Group 7 Oral Ppt

7/31/2019 Group 7 Oral Ppt

1/19

TSL 653:

GROUP ORAL PRESENTATION:

APOSTROPHE, ALLEGORY, VILLANELLE,

TERZA RIMA, AND RONDEAU

PREPARED BY:NURUL HANANI HASAN 2010887088

AIMI SYAFIQAH GHAZALI

NUR SYAMIRA YUSOFF LUTEFI

FATIM AZZAHRA HAMSA


2/19

APOSTROPHE

DEFINITION:

A poetic device used to

address absent or imaginary

people / objects as if they

were present or alive andable to respond.

FUNCTION:

1. To convey, emphasize, and

create vivid images.

2. To help poets express their

mood and emotion.

TIME FRAME:

17th to 19th

centuries

FAMOUS EXAMPLES:

William Wordsworth, LordByron, William

Shakespeare, John Donne,

etc.

MISCONCEPTION:

Commonly confused

with the punctuation

mark.


3/19

Gods World

by Edna St. Vincent Millay

O world, I cannot hold thee close enough!

Thy winds, thy wide grey skies!

Thy mists, that roll and rise!

Thy woods, this autumn day, that ache and sag

And all but cry with colour! That gaunt cragTo crush! To lift the lean of that black bluff!

World, World, I cannot get thee close enough!

Long have I known a glory in it all,

But never knew I this;

Here such a passion is

As stretcheth me apart,Lord, I do fear

Thou'st made the world too beautiful this year;

My soul is all but out of me,let fall

No burning leaf; prithee, let no bird call.


4/19

Talking to Giraffeby Elaine Magliaro

You are taller than tall.

Youre the tallest of all

The creatures that live on the land.

You can nibble the leaves

From the tip-tops of trees.

Dont you think being tallest is grand?

Why, your head is so high

That it touches the sky.

You can wink at the birds as they goflying by.

You can you nuzzle the

clouds,

Drink the first drops of rain.You must have a great view

from your lofty domain.

Do you like being tall

The tallest of allThe creatures that live on the

land?

With your head at that height

The whole world is in sight!

You MUST think being tallest

is grand!


5/19

PERSONIFICATION:

Def: The treatment of

inanimate objects, non-living things, and

abstract entities as if

they were living things.

Eg: The leaves danced

in the cool breeze.

APOSTROPHE:

A poetic device used to address

absent or imaginary people / objectsas if they were present or alive and

able to respond.

Capitalizes the entity that is being

addressed.

Has more profound impact and

developed in a more detailed manner


6/19

DEFINITION:

A description of one

thing under the image

of another.

FUNCTION:

TIME FRAME:

Classical era,Medieval era, and

Modern era.

1. To deliver the message of a

story / poetry in a more

imaginative way.2. To present a meaning, idea,

or principle through symbolic

representation or figures.

Examples:

Edmund Spencers The Faerie Queene

John Drydens Absalom and Achitophel

Dante Alighieri's Inferno


7/19

I had gone a-begging from door to door

in the village path, when thy golden

chariot appeared in the distance like a

gorgeous dream and I wondered who

was this King of all kings!

My hopes rose high and methought my

evil days were at an end, and I stood

waiting for alms to be given unasked

and for wealth scattered on all sides in

the dust.

The chariot stopped where I stood. Thy

glance fell on me and thou camest down

with a smile. I felt that the luck of my

life had come at last. Then of a sudden

thou didst hold out thy right hand and

say `What hast thou to give to me?'

Ah, what a kingly jest was it to openthy palm to a beggar to beg! I was

confused and stood undecided, and

then from my wallet I slowly took out

the least little grain of corn and gave it

to thee.

But how great my surprise when at the

day's end I emptied my bag on the

floor to find a least little gram of gold

among the poor heap. I bitterly wept

and wished that I had had the heart to

give thee my all.

Gitanjali Song 50 by Rabindranath Tagore


8/19

Def:(Italian) villanella

(Latin) Villanus rustic

Poetic form:

19th centuryRenaissanceDance/Song form:Before19th century

A1

b

A2

a

b

A1

a

b

A2

a

b

A1

a

bA2

a

b

A1

A2


9/19

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 isright,

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,


Wild men who caught and sang the sun in

flight,

And learn, too late, they grieved it on its way,


Grave men, near death, who see with

blinding sight

Blind eyes could blaze like meteors and be

gay,


And you, my father, there on the sad height,

Curse, bless, me now with your fierce tears, I

pray.



