LHE 3252 Teaching the Language of Poetry

Juridah Md Rashid Jabatan Pendidikan Bahasa dan Kemanusiaan Fakulti Pengajian Pendidikan UPM 43400 Serdang

Villanelle

Fixed form 19 lines 5 tercets and 1 quatrain Rhyme scheme: aba,aba,aba,aba,aba,abaa 1st and 3rd lines of the 1st tercet are repeated alternately

Do Not Go Gentle into That Good Night

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.

Uphill by Christina Rosetti

The use of metaphors Dialogue - dialogical( questions and answers)

2 different speakers

UPHILL by: Christina Rossetti (1830-1894)

Does the road wind up-hill all the way? Yes, to the very end. Will the day's journey take the whole long day? From morn to night, my friend.

But is there for the night a resting-place? A roof for when the slow dark hours begin. May not the darkness hide it from my face? You cannot miss that inn.

Shall I meet other wayfarers at night? Those who have gone before. Then must I knock, or call when just in sight? They will not keep you standing at that door.
Shall I find comfort, travel-sore and weak? Of labour you shall find the sum. Will there be beds for me and all who seek? Yea, beds for all who come.

Dramatic monolog

A poem with single character speaks to a silent audience of one or more persons The character reveals his personality unintentionally

Soliloquy of a Spanish Cloister

I Gr-r-r-there go, my heart's abhorrence! Water your damned flower-pots, do! If hate killed men, Brother Lawrence, God's blood, would not mine kill you! What? your myrtle-bush wants trimming? Oh, that rose has prior claims-Needs its leaden vase filled brimming? Hell dry you up with its flames! II At the meal we sit together: Salve tibi! I must hear 10 Wise talk of the kind of weather, 10 Sort of season, time of year: Not a plenteous cork-crop: scarcely Dare we hope oak-galls, I doubt: What's the Latin name for "parsley"? What's the Greek name for Swine's Snout?

III Whew! We'll have our platter burnished, Laid with care on our own shelf! With a fire-new spoon we're furnished, And a goblet for ourself, 20 Rinsed like something sacrificial Ere 'tis fit to touch our chaps Marked with L. for our initial! (He-he! There his lily snaps!) IV Saint, forsooth! While brown Dolores Squats outside the Convent bank With Sanchicha, telling stories, Steeping tresses in the tank, Blue-black, lustrous, thick like horsehairs, Can't I see his dead eye glow, 30 Bright as 'twere a Barbary corsair's? (That is, if he'd let it show!)

V When he finishes refection, Knife and fork he never lays Cross-wise, to my recollection, As I do, in Jesu's praise. I the Trinity illustrate, Drinking watered orange-pulp In three sips the Arian frustrate While he drains his at one gulp. 40 VI Oh, those melons? If he's able We're to have a feast! so nice! One goes to the Abbot's table, All of us eager to get a slice. How go on your flowers? None double? Not one fruit-sort can you spy? Strange! And I, too, at such trouble, Keep them close-nipped on the sly

VII There's a great text in Galatians, Once you trip on it, entails 50 Twenty-nine distinct damnations, One sure, if another fails. If I trip him just a-dying, Sure of heaven as sure can be, Spin him round and send him flying Off to hell, a Manichee? VIII Or, my scrofulous French novel, On grey paper with blunt type! Simply glance at it, you grovel Hand and foot in Belial's gripe: 60 If I double down its pages At the woeful sixteenth print, When he gathers his greengages, Ope a sieve and slip it in't?

IX

Or, there's Satan! one might venture Pledge one's soul to him, yet leave Such a flaw in the indenture As he'd miss it till, past retrieve, Blasted lay that rose-acacia We're so proud of! Hy, Zy, Hine . . . 'St, there's Vespers! Plena gratia Ave, Virgo! Gr-r-r you swine!

70

Tone
Implied attitude of a poet toward the subject and characters of the poem

Lyric
Characterized by expressions of feelings

Ode
A long stately poem in stanzas of varied length, meter and form Usually a serious poem

Narrative Ballad
A narrative poem (poem that tells a story) Based on oral tradition (passed to from generations to generations) 4-line stanza Narrated in direct style

Sonnet
English sonnet, Elizabethan sonnet, Shakespeare sonnet 14-line poem 3 quatrain and a couplet Rhyme scheme abab, cdcd,efef,gg

Sonnet 116
Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove: O no! it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wandering bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come: Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved.