Week 1: Literary Terms Specific to Poetry
Imagery: Chapter 4, “After Apple-Picking” – Questions & Journal
Symbol/Allegory: Chapters 5 and 6, “The Road Not Taken” – Questions, Journal
Paradox, Irony: Chapter 7 “My Last Duchess” – Journal
Tone: Chapter 10, “The Man He Killed” – Questions and Journal
Alliteration, Assonance, Consonance: Chapters 11,12,13, various poems
Week 2: Forms of Poetry
Sonnet, Stanza, Ballad, Haiku, Villanelle, Pantoum, Blues, Blank Verse, Quatrain, Couplet, Ode, Blank Verse, Dramatic Monologue, Prose Poem, Epic Poem
In Journals – students will need to explain how each form works and how form = idea
Week 3: Great Poets (focus on Modernism)
Theme: The Individual’s Place in Society
Frost – “Death of the Hired-Man”, “Home Burial”
Eliot – “Love Song of J. Alfred Prufrock”, “Wastelands”
Brooke- “The Dead”
Wilfred Owen – “Dulce et Decorum Est”
Hughes – “Theme for English B”
Bishop – “The Fish”
Jarrell – “Death of Ball-Turret Gunner”
Forche – “The Colonel”
Clifton – “Good Times”
Plath – “Mad Girl’s Love Song”
And perhaps Berryman and Dylan Thomas.
Week 4: In-Class essay, student’s poetry, poetry projects
Students will practice their hand at writing their own poems and exploring literary devices and poetic form. These will be read out loud.
Students will also choose one poem from “Poems for Further Reading” and teach what the poem means and how it creates meaning by discussing form, literary devices and perhaps social context
1st In-class essay.
POETRY TEST: THINGS TO KNOW
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
Forms:
Structure, line breaks, how the poem looks, rhyme and rhythm and how it is created
Blues, Sestina, Villanelle, Pantoum, Sonnet (English, Italian, Spenserian, and hybrid), haiku, quatrain, tercets, couplets, litany, ballad.
Poems:
“Love Song of J. Alfred Prufrock” “Home Burial” “Heights of Machu Picchu” “The Flea” “My Last Duchess” “The Wastelands” “To His Coy Mistress”, “The Waste Lands” “Nani” “The Colonel” “One Art” “Fern Hill” “The Waking” “My Mistress’ Eyes” “The Second Coming”
POETRY EXPLICATION PART I
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?
Literary Devices
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
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