Tim for a e poem How to study

Tim for a e poem …

How to study (and enjoy) poetry

‘emotions recalled in tranquillity’ William Wordsworth (1770 -1850)

feel

mood

Poetry can affect us … if we let it.

TIME FOR A POE M…

respond

A good poem makes us. . . Think Imagine Feel

How does the poet achieve these effects?

Take a step back

• • What is she thinking? Who is she looking at? How does she feel? How old is she? Is she friendly? Do I like her hair? Do I want to talk to her? • Do I want to look like her?

• • Oils or watercolours? Brushes and knives? Textures Tones Use of light Position Perspective Foreground / background

Art of painting

Art of writing

• What is it like to live in Jordan College? • Does Lyra feel lonely? • Does she love her uncle? • Is Mrs Coulter really evil? • What is it like to have a daemon?

• • Plot Pace Characterisation Use of imagery Setting Themes Symbolism Messages and morals

Make-believe

Critical analysis

Craft

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

Imagery • Literal description • Figurative description: • • Simile Metaphor Personification Allegory

Imagery Literal description: ‘The trees bent in the wind. ’ Figurative description: ‘The great giants arched their backs as the wind roared. ’

Imagery ‘Random’

Imagery Literally

Imagery Henry and his stick

stick: – – a thin piece of wood, fallen from a tree; begins with the letter pattern st– rhymes with brick not to be mistaken for a sword

poets like potential meanings

Imagery Workshop 1 ‘In my mind I can see, the object in my hand could be. . . ’

keep your mind open to metaphors!

TIME For a Poem

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

Sound • • Alliteration Assonance Onomatopoeia Letter sounds (hard/soft consonants)

Sound Alliteration: (repetition of letter sounds – usually at the beginning of words) ‘Strolling over soft, satin sand. ’

Sound Assonance: (repetition of vowel sounds) ‘The rain in Spain falls mainly on the plain. ’

Sound Onomatopoeia: (a word that sounds like thing it is describing) ‘Splash, pop, bang, tinkle. ’

Sound Letter sounds: (the use of hard or soft consonants to create dramatic effects) ‘Ripples of water wash slowly over satin sand. ’

Sound Letter sounds: (the use of hard or soft consonants to create dramatic effects) ‘The battered, castle keep of granite rises to the darkening sky. ’

Sound Workshop 2 Alliteration Assonance Onomatopoeia

Time fo r a poe m. . Time for a poem…

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

Rhyme • Rhyming couplets – a, a, b, b • Alternate lines – a, b, a, b • Blank verse – unrhymed iambic pentameter (see rhythm section) • Free verse

Rhyme Workshop 3 Rhyming schemes

Rhyme From Baby Song by Thom Gunn From the private ease of Mother’s womb I fall into the lighted room. Why don’t they simply put me back Where it is warm and wet and black? But one thing follows on another. Things were different inside Mother.

Rhyme From Baby Song by Thom Gunn From the private ease of Mother’s womb I fall into the lighted room. Why don’t they simply put me back Where it is warm and wet and black? But one thing follows on another. Things were different inside Mother. a a b b c c

Rhyme from Magpies by Judith Wright Along the road the magpies walk with hands in pockets, left and right. They tilt their heads, and stroll and talk. In their well-fitted black and white.

Rhyme from Magpies by Judith Wright Along the road the magpies walk with hands in pockets, left and right. They tilt their heads, and stroll and talk. In their well-fitted black and white. a b

Rhyme from Bags of Meat by Thomas Hardy ‘Here’s a fine bag of meat, ’ Says the master-auctioneer, As the timid, quivering steer, Starting a couple of feet At the prod of a drover’s stick, And trotting lightly and quick, A ticket stuck on his rump, Enters with a bewildered jump.

Rhyme from Bags of Meat by Thomas Hardy ‘Here’s a fine bag of meat, ’ Says the master-auctioneer, As the timid, quivering steer, Starting a couple of feet At the prod of a drover’s stick, And trotting lightly and quick, A ticket stuck on his rump, Enters with a bewildered jump. a b b a c c d d

Rhyme Effects of rhyme? Effects of no rhyme?

… m r o f e m i T e o ap

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

rhythm

rhythm

Rhythm homework machine support result reading achievement

Rhythm Each English word is given its own weight and push as we speak it within a sentence. Stephen Fry

Rhythm Each English word is given its own weight and push as we speak it within a sentence. Stephen Fry

‘The life of a poem is measured in regular heartbeats. The name for those heartbeats is metre. ’ Stephen Fry

Metre – a pattern of syllables and stresses set out in repeated arrangements called feet.

Rhythm • • syllables metre (or metric structure) measured in ‘feet’ – 2 or more syllables blank verse (iambic pentameter (5 feet: 10 syllables, 5 stresses – ‘de-dum, de-dum)

Rhythm The number of metrical feet in a line are described as follows: • • Dimeter — two feet Trimeter — three feet Tetrameter — four feet Pentameter — five feet Hexameter — six feet Heptameter — seven feet Octameter — eight feet

Rhythm The number of metrical feet in a line are described as follows: • • Dimeter — two feet Trimeter — three feet Tetrameter — four feet Pentameter — five feet Hexameter — six feet Heptameter — seven feet Octameter — eight feet

Rhythm from The Night Mail by W. H. Auden This is the night mail crossing the border, Bringing the cheque and the postal order, Letters for the rich, letters for the poor, The shop at the corner and the girl next door, Pulling up Beattock, a steady climb – The gradient’s against her but she’s on time.

