Tag Archives: cacophony

Poem H–Going Fishing


Clover near West Emma Creek

Clover near West Emma Creek

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To help my friend and colleague Queen Jane Approximately decide which of my poems to submit to publications and contests, I am posting  ten of my particular favorites — poems A through J  (yes, I had to count off the letters on my fingers). I’d like your comments as we go along and, in particular, when all ten have appeared, your ranking. Which do you like best (10 points)? Least (1 point — I can’t bear the thought of getting Zero points)?

WEST EMMA CREEK

It was a halcyon day in June
with nothing in particular
to do, so we decided to go to
West Emma Creek
to catch fish
and lie in the sun
and read about mockingbirds
and antelope herds
and constellations.

We decided not to go by limousine
to Houston, or aeroplane to Dublin,
or submarine to Arabia, or flying
carpet all the way across
the world to Marrakech.

We decided to go to
West Emma Creek
to catch fish
and lie in the sun
and read a novel by Jane Austen.

We decided not to go by subway
to the Pentagon
or run into the jungle
or drive into the desert
or fly beyond the sun.
We decided not to be going, going,
going somewhere.

Now we are walking to
West Emma Creek
to catch fish
and lie in the sun
and read about Little Bear
to children.

STUDENTS

  1. West Emma Creek is an actual stream in central Kansas, but in this poem it serves as a metaphor for _________.
  2. This is, for me, anyway, a short poem, and very little of its vocabulary is accidental.  There are several possible answers to the following question: Why might the poet (moi) have chosen the following words or phrases: mockingbirds? antelope herds? constellations? limousine? aeroplane (with its nonstandard spelling)? submarine? novel by Jane Austen? subway? Pentagon? walking? Little Bear?
  3. Please identify the following poetic (rhetorical) devices in the poem: anaphora, euphony, cacophony, hyperbole.
  4. (There is no single right answer to this question, either.) What, beyond the superfluous (she likes to lie in the sun), do you discover about the poet in “West Emma Creek”— something she might not have known about herself until she wrote the poem?
  5. Does “flying carpet all the way across the world to Marrakech” suggest any particular type of journey?

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Spare No Sibilants

How to Write Poetry and Live Poetically

Free E-Course Lesson 31

Chapter 10: Meditation
Part 4: Poetry-Writing as Meditation

Join now! Find details about this free E-course at Lesson 1  

girl_art_project

The creative arts are the playground for recognizing and understanding our purpose in being here. When we truly allow our spirits to be filled with the purpose, our minds can begin to take stock of the necessary steps and needed materials so the body can become the mover or manifestor of the desire. Mind, Body, Spirit: Connecting With Your Creative Self,
by Mary Braheny and Diane Halperin

* * *

I wrote both of the poems below “meditatively” — that is, with an open mind, as part of a morning ritual.

The first poem originated from my noticing that at this time of year, the earth’s orientation to the sun is such that the rays slant more brightly and beautifully through my bedroom windows than in any other season.  I have said before that I live in a church basement, though that’s not quite accurate. Half of my apartment is below ground level. The windows — there are four, all on the south side — are full sized, made possible by window wells.

In meditative poems I try not to be intentional. I work with the poetic conventions I choose and let the tale tell itself. In this case, I chose the following:

There are other common rhetorical devices as well. (1) How many can you identify? (Please name the ones you find.)

The poem was going to be a meditation on a ray of light, but it turned into something quite different. (2) What might it have told me about myself that I hadn’t been aware of?

1. WHIMSY ON WELCOMING WINDOWS IN WINTER

My walkdown is half below ground and thus darkish
with windows on only one side, and these mullioned
and frosted and dusty, gray-tinted with shadows
from brickwork and privet… and silent, so quiet
that lightning and thunder at midnight can’t penetrate;
but, more’s the pity, I can’t discern birdsong;
cicadas lamenting and crickets scritch-scritching,
however, are easily heard in midsummer.
I once had a fright from a possum who tumbled,
at least I inferred that she had, to the floor of
the window-well; captive, she skittered around on
the old metal screens; and I, thinking the threat must
be human, in fear and confusion, punched in nine-
one-one on the phone, and no fewer than two dozen
uniformed men armed with pistols came quickly
to rescue a woman alone in her bedroom,
defending her person from one hapless menacing
possum. The men with the guns were forgiving,
and, surely, one had to do something, not knowing
the danger. I do love a window that faces
the south in the wintertime, feral four-footed
invaders, indeed, notwithstanding; for sunlight
slants through in a comforting, angular way that
is perfectly suited for afternoon naps and
geraniums, too.

January 18, 2009

restored_winter_garden_2002_ground0

The inspiration for the following poem was the much-embellished language of Elizabeth Peters’s delightful Victorian archaeologist and detective Amelia Peabody Emerson. Peters has written a few dozen books about the Emersons, all narrated (for the most part) by Amelia, whose husband refers to her affectionately as “Peabody.” There is an unrestraint about her utterances (as there is, as well, about Victorian houses, furniture, and other artistic expressions) that is greatly at odds with the more modern, pared-down prose of later writers. If something can be clearly expressed using five words, Amelia will use fifteen.

tomb234There is, I am overjoyed to find, a new book in the series: Tomb of the Golden Bird (Amelia Peabody Mysteries).

