Entrance to Poetry

8/9/2019 Entrance to Poetry

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Al-Motakhses in English Poetry

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6& (7Al-Motakhses in English Poetry

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ij;k=l;A large num#er of stu$ents face great $ifficulty in un$erstan$ing ,

analy%ing , an$ appreciating poetry. &he fault is usually not theirs , #ut ratherthat of their teachers 'ho face the same $ifficulty.

English Poetry is not $ifficult to un$erstan$ , once 'e grasp the(uintessential characteristics of poetry , its special $iction , an$ its grammaticalpeculiarities . )nce 'e achie"e that , 'e 'ill fin$ it easy to un$erstan$ ,analy%e , an$ appreciate a poem .For instance , images $epen$ mainly , apartfrom the poet*s imagination , on figures of speech . Also , music is usually amatter of "ersification , 'hich is tackle$ simply 'ith a short an$ simple section

on scansion.

+n the part 'hich $iscusses history of poetry , + trie$ to gi"erepresentati"e an$ carefully chosen poems of the $ifferent phases an$ schoolsof poetry . &hey are 'ell-kno'n poems 'hich + like$ an$ enoye$ , + hope thatyou 'ill enoy them too , an$ that they 'ill instill in you a lo"e of EnglishPoetry.

est of uck,/e$a El 0ai$ A#$el aset.


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1All poets are ma$12 /o#ert urton, &he Anatomy of Melancholy.

1+ #egin to suspect the young man of a terri#le taint 2 poetry1 2

en 3ohnson , artholome' Fair.

mF; n;kAoAEApo pk ip;Ej9 q4one has manage$ to pro$uce a satisfactory $efinition of poetry. 5et , there ha"e #een

se"eral attempts to gi"e one. For e6ample , Matthe' Arnol$ name$ it 1a criticism of life1.Another $efinition 'as #y 7.8. Au$en , 1memora#le speech1. As to the language ofromanticism , 7illiam 7or$s'orth $efine$ poetry as 1the spontaneous o"erflo' of

po'erful. As 'ell , oleri$ge sai$ that poetry is 1the #est 'or$s in the #est or$er1 'hereas0helley $efine$ poetry as 1the e6pression of the imagination1. ut , all the pre"ious$efinitions gi"e in$i"i$ually a clear #iase$ prospect of poetry , an$ simultaneously might

#e contri#ute$ to se"eral o#ects other than poetry. &hat is to say , it is sai$ that 0amuel3ohnson has replie$ to the (uestion 9 17hat is poetry:1, #y 9 17hy , sir , it is much easier tosay 'hat it is not. 7e all kno' 'hat light is , #ut it is not easy to tell 'hat it is. 1+n other'or$s , it is #etter to mention only the o#"ious #ases through 'hich poetry is $ifferentiate$from other arts. &hat is , it is an art of 'hich the chief material is language ; that it re(uiresall rules of form , music , sym#ol , allegory , an$ imagery. &herefore , the true nature of

poetry as an art is recogni%e$ than $efine$ , an$ it is not right to $efine poetry #y itsopposite , i.e., prose. +t is not poetry #ut "erse an$ a piece of 'riting may or may not #epoetry.

@lFpp?D pk >or?ADF ip;Ej9stjpG u44 !1Pvuw

mF; Bor?p!@=xpo i;jAp< su44!14vvw q&he Anglo20a6ons in"a$ers arri"e$ ritain near the en$ of the fifth century A.. they

'ere the foun$ers of 'hat is calle$ English literature. &he heroic poetry is of sur"i"ingAnglo20a6ons iterature 'hich still #ears traces , not only of the pre2hristian heroicsociety , #ut also aspects of English community. +t is not facile to place a specific $ate forthe commencement of Anglo20a6on heroic poetry , #ut 'hat ha$ sur"i"e$ #elongs to these"enth an$ eighth centuries. &e most prominent poetic 'ork , 'hich ha$ sur"i"e$ fromthis age is eo'ulf. &his epic has a special position in English iterature since it is the solecomplete e6tant epic of its genre. +t $eals 'ith the heroic $ee$s of eo'ulf , the nephe' ofking 8ygelac of northern 0'e$en. As a poem , eo'ulf is technically impressi"e ,especially in its han$ling narrati"e "erse in re"ealing heroic i$ealism. +n other 'or$s , thescenes of the poem are lai$ in Denmark an$ 0'e$en , an$ it tells the $ee$s of the #ra"ehero eo'ulf , 'ho crosse$ from 0'e$en to Denmark to help his nephe', king 8rothgar.


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mF; G=Ao EF;G; pk y8;pz{?ky q8rothgar*s royal palace , 8eorot , 'as permanently "isite$ #y a cruel monster ,


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;pkkj;9 F={l;j+n the secon$ half of the fourteenth century , a great literary figure in English history

appeare$ , 'ho is haucer. 8is appearance 'as in a perio$ in 'hich Englan$ 'as intransitional mo"ement , #et'een the mi$$le ages an$ the mo$ern 'orl$. haucerintro$uce$ +talian literature to Englan$. 8e 'as $eeme$ the first poet to use many of themeters an$ stan%a forms 'hich ha"e #ecome stan$ar$ in English poetry. Also , haucer'as the first English poet to analy%e the characters of his literary 'orks psychologically.8is masterpiece is the anter#ury tales. +t is a group of stories 'ritten in "erse. +t tackles a

pilgrimage 'hich haucer an$ a group of folks em#ark to &homas ecket*s cathe$ral. )nthe 'ay to anter#ury , e"ery pilgrim agrees to narrate four stories , an$ the host is to$eci$e 'hich of the #est tales is to #e a'ar$e$. &he strength of the anter#ury tales restson the po'er of this total artistic performance an$ on haucer*s social un$erstan$ing an$

psychological realism 'hich he ha$ $epicte$ in.

|pEAl; q

&he aim of the tales is to shorten the long hours on horse#ack. &he actual stories areprece$e$ #y a long prologue , in 'hich the pilgrims are $escri#e$ an$ liste$ or catalogue$.haucer 'as una#le to finish this 'ork. +n the prologue , the host suggeste$ that each

pilgrim shoul$ tell t'o tales on the out'ar$ an$ t'o on the home'ar$ ourney. ut thecompany ne"er reaches anter#ury an$ only ?@ of the @ pilgrims get their turn.

mF; kp??pzAor ?Ao;D =j; F={l;jD pzo po EF; }jApj;DD kjpG EF; }jp?pr{; qmF; ijApj;DD q&here 'as also a 4onne , a Prioresse ,

that of hir smylyng 'as ful simple an$ coy ;

8ire gretteste ooth 'as #ut #y 0einte oy ;

An$ she 'as clepe$ ma$ame Eglentyne.

