2.  What makes it worth listening to? Pay attention to the words and the sound.  http://www.youtube.com/watch?v=r3alARJDr LE http://www.youtube.com/watch?v=r3alARJDr LE

3.  Just as important as figurative language and imagery in understanding a poem; however, this is more important when listening to a poem versus reading a poem silently.  A poem does not need to rhyme to be musical. Essential elements: Repetition and Variation

4.  First, poet can choose words whose sound in some degree suggests meaning (198).  Onomatopoeia  Phonetic intensives  Second, a poet can reinforce meaning by grouping sounds together to create a smooth and pleasing sound (euphony) or a rough and harsh sound (cacophony)

5.  Third, poet can control sound through controlling speed and movement of the lines by choice and use of meter (201).  Fourth, Assonance, consonance and alliteration and rime (rhyme) can be used to emphasize and control sound

6.  Repetition - The repeated sounds (consonant or vowel) within poetry. ex. "Freeze, freeze, thou bitter sky" -William Shakespeare "Blow, blow, thou winter wind”  Alliteration – The repeated initial consonant sound of words. ex. "A foolscap sheet scrawled slantwise with one miniscule sentence came back" - Marilyn Hacker "1973" (Think tongue-twisters)  Assonance – The repeated vowel sound within words. ex-“I wake to sleep, and take my waking slow.”- Theodore Roethke "The Waking"  Consonance – The repeated consonant sounds at the end of words. ex. "That night when joy began/ Our narrowest veins to flush/ We waited for the flash/ Of morning's level gun." - W. H. Auden "That night when joy began"

7.  Internal Rhyme – One or more rhyming words within the line.. ex "Now, Jenny and me were engaged, you see/On the eve of a fancy ball/So a kiss or two is nothing to you/Or anyone else at all." Rodyard Kipling  End Rhyme – When the rhyming words are at the end of the line.. ex "The feet that ran to meet a date/are running slow and running late." Gavin Ewart  Approximate Rhyme (aka slant rhymes) – words with any kind of sound similarity, whether close or very remote. Usually involves use of alliteration, assonance, and consonance. I.e., “A narrow fellow in the grass” – Emily Dickinson, or “’Twas warm at first like us” – Emily Dickinson.

8.  Refrain – repetition done according to a fixed pattern, especially common in song-like poetry.  Onomatopoeia – the use of words which sound like they mean: I.e., hiss, snap, bang, kapow  *Euphony (Euphonious) – smooth and pleasurable sounding words and lines: I.e., smooth, melodious, silvery  *Cacophony (Cacophonous) – harsh and grating sounding words and lines: I.e., crackle, buzz, rattle, kaching  *use these words as an adjective to describe the sound of the poem NOT as a technique. “The writer creates a euphonious sound through the use of blah.” NOT “The write uses euphony.”

9.  Musical and sound devices bring an important element to the poem and it grabs the reader's attention.  It gives the reader a more in depth understanding of the ideas of the author.  These would NOT be your go to rhetorical devices.  However, if the SOUND of the poem contributes to a deeper meaning of the poem and you can do a good job of analysis, go for it!!!!!  http://www.youtube.com/watch?v=EnUPllrQS0w http://www.youtube.com/watch?v=EnUPllrQS0w

10.  Structure – how the lines are written –  stanza groupings, idea groupings, line length and breaks, word order, rhythm, arrangement, speed/pace.  As you read, consider WHY the poet arranged the words and lines as he/she did and how it contributes to the poem’s meaning.  Structure is tied to form – some are rigid (as in a Petrarchan sonnet) while others are fluid (as in free verse – see e. e. cummings).  Forms follow rules that dictate the structure of the poem. Think of form as a type of poem.

11.  Again, you would not make this a go-to when analyzing poetry. However, you do NEED to know what STRUCTURE AND FORM mean and when asked, know how these contribute to the meaning and understanding of the poem!

