formal description of a poem
Stanza
meter (number of feet)
rhyme
rhyme scheme
stylistic device
two lines
Couples
three lines
Tercets
four lines
Quatrains
five lines
Quintains
six lines
Sestet
seven lines
Septet
eight lines
Octave
Iambus
Da DUM – unstressed - stressed
Anapest
Da da DUM – unstressed – unstressed - stressed
Trochee
DUM da – stressed - unstressed
Spondee
DUM DUM – stressed - stressed
Dactyl
DUM da da – stressed – unstressed – unstressed
one stressed syllable within a line
Monometer
two stressed syllables within a line
Dimeter
three stressed syllables within a line
Trimeter
four stressed syllables within a line
Tetrameter
five stressed syllables within a line
Pentameter
six stressed syllables within a line
Hexameter
most common foot in Shakespeare’s sonnets and dramas (natural)
Blank verse
lambic pentameter
doesn’t sound like it has a meter - sound of language
Catalexis
incomplete meter at the end
Alliteration
internal rhyme
same consonant at the beginning of a word within a line
Assonance
same sound of vowels
eye rhyme
Seems like a rhyme but the pronunciation of the words doesn’t make a rhyme
e.g. love and move
Alternate rhyme
end rhyme
ABAB
Heroic couple
AA
Enclosed rhyme
ABBA
Simile
compare different things indicated with like, as
e.g. my dog eats like a pig
Metaphores
compare things
eyes = stars or brain = computer
have to share a common ground (Tertium comparationis)
source (stars, computer)
target (eyes, brain)
Conceit
metaphor runs through the text
extended metaphor
Mentonomy
the name of an object or concept is replaced with a related word
e.g. white house
Anaphora
repetition of a word or phrase in the beginning
e.g. I have a dream
Onomatopoeia
word imitates a sound
Chiasmus
visual device (cross-like structure)
Imagism
one poem deals with only one image
symbols
can depend on the context
Enjambement
incomplete syntax at the end of a line
line break even if the sentence is not complete
authors choice
London by William Blake (1794)
I wander thro' each charter'd street,
Near where the charter'd Thames does flow.
And mark in every face I meet
Marks of weakness, marks of woe.
In every cry of every Man,
In every Infants cry of fear,
In every voice: in every ban,
The mind-forg'd manacles I hear
How the Chimney-sweepers cry
Every blackning Church appalls,
And the hapless Soldiers sigh
Runs in blood down Palace walls
But most thro' midnight streets I hear
How the youthful Harlots curse
Blasts the new-born Infants tear
And blights with plagues the Marriage hearse
first person
4 Quatrains (4 x 4 lines)
Specific and consistent rhyme scheme (alternate rhyme) ABAB CDCD EFEF GHGH
Unstressed stress iambic tetrameter (changes within the poem)
Parallelism
Catalexis (uncomplete syntax)
Romanticism
Reference on the 18th century
first stanza deals with the appearance of London
when he faces the people he stops which can be seen in the Meter in line 4
make the appearance more dramatic
the other 3 Stanzas deal with the sounds instead
underlined by the 3rd Stanza (but not in an obvious way)
talks about Industrialization and urbanization
structure of society everyone is bound to
Critic on Monarchy
Critic on marriage
ODE ON A GRECIAN URN by John Keats (1819)
Thou still unravish'd bride of quietness,
Thou foster-child of silence and slow time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fring'd legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? What maidens loth?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
For ever wilt thou love, and she be fair!
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy'd,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy'd,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e'er return.
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say'st,
"Beauty is truth, truth beauty,—that is all
Ye know on earth, and all ye need to know."
