many of them.
 Haiku
 Limerick
 Sonnets
• Biopoem
• Cinquain
• Free Verse
 Villanelle
 There are others, such as the Villanelle, the Biopoem,
the Concrete, and the Found.
 A Japanese poetic form.
 Usually written about nature.
 Usually tries to show a contrast.
 Traditionally has three lines of 17 syllables
 1 - five syllables.
 2 - seven syllables.
 3 - five syllables.
 Other related form of Japanese origin
 Tanka
 Syllable Counts of 5,7,5,7,7
 Popular since 1300 C.E.
 Nights are getting cold
not a single insect now
attacks the candle
 An oil spill is a
slippery, black blob of ink
writing warning notes
5
7
5
5
7
5
NOW YOU TRY . . . on your own paper.
____________________________
_____________________________
____________________________
5
7
5
 Some say the “Limerick” was invented by soldiers
fleeing from France to the Irish town of Limerick in the
1700’s, however . . .
The origin of the actual name limerick for this type
of poem is obscure. Its use was first documented in
the UK in 1898 (New English Dictionary) and in the
USA in 1902. It is generally taken to be a reference to
the County of Limerick in Ireland, particularly the
Maigue Poets, and may derive from an earlier form
of nonsense verse parlour game that traditionally
included a refrain that ended "Come all the way up
to Limerick?"
http://www.limerickcentral.co.uk/stuff-about-limericks/history-of-the-limerick.html
The name ‘Limerick’ is predated by the work
of Edward Lear who published his first Book
of Nonsense in 1845 and a later work (1872)
on the same theme.
Lear wrote 212 limericks, mostly nonsense
verse.
It was customary at the time for limericks to
accompany an absurd illustration of the
same subject, and for the final line of the
limerick to be a kind of conclusion, usually a
variant of the first line ending in the same
word.
http://www.limerickcentral.co.uk/stuff-about-limericks/history-of-the-limerick.html
The following is an example of one of Edward Lear's
limericks.
There was a Young Person of Smyrna
Whose grandmother threatened to burn her;
But she seized on the cat, and said 'Granny, burn that!
You incongruous old woman of Smyrna!'
http://www.limerickcentral.co.uk/stuff-about-limericks/history-of-the-limerick.html
 The rules
 Has come to be a five-line poetic form.
 Usually funny.
 Has the rhyme scheme AABBA.
 Has a set rhythm
What difference is immediately noticeable upon seeing
a Lear Limerick and knowing the modern day rules for
writing one?
A flea and a fly in a flue
Were caught, so what could they do?
Said the fly, "Let us flee."
"Let us fly," said the flea.
So they flew through a flaw in the flue.
--Ogden Nash
There was an Old Person whose habits,
Induced him to feed upon rabbits;
When he'd eaten eighteen,
He turned perfectly green,
Upon which he relinquished those habits.
--Edward Lear
NOW YOU TRY . . . on your own paper.
____________________________________________
____________________________________________
____________________________________________
____________________________________________
____________________________________________
A
A
B
B
A
 There are a few kinds of sonnets. They all . . .
 have 14-lines.
 are on the topic is LOVE – either a positive attitude
toward it or a negative one.
 have a volta. In literature, the volta, also referred to as
the turn, is the shift or point of dramatic change.
 are FIXED FORM poems, NOT free verse at all.
 We will look at Shakespearean Sonnets and
Italian Sonnets.
 Shakespearean sonnets have 14 lines
 Three Quatrains (4 line stanzas) and
 One rhyming couplet (2 line stanza) at the
end.
 VOLTA at line 9.
 12 lines with a set rhyme scheme and two
lines that rhyme with each other.
 Here’s what the rhyme scheme looks like
a-b-a-b, c-d-c-d, e-f-e-f, g-g
When in disgrace with Fortune and men's eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art and that man's scope,
With what I most enjoy contented lest,
Yet in these thoughts my self almost despising,
Haply I think on thee, and then my state,
(Like to the lark at break of day arising
From sullen earth) sings hymns at heaven's gate,
For thy sweet love remembered such wealth brings,
That then I scorn to change my state with kings.
A
B
A
B
C
D
C
D
E
F
E
F
G
G
 Three quatrians and one rhyming couplet
 Rhyme Scheme: ABAB CDCD EFEF GG
NOW YOU TRY . . . on your own paper.
Sonnets: Italian Sonnets
 AKA the Petrarchan Sonnet.
 They have 14 lines.
 An octave (8 lines) with a set rhyme scheme
 Rhyme Scheme of first 8 lines: ABBA, ABBA
 a sestet (6 lines) with its own set rhyme scheme of
 Rhyme Schemes can vary, but may not end in a
couplet.
