Friday

 Today we are going to discuss yesterday's assignment, review some poetry terminology, and look at some poetry by e.e. cummings and Margaret Atwood.

We will also look at AP Classroom.

Elements: Know both definitions and examples
Imagery, denotation, connotation, irony – verbal, situational, dramatic, sarcasm, metaphor, personification, metonymy, apostrophe, synecdoche, symbol, allegory, paradox, overstatement, understatement, allusion, tone, alliteration, assonance, consonance, internal rime, slant rime, end rime, approximate rime, refrain, meter, iamb, trochee, anapest, dactyl, spondee, monosyllabic foot, line, stanza, cacophony, caesura, enjambment, onomatopoeia 

For the next four weeks, you'll be posting two literary terms definition with examples on your blog. These are due by Monday. It would be best if everyone chooses different terms to define (that way you can all share notes):


Literary Devices
AP English

Every discipline employs a special vocabulary; literary criticism is no exception. Literary criticism is based in part on the assumption that writing is a purposeful activity and that excellent literature – work of literary merit -- is not merely a happy accident. During the year I will be encouraging you to familiarize yourself with some of the terminology that is used in literary criticism. To that end, you will be creating a glossary of literary devices that you encounter in your reading. Below I have included a list of a few of the many devices you will encounter while reading; you are in no way constrained to this list, it’s just there for your information – to give you a small sampling of the wonderful world of literary devices. There are hundreds of devices that writers employ; you will no doubt find a few that I have not heard of before.


allegory
alliteration
allusion
ambiguity
antagonist
analogy
apostrophe
archetype
aside
assonance
aubade
ballad
blank verse
cacophony
caesura
catharsis
character / flat, round
complication
conceit
connotation
colloquial diction
comedy
connotation
controlling metaphors
cosmic irony
denotation
dramatic irony
dramatic monologue
echo
elegy
epigram
existential character
extended metaphor
farce
flashback
formal diction
free verse
heroic couplet
hyperbole
imagery
informal diction
initiation story
metaphor
motif
myth
narrative structure
onomatopoeia
overstatement
oxymoron
parable
paradox
parody
pastoral
personification
point of view
protagonist
psychological realism
realism
rhythm
rite of passage
sarcasm
satire
simile
soliloquy
sonnet
style
symbol
syntax
theme
tone
tragedy
verbal irony
























Term: Definition of the literary device selected

Example: Quotation, followed by source, including title, page/line number

Function: Author’s purpose in employing this language resource at this point in the work. How does this particular device enhance what the writer is conveying? You may comment on theme, character, setting, or whatever else is important in explaining how this device functions in this particular instance.






Symbol: In the simplest sense, a symbol is anything that stands for or represents something else beyond it—often an idea conventionally associated with it. The term symbolism refers to the use of symbols, or to a set of related symbols.

Example: “Like him she was lefthanded or she played chess with her left hand . . . He leaned forward and moved his bishop and mated her in four moves” (All the Pretty Horses 133).

Function: This chess game between John Grady and Alejandra’s godmother symbolizes the competition that they are in for Alejandra herself. This game of chess, which takes place between these two characters as John is trying to ascertain what his chances are of his relationship with Alejandra receiving approval from the family, represents the greater chess game between these two competing characters. Although John Grady wins the first couple of games and seems to be well on his way to achieving his goal, in the end it is the godmother who triumphs. This directly mirrors John Grady’s and the godmother’s lives: although John Grady wins Alejandra’s affections initially, in the end he loses her. When he takes “her queen” he is literally winning the chess match by taking the queen, but he is also on a symbolic level attempting to take the godmother’s true “queen,” Alejandra, who the godmother is determined to keep from suffering the same misfortunes she endured. The lack of dialogue between the characters during the match further reinforces the quiet competition they are engaging in; one that is not violent but is indeed fierce. The intellectual nature of he chess match also enhances the choice that Alejandra ultimately makes near the end of the novel: leaving John and opting instead for the security (and wealth) of her family. This choice reflects the cool and calculating logic of a chess match rather than the passion of the heart.  

1) Read the poem more than once. A good poem will no more yield its full meaning on a single reading than will a Beethoven symphony on a single hearing.
2) Keep a dictionary by you and use it. It is futile to try to understand poetry without troubling to learn the meaning of the words in which it is composed. A few other reference books should also be invaluable. Particularly desirable are a good book on mythology and a Bible.
3) Read as to hear the sounds of the words in your mind. Poetry is written to be heard: its meanings are conveyed through sound as well as through print. Every word is therefore important.
4) Always pay careful attention to what the poem is saying. One should make the utmost effort to follow the thought consciously and to grasp the full implications and suggestions. Because a poem says so much, several readings may be necessary, but on the first reading you should determine the subjects of the verbs and antecedents of the pronouns.
5) Practice reading the poem aloud. A) Read it affectionately, but not affectedly. B) Read it slowly enough that each word is clear and distinct and that the meaning has time to sink in. C) Read the poem so that the rhythmical pattern is felt but not exaggerated. Remember that poetry is written in sentences, just like prose is, and that punctuation is a signal as to how it should be read.