5 stanzas with 10 lines each
different rhyme scheme per stanza
ABABCDEDCE
ABABCDECED
ABABCDECDE
British Romanticism
celebration of the devine
Iambic Pentameter - unstressed - stressed
engages with the beauty of art and nature
music
nature
Urn and art exist outside of the traditional sense of time
talking about the engraved people on the urn
not bound to the current time
addresses Industrialization (critic through nature)
free
tries to figure out the representation of the people while looking at the different scenes —> Humanist approach as the individual matters
Art is everlasting
ONE’S SELF I SING by Walt Whitman (1867)
One’s-Self I sing, a simple separate person,
Yet utter the word Democratic, the word En-Masse.
Of physiology from top to toe I sing,
Not physiognomy alone nor brain alone is worthy for the Muse,
I say the Form complete is worthier far,
The Female equally with the Male I sing.
Of Life immense in passion, pulse, and power,
Cheerful, for freest action form’d under the laws divine,
The Modern Man I sing.a nation that isn't broken,
but simply unfinished.
We the successors of a country and a time
American Realism
reaction to Romanticism (sociological and political)
3 stanzas with 2, 4 and 5 lines
free verse
no meter
no rhyme scheme
even the lack of form is a form
free from traditional structure
Repetition
universal statement about democracy and equality
Individuality -> Humanist approach
change to the Modern world (also shown in the free verse)
activities of normal people
Composed Upon Westminster Bridge by William Wordsworth (1802)
Earth has not anything to show more fair:
Dull would he be of soul who could pass by
A sight so touching in its majesty:
This City now doth, like a garment, wear
The beauty of the morning; silent, bare,
Ships, towers, domes, theatres, and temples lie
Open unto the fields, and to the sky;
All bright and glittering in the smokeless air.
Never did sun more beautifully steep
In his first splendour, valley, rock, or hill;
Ne'er saw I, never felt, a calm so deep!
The river glideth at his own sweet will:
Dear God! the very houses seem asleep;
And all that mighty heart is lying still!
14 lines -> Italien Sonnet
2 quatrains
2 tercets
irregular meter
Rhyme scheme
ABBA ABBA CDCD CDCD
Hyperbole
pictures a waking city
Beautiful nature in the morning
strong emotions
critic on industrialization
Human approach —> Individuum is important
To the Cuckoo by William Wordsworth
O blithe New-comer! I have heard,
I hear thee and rejoice.
O Cuckoo! shall I call thee Bird,
Or but a wandering Voice?
While I am lying on the grass
Thy twofold shout I hear,
From hill to hill it seems to pass
At once far off, and near.
Though babbling only to the Vale,
Of sunshine and of flowers,
Thou bringest unto me a tale
Of visionary hours.
Thrice welcome, darling of the Spring!
Even yet thou art to me
No bird, but an invisible thing,
A voice, a mystery;
The same whom in my schoolboy days
I listened to; that Cry
Which made me look a thousand ways
In bush, and tree, and sky.
To seek thee did I often rove
Through woods and on the green;
And thou wert still a hope, a love;
Still longed for, never seen.
And I can listen to thee yet;
Can lie upon the plain
And listen, till I do beget
That golden time again.
O blessèd Bird! the earth we pace
Again appears to be
An unsubstantial, faery place;
That is fit home for Thee!
8 Stanzas with 4 lines
ABAB CDCD EFEF GHGH…
Conceit as an extended methaphor
time and childhood memories through the Cuckoo
pictures nature
memories to the poets younger days
strong emotions of the individual
Annabel Lee by Edgar Poe (1849)
It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of Annabel Lee;
And this maiden she lived with no other thought
Than to love and be loved by me.
I was a child and she was a child,
In this kingdom by the sea,
But we loved with a love that was more than love—
I and my Annabel Lee—
With a love that the wingèd seraphs of Heaven
Coveted her and me.
And this was the reason that, long ago,
A wind blew out of a cloud, chilling
My beautiful Annabel Lee;
So that her highborn kinsmen came
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.
The angels, not half so happy in Heaven,
Went envying her and me—
Yes!—that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my Annabel Lee.