Again, the poem wandered into uncharted territory. (3) What do you think I learned about myself in the process of writing this poem? (HINT: There are no wrong answers.) 

2. LIBERTINE (AMELIA)

 “They will rid us of resident

     “rodents,” said Amelia Peabody —

Oh, what a droll redundancy

     Of D’s and R’s and S’s.

Amelia is generous with consonants

     and commas and asides,

     not sparing

     an embarrassment of prepositions

     or extravagant Egyptian

     nomenclature.

Ah, to scatter syllables

     with no fear of reprisal,

Scribbling whatever adjectives

     arise, page upon page,

To be intemperate at last

     and feel the weight of pent-up participles

     lifted from one’s shoulders,

     nobly carried, one might add,

     despite the rain.

Now to feast upon the delicate,

     the succulent, the opulent

     accessories, plucked in

     leaner days from one’s

     repast, but frozen — for

     one knew their banishment

     would end at last.

Economy, begone! Pack your

     valise and abdicate

     your stern and pious reign.

Don’t slam the door when you

     egress. Expect no severance pay,

     for you’ve exacted

     more than you were owed.

And now, a toast, companions

     in the liberation, mes amis.

Now lift your flagons, lift them high,

     and drink to whimsy, arrogant,

     peculiar, wry, benevolent.

Drink to liberty

     in flowing crimson silk

     arrayed; Amelia Peabody has

     gained the citadel, and

     holds aloft the flame.

O, wasted wealth of words, O, damned

     display of Latin origins.

O, Norse and Arabic, O, Gaelic,

     Greek and Cherokee, and more;

Ye assonant ambassadors, rejoice!

Amelia has restored

     your scattered fortunes.

Spare no sibilants;

     there shall be subsurrations,

     seventy times seven, and

     a score besides.

Throw wide the gates for

     summer’s retinue,

     ripe pomegranate.

Go and populate the periodicals, reclaim

     the islands where verbosity

     has honor still.

Amelia has gained the citadel,

     and yet, take care that your extravagance

     is eloquent, laid on with artistry. For as

     “the tombs themselves descend in

     “sinuous curves,”

Endeavor to deserve, when you are

     gone, an orderly effusion

     in the manner you (yourself)

     displayed.

Immerse yourself in immortality.

     Immerse yourself COMPLETELY,

     like Amelia,

Who bathes and then adjourns to the

     verandah,

Where breezes ruffle Nefret’s hair

     that shimmers in the light like

     golden threads.

 

February 2006

peabody

Assignment 31.1

  1. Answer the questions highlighted above in red.
  2. Write a meditative poem in blank verse using iambic or trochaic tetrameter. Your poem should have no more than twenty lines. BEGIN WITH A MINIMALIST, CONCRETE SUBJECT, AND DO NOT WRITE OVERTLY ABOUT YOUR FEELINGS.
  3. Identify the poetic devices in your poem.
  4. Send your assignment via e-mail to Mary@LifeIsPoetry.net. I will not grade your assignment, but I will return it to you with comments.
  5. Keep exploring the meditations at www.LifeIsPoetry.net, and continue with your meditation journal.

* * *

Metaphorical You

How to Write Poetry and Live Poetically

Free E-Course Lesson 19
Chapter 7 (continued): Metaphorically Speaking

All the Animals You Are

Join now! Find details about this free E-course at Lesson 1

 

Blake was a painter as well as a poet. Here is Blake's *The Great Red Dragon and the Woman Clothed with Sun* (1805)

Blake was a painter as well as a poet. Here is Blake's *The Great Red Dragon and the Woman Clothed with Sun* (1805)

Sharpen your intellectual claws. We are going to attack (metaphorically) one of the most famous and admired poems in English literature, “The Tiger” (or “The Tyger”), by William Blake (1757–1827). First, though, you’ll read another of Blake’s poems, “The Lamb,” which is often studied as a contrast to “The Tiger.”

THE LAMB

Little Lamb, who made thee?
Dost thou know who made thee?
Gave thee life, and bid thee feed,
By the stream and o’er the mead;
Gave thee clothing of delight,
Softest clothing, woolly, bright;
Gave thee such a tender voice,
Making all the vales rejoice?
Little Lamb, who made thee?
Dost thou know who made thee?

Little Lamb, I’ll tell thee,
Little Lamb, I’ll tell thee.
He is called by thy name,
For He calls Himself a Lamb.
He is meek, and He is mild;
He became a little child.
I a child, and thou a lamb,
We are called by His name.
Little Lamb, God bless thee!
Little Lamb, God bless thee!

THE TIGER

Tiger, tiger, burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?

In what distant deeps or skies
Burnt the fire of thine eyes?
On what wings dare he aspire?
What the hand dare seize the fire?

And what shoulder and what art
Could twist the sinews of thy heart?
And when thy heart began to beat,
What dread hand and what dread feet?

What the hammer? what the chain?
In what furnace was thy brain?
What the anvil? What dread grasp
Dare its deadly terrors clasp?

When the stars threw down their spears,
And water’d heaven with their tears,
Did He smile His work to see?
Did He who made the lamb make thee?

Tiger, tiger, burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?

Jargon to impress your friends

William Blake's Title Plate for *Songs of Experience*

William Blake's title plate for *Songs of Experience*

Here’s a bit of vocabulary that you can use to sound really smart when discussing the mechanics of these poems:

Quatrain — Four-line stanza, usually containing a rhyme scheme. “The Tiger” consists of six quatrains.