12.  Stanza – a group of lines in a poem (essentially, a paragraph of verse)  Syntax – word order and the way in which it works with grammatical structure and sentences.  End-Stopping – where all lines end syntactically (each line is a sentence or complete clause) Go hence, to have more talk of these sad things. Some shall be pardon’d, and some punished.  Enjambment – run-on lines that break up the syntax of the sentence into two lines Sing, o goddess, the rage of Achilles, the son of Peleus. (The sentence is broken into two lines)

13.  Elegy – contemplative poem for someone who died  Lyric – poem expressing personal thoughts or feelings, in first person speaker  Ode – form used to mediate on or address a single object or condition.  Free Verse – no rhyme scheme, no set meter (rhythmic pattern)  Blank Verse – no rhyme scheme BUT fixed meter  Most common meters: ▪ Iambic Pentameter ▪ Iambic Tetrameter  Sonnet - classic poems, usually about love or nature, that poetically express an idea or thought. 14 lines long, set rhythm and rhyme. Specific structure varies by type of sonnet.

14. http://ia700403.us.archive.org/28/items/bells_1102 _librivox/bells_poe_alg_64kb.mp3 Hear the sledges with the bells - Silver bells! What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle, In the icy air of night! While the stars that oversprinkle All the heavens seem to twinkle With a crystalline delight; Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, Bells, bells, bells - From the jingling and the tinkling of the bells.. Hear the mellow wedding bells - Golden bells! What a world of happiness their harmony foretells! Through the balmy air of night How they ring out their delight! From the molten-golden notes, And all in tune, What a liquid ditty floats To the turtle-dove that listens, while she gloats On the moon! Oh, from out the sounding cells What a gush of euphony voluminously wells! How it swells! How it dwells On the Future! -how it tells Of the rapture that impels To the swinging and the ringing Of the bells, bells, bells, Of the bells, bells, bells, bells, Bells, bells, bells - To the rhyming and the chiming of the bells!

15. Hear the loud alarum bells - Brazen bells! What a tale of terror, now, their turbulency tells! In the startled ear of night How they scream out their affright! Too much horrified to speak, They can only shriek, shriek, Out of tune, In a clamorous appealing to the mercy of the fire, In a mad expostulation with the deaf and frantic fire, Leaping higher, higher, higher, With a desperate desire, And a resolute endeavor Now -now to sit or never, By the side of the pale-faced moon. Oh, the bells, bells, bells! What a tale their terror tells Of despair! How they clang, and clash, and roar! What a horror they outpour On the bosom of the palpitating air! Yet the ear it fully knows, By the twanging And the clanging, How the danger ebbs and flows; Yet the ear distinctly tells, In the jangling And the wrangling, How the danger sinks and swells, By the sinking or the swelling in the anger of the bells - Of the bells, Of the bells, bells, bells, bells, Bells, bells, bells - In the clamor and the clangor of the bells! Hear the tolling of the bells - Iron bells! What a world of solemn thought their monody compels! In the silence of the night, How we shiver with affright At the melancholy menace of their tone! For every sound that floats From the rust within their throats Is a groan. And the people -ah, the people - They that dwell up in the steeple, All alone, And who tolling, tolling, tolling, In that muffled monotone, Feel a glory in so rolling On the human heart a stone - They are neither man nor woman - They are neither brute nor human - They are Ghouls: And their king it is who tolls; And he rolls, rolls, rolls, Rolls A paean from the bells! And his merry bosom swells With the paean of the bells! And he dances, and he yells; Keeping time, time, time, In a sort of Runic rhyme, To the paean of the bells, Of the bells - Keeping time, time, time, In a sort of Runic rhyme, To the throbbing of the bells, Of the bells, bells, bells - To the sobbing of the bells; Keeping time, time, time, As he knells, knells, knells, In a happy Runic rhyme, To the rolling of the bells, Of the bells, bells, bells - To the tolling of the bells, Of the bells, bells, bells, bells, Bells, bells, bells - To the moaning and the groaning of the bell

16.  Annotated poem Annotated poem  Model paragraph Model paragraph Homework: You should have annotated your poem for meaning and completed the graphic organizer for it. (Wednesday’s homework) You will type up your annotations like the example above and turn in with your paragraph draft tomorrow. Your annotations should include what techniques are being used and why. Don’t simply paraphrase the poem. Use your graphic organized to help you. (Thursday’s homework) Tonight (Thursday), go home and write an analytical paragraph like the example above about your group’s poem. It should be typed. It will be a rough draft. Please include the annotated version of the poem with your paragraph. These two items are due Friday by 2:30 for you to qualify for a redo. We will be in the lab Friday. These links won’t work from the wiki download. See the wiki for the documents.