Ful 'eel she soong the ser"ice $y"yne ,

mj=oD?=EApo q mF; ijApj;DD q&here also 'as a 4un , a Prioress ;

0imple her 'ay of smiling 'as an$ coy.

8er greatest oath 'as only #y 0t. oy =

An$ she 'as kno'n as Ma$am Eglantyne.

An$ 'ell she sang a ser"ice , 'ith a fine.


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mF; 8=??=< q&here 'as not much poetry after haucer*s $eath. &he only e6ception 'as the popular

#alla$. &he #alla$ is simple either in su#ect or in form. &he #alla$s arose among thepeople for 'hom they 'ere really meant an$ they 'ere han$e$ $o'n orally fromgeneration to generation. +n the eighteenth century , &homas Percy , #ishop of Dromore ,collecte$ the e6tant #alla$s , 'hich he pu#lishe$ in BC un$er the title reli(ues of ancientEnglish poetry. &his collection ha$ a consi$era#le effect on English poets at that time.Moreo"er , the su#ects of these poems inclu$e$ feu$s #et'een families atten$e$ #y

#loo$y fighting , the a$"enturous li"es of outla's in the forest an$ true lo"e th'arte$ , #utin the en$ usually re'ar$e$. An$ stories of ghosts haunting the frien$s or enemies they ha$left #ehin$.

-or$ /an$all. &here are se"eral "ersions

*7here ha"e you #een all the $ay , /an$all , my son =

7here ha"e you #een all the $ay , my pretty one.1

+*"e #een to my s'eetheart*s , mother ;

oh , make my #e$ soon ,

for +*m sick to my heart an$ + fain 'oul$ lie $o'n=

7hat $i$ she fee$ you , /an$all my son =

7hat $i$ she fee$ you , my pretty son =

Eels #oile$ in #roth , mother ;

)h , make my #e$ soon ,

For +*m sick to my heart an$ + fain 'oul$ lie $o'n =

*7hat $i$ she fee$ you , /an$all my son =

7hat $i$ she fee$ you , my pretty son =*Eels #oile$ in #roth , mother ;

)h , make my #e$ soon ,

For +*m sick to my heart an$ + fain 'oul$ lie $o'n.

mF; >or?ADF :;o=ADD=ol;. s1u44!1vv4w q


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&he renaissance , 'hich ha$ foun$ its origins in +taly , 'as intro$uce$ #y those 'hoha$ tra"ele$ through +taly. &hey those young )6for$ 0cholars ha$ stu$ie$ themanuscripts of the masterpieces that the or?ADF ip;ED q

mF; A


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&he Early &u$ors.

pFo @;?Epo s1Uv4!1u3Pw q8e 'as a priest an$ tutor to prince 8enry later 8enry K+++. 0kelton 'as a learne$

man an$ a humanist , #ut as a poet he continue$ an$ en$e$ the me$ie"al tra$ition. Much of

his poetry 'as satirical , an$ it 'as 'ritten in a rapi$ , ragge$ an$ li"ely "erse $egeneratingat times into the $oggerel.

@Aj mFpG=D 9=EE s1u4Q!1uU3w q8e spent most of his life as a courtier an$ $iplomat , ser"ing king 8enry the eighth as

clerk of the king*s e'els. Also, he 'as a mem#er of "arious missions to France an$ +taly.8is interest in foreign literature , especially +talian is e"i$ent from his translations an$imitations of poems #y the +talian sonneteers, Petrarch , 0anna%aro an$ Alamanni. esi$es ,7yatt*s poetry inclu$es not only the sonnets #ase$ on +talian mo$els , #ut also many

$elightful lyrics 'ith short an$ refrains. 7yatt intro$uce$ the sonnet , a fourteen 2 linepoem 'ith a complicate$ rhyme scheme into English.

Furthermore , 7yatt took his su#ect matter from Petrarch*s sonnets , for the mostpart , #ut his rhyme schemes came from other +talian mo$els. &he most common rhymescheme in 7yatt*s sonnets is a##a L a##a L c$c$ L ee. &hat is , the usual +talian structure 9 anocta"e the first eight lines follo'e$ after a turn in the sense #y a sestet the last si6 lines.&his 'as alrea$y #eginning to #reak $o'n into the 1English1 structure for the sonnet ,three (uatrains an$ a couplet.

;oj9 pz=j< ~ >=j? pk @{jj;9 s1u1!1uUw q0ome stories in$icate that surrey 'as a prou$ , high 2 spirite$ youth. 8e 'as

con$emne$ on a charge of treason an$ #ehea$e$ 'hen he 'as thirty years ol$. 8econtinue$ the practice of the sonnet in English 'hich 'as institute$ #y 7yatt an$esta#lishe$ a form for it. &his form 'as use$ #y 0hakespeare an$ has #ecome >no'n asthe English sonnet form 9 three (uatrains an$ a heroic couplet , rhyming a#a# c$c$ efefgg. Furthermore , he 'as a courtier poet , 'ho circulate$ his poem in manuscript inaristocratic court circles. 8e maintains a more regular accent than 7yatt an$ he is oftenmore fluent an$ musical. ut , his language seems less "i"i$. 5et his poetic $iction isclear an$ in many 'ays surrey in$icates the $irection in 'hich the main stream ofEnglish "erse 'ill flo'.

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AlF=;? :pD;o/osen is an English 3e'ish poet. 5et, he stan$s against the aggressi"e actions the +sraelis

e6ercise 'ith the Palestinians .8e re"eals this i$ea in his famous **&he Promise$ an$.**:pC;jE tjpDE

Frost is intereste$ in rea$ing an$ 'riting poetry. 8e 'as influence$ #y contemporary

ritish poets as /upert rooke an$ /o#ert


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+t is a special kin$ of metaphor , 'herein a#stract i$eas , or in animate o#ects , are spoken of

as though they 'ere persons .