Rhythm from The Night Mail by W. H. Auden This is the night mail crossing the border, Bringing the cheque and the postal order, Letters for the rich, letters for the poor, The shop at the corner and the girl next door, Pulling up Beattock, a steady climb – The gradient’s against her but she’s on time.

Rhythm tetrameter Four feet (stressed syllables) in every line

Rhythm pentameter Five feet (stressed syllables) in every line

from William Shakespeare’s - Sonnet 18 Rhythm . . . But thy eternal Summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wanderest in his shade, When in eternal lines to time thou growest: So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.

from William Shakespeare’s - Sonnet 18 Rhythm . . . But thy eternal Summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wanderest in his shade, When in eternal lines to time thou growest: So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.

Rhythm iambic pentameter Five feet made up of 10 syllables and 5 stresses in every line

Rhythm iambic pentameter ti-tum, ti-tum

So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

Atmosphere, tone and mood • convey emotions • tone – dark / light / heavy / bouncy • create a mood – sad / celebratory - poets will use a combination of imagery, sound, rhyme and rhythm to create effects

What effects are created by….

Describe the change in tone…

How does the mood of the poem change…

Look at: • • • meaning imagery sound rhyme rhythm

put it to the test!

Day Trip by Carole Satymurti Two women, seventies, hold hands on the edge of Essex, hair in strong nets, shrieked laughter echoing gulls as shingle sucks from under feet easing in brine. There must be an unspoken point when the sea feels like their future. No longer paddling, ankles submerge in lace, in satin ripple. Dress hems darken. They do not risk their balance for the shimmering of ships at the horizon’s sweep as, thigh deep, they inch on, fingers splayed, wrists bent, learning to walk again.

Day Trip Imagery Two women, seventies, hold hands on the edge of Essex, hair in strong nets, shrieked laughter echoing gulls as shingle sucks from under feet easing in brine. Literal, child-like description – as a list metaphor for ‘coast’ Link to fishing nets – reference to sea There must be an unspoken point when the sea feels like their future. No longer paddling, ankles submerge in lace, in satin ripple. Dress hems darken. They do not risk their balance for the shimmering of ships at the horizon’s sweep as, thigh deep, they inch on, fingers splayed, wrists bent, learning to walk again. Link to old age, soothing swollen joints Raises metaphorical links to life / mortality -no longer young – water is rising, as old age is engulfing them / the tide of life is ebbing away Metaphor – darkness – dying Now they are uncertain / cautious Water / old age creeping up on them Child-like image again circle of life

Day Trip Two women, seventies, hold hands on the edge of Essex, hair in strong nets, shrieked laughter echoing gulls as shingle sucks from under feet easing in brine. There must be an unspoken point when the sea feels like their future. No longer paddling, ankles submerge in lace, in satin ripple. Dress hems darken. They do not risk their balance for the shimmering of ships at the horizon’s sweep as, thigh deep, they inch on, fingers splayed, wrists bent, learning to walk again. Sound Assonance: ‘e’ sound repeated Onomatopoeic Alliteration – ‘sh’ sound of the sea Long, soft sound ‘e-a-s-i-n-g’ Assonance – repetition of ‘s’ Sudden change to hard consonant ‘d’ for dying – darkness - death Alliteration – repetition of ‘sh’ sound again

Day Trip Two women, seventies, hold hands on the edge of Essex, hair in strong nets, shrieked laughter echoing gulls as shingle sucks from under feet easing in brine. There must be an unspoken point when the sea feels like their future. No longer paddling, ankles submerge in lace, in satin ripple. Dress hems darken. They do not risk their balance for the shimmering of ships at the horizon’s sweep as, thigh deep, they inch on, fingers splayed, wrists bent, learning to walk again. Rhyme Free verse effects of this? - unsettling a break from routine realism child-like account – unpolished factual observations

Day Trip Rhythm Two women, seventies, hold hands on the edge of Essex, hair in strong nets, shrieked laughter echoing gulls as shingle sucks from under feet easing in brine. Short, jerky phrases, bouncy effect - fun There must be an unspoken point when the sea feels like their future. No longer paddling, ankles submerge in lace, in satin ripple. Dress hems darken. They do not risk their balance for the shimmering of ships at the horizon’s sweep as, thigh deep, they inch on, fingers splayed, wrists bent, learning to walk again. Slowing down now – more gentle Long, soft sound ‘e-a-s-i-n-g’ short, bouncy phrases are gone – long, uninterrupted sentence, with no commas to pause Short, one-syllable words – create a shock Back to short, bouncy phrases again

Day Trip Atmosphere, tone and mood Two women, seventies, hold hands on the edge of Essex, hair in strong nets, shrieked laughter echoing gulls as shingle sucks from under feet easing in brine. Child-like quality in narration of scene – short, bouncy fragments There must be an unspoken point when the sea feels like their future. No longer paddling, ankles submerge in lace, in satin ripple. Dress hems darken. They do not risk their balance for the shimmering of ships at the horizon’s sweep as, thigh deep, they inch on, fingers splayed, wrists bent, learning to walk again. Onomatopoeia – playful, carefree Soothing, peaceful tone from the use of alliteration – ‘sh’ sound of the sea and the long, soft sound ‘e-a-s-i-n-g’ Change to philosophical mood – with reference to ‘their future’. Soothing tone from soft consonants Darker tones from the sudden change to hard consonant ‘d’ for dying – darkness – death – a sudden reminder of their future. Alliteration – repetition of ‘sh’ sound again – warmer mood returning Child-like feeling once again from the final narration.

Poetry techniques: • • • Imagery Sound Rhyme Rhythm Atmosphere, tone and mood

What is the poet telling you?

How is the poet telling you this?

What do you. . . think imagine feel ?