 CDDECE, CDECDE, CDCDCD, etc.
 VOLTA at line 9.
 Here’s what the rhyme scheme could look like
a-b-b-a, a-b-b-a, c-d-e, c-d-e
524. England, 1802
ii
Milton! thou shouldst be living at this hour:
England hath need of thee: she is a fen
Of stagnant waters: altar, sword, and pen,
Fireside, the heroic wealth of hall and bower,
Have forfeited their ancient English dower
Of inward happiness. We are selfish men;
Oh! raise us up, return to us again;
And give us manners, virtue, freedom, power.
A
B
B
A
A
B
B
A
--------------------
Thy soul was like a Star, and dwelt apart;
Thou hadst a voice whose sound was like the sea:
Pure as the naked heavens, majestic, free,
So didst thou travel on life's common way,
In cheerful godliness; and yet thy heart
The lowliest duties on herself did lay.
C
D
D
E
C
E
NOW YOU TRY . . . on your own paper.
Spencerian Sonnet
 invented by Edmund Spenser as an outgrowth of the
stanza pattern he used in TheFaerie Queene (a b a b b c
b c c),
 Line 9 usually starts with “But” or “Yet” . . . however
 The VOLTA is NOT usually there.
 VOLTA at line 13!!
 has the pattern: a b a b b c b c c d c d e e
Indefinable
 Uh, these generally have 14 lines, but break all the other
rules.
 VOLTA at Line 9.
Shakespearean
a-b-a-b, c-d-c-d, e-f-e-f, g-g
Petrarchan/Italian
a-b-b-a, a-b-b-a, c-d-e, c-d-e
Spencerian
ababbcbccdcdee
 A poem written about a person.
 Follows the form:
(Line 1) First name
(Line 2) Three or four adjectives that describe the person
(Line 3) Important relationship (daughter of . . . , mother of . . . ,
etc)
(Line 4) Two or three things, people, or ideas that the person loved
(Line 5) Three feelings the person experienced
(Line 6) Three fears the person experienced
(Line 7) Accomplishments (who composed…, who discovered…,
etc.)
(Line 8) Two or three things the person wanted to see happen or
wanted to experience
(Line 9) His or her residence
(Line 10) Last name
Rosa
Determined, brave, strong, loving
Wife of Raymond Parks, mother of all children
Who loved equality, freedom, and the benefits of a good education
Who hated discrimination, loved to stand up for her beliefs, and
loved to help others
Who feared that racism would continue, feared losing the
opportunity to make a difference, and feared that young people
might lose opportunities to develop strength and courage
Who changed history as she accomplished great strides for
equality and encouraged excellence for all
Who wanted to see love triumph and see an end to all bias and
discrimination in a world in which respect is freely given to all
Born in Alabama and rests at Woodlawn Cemetery, Detroit,
Michigan
Parks
NOW YOU TRY . . . on your own paper . . Write your BIOPOEM on your
 Do not tell a story or have a conversational tone.
 Usually accomplishes the task of concentrating the
reader on a certain strong emotion.
 A lot of fun to write this 19 line poem,
 has 5 tercets (3 line stanza)
 one quatrain (4 line stanza)
- 15 lines
- 4 lines
 Only has two end rhyme sounds
Rhyme scheme
 ABA ABA ABA ABA ABA ABAA
 Repeats two lines several times, as refrains
 Line 1 repeats on lines 6, 12, and 18
 Line 3 repeats on lines 9, 15, and 19
“Do Not Go Gentle into that Good Night”
by Dylan Thomas
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
Good men, the last wave by, crying how bright
Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with blinding sight
Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless me now with your fierce tears, I pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
NOW YOU TRY . . . . . on your own paper.
A
B
A
A
B
A
A
B
A
A
B
A
A
B
A
A
B
A
A
 A cinquain is a five line poem.
 Usually about a person place or thing (noun)
 Usually a titled poem where the title is the 5th
line.
 Line 1: a synonym for the title
 Line 2: two adjectives or adjectival phrases
describing the title
 Line 3: three “–ing” action verbs or verbal
phrases
 Line 4: a related phrase
 Line 5: a one-word title (in other words, a
noun that tells what the poem is about )
Jasem
Happy, active
Smiling, running, jumping
Eats lots of ketchup
Brother
(by Nabil)
Trees
Brown, green
Growing, bending, swaying
Reaching for the sky
Interesting
(by Hayley)
Caramel
Yummy, sweet
Runny, gushy, brown
I love caramel chocolate
Fantastic
Rules broken
(by Natalia)
School
Fun, boring
Playing, working, doing
Field trips are fun, but not
the seaweed one
Work
(by Tyler)
http://hrsbstaff.ednet.ns.ca/davidc/6c_files/Poem%20pics/6ccinquains02.htm
Trees
Brown bark rough as myself, green with the wind in the summer
Growing roots in winter, bending to the way the wind goes, swaying against the force
Mostly reaching for the sky
Interesting
(by Hayley and modified by Mr. Moshé)
NOW YOU TRY . . . on your own paper.
 Just look at some . . .
 Helicopter – well, it becomes a helicopter.
 Go Cart – Like the helicopter, actually
 Train – Uh, this becomes a rain and then moves.
 Vision Care - This is from a commercial that aired years
ago during a superbowl.
 Always the precious repetition for the joy of recognition.
– Nothing like a little visual jazz.
 Stigmatized – a tragic story of feeling isolated
 Found poems 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.
 A pure found poem consists exclusively of outside
texts: the words of the poem remain as they were
found, with few additions or omissions. Decisions
of form, such as where to break a line, are left to
the poet.
 Examples of found poems can be seen in the work of
Blaise Cendrars, David Antin, and Charles
Reznikoff.
 In his book Testimony, Reznikoff created poetry
from law reports, such as this excerpt:
Amelia was just fourteen and out of the orphan asylum; at her
first job--in the bindery, and yes sir, yes ma'am, oh, so
anxious to please.
She stood at the table, her blond hair hanging about her
shoulders, "knocking up" for Mary and Sadie, the stichers
("knocking up" is counting books and stacking them in piles to
be taken away).
 Many poets have also chosen to incorporate
snippets of found texts into larger poems, most
significantly Ezra Pound. His Cantos includes
letters written by presidents and popes, as well as
an array of official documents from governments
and banks. The Waste Land, by T. S. Eliot, uses
many different texts, including Wagnerian opera,
Shakespearian theater, and Greek mythology.
Other poets who combined found elements with
their poetry are William Carlos Williams, Charles
Olson, and Louis Zukofsky.
 The found poem achieved prominence in the
twentieth-century, sharing many traits with Pop
Art, such as Andy Warhol's soup cans or Marcel
Duchamp's bicycle wheels and urinals.
 The writer Annie Dillard has said that turning a
text into a poem doubles that poem's context. "The
original meaning remains intact," she writes, "but
now it swings between two poles."

- See more at: http://www.poets.org/viewmedia.php/prmMID/5780#sthash.UWKue4Qa.dpuf
 very few distinct rules or boundries
 it is not written in iambic pentameter
as is Blank Verse
 rhythm or cadence of free verse varies
throughout the poem
Running through a field of clover,
Stop to pick a daffodil
I play he loves me, loves me not,
The daffy lies, it says he does not love me!
Well, what use a daffy
When Jimmy gives me roses?
-- Flora Launa
NOW YOU TRY . . . . On your own paper
 A poem that tells a story.
 Usually of multiple stanzas to
indicate plot structure.
 Can be rhyming, but doesn’t have to
be.
 That’s it.
NOW YOU TRY . . . . On your own paper
 Today we finished the Poetry Overview PowerPoint.
Now What?
 You should have original written samples (drafts, I'm
not looking for perfection here) of each type of poem
that we covered from the time we started the Poetic
Forms section of the PowerPoint: Haiku, Limerick,
Shakespearean Sonnet, Italian Sonnet, Biopoem,
Villanelle, Cinquain, Free Verse, Narrative.
 DO NOT write your names on the following sheets.
 Write each of the following poems centered on
separate sheets of paper (7 Poems for 7 sheets):
Haiku, Limerick, Shakespearean Sonnet, Italian
Sonnet, Biopoem, Villanelle, Cinquain.
 When you have them all written out, bring them to
me.
 Then I will allow you to staple the poems together .
Be seated in your assigned seat.
Silent Reading – Personal Novel
JOURNALING REQUIREMENTS – Personal Novel Reading
EVERY time you read, you must include the following information as part of your journal entry.
1st, 3rd, 4th Blocks
9/24/12 Title of Book,
D.E.A.R.
JS#___ Subsequent
Author’s Last Name
Pg#
-
Pg#
Lines should be composed of
• You should be making darn sure you have
all 7 poems ready on separate sheets of
paper. Have them out while you read.
Silent Room Silent Room Silent Room Silent Room Silent Room Silent Room
 I will then collect your poems and redistribute them
to classmates for PEER Editing/Proofing and
suggestions.