;.r. ymF; D{o jpD; kjpG FAD C;


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+t means that the name of one of the attri#utes of a thing has #een replace$ for the name of the

thing itself .

;.r. y mF; };o AD GArFEA;j EF=o EF; Dzpj


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+t is a seemingly self-contra$ictory statement , that is startling , #ecause , if taken literally , it is

illogical or is contrary to accepte$ opinions .

;.r. ymF; G=o zFp


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+t is 1 A play on 'or$s 1 ; t'o $ifferent meanings are $ra'n out of a single 'or$ , usually for

comic , or 'itty purposes .

;.r. y |;??9 j=9 |;??9 j=9

D EFAD 9p{j ?p; Dp z=jG

mF; ?p; EF=E ?p;D = Dl=j?;E lp=E ,

@Fp{?< C; Gpj; uniform.y

31w AD{=? G=r;q

A word or a line that addresses the sense of vision to help the reader

visualize the scene.

;.r. yDp CjArFE AD EF; Gppo ~ Dp


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1w s@F=;D};=jA=owq =C=C ~ l


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oE;jjpr=EA; pj {;DEApo q

1w :F;EpjAl=? {;DEApoDq&hey are negati"e statements $isguise$ as (uestions . &hey are to emphasi%e an i$ea or a

feeling or to con$emn something an$ they $o not nee$ ans'ers.

;.r.y k zAoE;j lpG;D ~ l=o @}jAor C; k=j C;FAo< y s@F;??;9w

y=o DEpjA;< {jo pj =oAG=E;< C{DE

8=l Ep AED G=oDApo l=?? EF; k?;;EAor Cj;=EF y smFpG=D j=9w

3w :;=? {;DEApo EF=E o;;< =oDz;jD q0ome poets raise (uestions that re(uire an ans'er. &his means that the poet is in loss or searching

for a meaning in life . &hese (uestions in$icate a sense of loss 9 the poet is una#le to un$erstan$

something or !nans'ere$ (uestions arouse the an6iety of the rea$er , making him think a#out an$i$ea e"en after finishing the poem or any 'ork of art .

;.r. yF9


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13w |p{oD qslpolj;E; =CDEj=lEw

sjpD; Ej;;w s?p; F=Ej;


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sQw>xE;o


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. :F;EpjAl=? @Ej{lE{j; 90or#anization of thou#ht in a poe%36ontrast or antithesis $ parallelis% $ cli%a7 $ #eneral and speci2c $ ironic.

8as gi"en my heart

A change of moo$

An$ sa"e$ some part

)f a $ay + ha$ rue$.

U.=or{=r; q

nAlEApo/ for%al $ infor%al $ collo(uial $ connotations of words $ repeated#roups of words $ s'non'%s $ opposites - etc.

mpo;/ 0attitude of the spea,er towards his su"8ect3 serious$ cheerful $li#ht $ an#r' $ c'nical $ satirical $ funn' $ casual $ o9cial $ desperate $

hopeful $ e%otional $ down to earth : practical .. etc.

i;jDpo= ~ lF=j=lE;j-.A slum#er $i$ my spirit seal ;

+ ha$ no human fears ;

0he seeme$ a thing that coul$ not feel

&he touch of earthly years.

4o motion has she no' , no force ;

0he neither hears nor sees ;

/olle$ roun$ in earth*s $iurnal course ,

7ith rocks , an$ stones , an$ trees.

u. tpjG q4tanzas / couplets $ (uatrains $ terza ri%a 0a"a $ "c" $ cdc..3 "lan,verse. ;ttava ri%a 0a"a"a"cc3$ ri%e ro'al stanza 0a"a""cc34penserian stanza

1oe%s / sonnet $ ode -v. m9};D pj Gp


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@{CD;{;oE j;=


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??-8o' might #iographical information a#out the author help to $etermine thecentral concerns of the poem.

?@-8o' might historical information a#out the poem pro"i$e a useful conte6t forinterpretation :

?G-&o 'hat e6tent $o your o'n e6periences, "alues , #eliefs , an$ assumptionsinform your interpretation :

?C-7hat kin$s of e"i$ence from the poem are you focusing on to support yourinterpretation. Does your interpretation lea"e out any important element that mightun$ercut or (ualify your interpretation :

Bo =oDz;j;< ;x=G}?;n;DAro

! found a di%pled spider $ fat and white

;n a white heal ? all $ holdin# up a %oth

@i,e a white peace of ri#id satin cloth

Assorted characters of death and "li#ht

i7ed read' to "e#in the %ornin# ri#ht $

@i,e the in#redients of a witchesB "roth

A snow ? drop spider $ a +ower li,e froth .

And dead win#s carried li,e a paper ,ite.

Chat had that +ower to do with "ein# white $&he wa'side "lue and innocent heal ? all D

Chat "rou#ht the ,indred spider to that hei#ht $

&hen steered the white %oth thither in the ni#ht D

Chat "ut desi#n of dar,ness to appall D

!f desi#n #overn in a thin# so s%all.

n;DAro q >DD=9 1&his is a lyrical poem , a sonnet , that $escri#es the poet*s encounter 'ith an

e"ent an$ 'hat his min$ makes of that encounter. &he nature of the e"ent ispro#lematic, so the speaker comes to no firm $ecision a#out its meaning. &he speakerin the poem 'on$ers 'hether there is a po'er that $esigns e"ents in the uni"erse.&he structure of the sonnet reflects this mo"ement from $escription to $ou#t.

&he octa"e $escri#es the trou#ling perception of an e"ent 2 a spi$er hol$ing a$ea$ moth on top of a heal 2 all. &his cluster group of o#ects is striking #ecause allthree are a ghostly an$ unnatural 'hite. &hese assorte$ characters of $eath an$ #lightappears to the speaker as supernatural an$ fearful , the ingre$ients of a 'itches #roth.

&his supernatural (uality lea$s the speaker to ask a series of (uestions in the sesteta#out 'hat force coul$ #e responsi#le for #ringing the moth an$ the spi$er to theirfatal meeting atop the flo'er. +n other 'or$s , 'hat is the $esign or plan : he first


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Finally , in the last line , the speaker takes a further step an$ (uestions his #lackan$ 'hite approach to un$erstan$ing the 'orl$. 8e reaches a terrifying conclusion 9it may not #e our faulty un$erstan$ing ; it may #e that there is no $esign in nature to

percei"e after all. &hus the poet sho's that nature $oes not conform to simple moralcategories of goo$ an$ #a$ , tra$itionally represente$ #y 'hite an$ #lack. )ur

tra$itional human notions of morality an$ of u$gment cannot lea$ us to a properun$erstan$ing of nature , 'hich may #e neutral or colorless.

EF;j ;x=G}?;D

2,33.he 4"!ce"3s 5hil#"en33

&he #rocerBs children

Eat da' ? old "read

old' ca,es and cheese

4oft "lac, "ananas

;n stale shredded wheat $

Ceeviled rice $ their plates

Feaped hi#h with wilted

Greens $ "ruised fruit $

4urprise treats

Hro% unla"eled cans $

&ainted %eat

&he #rocers children )ever #o hun#r'

6e"7e"t /c!tt 829;

3w;;EAor =E |ArFE

&he #ra' sea and the lon# "lac, land /

And the 'ellow half?%oon lar#e and low I

And the startled little waves that leap

!n 2er' rivulets fro% their sleep $

As ! #ain the cove with pushin# prow $

And (uench its speed in the slush' sand.

&hen a %ile of war% sea ? scented "each I

&hree 2elds to cross till a far% appears I

A tap at the pane $ the (uic, sharp scratch

And "lue spurt of the li#hted %atch $

And a voice less loud $ throB its 8o's and fears $&han the two hearts "eatin# each to each J


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,336elen33

All


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pz Ep pjr=oA; 9p{j lpGG;oE po =o {oD;;o }p;GOmF; tAjDE @E;} qoEjp


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?- 0entence length 9 short or long .

@-4egation 9 un , not , ne"er .

G- Parallelism .

C- +n"ersion .

OmF; tAkEF @E;} q

iFpop?pr9qPhonological $e"ices are relata#le to the musicality of the poem.

o EFAD }=jE..~

-/hyme scheme 9 regular or irregular .

?-Alliteration 9 the repetition of the initial soun$ consonant in t'o or more closely associate$

'or$s or stresse$ sylla#les.@- Assonance 9 the repetition of a similar "o'el soun$ .

G-onsonance 9 the repetition of the same consonant after $ifferent "o'els in 'or$s ne6t to , or

near to one another .

OmF; =DE @E;} q

pol?{DApo sp}EApo=?w .- +f there is a title , 'rite a#out it in the conclusion paragraph .

-&he title must #e relata#le to the content of the poem , or it can #e a 'or$ or a line repeate$ to

foregroun$ a certain i$ea or an attitu$e .

-&he title can #e the name of a setting or a central image in a poem . +n this case , this setting or

the image must #e of great significance .

pz Ep =o=?9; = }jpD=Al }=DD=r; OoEjp


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-&one9optimistic-pessimistic-satirical-philosophical-enthusiastic2 pathetic .

->ey'or$s 9 e.g.gree$ , money .

-)pposite 'or$s 9 e.g.'hite , #lack .

- +mages 9 "isual , au$itory , simile , metaphor , transferre$ epithet .

- luster of 'or$s 9 e.g. oasis 2 camel 2 san$ Q 1 Desert 1 .

-Juestions 9 rhetorical or argumentati"e .

- E6clamations .

>x=G}?;

y+n the $ark the ol$ man coul$ feel the morning coming as he ro'e$ he hear$ the trem#ling

soun$ as flying fish left the 'ater an$ the hissing that their stiff set 'ings ma$e as they soare$

a'ay , in the $arkness . 8e 'as "ery fon$ of flying fish as they 'ere his principal frien$s onthe ocean . 8e 'as sorry for the #ir$s , especially the small $elicate $ark terns that they 'ere

al'ays flying an$ looking an$ almost ne"er fin$ing , an$ he thought , 1the #ir$s ha"e a har$er

life than 'e $o e6cept for the ro##er #ir$s an$ the hea"y strong onesy.

mF; p?< =o Bo< mF; @;= q >jo;DE ;GAorz=9w

mF; =oDz;j&his prosaic passage tackles the a(uatic nature . &he 'riter seems to #e infatuate$

'ith this aspect of nature . 8e contemplates it an$ #rings out its tiny $etails .

+$entification of nature is the main theme in the passage . &his ol$ man melts a'ay in

nature as he #ecomes a part of it 9 1 the ol$ man coul$ feel the morning 1 . 8e makes nature his

sole company . 8e makes flying fish **his principal frien$s**. Furthermore , he sympathi%es 'ith

the elements of nature like **$elicate-$ark terns**. 0o , the 'riter makes nature a 'hole #o$y in

'hich the ol$ man is a part of . &hus , he sympathi%es 'ith the 1$elicate $ark terns** as a part of

the #o$y 'hich sympathi%es 'ith the illness of another part .

&he 'riter*s $e"ices in this passage are many . 8is sentences are mo"ing an$

effecti"e . 8e employs simple language to con"ey profoun$ i$eas . 8e uses au$io "isual images

like **the trem#ling soun$ as flying fish left the 'ater an$ the hissing that their stiff set 'ings

ma$e** to make the rea$er share the ol$ man the scene he li"es in . Furthermore , he utili%es

personification as in **flying fish as they 'ere his principal frien$s** an$ in **the #ir$s ha"e a

har$er life than 'e $o**. 8is tone is lo' to suit the (uietness of the scene 'hich is interrupte$ #y

the **hissing** of the $elicate element of nature.


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Accor$ingly , me 'riter succee$s to portray a charming "isual image of a(uatic

nature an$ its elements . 8e $ra's the rea$er*s attention to its #eauty an$ $escri#es its elements

in an elegant style .

pz Ep pjr=oA; 9p{j lpGG;oE po = }jpD; }=DD=r;

OmF; tAjDE @E;} q

oEjp


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-&he thir$ person means that the narrator is omniscient . +n this , he e6poses the inner thoughts

an$ feelings of the character .