Rhyme scheme — Pattern of rhymes in verse. A different letter represents each rhyming sound. In “The Lamb,” the rhyme scheme of the first eight lines is AABBCCDD. In “The Tiger,” the rhyme scheme of each quatrain is AABB, if you allow eye and symmetry to rhyme. Blake might have been indulging in “near rhyme” (half rhyme, slant rhyme) there. It’s also possible that the words were pronounced differently in the late 1700s, when Blake wrote the poem. Or there might be intentional irony in the nonrhyming couplet, which is, in a sense, not symmetrical. (Other common quatrain rhyme schemes are ABAB, ABBA, and ABCB.)

Couplet — Pair of consecutive rhyming lines. In “The Tiger,” each quatrain has two couplets.

Foot — A group of 2 or 3 syllables — one stressed, one or two unstressed — forming a “metrical unit,” the basic unit of poetic rhythm (TI-ger is a foot in “The Tiger.” Compare with “ARE you // GO-ing to // SCAR-bor-ough // FAIR,” which combines two-syllable and three-syllable feet.)

Trochaic foot (trochee) — A two-syllable foot, in poetry, in which the first syllable is stressed and the second syllable is unstressed, as in the four trochees “PE-ter, // PE-ter, // PUMP-kin // EAT-er” (as well as in “TI-ger, // TI-ger, // BURN-ing // BRIGHT.” The absence of a final unstressed syllable [which would be present if Blake had written “TI-ger, TI-ger, BURN-ing BRIGHT-ly”] is called catalexis).

Iambic foot (iamb) — A two-syllable foot, in poetry, in which the first syllable is unstressed and the second is stressed (Christopher Marlowe‘s famous line “Come LIVE // with ME // and BE // my LOVE” consists of four iambs.)

Tetrameter — A line of poetry in which there are four metrical feet (All the examples above are either in trochaic tetrameter or, as in the Marlowe line, in iambic tetrameter.)

Trimeter — A line of poetry in which there are three metrical feet (In “The Lamb,” the first two lines are in trochaic trimeter; the following six lines are in troachic tetrameter with catalexis.)

Frontispiece, by William Blake, for *Songs of Innocence and of Experience*

Frontispiece, by William Blake, for *Songs of Innocence and of Experience*

Observe how Blake uses, in addition to metaphor, the following rhetorical devices in the two poems:

Anaphora — Repetition of words or phrases at the beginnings of lines

Alliteration — Repetition of the same beginning letter or sound for words in a series or in close proximity

Cacophony — Harsh-sounding passages in poetry or prose; note that harshness comes from hard consonant sounds (K, T, and CH, for example) as well as word meanings (The cacophony in “Tiger” contrasts markedly with the euphony in “Lamb.”)

Euphony — The opposite of cacophony — pleasant-sounding, perhaps mellifluous; note that pleasing sounds come from soft consonants (such as L, R, and V) as well as word meanings

A poem you can sink your teeth into

“The Tyger” seems to provide unending food for thought, which is one of the things that make it a truly great poem. Here is one analysis:

Of course, there can be no gainsaying [denying] that the tiger symbolizes evil, or the incarnation of evil, and that the lamb (Line 20) represents goodness, or Christ. Blake’s inquiry is a variation on an old philosophical and theological question: Why does evil exist in a universe created and ruled by a benevolent God?  Blake provides no answer. His mission is to reflect reality in arresting images. A poet’s first purpose, after all, is to present the world and its denizens in language that stimulates the aesthetic sense; he is not to exhort or moralize. Nevertheless, the poem does stir the reader to deep thought. Here is the tiger, fierce and brutal in its quest for sustenance; there is the lamb, meek and gentle in its quest for survival. Is it possible that the same God who made the lamb also made the tiger? Or was the tiger the devil’s work? —Cummings Study Guides, accessed November 4, 2008

This commentator sees the tiger as a symbol of evil and the lamb as a symbol of Christ. I respectfully gainsay his or her view. A symbol can be but is not always a metaphor. A handshake might symbolize friendship or agreement, but it is not a metaphor for friendship or agreement, just as the U.S. flag is not, in itself, a metaphor for our country.

William Blake, in an 1807 portrait by Thomas Phillips

William Blake, in an 1807 portrait by Thomas Phillips

The writer fails to consider “The Tiger,” which appeared in Blake’s book Songs of Experience, in relationship to “The Lamb,” from Blake’s Songs of Innocence. (Blake considered the two books a unit and published them together, as Songs of Innocence and of Experience: Shewing the Two Contrary States of the Human Soul.) Another shortcoming of the reviewer’s analysis, in my opinion, is that it assumes a conventional attitude toward religion, Christianity, God, and Christ that Blake did not possess.

He did not hold with the doctrine of God as Lord, an entity separate from and superior to mankind; this is shown clearly in his words about Jesus Christ: “He is the only God … and so am I, and so are you.” —Wikipedia, accessed November 4, 2008

Finally, it’s not at all clear that Blake saw his metaphorical tiger as pure evil — the lamb and the tiger are not necessarily opposites — but rather as beautiful and terrifying.

