Download Sound and Meaning - OSH AP English 12 Literature and

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What makes it worth listening to? Pay
attention to the words and the sound.
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http://www.youtube.com/watch?v=r3alARJDr
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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
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First, poet can choose words whose sound in
some degree suggests meaning (198).
 Onomatopoeia
 Phonetic intensives
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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)
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Third, poet can control sound through
controlling speed and movement of the
lines by choice and use of meter (201).
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Fourth, Assonance, consonance and
alliteration and rime (rhyme) can be
used to emphasize and control sound
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Repetition - The repeated sounds (consonant or vowel) within poetry.
ex. "Freeze, freeze, thou bitter sky" -William Shakespeare "Blow, blow, thou
winter wind”
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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)
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Assonance – The repeated vowel sound within words. ex-“I wake to sleep,
and take my waking slow.”-Theodore Roethke "The Waking"
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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"
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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
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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
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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.
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
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*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.”
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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
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Structure – how the lines are written –
 stanza groupings, idea groupings, line length and breaks, word order, rhythm,
arrangement, speed/pace.
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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.
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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!
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Stanza – a group of lines in a poem (essentially, a paragraph of verse)
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Syntax – word order and the way in which it works with grammatical
structure and sentences.
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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.
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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)
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Elegy – contemplative poem for someone who died
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Lyric – poem expressing personal thoughts or feelings, in first person speaker
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Ode – form used to mediate on or address a single object or condition.
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Free Verse – no rhyme scheme, no set meter (rhythmic pattern)
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Blank Verse – no rhyme scheme BUT fixed meter
 Most common meters:
▪ Iambic Pentameter
▪ Iambic Tetrameter
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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.
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!
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
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Annotated poem
Model paragraph
These links won’t work from the wiki
download. See the wiki for the
documents.
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.