Also , the simple , $irect an$ e"ery$ay language reflects ho' the narrator is realistic .

)/ Moreo"er , the style is romantic as there are many images Lpersonal feelings L $escription

of nature . &here is also the use of $ialogue , 'hich sho's the $ifference L similarity of the t'o

characters . Furthermore , the narrator is ironic an$ satirical in his tone . &his is sho'n 'hen ...

+n a$$ition , the sentences are long L short as in 1.1 . 7hat emphasi%es the theme is the tense

of the "er#s as in 1..1 .

OmF; tAkEF @E;} q-{DAl=?AE99

&his prose passage is characteri%e$ #y musicality . &his is sho'n #y the alliteration in the

repetition of the soun$ 1...1 in 11. &here is also a rhythmical pattern gi"en through the

#alance$ sentences like 1..........1 .

OmF; =DE @E;} q

pol?{DApo q sp}EApo=?w .

- +f there is a title , 'rite a#out it in the conclusion paragraph .

- &he title must #e relata#le to the content of the poem , or it can #e a 'or$ or a line repeate$ to

foregroun$ a certain i$ea or an attitu$e .

- &he title can #e the name of a setting or a central image in a poem . +n this case , this setting

or the image must #e of great significance .

mF; GpDE lpGGpo GADE=;D q

1. @{C;lE;jC Brj;;G;oE q F;DF;AE ;jC D

e.g.- 9 &he speaker sho's that 'hile he is sa$ , nature cele#rates.

3 D; pk E;oD;D q 0imple Present tense is al'ays use$ in your ans'er. !se the simple past

tense )45 'hen you refer to a literary perio$ an$ its origins or the #ackgroun$ of the poet .

Q D; EF; AokAoAEA; after help , make S let .

U @};??Aor q

a-4ames of poets or the titles of poems .

#-0pelling of in$i"i$ual 'or$s .

u. D; pk lpoEj=lEApoD AD AokpjG=? q

8e isn*t LL 0he can*t LLL 'e can see that.


31/66

v. o 9p{j ;DD=9 ~ =pA< EF; {D; pk ;x=rr;j=EApo =o< l;jE=Ao kpjG=ED sl?AlFDw q

U &he theme of lo"e is the most significanttheme in the poem .

U Pope is the father of4eoclassicism or &he poetsucceeded insho'ing the role of .

U +t is veryimportant to say.... 7hy "ery :

ip;GD =j; ;ol?pD;< Ao {pE=EApo G=jD q y mp EF; ppo y .

5 tj=rG;oEDq zF;o ~ zFA?; ~ =kE;j ~ C;kpj; ~ =?EFp{rF ~ zFp =o< zFAlF E=;

Ezp D;oE;ol;D .

;.r. FA?; t$e speaker is sad % Nature is $app& .

PpGG=q+n the poem , there is .

14=}AE=?A=EApo q ?~ ~ i~ } .

11 8;kpj; ;=lF o;z }=j=rj=}F ~ ?;=; = D}=l; EF;o =oDz;j .

13 np opE G;oEApo =o9 G=r; pj =o9 EF;G; zAEFp{E D{}}pjEAor 9p{j zpj


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ijpDp


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0Aa%&les :B "e neath $ "e co%e $ un til $ en ra#e.

6o%e live : with %e : and "e : %' love.

*-a"l!,

pp ~ Fpz AE Dp{o


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*uc,le %' shoe. 0a%phi%acer3

&hree $ four $ 0spondee3

4hut the door. 0a%phi%acer3

i9jjFAl sE; ! E;w I&M &&his foot appeared in classical poetr' which depended on the ti%e

ta,en "' vowel sounds $ "ut is not accepted in En#lish verse whichdepends on stress. 6olerid#e illustrated these feet in the followin# line /

4low 4pon : dee stal,s : stron# foot J : 'et ill a"le

3 0::37 : 7 0

mF; G;E;j sG;=D{j;w &6 &MI, (&he meter is the arrangement of sylla#les to form "erse. 0o, the meter of a poem

$epen$s on the num#er of feet to the line an$ the pattern of the stan%a an$ the kin$ offeet use$ 9

A line containin# one foot is called a %ono%eter.

A line containin# two feet is called di%eter.

A line containin# three feet is called tri%eter.

A line containin# four feet is called tetra%eter.

A line containin# 2ve feet is called penta%eter.A line containin# si7 feet is called he7a%eter.

A line containin# seven feet is called hepta%eter.

A line containin# ei#ht feet is called octa%eter.

|pEAl; q+n 0prung /hythm same num#er of stresse$ sylla#les in the line , the unstresse$

sylla#les "aries an$ free "erse irregular metrical pattern , stress is still the #asis ofthe rhythm ; #ut here, three , four , or more slack sylla#les may #e groupe$ 'ith each

stresse$ one.>x=G}?;D q

!s this : a fast $ : to ,eep. 0!a%"ic &ri%etric3

&he : lard : er : lean . 0!a%"ic Ki%eteric3

And clean D 0!a%"ic ono%etric3

&he po : et to : the end : of ti%e $

*reathes in : his wor, : and lives : in rh'%e I 0!a%"ic &etra%etric3.


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@E=o=D &6 )`

0tan%as mean units of a long poem comprising se"eral rhyming lines.|pEAl;q

A stan%a sometimes calle$ 1"erse1 is anything longer than a couplet 'hichcomprises t'o lines , #ut 9

a three line stanza is called a triplet.

a four line stanza is called a (uatrain.

a 2ve line stanza is called a (uintette.

a si7 line stanza is called a sestet : se7tain.a seven line stanza is called a septette.

an ei#ht line stanza is called an octave.

@{G {} q&he #uil$ing #locks of English poetry are the sylla#les 'hich are groupe$ up

into feet , a num#er of feet makes a line , se"eral lines make a stan%a , an$ lastlyse"eral stan%as make a poem.

mF; lFA;k >or?ADF DE=o=D =j; q

Bw8=??=< ;E;j qFour line stan%as consisting of alternate iam#ic tetrameters an$ trimesters an$

rhyming a#c#.

