Poetry textual-analysis

download Poetry textual-analysis

of 102

  • date post

  • Category


  • view

  • download


Embed Size (px)


Reading and Analyzing Poetry- British Lit

Transcript of Poetry textual-analysis

  • 1.PoetryTextual Analysis

2. Textual Analysis UNIT CONTENTS IntroductionSlides 4 - 18 Structure and FormSlides 19 - 37 Storyline and Viewpoint Slides 38 - 52 Theme and Message Slides 53 - 57 Rhyme and RhythmSlides 58 - 72 Tone, Mood and EmotionSlides 73 - 79 Using your Senses Slides 80 - 83 3. Textual Analysis - IntroductionCONTENTS Unit Introduction Slide 4 What is Poetry? Slide 5 Important British Poets Slides 6 - 15 Poetry and SocietySlide 16 An Ever Changing Language Slides 17 - 18 4. Textual Analysis - IntroductionUnit Introduction In this unit we will be learning how to analyse poetry. We will explore the different aspects of poetry, including structure, themes, rhyme and rhythm. We will also look at a series of different poems to show you how the skills you are learning can be put into practice. In the companion unit, Analysing Imagery, you can find lots of information about how to identify and comment on images, such as similes, metaphors and personification. Before we start looking at the examples, first we need to learn a little more about poetry itself: what it is, how it has changed over time, and how it relates to the society in which it is written. 5. Textual Analysis - IntroductionWhat is Poetry?Poetry has certain characteristics that make it special. Here area few ideas - you may be able to think of more. Poetry uses vivid images and descriptive language to paint apicture in the readers mind. Poetry cuts out all the excess words that you might find inprose, creating its magic with a limited amount of text. Poetry is normally designed to be read out loud - when youread it, do try to hear it as well. Poetry often makes the reader emphasise certain importantwords, and it usually has a strong rhythm. Poetry may rhyme, but it does not have to. 6. Textual Analysis - Introduction Important British PoetsIn the next series of slides you will find poems, andextracts from poems, written by some important Britishpoets, from the fourteenth to the nineteenth century.These give just a brief sample of Britains long heritage ofgreat poets. Why not try to decide which modern poets ofthe twentieth century also deserve a place on this list?The poets are organised in chronological order, and foreach poet you are given the dates that they lived and anextract from their work.Later on in this unit we will be analysing some of thesepoems in greater detail. 7. Textual Analysis - Introduction Important British PoetsAs you read the poems, think about the followingquestions: How does the language that the poets use change overtime? Are there any common themes between the poems, ordo these change too? Do these poets use imagery? If yes, what types ofimages do they use? Which of these poems do you like most? Why? Which of these poems do you like least? Why? 8. Textual Analysis - IntroductionName: Geoffrey Chaucer Dates: ?1343 - 1400Madam Eglantine (extract) There was also a nun, a Prioress,That of her smiling was full simple and coy;Her greatest oath was but by Saint Loy;And she was clepd Madam Eglantine. Full well she sang the service divine, Entund in her nose full seemely, And French she spake full fair and fetisly, After the school of Stratford-atte-Bow,For French of Paris was to her unknow. 9. Textual Analysis - IntroductionName: Sir Walter Ralegh Dates: ?1552 - 1618All the Worlds a Stage What is our life? A play of passion, Our mirth the music of division Our mothers wombs the tiring-houses be,Where we are dressed for this short comedy.Heaven the judicious sharp spectator is,That sits and marks still who doth act amiss. Our graves that hide us from the searching sun Are like drawn curtains when the play is done. Thus march we, playing, to our latest rest.Only we die in earnest, thats no jest. 10. Textual Analysis - IntroductionName: John DonneDates: 1572 - 1631 Holy Sonnets (extract)Thou hast made me, and shall thy work decay? Repair me now, for now mine end doth haste;I run to death, and death meets me as fast,And all my pleasures are like yesterday. I dare not move my dim eyes any way;Despair behind, and death before doth cast Such terror, and my feebled flesh doth wasteBy sin in it, which it towards hell doth weigh. 11. Textual Analysis - IntroductionName: John MiltonDates: 1608 - 1674 Paradise Lost (extract)Now came still evening on, and twilight greyHad in her sober livery all things clad; Silence accompanied, for beast and bird,They to their grassy couch, these to their nestsWere slunk, all but the wakeful nightingale; She all night long her amorous descant sung; Silence was pleased. 12. Textual Analysis - Introduction Name: Alexander PopeDates: 1688 - 1744A Little Learning (extract) A little learning is a dangerous thing; Drink deep, or taste not the Pierian spring: There shallow draughts intoxicate the brain, And drinking largely sobers us again. Fired at first sight with what the Muse imparts,In fearless youth we tempt the height of Arts;While from the bounded level of our mindShort views we take, nor see the lengths behind,But, more advanced, behold with strange surprise New distant scenes of endless science rise! 13. Textual Analysis - Introduction Name: William BlakeDates: 1757 - 1827 The Tiger (extract) Tiger! Tiger! burning brightIn the forests of the night, What immortal hand or eyeCould frame thy fearful symmetry? In what distant deeps or skies Burned the fire of thine eyes? On what wings dare he aspire?What the hand dare seize the fire? 14. Textual Analysis - IntroductionName: Robert Burns Dates: 1759 - 1796 Auld Lang Syne (extract) Should auld acquaintance be forgot,And never brought to min? Should auld acquaintance be forgot,And auld lang syne? For auld lang syne, my dear, For auld lang syne,Well tak a cup o kindness yet, For auld lang syne. 15. Textual Analysis - IntroductionName: Christina Georgina RossettiDates: 1830 - 1894 Song (extract)When I am dead, my dearest,Sing no sad songs for me; Plant thou no roses at my head, Nor shady cypress tree:Be the green grass above me With showers and dewdrops wet;And if thou wilt, remember,And if thou wilt, forget. 16. Textual Analysis - Introduction Poetry and Society Throughout history, poets have commented on the society in which they live. Just as novelists write in a particular social context, so too do poets. Poetry can be a very special form of commentary, because part of its magic is that it can be read aloud. Some poets in our modern society write performance poetry, specifically designed to be heard. One of the ways in which poets can comment on their society is by choosing particular themes, such as religion or politics. We will be looking at the themes that poets choose in greater detail later on in the unit. When you analyse any piece of poetry, you should take the social context into account. 17. Textual Analysis - IntroductionAn Ever Changing LanguageThe English language, like any language, is subject toconstant change. This change is, perhaps, particularlyapparent in the poetry that we write, because poetry issuch a condensed form of language.If we read a piece of poetry written a long time ago, it maybe difficult for us to understand the language that is used.We might not understand some of the words, becausethey are no longer used, or we may see a word that weknow, but spelt in a very different way.There are many different reasons that language changes,and you will find some examples on the next slide. 18. Textual Analysis - IntroductionAn Ever Changing LanguageWhy, then, do languages change? Here are two reasons. Seehow many more ideas you can think of. Because we need to find new words to describe newideas and inventions. Forinstance, the words email Because our own language is and internet would haveinfluenced by other cultures, been unknown, even fiftyperhaps through theyears ago.integration of people from around the world into our country, or by seeingexamples of other cultures inthe media. 19. Textual Analysis - Structure and FormCONTENTS StructureSlides 20 - 27 Form Slide 28 The Limerick Slides 29 - 31 The Shakespearean Sonnet Slides 32 - 37 20. Structure and FormStructureWhen you look at a poem, whether in class or for anexamination or coursework essay, the first thing to explore isthe way that it is structured.Generally speaking, poems are structured in verses, andwithin the verses you may also find a specific line structure.An example of this is the Shakespearean Sonnet, which wewill be analysing further on in this section.When commenting on the structure of a poem, you shouldensure that you discuss how the structure affects the impactof the poem, and the way that it works. Lets look brieflynow at a poetry extract to see how you might do this. 21. Structure and FormStructureWhen you are analysing a poems structure, ask yourself thefollowing questions: The Verses (or stanzas). How many are there and howlong is each one? Are the verses all the same length or arethey different? The Punctuation. Does each verse end with a full stop ornot? How does the punctuation affect the flow of the poem? The Rhyme Pattern. Is there a constant rhyme pattern?Does this affect the structure and flow of the poem? The Storyline. Does each verse contain a particular partof the story, or does it run throughout? 22. Structure and Form Structure The poem below has been annotated to show how it is structured.The verses each Crossing the Barhave 4 lines.Sunset and evening star, Lines 1 & 3 rhymeAnd one clear call for me!in every verse.And may there be no moaning of the bar,Verse one endsWhen I put out to sea,with a comma. Lines 2 & 4 rhyme But such a tide as moving seems asleep,in every verse.Too full for sound and foam,When that which drew from out the boundless deepVerse two ends Turns again home.with a full stop. 23. Structure and Form Structure Crossing the Bar (continued)Twilight and evening bell, Exclamation marks And after that the dark!are used at theAnd may there by no sadness of farewell,end of the second When I embark; a