Because scholars have for over two hundred years continued to debate the complex message of “The Tiger” without reaching consensus, I shall boldly contribute my own theory: The lamb (both in the poem “The Lamb” and in the allusion to the lamb in “The Tiger”) are metaphors for facets of the human personality, including Blake’s own inner angels and demons, and the “contrary states” of human life.

When one is young and innocent — untested — one is “tender,” “meek,” “mild.” (Need I mention that Blake and his wife and lifelong companion, Catherine Boucher Blake, had no children?) With adulthood comes experience and power, to be used for good or ill. One does not stop altogether being a “lamb” when one gains the “fearful symmetry” of a “tiger.”

The following analysis of “The Tiger” presents a more refined understanding, I think, of the poem and its intricacy:

The reference to the lamb in the penultimate [second-from-the-last] stanza reminds the reader that a tiger and a lamb have been created by the same God, and raises questions about the implications of this. It also invites a contrast between the perspectives of “experience” and “innocence” represented here and in the poem “The Lamb.” “The Tyger” consists entirely of unanswered questions, and the poet leaves us [in]… awe at the complexity of creation, the sheer magnitude of God’s power, and the inscrutability of divine will. The perspective of experience in this poem involves a sophisticated acknowledgment of what is unexplainable in the universe, presenting evil as the prime example of something that cannot be denied, but will not withstand facile explanation, either. The open awe of “The Tyger” contrasts with the easy confidence, in “The Lamb,” of a child’s innocent faith in a benevolent universe.Sparknotes.com, accessed November 4, 2008

Assignment 19.1

What animal are you?

Regardless of Blake’s intention — and who’s to say that it was static and fully formed even as he wrote the poems? — I believe it’s fair to say that we are all, metaphorically, at different times and in different situations, an entire menagerie. Throughout history and literature, people have been compared to and represented as lions, puppies, rats, mice, panthers, fawns, even elephants.

I wrote “The Kitten” (below) strictly to illustrate this lesson — as a metaphor for my own vulnerability — not to win any poetry prizes. I live alone now, but I was once pampered and protected. I can be sturdy and resilient — like, say, a Saint Bernard. I can be an “eager beaver.” Sometimes I like to hibernate, like a bear. But occasionally — when, for example, I have to carry a bag of groceries home from the store, or when the plumbing gets stopped up, or when I’m weary or just plain lonely — I’d enjoy being treasured and taken care of.

THE KITTEN

I am a kitten, wishing to lie
in a soft, sunny spot with my lover nearby,
to be fed when I’m hungry and stroked when I sigh
and held all through the night when the wind rises high.

Your assignment is to write something similar — it needn’t be in the form of a rhyming poem; a few lines of graceful prose will do as well — about yourself. Begin with the words “I am a,” then name the animal you are, and describe a few of that animal’s features that are like your own characteristics.

Please e-mail your assignment to Mary@LifeIsPoetry.net. I will not grade your work, but I will return it to you with comments.

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If Only I’d Gone to Parma

How to Write Poetry and Live Poetically

Free E-Course Lesson 16.1 Assignment
Using Figures of Speech

Join now! Find details about this free E-course at Lesson 1.

Parma in the 15th Century

Parma in the 15th Century

Now you are going to begin to write poetically, using the figures of speech defined in Lesson 16.

There is no need to memorize the terms. What is important is that you become thoroughly familiar with how the elements of rhetoric are used… and that, in using many of them, you will need to reach inside, just a little… enough to call up pictures, emotions, and impressions that transform straightforward prose into poetry.

Below you will find selected figures of speech with brief definitions and with four numbered sentences under each.

  1. A sentence.
  2. An example of the sentence recast, using the defined figure of speech.
  3. Another sentence.
  4. A place for you to recast (rephrase) the sentence, using the defined figure of speech. It’s okay if you go a little wild, deviating from the strict meaning of the sentence, if that’s where your imagination takes you.

When you finish the assignment, please e-mail it to me at Mary@LifeIsPoetry.net. I will not grade your assignment, but I will return it to you with comments.

Have fun!

Parallelism — Repetitive use of a grammatical element

  1. There was nothing I wanted more than to take a hot bath, to climb under the warm covers, and read in bed.
  2. Recast: There was nothing I wanted more than to take a hot bath, to climb under the warm covers, and to read in bed.
  3. The résumé listed her skills as watching television, sleeping late on Saturdays, and computers.
  4. Recast:

Antithesis — Juxtaposition of opposing or contrasting ideas

  1. You pronounce the word tomato differently than I do.
  2. Jack Sprat preferred skinless chicken, so he gave the skin to his wife. She liked only the greasy parts of meat and poultry.
  3. Recast:
Ethelred II (the Unready), King of England from 978 to 1016

Ethelred II (the Unready), King of England from 978 to 1016

Parenthesis — Insertion of a clarifying word or phrase within a sentence, set off by commas, dashes, or parentheses

  1. I have three sisters. The eldest one has a wart on her nose. She looks like Wanda the Witch.
  2. Recast: My eldest sister — the one with a wart on her nose — looks like Wanda the Witch.
  3. Ethelred II was king of England from 978 to 1013 and 1014 to 1016. He was called Ethelred the Unready.
  4. Recast:

Appositive — A parenthetical element (see above) that defines or renames (is in apposition to) an adjacent element.

  1. His eyes were strange to behold. One was deep brown, the other was cobalt blue.
  2. Recast: His unmatched eyes — one deep brown, one cobalt blue — were strange to behold.
  3. Judith was the company president’s administrative assistant. She was feared throughout the organization.
  4. Recast:
A Giant Panda in the Washington Zoo, 2004

A Giant Panda in the Washington Zoo, 2004

Alliteration — Repetition of the same beginning letter or sound for words in a series or in close proximity

  1. Paul turned white when panda bears touched him with their feet.
  2. Recast: Paul paled when pandas put their paws on his person.
  3. There were small waves in the river, which wound through hilly farmland.
  4. Recast:

Assonance — Repetition of a vowel sound or similar vowel sounds

  1. Bart continued to drive west, unwilling to stay in one place.
  2. Recast: Bart kept heading west, not yet ready to settle.
  3. The flames grew higher and seemed to grin.
  4. Recast:
Winning entry, Hairdressing Fashion Exhibition, London, 1935, by Louis Calvete

Winning entry, Hairdressing Fashion Exhibition, London, 1935, by Louis Calvete

Anaphora — Beginning successive clauses or phrases with the same word or group of words

  1. If only I’d gone to live in Parma when I had the opportunity. I could have traveled Europe and had adventures I’ve merely dreamed of.
  2. Recast: If only I’d gone to live in Parma. If only I’d seized the chance. If only I’d traveled Europe. If only I’d had the adventures I’ve yearned for.
  3. My grandmother was a famous movie star. She was absolutely stunning, even with the marcel waves that were trendy for the time. Accordingly, she was completely self-absorbed, with little time or inclination to be bothered with the needs of her husband and children.
  4. Recast:

Epistrophe — Ending successive clauses with the same word or phrase

  1. They teased me, but I held my ground. When they mocked me, I didn’t even blink. Even their threats didn’t shake my resolve.
  2. Recast: They teased me, but I held my ground. When they mocked me, I held my ground. Even when they threatened me, I held my ground.
  3. They seeded the clouds, but no rain came down. The Methodists prayed, the Muslims prayed, the congregation at St. Mary Magdalene prayed; and still there was no rain.
  4. Recast:

Apostrophe — Addressing a personified abstraction (see personification, below) or inanimate object

  1. I asked for courage to keep me steady.
  2. Recast: Courage, don’t fail me now!
  3. I wish the rain would stop now and come back some other day.
  4. Recast:
A Sunset View of Hurricane Isidore's Rain Bands, NOAA, 2002

A Sunset View of Hurricane Isidore's Rain Bands, NOAA, 2002

Cacophony — Harsh-sounding passages in poetry or prose; note that harshness comes from hard consonant sounds (K, T, and CH, for example) as well as word meanings

  1. The wind was wild in the trees, blowing away all the leaves.
  2. Recast: Fierce and cruel, storm winds wracked the trees, snapping brittle leaves from their branches and flinging them across the angry sky.
  3. Weary but unable to sleep, the bereaved mother mourned alone in the night.
  4. Recast:
Benito Mussolini, Italian Prime Minister, 1922-1943

Benito Mussolini, Italian Prime Minister, 1922-1943

Consonance — The repetition of consonant sounds, especially the final consonants of accented syllables, often within a short passage of verse

  1. Hester wasn’t very tall, but she was perky and fashionably dressed.
  2. Recast: Hester was short, pert, and smartly dressed.
  3. Mussolini was a cruel dictator.
  4. Recast:

Euphony — The opposite of cacophony — pleasant-sounding, perhaps mellifluous; note that pleasing sounds come from soft consonants (such as L, R, and V) as well as word meanings

  1. The ballerina was graceful.
  2. Recast: The ballerina’s fluid movements recalled the natural grace of a lovely, lazy river.
  3. Sunday nights on the porch are my favorite times.
  4. Recast:

Hyperbole — Exaggeration beyond reason (“Yo’ mama” jokes are hyperbolic: “Yo’ mama so fat she got her own ZIP code.”)

  1. There were hundreds of people at Ebenezer’s funeral.
  2. Recast: I think the entire population of Pennsylvania and a few surrounding states came to Ebenezer’s funeral.
  3. My Grandma Hazel has never been more than five feet tall, but she has shrunk a few inches in her old age.
  4. Recast:
A Dissipating Thunderstorm over Kent (U.K.), 2008

A Dissipating Thunderstorm over Kent (U.K.), 2008

Internal rhyme — The presence of rhyming words in a single line (usually, of verse)

  1. A storm was coming, and the sky was heavy with dark clouds.
  2. Recast: The golden day turned gray and cold; the lazy clouds grew bold and threatening.
  3. Peter was angry — I could tell by the coldness of his eyes and the flush in his cheeks.
  4. Recast:

Onomatopoeia: The quality (of a word) of sounding like what is described: the buzzing of bees, the bark of a dog; a hacking cough; hiss; murmur, thrum

  1. I didn’t need an alarm clock; the noisy birds awoke me every morning.
  2. Recast: The chirping and twittering of lively birds woke me as reliably as my jingling alarm clock.
  3. I was weary of the constant construction noise as a building went up next door.
  4. Recast:
Spotted Python — Photo by Stewart Macdonald

Spotted Python — Photo by Stewart Macdonald

Sibilance — Repetition of the sound of the letter S (sometimes also the combination SH); a form of alliteration

  1. Snakes have an eerie way of making their presence known.
  2. Recast: Snakes slither into sight, hissing in their sinuous assault.
  3. My mother sang the baby to sleep.
  4. Recast:

Simile — An explicit comparison between two things, using the word like or as

  1. When David’s little boy was abducted, David was angry and restless.
  2. Recast: When David’s little boy was abducted, David roamed the house like a hungry tiger with no prey to hunt down.
  3. My sister swished down the stairs in her stunning ball gown, looking regal.
  4. Recast:

Metaphor — Representation of an object or idea through juxtaposition of very different things with a similar characteristic, such as describing a courageous person as having a “heart of a lion”; an implied comparison of two unlike things

  1. I was very happy.
  2. Recast: I was on top of the world.
  3. June was a rainy month.
  4. Recast:
Cottonwood in Autumn — Photo by Mike Pedroncelli

Cottonwood in Autumn — Photo by Mike Pedroncelli

Personification/
prosopopoeia/
anthropomorphism/
pathetic fallacy:
Attributing or applying human qualities to inanimate objects, animals, or natural phenomena

  1. The evening breeze rustled the cottonwood trees, making a pleasing, relaxing sound.
  2. Recast: The cottonwood, leaves rustling in the evening breeze, sang a lullaby.
  3. Maple trees seem maternal and nurturing to me.
  4. Recast:

Also …

Allegory — A sustained metaphor, carried through sentences, paragraphs, even entire works. An extended metaphor in which a story is told to illustrate an important attribute of the subject. The books Pilgrim’s Progress and The Faerie Queen are allegories.

You don’t need to provide examples of allegories, but please keep this concept in mind as we begin writing poems later in this section.

Next: Great poems

 

Poetic Devices

How to Write Poetry and Live Poetically

Free E-Course Lesson 16
Chapter 6: Figuratively Speaking

 Join now! Find details about this free E-course at Lesson 1.

The Plays of William Shakespeare, by Sir John Gilbert, 1849
The Plays of William Shakespeare, by Sir John Gilbert, 1849

 

Figures of speech are tools of poetry. Please do not even think about memorizing this list. The most important concepts are those in bold type.

Figures of Speech (Rhetorical Devices)

Figures of speech are linguistic tools that turn plain writing into art. They are words or phrases used in nonliteral, unexpected ways — for any of a hundred reasons, including

A young Robert Frost (c. 1910)

A young Robert Frost (c. 1910)

* emphasis
* elaboration
* dramatic effect
* tone (resonance, smoothness, softness, roughness…)
* clarity
* deliberate ambiguity
* shading
* freshness
* humor

 

Figures of speech are sometimes classified as schemes and tropes. There is, as you can see, a good deal of overlap between schemes and tropes.

Schemes

Figures of speech involving the arrangement (balance, order, repetition, or omission) of words or sounds

Balance

Parallelism-Repetitive use of a grammatical element (in the example below, repetition of gerund phrases)

Standing on the corner, watching all the world go by;
Standing on the corner, giving all the girls the eye. (1)

Antithesis-Juxtaposition of opposing or contrasting ideas

When they met, Alice was pure uptown; Jake was down on his luck.

Word Order

Anastrophe-Departure from usual word order

[Death] dost with poison, war, and sickness dwell —John Donne (1572-1631), Holy Sonnet 10 (“Death, be not proud”)

Anne Lamott (www.metroactive.com)

Anne Lamott (www.metroactive.com)

Parenthesis — A clarifying word or phrase within a sentence, set off by commas, dashes, or parentheses

My friend, the writer I was so jealous of, would call and say, like some Southern belle, “I just don’t know why God is giving me so much money this year.” Anne Lamott, Bird by Bird (2)

Four of the church’s elders — all women — …were having a prayer meeting. — Anne Lamott, Bird by Bird

Appositive — A parenthetical element that defines or renames (is in apposition to) an adjacent element (In the example below, the “something” that “glittered in her eyes” was “tears or old memories.”)

Something glittered in her eyes — tears or old memories…. — Nora Roberts, Genuine Lies

Omission

Ellipsis — Omission of words, usually indicated by … (At the end of a sentence, the period is added, as in the examples below.)

If she knew he was still dealing with Delrickio…. Well, he didn’t have to worry there. — Nora Roberts, Genuine Lies

Well, you know what they say: “When in Rome….”

Repetition

Alliteration — Repetition of the same beginning letter or sound for words in a series or in close proximity

Was he not unmistakably a little man? A creature of the petty rake-off, pocketed with a petty joke in private and denied with the stainless platitudes in his public utterances.” — C. S. Lewis, The Screwtape Letters

Little Lea, the childhood home of C. S. Lewis, in East Belfast

Little Lea, the childhood home of C. S. Lewis, in East Belfast

Assonance — Repetition of a vowel sound or similar vowel sounds

Those images that yet
Fresh images beget,
That dolphin-torn, that gong-tormented sea. — W. B. Yeats, “Sailing to Byzantium” (The poem opens with the words, “That is no country for old men,” from which American author Cormac McCarthy drew the title of his 2005 novel. The film adaptation 2007 film adaptation earned four Academy Awards, including Best Picture. 

Anaphora — Beginning successive clauses or phrases with the same word or group of words

I am neither Christian nor Jew, neither Zoroastrian nor Muslim,
I am not from east or west, not from land or sea,
not from the shafts of nature nor from the spheres of the firmament,
not of the earth, not of water, not of air, not of fire. — Rumi

Epistrophe — The same word or phrase used to end consecutive clauses. (The following example illustrates both anaphora [“They compassed me about”] and epistrophe.)

And all nations compassed me about: but in the name of the Lord will I destroy them.
They compassed me about; yea, they compassed me about: but in the name of the Lord I will destroy them.
They compassed me about like bees; they are quenched as the fire of thorns: for in the name of the Lord I will destroy them. —
Psalm 118:10-12

______________

* aposiopesis: A break or pause in speech for dramatic effect

Paul grabbed hold of Haffner’s shirt, tearing seams. “If you had anything to do with Eve’s murder — ”
— Nora Roberts, Genuine Lies

* apostrophe: Addressing a personified abstraction or inanimate object

0 Star (the fairest one in sight),
We grant your loftiness the right
To some obscurity of cloud —
It will not do to say of night,
Since dark is what brings out your light. —
Robert Frost, “Take Something Like a Star”

* cacophony: Harsh-sounding passages in poetry or prose

‘Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe. — Lewis Carroll, “Jabberwocky

* consonance: The repetition of consonant sounds, especially the final consonants of accented syllables, often within a short passage of verse

An Arizona Arbor in Summer

An Arizona Arbor in Summer

This is why I live here,
this immaculate occasion once
a day. Desert turns to fairyland,
early-morning light turns drab
dead gray to glory, wind stirs
sunlit leaves like thirty kinds of
lettuce, green and gold, green
and gold, limb motion whispers;
creosote and squat mesquite
quiver in devotion —
sweet-smelling, sunlight-drenched, still
cool and fresh and equal to the
coming heat. —
Mary Campbell, “An Arizona Arbor in Summer”

* enjambment: A breaking of a syntactic unit (a phrase, clause, or sentence) by the end of a line or between two verses.

I wonder — How can people find
the world such a contaminated
kind of place when sunlight
reaches into every pore of
being — sanctifying, desiccating foul
detritus of anxiety and indolence? — Mary Campbell, “An Arizona Arbor in Summer”

* euphony: The opposite of cacophony — pleasant sounding, perhaps mellifluous

Lord Byron's House in Southwell, Nottinghamshire

Lord Byron's house in Southwell, Nottinghamshire

One shade the more, one ray the less,
Had half impair’d the nameless grace
Which waves in every raven tress
Or softly lightens o’er her face,
Where thoughts serenely sweet express
How pure, how dear their dwelling-place. — Lord Byron, “She Walks in Beauty, Like the Night”

* homographs: Words that are identical in spelling but different in origin and meaning

Claire ripped the ruffle off her petticoat and wound it around the delirious soldier’s wound.

* homonyms: Words that are identical with each other in pronunciation and spelling, but differing in origin and meaning.

key: “metal piece that works a lock,” from O.E. cæg
key: “low island,” 1697, from Sp. cayo “shoal, reef” (3 )

* homophones: Words that are identical with each other in pronunciation but differing in origin and meaning (led and lead, for example)

* hyperbole: Exaggeration beyond reason (“Yo’ mamma” jokes are hyperbolic: “Yo’ mamma so fat she got her own ZIP code.”)

* isocolon: Juxtaposition of parallel structures of the same length in adjacent clauses: “The bigger they are, the harder they fall.”

* internal rhyme: The presence of rhyming words in a single line of verse

…where
children, hyacinths, and roses, cucumbers, and peppers
grow, and snowy linens hung to dry are blowing in the
breeze. Inside, bread rises in the oven, herbs depend from
oaken beams, and last night’s chicken in its steaming broth
becomes this evening’s stew,
tomorrow’s casserole. — Mary Campbell, “On This Side”

Yeast bread rising before baking

Yeast bread rising before baking

* non sequitur: A statement that marks an abrupt, and often puzzling, change of subject

* onomatopoeia: The quality (of a word) of sounding like what is described: the buzzing of bees, the bark of a dog; a hacking cough; hiss; murmur, thrum

* pun: Use of a word or phrase in two different senses at the same time

* sibilance: Alliteration in which the letter or sound of S is repeated

* superlative: Unequaled; uttermost

* spoonerism: Interchanging of (usually initial) letters of words with amusing effect (“Madam, may I sew you to your sheet?”)

* tautology: Redundancy due to superfluous qualification; saying the same thing twice (“Sometimes a man’s gotta do what a man’s gotta do”; “I decided to go to New York because it was my decision to go to New York.”)

* tmesis: Division of the elements of a compound or other multisyllabic word (Example: “Hoo-freaking-ray”)

Omission

Ellipsis — Omission of words, usually indicated by … (At the end of a sentence, the period is added, as in the examples below.)

If she knew he was still dealing with Delrickio…. Well, he didn’t have to worry there. —Nora Roberts, Genuine Lies

Well, you know what they say: “When in Rome….”

Tropes

In linguistics, trope is a rhetorical figure of speech that consists of a play on words — that is, using a word in a way other than what is considered its literal or expected form. The other major category of figures of speech is the scheme (see above), which involves changing the pattern of words in a sentence.

Trope comes from a Greek word meaning “a turn, a change.” We can imagine a trope as a way of turning a word away from its normal meaning, or turning it into something else.

Types of Tropes

Metonymy — Using a word associated with an object or idea for the object or idea itself (e.g., referring to actions of the U.S. president as “actions of the White House”)

Irony — A word are phrase used in a way that is opposite to its standard meaning, such as describing poverty as “good times”

Simile — An explicit comparison between two things using the word like or as (“When she was angry, she was as fierce as a tiger,” and “When she was angry, she was like a tiger” are examples of simile; “When she was angry, she was a tiger” exemplifies a metaphor.)

Mom was (metaphorically) a tiger

Mom was (metaphorically) a tiger

Metaphor — Representation of an object or idea — often intangible —using a tangible, dissimilar substitute (“My mother had a cocker spaniel’s eyes and a lion’s heart.”)

Synecdoche — Related to metonymy and metaphor, creates a play on words by referring to something with a related concept: for example, referring to the whole with the name of a part, such as “hired hands” for workers; a part with the name of the whole, such as “the law” for police officers; the general with the specific, such as “bread” for food; the specific with the general, such as “cat” for a lion; or an object with the material it is made from, such as “bricks and mortar” for a building

Allegory — A sustained metaphor, carried through entire stories, sometimes even long works of literature, such as The Faerie Queen. An extended metaphor in which a story is told to illustrate an important attribute of the subject. Aesop’s Fables are usually short allegories.

______________

* allusion: An indirect reference to a quotation, event, or work of literature. “Toto, I don’t think we’re in Kansas any more” is a common allusion to Judy Garland’s famous line in the (1939) film version of The Wizard of Oz

Judy Garland, as Dorothy, in the 1939 film The Wizard of Oz

Judy Garland, as Dorothy, in the 1939 film The Wizard of Oz

* anthimeria: The substitution of one part of speech for another, often turning a noun into a verb

* anthropomorphism: A word or phrase that ascribes human characteristics to something that is not human, such as an animal or a god (see zoomorphism)

* aphorism: A tersely phrased statement of a truth or opinion, an adage

* aporia: Deliberating with oneself, often with the use of rhetorical questions

To be, or not to be: that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles,
And by opposing end them? William Shakespeare, Hamlet, Act III, Scene 1

* archaism: Use of an obsolete, archaic, word (a word used in olden language)

* catachresis: A mixed metaphor (sometimes used on purpose and sometimes by mistake)

* circumlocution: “Talking around” a topic by substituting or adding words, as in euphemism or periphrasis

* commiseration: Evoking pity in the audience.

* double negative: Redundant repetition of negative words (“I don’t have no money.”)

* dysphemism: Substitution of a harsher, more offensive, or more disagreeable term for another. Opposite of euphemism.

* erotema: Synonym for rhetorical question

* euphemism: Substitution of a less offensive or more agreeable term for another (e.g., downsizing for layoffs)

* hypophora: Answering one’s own rhetorical question at length

* innuendo: Sly suggestion; hidden meaning

* invocation: An apostrophe to a god or muse

* malapropism: Confusing a word with another word that sounds similar (“Put your hand in the hand of the man who spilled the water.”)

* meiosis: Use of understatement, usually to diminish the importance of something

* metonymy: Substitution of a related word or phrase for a larger idea.

Many standard items of vocabulary are metonymic. A red-letter day is important, like the feast days marked in red on church calendars. Red tide, the marine disease that kills fish, takes its name from the color of one-celled, plantlike animals in the water…. On the level of slang, a redneck is a stereotypical member of the white rural working class in the Southern U.S., originally a reference to necks sunburned from working in the fields. — Connie C. Eble, “Metonymy,” The Oxford Companion to the English Language, 1992

* neologism: The use of a word or term that has recently been created, or has been in use for a short time. Opposite of archaism.

* oxymoron: Contradiction in terms; using two terms together that normally contradict each other (e.g., “sour sweetness”)

* parable: An extended metaphor told as an anecdote to illustrate or teach a moral lesson

* paradox: Use of apparently contradictory ideas to point out some underlying truth

* parallel irony: An ironic juxtaposition of sentences or situations (informal)

* paralipsis: Drawing attention to something while pretending to pass it over

* pathetic fallacy: Ascribing human actions or feelings to nonhuman objects

* periphrasis: Using several words instead of few

* personification/prosopopoeia/anthropomorphism: Attributing or applying human qualities to inanimate objects, animals, or natural phenomena (see pathetic fallacy)

* proverb: A succinct or pithy expression of what is commonly observed and believed to be true

* rhetorical question: A query that doesn’t require an answer

* superlative: Uttermost: the ugliest, the most precious, etc.

* synecdoche: A form of metonymy in which a part stands for the whole (Example: “Keep your nose out of my business.”)

* truism: A self-evident statement

* zoomorphism: Animal characteristics ascribed to humans or gods

_________

1 From the song “Standing on the Corner,” by Frank Loesser 1956), composed for the Broadway Musical The Most Happy Fella. Recorded by the pop quartet the Four Lads, it reached number 3 on the charts that year.

2 The parenthetical phrase “the writer I was so jealous of” is also an appositive; it is in apposition to “my friend.”

3 Online Etymology Dictionary, http://www.etymonline.com/index.php?term=key, accessed May 20, 2008

Next: If Only I’d Gone to Parma