8wmF; ;jpAl p{}?;E q+am#ic pentameter rhyming aa , ## , cc , i.e. in couplets.

w8?=o ;jD; q!nrhyme$ iam#ic pentameters. see 1Para$ise ost1.

nw@};oD;jA=o @E=o= q4ine2line$ stan%a consisting of eight iam#ic pentameters octa"e follo'e$ #y oneale6an$rine iam#ic he6ameter. /hymes a# 2 a# 2 #c 2 #c 2 c.

>w@poo;E qAn arrangement of fourteen iam#ic pentameters. &here are se"eral "arieties recogni%e$ 9

-+talian or Petrarchan 9 R B 9 )cta"e eight lines R sestet si6 lines.


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-English or 0hakespearean 9 G R G R G R ? 9 three (uatrains four lines an$ acouplet t'o lines.

-0penserian 9 like the English sonnet #ut it rhymes a#a# , #c#c , c$c$ , ee.

tw:F9G; :p9=? q0e"en iam#ic pentameters rhyming a# 2 a# 2 #c 2 c.

wEE== :AG= qEight iam#ic pentameters rhyming a# 2 a# 2 a# 2 cc.

@l=oDApo

Kf

`

2(T

0cansion is the stu$y of the mechanical elements use$ #y the poet to esta#lishhis rhythmical effects.

|pEAl;q

&o scan a piece of "erse , it is a must to sho' the accente$ an$ the unaccente$sylla#les , to group these sylla#les into feet an$ sho' the num#er of feet use$ an$their type the meter , an$ to sho' the kin$ of stan%a employe$.

>x=G}?; q

And still : she slept : an az : ure ? lid : ded sleep

!n "lanch : ed lin : en $ s%ooth : and lav : enderd

Chile he : fro% forth : the clos : et "rou#ht : a heap

;f can : died ap : ple $ (uince $ : and plu% : and #roud I

Cith 8el : lies sooth : er than : the crea% : ' curd $

And lu : cent s'r : ops tinct : with cin : na%on

anna : and dates : in ar : #os' : transferred

Hro% fez I : and spic : ed dain : ties ev : er' one.

Ao


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Pin$ar , the ?;r9 9 &his is a lyric poem a#out $eath an$ serious su#ecti"e poetic me$itations.

&he language is $ignifie$ , an$ the moo$ is sa$.T @por9 A lyric poem inten$e$ for singing accompanie$ 'ith music.

T 9Go9 A lyric poem e6pressing religious feelings , an$ inten$e$ to #e sung #y achorus.

8w nj=G=EAl ip;Ej9 d0 &6ome$y , trage$y , mas(ue , monologue ha"e in common the use of characters

an$ an attempt to represent the speech an$ actions of human #eings.

O pG;


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Poetry or prose in 'hich the characters , e"ents or o#ects are represente$sym#olically. &herefore , the story con"eys a meaning $eeper than the actual inci$entor characters $escri#e$.

O@=EAj; q

Kerse or prose #len$ing a critical attitu$e 'ith 'it an$ humor. &he purpose ofsatire is to ri$icule frailties in persons , customs or institutions , an$ #y causinglaughter , inspire the $esire for correction such as Pope*s **Duncia$**.

>wn;DljA}EA; }p;Ej9 / &6

Direct $escription of scenes an$ places as 'ell as pastoral dbX_ X[_ , eclogueWdbX_ j_ an$ i$yll _ j WdbX_ qd_.

Oi=DEpj=? q

Poetry $ealing 'ith a gol$en age in 'hich the main characters are i$eali%e$

shepher$s an$ shepher$nesses.O>l?pr{;9 onsisting of $ialogues #et'een pastoral shepher$s.

O


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=E=?;xAD7hen a line has an incomplete last foot , it is calle$ catalectic 9

**&he moon L looks

)n manly #rooks.

&he #rook L can see L no moon L #ut this.**

-&he first line is catalectic.

GAEEAor = pz;?&he poet omits a "o'el , usually to get ri$ of a sylla#le , e.g., among 2 *mong L

memories 2 mem*ries.

-*t is 'ith L our u$ge L ment as L our 'at L ches , none


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-apitali%e the name of the poet as 'ell as the title of the poem e6cept for the prepositionan$ article as in 1like as a ship1 , 1&o the moon1 an$ 1Po"erty in on$on1.

-4otice the spelling of #oth the name of the poet an$ the title of the poem.

-Place any (uote #et'een in"erte$ commas 9 ** **

-A"oi$ repetition of 'or$s , sentences an$ i$eas.-A"oi$ e6aggerate$ 'or$s or $iction such as "ery L great L succee$s L successful.

-0upport your ans'er 'ith e6amples or (uotation from the te6t or poem ..

-A"oi$ clichs such as it is kno'n that .. it is #etter to say .. L it has #ecome clear that .....

|pEAl; q&he grammar an$ tense you use 9 &he present tense is use$ e6cept for the information ofthe poet or the age in the past simple tense.

BoDz;jAor EF; ylpoE;xE {;DEApoy Ao }p;Ej9 q-5ou nee$ to achie"e three things 9 i$entification 2 e6planation of the passage as relate$ torest of the poem 2 reference to #ackgroun$ i$eas.?-&he usual structure of an essay shoul$ #e follo'e$9 intro$uction S thesis statement2$e"elopment of thesis #o$y of the essay2conclu$ing paragraph.@-+n terms of the actual num#er of paragraphs use$ o"erall, it $epen$s on the material you are

presenting, e.g. the #o$y of the essay coul$ #e ? or @ paragraphs $epen$ing on the num#er ofpoints you*"e chosen to $iscuss an$ $e"elop.

G-+$entification9 4ame the poem in 1...1 An$ the complete name of the poet in capital lettersan$ )//E& spelling. A short reference to the literary significance or marking of that

particular poet. Place the gi"en passage in the o"erall conte6t of the poem, an$ a (uickmention of the general su#ect or topic of the poem.C-&hesis 9 KE/5 +MP)/&A4&. E6tract the points em#e$$e$ in the gi"en passage e.g.imagery, $iction, structure, refrain.... etc. an$ gi"e an interpretation of these elements,linking them to the rest of the poem an$ if any to #ackgroun$ information or conte6t. e.g.the images concerning #eauty in this stan%a as 'ell as the refrain con"ey the theme ofine"ita#le change an$ $eath. +t is one e6ample of many use$ #y the poet to pro"e that 'orl$ly

oys $o not last, 'hich typically reflects the $i$actic tren$ in some Eli%a#ethan poetry.B-De"elopment9 +n the prece$ing e6ample, you*re suppose$ to a analy%e the images in $etailan$ significance of the refrain; # sho' ho' these images are relate$ to the rest of the poemin general i.e. in con"eying a certain theme or i$ea or argument; c make #rief references toany rele"ant #ackgroun$ into. e.g. Eli%a#ethan, lyricism, sonnet tra$ition, Petrarchantra$ition, courtly lo"e, humanism renaissance, metaphysical .. etc.

H-onclu$ing remarks9 you may use the prece$ing c in the conclusion.-0ome people prefer to inclu$e # 'hile $iscussing a or also inclu$e remarks of c along

the 'ay of the analysis instea$ of ha"ing a separate paragraph for it that is )>A5 too..I-0tructure you in$i"i$ual paragraphs the 'ay you 'ant them as long as you co"er thepoints mentione$, an$ ? ha"e clear topic sentences.


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:;ADApo {;DEApoD qBoDz;j =?? pk EF; kp??pzAor {;DEApoD Ao 9p{j pzo zpj=lF =oDz;j

DFp{?< opE ;xl;;< kp{j D;oE;ol;D.1:;=< EF; kp??pzAor }p;EAl ?Ao;D EF;o lpGG;oE po EF; AG=r;j9.

All the words that ! utter. And all the words that ! write $ %ust spread outtheir win#s untirin# $ and never rest in their +i#ht $ till the' co%e where'our sad $ sad heart is $ and sin# to 'ou in the ni#ht $ 0Hro% where %'"oo,s #o $ "' Cillia% 'eats.

3!B ?9jAl AD = }p;G EF=E l=o C; D{or. F=E G=;D EF; kp??pzAor ?Ao;D ?9jAl=?

And fare thee well $ %' onl' love J

And fare thee well a while JAnd ! will co%e a#ain $ %' love $

&ho it were ten thousand %ile.

Qpz


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&here is a #arden in her face where roses and white lilies #row aheavenl' paradise is that place $ wherein all pleasant fruits do +ow.

pGG;oE po EF; {D; pk EF; }pDD;DDA; }jpop{oD G9 Ao EF; kp??pzAor ?Ao;D.

)o $ no $ he said $ %' people have alwa's lived here. ' father $#randfather --

and loo, in the #arden $ %' #reat #randfather planted that.

B nAlEApo=j9 pk AE=? pj


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B."es&ass IWMGq)R Ik H GMT 8 WMJT *IZ[, V^ ))

Be"cei$a7le k _b dH ` PS

Be"ce&ti7le k _b dH ` PS

B/elD8&u"gati!n f`Ww _b W[q Y selD 8 &u"i'cati!nB6ea# *t!a"#s D!",j[_b MT hea#*z, Y &ea_b _`

B5e%ete"( PrG8 IK 8 d

B/ca!l# Id{ 8 * 8 ImJ, 8 IdJ

Byssault H VWMT H VKWT b QmMT d X

B?e'antl( IHU bU #e'ant K p {

B-asses SKSKBin the %ain SK|SKK_ H

B.!en `Rq 8 S8 Hb, I`ILO 8 *S` 8

BEgn!%in( `H 8

Bign!%ini!us j 8 8 8N dk

B5!ns!le" k PF GW

B c!ns!le T 8 {TBc!%D!"te" Gd_

B+"etch * 8 ,Uq 8 dk , *

B


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Bin#icti$e dk 8 *XdM dM, Q

B-!%ent!us *[, GK VW

B-ani&ulate Idr IHU T he %ani&ulates i"!n(

B6e ea$es the !"#s fSTB-ilieu IZU 8 8 {_

Bz!netheless Y h!e$e" PV}U V}U

B~!cale 8 F Y &lace

B!"ehea# `GO 8 IGd8 Pk 8 IWK

By&&le e"u X{` fV{

B

Buns!n s! TT Q

Ba gentle natu"e IL[Iw

Ba gentle h!"se *T_, *[, r|W{ d

kT 8 mJT 8 LMT 8 PH mLJT

B!t * ` d, ` `mMU F_GTB!tting KR

B=etain RMT U LMT

B4as& Wq W WMT

Bneel R` GT RT

B?ale *VTGdIU, _

B/tee&( Lq j H Y stee&B1iel# I} m M


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Bl!c [ p{

BDathe"ing *GT,QJT*GMTB{T,JTJMT Lw Ub GT

B7ea# I{ IHdrX` PTTf NMT

Bs(nag!gueYs(nag!g WG WSMKBsalt see# Sk *|, {

Bsaccl!th Gk T UU_ PS _b R

B7las&he%e QT

B$ein *T, GT`_ H I T

Buic( 7!ne *Qw`, LU VIT[S MS

B%!an TH pGJT JT PZT PbB#!$e *[8 QS, IST I{Sk,

B&ac u& *, SPH T

B#is%antle ^P_ MW{__ frGT LT T

B&!u" aa( *QT, QmT `U [WT jrGMT jrGq[S

Baint stain * IdU ISO_ O vwd^ U8 8M

IN[-i#Bai" WmMJ{_

B"!g fO I{ X_H GTGIr \d

B5asuall( *a#$, GmmH Ir } P

B


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B/&"!ut VHMT IHU SJT JT VHU G_ O

B4all!& LK IHU T

B+!!# a"# IU _b

B0A&i"e fST dJT GSNT TrBnea"th MT t! unea"th a &l!t `PJrJR NT

BE%ag! IJ `OSMU HpT GTGk _b IrVqb r W

Bs(ch!&athic g!# SMS _JU VMT GK p[

B5!ns&i"e IT{ I[ V{T F_MT xMT

BD!"t Pmk PmT

B-ilitant qdp`J M _b pk r MB."ash ITL IS `r XR H rq \N

B5"a$e SMT I{IKk MT M r IT I}` Q}T

B5!%%ute" GM G

Bn#! LT [T [T T jdT

B-utte"ing XGGT IG

B/a#ust `JB(ste" 8 shells `S

BEnsi#i!us `} R

B-ichelangel! `WFJr

B!g p q`q T

B=u7 U MT IUmU { OT LT T TT ST QT T

B+in#! 8 &anes IKK bB~ic T GT H LMT T Z `Gd IOr

B~inge" GU Fr dT G H dT MT MT

`S

B?"ain mT JMT LT MT

B/!!t XN{

B.e""ace *I[m, ` {_ I[MIdT ITM `b I[B5u"l *e#, T MT\dT MLT G


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B/li#e jJT GMT *MT, p`GT *kT, jrGMT dJT

BEn#ecisi!n kq

B.!ast \ST rGT PNT \S

B/tai" V{ IK`_b V{B-!unt )) t! T T rT T LqT

Bin `U `SU UGT U X_b IZSdT

B"esu%e H bMT

B%a( E t! tell u that U VT dMT

B/&"al GST *T, IUO GWU jT X} r MJT

B+"iggle !n the all T MTB/&it !ut r TJ r q P SH T

B


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B0$!l$e D"!% P`[MT PGT

B5!nt"a$ene *VKWT T MT WMJT r`JT JT, r

B0Aace"7ate *VLT, GTT SHT

B/ti&ulate U GWMT H GMT *w T, MTB0nsue D"!% PMJT

B7li$i!ns : FJR !7li$i!ns t! the "is

Byna"ch( Y cha!s r

B"e#ica%ent *IZr, 8 Iw`_ v Idw

B?eDuse *Ib [T, GWT Y s!l$e

B


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B?eca#ence [8 `Gq S

B.h"ust in t JT U GST

B


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B5!n#uci$e t! *a#, L

B~eA Fd

B0Atinguish [T t! eAtinguish a clai%

B?ecease fST fB"!Dess *HGT, * U * TT PM ,dT U mT, U MT

B *h!l# , the $ie U LMTTVHGTGdT dTMT`GdT

Bacclai% *WT 8 MWT, M jLmq U JT jLmT

By lie _SXG H Gk H

By lie a# J UM

B5!nt"act Mr Q[NT t! c!nt"act *Q, Q[dT \dMT SJTB?i$est QT T T

Bn"eouite# l!$e Gk_ w PQk

B.a"nish [T GLT T

B"ag"ance H

B6u%7le M _dk

B/ta"t bGTB0ngulD T r SJTST M

B&ine Tb` PH TT GdM

B"!cee# t! ST bGT [dGU UMT

B"!cee# D"!% PbGT

Blat an# #"( Lq_ S

Blat GU^ GWS TO Vq qr `U LqB/u7$e"t NT X XGWTGT p

B5"e#it *, r Id^ jTGmq IS{ NL

B=ec!unt _T T

B+ithh!l# T PH JMST

BE%&!st!" Y i%&!ste" *HGS8 MS, KG

B/etch kGW[NIMpMR B?is&atch {T, T MdTXGT*XGH, M9IU _b {`


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B/li& !D the t!ngue F*L, I

B+!"%anshi& Sr IHU

Bnc!$e" PH pdJ_b [T T MkM rT

Ba"enthetic*al, state%ent P PU IHIMHKB0as(g!ing SW b MWM

B0licit JMT T *GT, *NMT, FWT

B?is&atch IHU SH

B+ith #is&atch IHU

B?electa7le GK `{ *T, W

BnD!l#s Y "e$eals TB/tie QMT GdT jJNT T GSNT

B=ule !ut GMT

B?ecline *$, LNJT rT QJMT `GJT JT WT

Be"iD( *PjdMT, IO GRT T

B/uuse *QNT, JT ST FT

B&t D!" MNT Y ch!!se` ^T B=elegate t! PH GT, LJT9 Iq JT X

B=e&e"cussi!n GO Gq` SH _b } IM

B.ainte# *a#,[G{r

Be%7!e"Yi%&"is!n PT

B5!nta%inate*#, *, GLT*S, TpT

B+ellB7eing *z, { O B?et"i%ental _b` ,# *z a` _b \N

B5h!"es *z)~), IH`_b Jr L T Jq_` SH

Bluc u& SMT

B.h"!7 ith *, FdL *JT, jLNT

Byugu" *QU vJMS, PWMT dMSU vJMT

B.h"esh!l# *WM, IMH ITGU the th"esh!l# !D an e"a )BEnca"ce"ate TPTmT *z, inca"ce"ati!n


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Bigu"ati$el( ITS_b ITIkJP *a#$,

Bu"the" Y Du"the"%!"e H _H

B~ight T JT

B*7"ing t!, light *QT, GT p TB$i7"ant U U, _G* `FpUMMW

B/tut aa( T T jJT GPJST

Ba&i# TU rq M

ByDa" *a#$, GU GU P

B+ellBg"!!%e# XGJW jb *a#,

Byu#acit( K `Wq Ik_B0Ate"i!" K` Y eAte"nal

B+ane MT X \JMT WT r vT

Bn#e"se"$e# jMT |

ByntiBcli%atic rMH rPKLWU SM

B.! augu" ill U TFT

B.! augu" ill U U FTBEnDuse QmT *QT, r T r LJT dJT

B


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B.e""est"ial `b U `F{ Gkb

BE%&e"ce&ti7le d_b U `G} GU Gk j_b Z

B=a$ish !D ti%e Q{ ISH

B"a$ish bQmMTBEntact *ST |, V{ *vU pm}, {U mN

B/u7su%e *XH bG_b Rb IZr q, JmT

B5la# Y &ut ) cla# T U Gq a#$

B?u"a7ilit( Y #u"a7leness *IM, ISq

B."ans'gu"ati!n K`N_b TWS

B


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y#$ance T rT

B0%ulate T RT rJT

But &!u"ing `SW jrGq

B0a" !D the c!"n S *Ik, IJ{B0nte" the #"!& !D ate" S[ GT

B


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Bling dU dT PNT

B t! ing !ne int! ail r U TP

B/t"an# ITGK *U 8 ,U } _G8 wW

B5a#ence dT 8 IM ISByegaean: * IT U pJ, T

B077 `K

B~a( dU `H [TPrGT*T, GWTGSNT UT *QqT, GT

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