But our love it was stronger by far than the love
Of those who were older than we—
Of many far wiser than we—
And neither the angels in Heaven above
Nor the demons down under the sea
Can ever dissever my soul from the soul
Of the beautiful Annabel Lee;
For the moon never beams, without bringing me dreams
And the stars never rise, but I feel the bright eyes
And so, all the night-tide, I lie down by the side
Of my darling—my darling—my life and my bride,
In her sepulchre there by the sea—
In her tomb by the sounding sea.
6 Stanzas
repetition
refrain
No strict form of stancas
Inconsistent number of lines
Sestet (six lines)
Septet (seven lines)
Octave (eight lines)
Anapast + Iambus including catalexis (first line)
Anapast + Iambus (second line)
No consistent rhyme scheme ABABCB DBEBFB
American Romanticism (Dark Romanticism)
Talks about love and about man’s desire and obsession
structure gets loose in the end – content also as it gets weird
sexual aspect in the end because there is a change from child to bride
child and bride as signal words to talk about sexuality without actually talking about it
children imply innocent beauty
1. Stanza
Introduces Anabel
Annabel Lee is from a village by the sea
her only purpose was to be loved and give love
she is there for nothing else
possessive point of view
airy tail structure
2. Stanza
Pure and innocent love
Even the angels were jealous of this love
3. Stanza
She was taken away from him
4. Stanza
She was killed because the angels were jealous
5. Stanza
Never-ending love
holding on to this love
6. Stanza
Lays next to her grave
wrote her to eternity
THE BRAIN IS WIDER THAN THE SKY by Emily Dickinson (1862)
The Brain—is wider than the Sky—
For—put them side by side—
The one the other will contain
With ease—and you—beside—
The Brain is deeper than the sea—
For—hold them—Blue to Blue—
The one the other will absorb—
As sponges—Buckets—do—
The Brain is just the weight of God—
For—Heft them—Pound for Pound—
And they will differ—if they do—
As Syllable from Sound—
American Romanticism
3 Stanzas with 4 lines
rhyme scheme ABCB DEFE GHEH
Iambic
Metaphor
simile
the sea is used as a symbol for the unknown
power of the human mind (devine)
endless as it is wider than the sky
relationship to God in the last stanza
A ROUTE OF EVANESCENCE by Emily Dickinson (1862)
A Route of Evanescence,
With a revolving Wheel –
A Resonance of Emerald
A Rush of Cochineal –
And every Blossom on the Bush
Adjusts it’s tumbled Head –
The Mail from Tunis – probably,
An easy Morning’s Ride –
one stanza with 8 lines
no specific Rhyme scheme
nature and the human understanding
Describing the sight of a hummingbird with several literary devices
Oread by Hilda Doolittle (1914)
Whirl up, sea—
whirl your pointed pines,
splash your great pines
on our rocks,
hurl your green over us,
cover us with your pools of fir.
Modern poetry (Imagism)
reduction
Creating a new image through stylistic devices
no specific rhyme scheme as the image is more important
Comparing sea and forest
starting with differences then mixing them and talking about similarities and in the end they are untaggable)
image of nature (forest and sea)
image of mixture
The source of the target is unclear (ocean compared to the forest and the forest with the ocean)
determines the structure of the metaphor
The second coming by William Butler Yeats (1920)
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
Modernism
2 stanzas with 8 and 14 lines
no standard form
blank verse (iambic pentameter)
no rhyme schemes
describes a chaotic world
Anaphora (breaks the flow)
represent humanity's control over the world
loose of control in form of a symbol
Humans as a beast
reference to the World War I
A pact by Ezra Pound (1916)
I make a pact with you, Walt Whitman-
I have detested you long enough.
I come to you as a grown child
Who has had a pig-headed father;
I am old enough now to make friends.
It was you who broke the new wood,
Now is a time for carving.