When writing a poetry explication make sure you start with a HOOK and a THESIS STATEMENT. Put here are a set of rules:

Poetry Explications

A poetry explication is a relatively short analysis, which describes the possible meanings and relationships of the words, images, and other small units that make up a poem. Writing an explication is an effective way for a reader to connect a poem's plot and conflicts with its structural features. This handout reviews some of the important techniques of approaching and writing a poetry explication, and includes parts of two sample explications.

Preparing to write the explication

1. Read the poem silently, then read it aloud (if not in a testing situation). Repeat as necessary.

2. Consider the poem as a dramatic situation in which a speaker addresses an audience or another character. In this way, begin your analysis by identifying and describing the speaking voice or voices, the conflicts or ideas, and the language used in the poem.

The large issues

Determine the basic design of the poem by considering the who, what, when, where, and why of the dramatic situation.

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What is being dramatized? What conflicts or themes does the poem present, address, or question?
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Who is the speaker? Define and describe the speaker and his/her voice. What does the speaker say? Who is the audience? Are other characters involved?
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What happens in the poem? Consider the plot or basic design of the action. How are the dramatized conflicts or themes introduced, sustained, resolved, etc.?
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When does the action occur? What is the date and/or time of day?
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Where is the speaker? Describe the physical location of the dramatic moment.
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Why does the speaker feel compelled to speak at this moment? What is his/her motivation?

The details

To analyze the design of the poem, we must focus on the poem's parts, namely how the poem dramatizes conflicts or ideas in language. By concentrating on the parts, we develop our understanding of the poem's structure, and we gather support and evidence for our interpretations. Some of the details we should consider include the following:

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Form: Does the poem represent a particular form (sonnet, sestina, etc.)? Does the poem present any unique variations from the traditional structure of that form?
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Rhetoric: How does the speaker make particular statements? Does the rhetoric seem odd in any way? Why? Consider the predicates and what they reveal about the speaker.
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Syntax: Consider the subjects, verbs, and objects of each statement and what these elements reveal about the speaker. Do any statements have convoluted or vague syntax?
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Vocabulary: Why does the poet choose one word over another in each line? Do any of the words have multiple or archaic meanings that add other meanings to the line? Use the Oxford English Dictionary as a resource.

The patterns

As you analyze the design line by line, look for certain patterns to develop which provide insight into the dramatic situation, the speaker's state of mind, or the poet's use of details. Some of the most common patterns include the following:

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Rhetorical Patterns: Look for statements that follow the same format.
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Rhyme: Consider the significance of the end words joined by sound; in a poem with no rhymes, consider the importance of the end words.
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Patterns of Sound: Alliteration and assonance create sound effects and often cluster significant words.
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Visual Patterns: How does the poem look on the page?
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Rhythm and Meter: Consider how rhythm and meter influence our perception of the speaker and his/her language.


Basic terms for talking about meter

Meter (from the Greek metron, meaning measure) refers principally to the recurrence of regular beats in a poetic line. In this way, meter pertains to the structure of the poem as it is written.

The most common form of meter in English verse since the 14th century is accentual-syllabic meter, in which the basic unit is the foot. A foot is a combination of two or three stressed and/or unstressed syllables. The following are the four most common metrical feet in English poetry:

(1) IAMBIC (the noun is "iamb"): an unstressed syllable followed by a stressed syllable, a pattern which comes closest to approximating the natural rhythm of speech. Note line 23 from Shelley's "Stanzas Written in Dejection, Near Naples":
And walked with inward glory crowned

(2) TROCHAIC (the noun is "trochee"): a stressed followed by an unstressed syllable, as in the first line of Blake's "Introduction" to Songs of Innocence:
Piping down the valleys wild

(3) ANAPESTIC (the noun is "anapest"): two unstressed syllables followed by a stressed syllable, as in the opening to Byron's "The Destruction of Sennacherib":
The Assyrian came down like the wolf on the fold

(4) DACTYLIC (the noun is "dactyl"): a stressed syllable followed by two unstressed syllables, as in Thomas Hardy's "The Voice":
Woman much missed, how you call to me, call to me

Meter also refers to the number of feet in a line:

Monometer
Dimeter
Trimeter
Tetrameter
Pentameter
Hexameter
one
two
three
four
five
six