Poetry 10
Study Package
Assignment Package |
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Study Guide
Study the terms in the study guide. These terms will be useful in assignments, projects and tests.
Each lesson will focus on some literary and/or sound devices. You will be asked to know definitions. You should be able to recognize the literary terms when used in poetry as well. |
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Analysis and Interpretation
Analysis is the act of examining all of the 'parts' of a poem individually, then discovering how they all fit together to create the meaning of the poem.You will be expected to comment on the literary devices and the effect they have on your understanding of the poem. Often, you will be asked to discuss the impact or the effect that a literary device has, which means you should be able to show that an understanding of a literary device will deepen your understanding of the poem as a whole.
Interpretation is the act of explaining what a poem means, based on all of your observations of literary devices and considering the possible meanings. There are often many possible interpretations - no one interpretation is correct, but some are more easily supported with evidence. You will be expected to explain the meaning of poems throughout this unit. |
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Writing Poetry
It has been said that poetry is the most accessible art form - all you need is a pen. That being said, writing poetry well is an art that can be refined, tuned, honed, sharpened, etc; A strong writer will be able to consider and control possible interpretations of their work, and will intentionally create effects through the use of literary devices.
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Performance
Words live double lives - their formal lives, lived on the page, permanent and inflexible, and their casual lives, lived in speech patterns and emotional expressions. We write when we want to leave our thoughts and experiences for people in distant times and places; we speak in the immediate moment. This may well be the strongest reason to perform poetry. When we perform, we address our audience with our experience in a direct way, in a shared moment; In other words, we connect with each other.
Spoken, or performance poetry uses Oral Language skills to communicate clearly and effectively. There is an emphasis on the sounds of words, using sound devices, such as puns, alliteration, repetition, etc; to enhance the emotional content of the poem. Effective performers use the volume, tone, and clarity of their voice to emphasize or de-emphasize moments within a poem to create an intentional, emotional effect.
See the videos below for some examples:
Spoken, or performance poetry uses Oral Language skills to communicate clearly and effectively. There is an emphasis on the sounds of words, using sound devices, such as puns, alliteration, repetition, etc; to enhance the emotional content of the poem. Effective performers use the volume, tone, and clarity of their voice to emphasize or de-emphasize moments within a poem to create an intentional, emotional effect.
See the videos below for some examples:
Poems
Ode To The Book - Poem by Pablo Neruda When I close a book
I open life.
I hear
faltering cries
among harbours.
Copper ignots
slide down sand-pits
to Tocopilla.
Night time.
Among the islands
our ocean
throbs with fish,
touches the feet, the thighs,
the chalk ribs
of my country.
The whole of night
clings to its shores, by dawn
it wakes up singing
as if it had excited a guitar.
The ocean's surge is calling.
The wind
calls me
and Rodriguez calls,
and Jose Antonio--
I got a telegram
from the "Mine" Union
and the one I love
(whose name I won't let out)
expects me in Bucalemu.
No book has been able
to wrap me in paper,
to fill me up
with typography,
with heavenly imprints
or was ever able
to bind my eyes,
I come out of books to people orchards
with the hoarse family of my song,
to work the burning metals
or to eat smoked beef
by mountain firesides.
I love adventurous
books,
books of forest or snow,
depth or sky
but hate
the spider book
in which thought
has laid poisonous wires
to trap the juvenile
and circling fly.
Book, let me go.
I won't go clothed
in volumes,
I don't come out
of collected works,
my poems
have not eaten poems--
they devour
exciting happenings,
feed on rough weather,
and dig their food
out of earth and men.
I'm on my way
with dust in my shoes
free of mythology:
send books back to their shelves,
I'm going down into the streets.
I learned about life
from life itself,
love I learned in a single kiss
and could teach no one anything
except that I have lived
with something in common among men,
when fighting with them,
when saying all their say in my song.
I open life.
I hear
faltering cries
among harbours.
Copper ignots
slide down sand-pits
to Tocopilla.
Night time.
Among the islands
our ocean
throbs with fish,
touches the feet, the thighs,
the chalk ribs
of my country.
The whole of night
clings to its shores, by dawn
it wakes up singing
as if it had excited a guitar.
The ocean's surge is calling.
The wind
calls me
and Rodriguez calls,
and Jose Antonio--
I got a telegram
from the "Mine" Union
and the one I love
(whose name I won't let out)
expects me in Bucalemu.
No book has been able
to wrap me in paper,
to fill me up
with typography,
with heavenly imprints
or was ever able
to bind my eyes,
I come out of books to people orchards
with the hoarse family of my song,
to work the burning metals
or to eat smoked beef
by mountain firesides.
I love adventurous
books,
books of forest or snow,
depth or sky
but hate
the spider book
in which thought
has laid poisonous wires
to trap the juvenile
and circling fly.
Book, let me go.
I won't go clothed
in volumes,
I don't come out
of collected works,
my poems
have not eaten poems--
they devour
exciting happenings,
feed on rough weather,
and dig their food
out of earth and men.
I'm on my way
with dust in my shoes
free of mythology:
send books back to their shelves,
I'm going down into the streets.
I learned about life
from life itself,
love I learned in a single kiss
and could teach no one anything
except that I have lived
with something in common among men,
when fighting with them,
when saying all their say in my song.