CHAPTER 10 AND CHAPTER 11

CREATED BY TWO WONDERFUL FORMER STUDENTS!!!

SOUND AND SENSE PROJECT

CHAPTER 10 - TONE

• Tone is defined as the writer’s or speaker’s attitude towards the subject, the audience, or himself/herself.

• Verbally, tone can make one phrase convey various emotional meanings.

Ex. “I’m going to get married today.”

“Hooray! I’m going to get married today!” – Ecstatic

“Oh no! I’m going to get married today.” – Depressed

“Might as well face it. I’m going to get married today.” – Resigned

CHAPTER 10 - TONE

• In poetry, understanding tone is highly important to

understanding the overall meaning of a poem. There is no

spoken voice in poetry so there are other tools that are

used to determine a poem’s tone. They are: connotation,

imagery, metaphor, irony, understatement, rhythm,

sentence construction, and formal pattern.

CHAPTER 10 - TONE

For a Lamb

I saw on the slant hill a putrid lamb,Propped with daisies. The sleep looked

deep.The face nudged in the green pillowBut the guts were out for the crows to

eat.

Where’s the lamb? whose tender plaint

Said all for the mute breezes.Say he’s in the wind somewhere,Say, there’s a lamb in the daisies.

Richard Eberhart

Example - The title suggests innocence, youth,

and Christian symbolism. The word “putrid”, however, is in contrast to these implications. But, the words “face” and “pillow” once again revisit the idea of something more innocent. There is no doubt the lamb is dead. And in the second stanza, this truth is accepted. There is hope in the fact that the lamb might be “in the wind somewhere”. The speaker comes to terms with the fact that the animal is dead and will one day become part of the earth once again, “in the daisies”. Although, sad, the tone is realistic and resigned, rather than pessimistic.

CHAPTER 10 - TONE

Apparently with no surprise

Apparently with no surpriseTo any happy flower, The frost beheads it at its playIn accidental power.

The blond assassin passes on, The sun proceeds unmovedTo measure off another dayFor an approving God.

Emily Dickinson

Example -• This poem is concerned with death.

However, there is a contrast between happy and sad; “happy flower” and “at its play” with “beheads it”. Nothing else in nature seems to be disturbed by this death, though. The sun is “unmoved”. And God, whom is made out to be a benevolent force is “approving” of this death. The “blond” color of the assassin symbolizes innocence and potential. Usually assassins are associated with dark and dismal things. God would have created both the frost and the flower but yet feels no pain at their passing. This poem argues that death is inevitable. The tone of this poem is grim and horrific.

CHAPTER 10 - TONE

• At first glance, these poems appear to be highly similar. However, the difference in tone establishes the major difference between each poem.

• In order to ascertain the true tone of a poem, it is important to look within the story rather than just at the facts.

• Questions?

CHAPTER 11 – MUSICAL DEVICES

• The poet often chooses a word for both sound as well as meaning.

• Edgar Allan Poe describes poetry as “music…combined with a pleasurable idea.”

• Repetition and variation are major facets of anything musical. People like the familiar as well as variety. People also like them combined.

• The poet, therefore, repeats certain sounds in certain combinations and arrangements. This adds a musical meaning to verse.

CHAPTER 11 – MUSICAL DEVICES

The Turtle

The turtle lives ‘twixt plated decks

Which practically conceal its sex.

I think it clever of the turtle

In such a fix to be so fertile.

Ogden Nash

Example - Let us change just one word in

the poem. If the word “plight” is substituted for “fix”, the line would read “In such a plight to be so fertile.” The words essentially mean the same thing. However, in changing just one word there is a huge difference in the quality of the poem. The x in “fix” resolves the hard consonant sound of x in “sex”. The f of “fix” is eventually repeated in the word “fertile”. Not only does using “fix” sound better, but it gives structure to the poem as well.

CHAPTER 11 – MUSICAL DEVICES

Vocabulary:1) Alliteration- the repetition of initial consonant sounds. ex. “safe and

sound”2) Assonance- the repetition of vowel sounds followed by different

consonant sounds. ex. “mad as a hatter”3) Consonance- the repetition of final consonant sounds. ex. “first and

last” in the middle or end of the words “village/will”4) End rime- rime where the riming words are at the ends of the lines.

Twinkle, twinkle little starHow I wonder what you are

5) Masculine rime- the repetition of the accented vowel sound and all succeeding sounds.

ex. masculine (one syllable) “support” and “retort”5) Feminine rime: repeated accented vowel is in either the second or

third last syllable of the words (ceiling-appealing/ hurrying-scurrying)6) Internal rime- rime where one or more riming words are within the

line.---- we waited for the trash and the camera’s flash /

• 7) Approximate rime (slant rime, near rime, half rime…) - rime that includes words with any kind of sound similarity.

• 8) Refrain- repetition done according to some fixed pattern. *Especially popular in songlike poetry.

REFRAIN EXAMPLE: “I’LL MAKE A MAN OUT OF YOU” FROM MULAN

• Let's get down to business• To defeat the Huns.• Did they send me daughters• When I asked for sons?

• You're the saddest bunch I ever met• But you can bet before we're through• Mister, I'll make a man• Out of you.

• Tranquil as a forest• But on fire within.• Once you find your center• You are sure to win.

• You're a spineless, pale pathetic lot• And you haven't got a clue.• Somehow I'll make a man• Out of you.

• Chien-po: I'm never gonna catch my breath• Yao: Say goodbye to those who knew me• Ling: Boy, was I a fool in school for cutting gym• Mushu: This guy's got them scared to death• Mulan: Hope he doesn't see right through me• Chien-po: Now I really wish that I knew how to

swim

• [men] BE A MAN• We must be swift as a coursing river• [men] BE A MAN• With all the force of a great typhoon• [men] BE A MAN• With all the strength of a raging fire• Mysterious as the dark side of the moon

Time is racing toward us'til the Huns arrive.Heed my every orderAnd you might survive.

You're unsuited for the rage of warSo pack up, go home you're throughHow could I make a manOut of you?

[men] BE A MANWe must be swift as a coursing river[men] BE A MANWith all the force of a great typhoon[men] BE A MANWith all the strength of a raging fireMysterious as the dark side of the moon

[everyone]BE A MANWe must be swift as a coursing riverBE A MANWith all the force of a great typhoonBE A MANWith all the strength of a raging fireMysterious as the dark side of the moonHoo-ah!

CHAPTER 11 – MUSICAL DEVICES

• Most readers will feel the effect of musical devices without necessarily being aware of what has caused the effect.

• Remember, though, that spelling is irrelevant when it comes to repetition. Sound is all that matters. Stressed or accented syllables are the syllables that make an impression on the ear to be considered significant to the sound pattern of the poem. Also, the sounds that are repeated must be close enough together so the reader remains aware, whether consciously or subconsciously, of the connection from the first occurrence to the second.

• The use of musical devices is not always necessary or valuable. Used sensibly, however, musical devices are pleasing to the ear, and provide yet another dimension to poetry.

• Questions?

QUIZ

Chapter 10 Answers

1) C2) A3) D

Chapter 11 Answers

1) A2) A3) (anything with the

repetition of initial consonant sounds)

4) B

THANK YOU