Dylan

Thomas

Do Not Go Gentle

Into That Good Night


10/19

TERZA RIMA,TERCET

NUR SYAMIRA BT YUSOFF LUTEFI


11/19

Definition of Terza Rima

Terza rima is a type of poetry consisting of 10or 11 syllable lines arranged in three-line

"tercets".

A Terza Rima consist of stanzas containing

three lines each with equal number of

syllables.

There is no set length to these poems as long

as they follow the pattern.


12/19

Each set of three lines (STANZA) is as follows:

ABA

BCB

CDC

DED

EE

A Terza Rima poem is a Japanese poem which

can also be known as a waka or uta

A Terza Rima poem is similar to a haiku but

has two additional lines


13/19

O wild West Wind, thou breath of Autumn's being,

Thou, from whose unseen presence the leaves dead

Are driven, like ghosts from an enchanter fleeing,

Yellow, and black, and pale, and hectic red,

Pestilence-stricken multitudes: O thou,

Who chariotest to their dark wintery bed

The winged seeds, where they lie cold and low,

Each like a corpse within its grave, until

Thine azure sister of the Spring shall blow

Her clarion o'er the dreaming earth, and fill

(Driving sweet buds like flocks to feed in air)With living hues and odours plain and hill:

Wild Spirit, which art moving everywhere;

Destroyer and preserver; hear, oh, hear!


14/19

HISTORY OF RONDEAU

A rondeau is a form of French poetry with 15 lines writtenon two rhymes, as well as a corresponding musical formdeveloped to set this characteristic verse structure.

The rondeau began as a lyric form in thirteenth-centuryFrance, popular among medieval court poets andmusicians. Named after the French word for "round," therondeau is characterized by the repeating lines ofthe rentrement, or refrain, and the two rhyme soundsthroughout. The form was originally a musical vehicledevoted to emotional subjects such as spiritual worship,

courtship, romance, and the changing of seasons. To sing ofmelancholy was another way of using the rondeau, butthoughts on pain and loss often turned to a cheerful cest lavie in the final stanza.


15/19

FORMS OF RONDEAU

It is composed of fifteen lines, eight to tensyllables each, divided stanzaically into a quintet,a quatrain, and a sestet.

The rentrementconsists of the first few words orthe entire first line of the first stanza, and itrecurs as the last line of both the second andthird stanzas.

Two rhymes guide the music of the rondeau,whose rhyme scheme is as follows (Rrepresenting the refrain): aabba aabR aabbaR.


16/19

EXAMPLE OF RONDEAU

We Wear the Maskby Paul Laurence Dunbar:

We wear the mask that grins and lies, (A)

It hides our cheeks and shades our eyes, (A)

This debt we pay to human guile; (B)

With torn and bleeding hearts we smile, (B)

And mouth with myriad subtleties. (A)

Why should the world be over-wise, (A)

In counting all our tears and sighs? (A)

Nay, let them only see us, while (B)

We wear the mask. (C)

We smile, but, O great Christ, our cries (A)

To thee from tortured souls arise. (A)We sing, but oh the clay is vile (B)

Beneath our feet, and long the mile; (B)

But let the world dream otherwise, (A)

We wear the mask! (C)


17/19

TRIOLET

Close cousin of Rondeau

A triolet is eight lines, as follows:

1st line A

2nd line B3rd line a (rhymes with A)4th line A (entire 1st line repeated)5th line a (rhymes with A)

6th line b (rhymes with B)7th line A (entire 1st line repeated)8th line B (entire 2nd line repeated)


18/19

Triolets were originally written in the French ofthe Middle Ages.

The first triolets in English were prayers writtenby Patrick Carey, a Benedictine monk of the 17thcentury.

Robert Bridges, an English poet and critic who

later was named Poet Laureate and saw to thepublication of Gerard Manley Hopkins poems,reintroduced the triolet into English at the end ofthe 19th century.

Since its brief vogue back then, only a few poetshave written trioletsmost contemporary poetsshy away from its extreme repetition and limitedrhymes.


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Example: Triolet by Robert Bridges

When first we met, we did not guessThat Love would prove so hard a master;

Of more than common friendliness

When first we met we did not guess.

Who could foretell the sore distress,

This irretrievable disaster,

When first we met?We did not guess

That Love would prove so hard a master.

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