 You will work on each other's writing.
 Use rubrics found in the Writing Workshop Folders
and your extensive notes,
 Check each other's work to see whether or
not the rules for each form of poetry were followed
and make any corrections/marks/suggestions.
 Also, make three suggestions to each poem for any
Literary & Poetic Techniques that could effect any
improvement for the poems.
 Plot is composed of four parts
 Exposition
 Rising Action
 Climax
 Resolution
 In the exposition we get all the essential information
we need in order to get the story going
 Character – Main Character
 Setting – Time, place, culture
 Conflict – issue(s), or problem(s), the main character
will struggle to resolve
 In the Rising Action drama, suspense usually build
through each scene as the plot is complicated
 Complications – scenes that create a complex story and
at the same time reveal the details of how the conflict
may be resolved later in the story.
The climax is the point of greatest suspense.
It is the turning point.
It immediately precedes the Falling Action or resolution.
It is “The turning point of the action in the plot of a play or
story. The climax represents the point of greatest tension
in the work.” (http://highered.mcgrawhill.com/sites/0072405228/student_view0/fiction_glossary.html)
What about PLOT?
What are the pieces of plot?
1.Exposition
2.Rising Action
3.Climax
4.Resolution
What about PLOT?
What are the pieces of plot?
Exposition where we find out about the
• Characters – Main and secondary
• Setting(s) – initial and subsequent
• Conflict(s)
What about PLOT?
What are the pieces of plot?
Rising Action where the
• Main Characters become fully
developed
• Setting(s) are created in detail
• Complications are introduced to develop
and define the conflict(s)
What about PLOT?
What are the pieces of plot?
Climax where the
• Highest point of excitement or drama is
reached
• Turning point in the action occurs
What about PLOT?
What are the pieces of plot?
Resolution where the
• Conflict is settled or resolved
• Things settle down
• Most complications are worked out.
Lets try something to open you up to Poetry
Remember to let the poem carry its own message.
Suggestions to keep in mind
 Listen to the message in the poem.
 Forget who said, wrote or recited the poem.
 Follow the rules of punctuation while reading
 Do not stop at the end a line UNLESS there
is punctuation that requires it.
 Stop or pause only where the punctuation
tells you to.
Literature Circle Up – Groups of 3-4
Read,
Note Take,
Work
Discuss & Share
Each participant MUST be able to answer these questions
(COPY THEM):
 What is the theme or message that you get from the poem? What
pieces/details add up to show you the message (must be more than one)?
 What Figurative Language techniques are used in the poem: metaphors,
similes, personification, hyperbole, litote, etc.?
 What Poetic & Sound Devices are used in the poem: alliteration,
onomatopoeia, assonance, consonance, etc.?
 What is the rhyme scheme of the poem; Is there one: ABAA, etc.?
 What else can you talk about because of the poem: personal connections,
allusions, inspirations?
Groups of 3 - Imagery
 Each of you draw an image for your piece of the poem
that you have.
 Participant #1 – Section 1
 Participant #2 – Section 2
 Participant #3 – Section 3
The Trees by Neil Peart
Participant 1

 There is unrest in the forest,
There is trouble with the trees,
For the maples want more sunlight
And the oaks ignore their please.
There is trouble in the forest,
And the creatures all have fled,
As the maples scream "Oppression!"
And the oaks just shake their heads
The trouble with the maples,
(And they're quite convinced they're
right)
They say the oaks are just too lofty
And they grab up all the light.
But the oaks can't help their feelings
If they like the way they're made.
And they wonder why the maples
Can't be happy in their shade
So the maples formed a union
And demanded equal rights.
"The oaks are just too greedy;
We will make them give us light."
Now there's no more oak oppression,
For they passed a noble law,
And the trees are all kept equal
By hatchet, axe, and saw.
Participant 2
Participant 3
 The clouds prepare for battle
In the dark and brooding silence.
Bruised and sullen stormclouds
Have the light of day obscured.
Looming low and ominous
In twilight premature
Thunderheads are rumbling
In a distant overture...
All at once, the clouds are parted.
Light streams down in bright unbroken beams...
Participant 1
Participant 2
Participant 3
Follow men's eyes as they look to the skies.
The shifting shafts of shining weave the fabric of their dreams..
 And the men who hold high  Philosophers and ploughmen
places
Must be the ones who start
To mold a new reality
Closer to the heart
Closer to the heart
The blacksmith and the artist
Reflect it in their art
They forge their creativity
Closer to the heart
Closer to the heart
Each must know his part
To sow a new mentality
Closer to the heart
Closer to the heart
You can be the captain
I will draw the chart
Sailing into destiny
Closer to the heart
The Road Not Taken
By: Robert Frost
Two roads diverged in a yellow wood,
And both that morning equally lay
And sorry I could not travel both
In leaves no step had trodden black.