We have one sap and one root-
Let there be commerce between us
reference to American Romanticism as it is addressed to Walt Whitman
Formel features
uses figures to make the point clear (figurative language)
The tone is direct throughout the whole poem (straightforward)
no consistent rhyme scheme or meta
one stanza
do the same - writing poems and stepping out (pioneer)
cut it down, reduction, make it new – carving
take ideas and make something new - commerce
acknowledge the change by Walt Whitman
This is just to say by William Carlos Williams (1934)
I have eaten
the plums
that were in
the icebox
and which
you were probably
saving
for breakfast
Forgive me
they were delicious
so sweet
and so cold
radical reduction
No deeper meaning
Takes everyday things and turns them into something else
Poem is about poetry itself
Headline just to say implies there is nothing more to say
plums as a symbol
inability to recist
ANECDOTE OF THE JAR by Wallace Stevens (1919)
I placed a jar in Tennessee,
And round it was, upon a hill.
It made the slovenly wilderness
Surround that hill.
The wilderness rose up to it,
And sprawled around, no longer wild.
The jar was round upon the ground
And tall and of a port in air.
It took dominion everywhere.
The jar was gray and bare.
It did not give of bird or bush,
Like nothing else in Tennessee.
relationship between humanity and nature
civilization vs wilderness
The Road Not Taken by Robert Frost (1916)
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
4 quintains (4 stanzas with 5 lines )
Iambic tetrameter - Da DUM (four stressed syllables within a line)
rhyme scheme ABAAB CDCCD EFEEF GHGGH
metaphor throughout the whole poem (conceit) - road = choices
Main topic of the poem is the individual and his choices
Individuals telling stories to explain a life decision
Just a simple choice
Creating a narrative by writing in a way that the speaker decides the meaning
Poem is about the self-reflection not about the decision itself
The way I tell the story makes a difference
Content through the poem
He must make a decision and has two options
Makes a decision to go the other way which looks easier (just take the easy way)
Doesn’t make a difference which road to take they are both the same
Chooses the other way for another day (leaving the options open)
There is no way back once its chosen it leads you somewhere (the decision is made)
There is no difference between the roads but in the end he took the road less traveled by
Metonomy for autumn
symbol for the undiscovered and unknown future
I too by Langston Hughes (1926)
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes,
But I laugh,
And eat well,
And grow strong.
Tomorrow,
I’ll be at the table
When company comes.
Nobody’ll dare
Say to me,
“Eat in the kitchen,”
Then.
Besides,
They’ll see how beautiful I am
And be ashamed—
I, too, am America.
References to I Hear America singing by Walt Whitman
Political statement
Points out racism at this point
afro American people are also part of America, even though society tells him he is not
Also part of the community (Walt Whitman points out that the community only includes white people)
American Jeremiad imagines a better future
Refrain
Black Women by Georgia Douglas Johnson (1918)
Don't knock at my door, little child,
I cannot let you in,
You know not what a world this is
Of cruelty and sin.
Wait in the still eternity
Until I come to you,
The world is cruel, cruel, child,
I cannot let you in!
Don't knock at my heart, little one,
I cannot bear the pain
Of turning deaf-ear to your call
Time and time again!
You do not know the monster men
Inhabiting the earth,
Be still, be still, my precious child,
I must not give you birth!
metaphor
talking to her unborn child who she thinks should not to be born into this evil world
implies better future where the child can be born
reference to the time of WWI
The Hill we climb by ARMANDA GORMAN (2021)
When day comes we ask ourselves,
where can we find light in this never-ending shade?
The loss we carry,
a sea we must wade.
We've braved the belly of the beast,
We've learned that quiet isn't always peace,
and the norms and notions
of what just is
isn't always just-ice.
And yet the dawn is ours
before we knew it.
Somehow we do it.
Somehow we've weathered and witnessed
a nation that isn't broken,
where a skinny Black girl
descended from slaves and raised by a single mother
can dream of becoming president
only to find herself reciting for one.
And yes we are far from polished.
Far from pristine.
…
no rhyme scheme or meter
written for Joe Biden
presents America as an improving country
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