And be one traveler, long I stood
Oh, I kept the first for another day!
And looked down one as far as I could
Yet knowing how way leads on to way,
To where it bent in the undergrowth.
I doubted if I should ever come back.
Then took the other, as just as fair,
I shall be telling this with a sigh
And having perhaps the better claim,
Somewhere ages and ages hence:
Because it was grassy and wanted wear;
Two roads diverged in a wood, and I—
Though as for that the passing there
I took the one less traveled by,
Had worn them really about the same.
And that has made all the difference.
“The Road Not Taken”
by Robert Frost
Literature Circle Up
Read, Note Take, Work
Discuss
Share
Be able to answer these questions:
What is the topic, subject and theme or message that you get
from the poem?
What else can you talk about?
“Jukebox Love Song”
by Langston Hughes
I could take the Harlem night
and wrap it around you,
Take the neon lights and make a crown,
Take the Lenox Avenue busses,
Taxis, subways,
And for your love song tone their rumble down.
Take Harlem's heartbeat,
Make a drumbeat,
Put it on a record, let it whirl,
And while we listen to it play,
Dance with you till day-Dance with you, my sweet brown Harlem girl.
“Jukebox Love Song”
by Langston Hughes
Discuss
Share
What is the theme or message that you get from the poem?
What else can you talk about?
from “The Love Song of J. Alfred Prufrock”
by T. S. Eliot
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells
from “The Love Song of J. Alfred Prufrock”
by T. S. Eliot
Discuss
Share
What is the theme or message that you get
from the excerpt of the poem?
What else can you talk about?
Literal
Real
vs.
Figurative
Remember
vs.
Imaginary
This could be understood a number of ways
 Real is
to literal as imaginary is to figurative
AND
 Figurative is to real as Literal is to imaginary
AND
 Real is to imaginary as literal is to figurative.
Seven Figurative Language.
techniques:
 metaphor
 onomatopoeia  personification
 alliteration
 idiom
 simile
 hyperbole
And then some other techniques
authors like to put into action.
Joyet
2004
142
Learn to Read
a Poem.
Well?
Active Reading Process for Poetry
Before you start reading anything:
 Find someone (or more than one person) to read
with. This could be a literature circle.
 Have your reader’s notebook or a blank sheet of paper
ready.
 Preview the poem - read aloud the first few lines.
 Listen to the message, Not the Messenger!
 Forget who wrote it, and what you THINK you know about
that person. The author is not the character in the poem.
 Listen for the message in the poem; what is the poem
trying to say?
Active Reading Process for Poetry
 Part I - 1st Complete read of the poem
 Part II - Share one thing from your list
quickly around the group
 Part III - 2nd complete read of the poem
 Part IV – Share a new thing from your
list quickly around the group
 Part V – Discuss
Active Reading Process for Poetry
Part I - 1st complete read of the poem
 The poem is read out loud with everyone listening.
 Write down
quickly anything/everything that pops into your head.
 Visualize the images and Draw
 Think about the words and phrases
 Make connections or allusions
 Make inferences
 Poetic Techniques
 Figurative Language
 Plot Elements
 Try to answer these questions
 “What do you notice about this poem so far?”
 “What is this poem about?”
Active Reading Process for Poetry
Part II - Share one thing from your list
 Read one thing you wrote down - the best
example of something related to the poem.
 If you have not written anything down, then
write down something(s) you hear.
 Try to figure out the topic, theme.
 Make inferences.
 Identify Poetic Techniques/Figurative
Language
Active Reading Process for Poetry
Part III - 2nd complete read of the poem

AGAIN, the poem is read out loud with everyone
listening.

Write down quickly anything/everything that pops into your head.
 Visualize the images and Draw
 Think about the words and phrases
 Make connections or allusions
 Make inferences
 Poetic Techniques
 Figurative Language
 Plot Elements
 Now that you wrote all of the notes for this
step, realize that it’s the same as Step I.
Active Reading Process for Poetry
Part IV - Share a new thing from your list
 Read one new thing - the best example of something
related to the poem.
 If you have not written anything down, then write
down something(s) you hear.
 Try to figure out the topic, subject and theme, in
the poem.
Active Reading Process for Poetry
Part V – Discuss
Have a discussion.
Share everything you have.
 Insights
 Questions
 Opinions
 Reflections
 Drawings
 Literature Circle Job Work