Emotional Appeal

Almost everyone enjoys the exciting and unusual. Many thrive on

overcoming obstacles. However, this appeal usually diminishes with age.
Although differences between the sexes have narrowed somewhat in recent
years, it can take different forms, such as the appeal of a traditional outdoor
adventure to a male audience versus the appeal of a glamorous setting to a
female audience. Examples; We build excitement.

Understanding

Humans are social creatures. We tend to enjoy the company of others. In

the basic sense, we are looking for love. In a much broader sense, many also
enjoy belonging to a bigger group or movement. Sometimes the focus is on
becoming a member of an elite organization. The appeal can be intellectual,
emotional or sexual. Images of happy people interacting with one another are
widely used.

This appeal is used to both keep us from doing things that can bring us
danger and to motivate us to taking an action that can protect us from a
potential threat. The use of this appeal is highly dependent upon the action
feared. Children who have not experienced serious illness are not likely to
respond to that kind of appeal. However, they are more likely than most to
respond to the fear of the dark and the unknown. The fear of losing one’s job
may be more real than losing one’s life.
 Intellectual Appeal

This is an appeal to our frugal side. We are looking for bargains and
savings. The desire is to obtain the things we want for as little as possible. It
also relates to the desire to collect and maintain things we value -- including
money, art objects, stamps and baseball cards. Examples include, Buy one,
get one free. Twenty percent off if you order before midnight, sure to collect
the entire set before supplies run out.

Understanding

This can take an intellectual approach, appeal to one’s emotions, or a

combination of both. It is a way to address forces that threaten us. It can also
be used in comparison with another product. Usually a twist on an everyday
occurrence. The audience should be able to relate to it. Examples include,
Fight back against high prices. Preferred by a two-to-one margin in a blind
taste test. Our product is better than.

Humanistic Appeal

- Pride/Vanity

Understanding

This appeal can be very powerful. It takes several forms: reputation, self-
respect, prestige and vanity. It is driven by how we view ourselves and how
we want to be seen by others. The appeal is particularly effective among
teenagers and young adults trying to establish their identities. Persons
concerned about their standing within their social circles also respond. The
ownership of certain products, such as luxury cars, are often seen as a
statement of social standing. Examples include: Be the first on your block to
own one. You deserve the best. Why would you want to own anything less?
 ELEMENTS OF POETRY

Denotation/Connotation

 Refreshing – Chilly
 Plain – Natural
 Clever – Sly
 Cackle – Giggle
 Smile – Smirk

Imagery

This is an excerpt from Preludes, an imagery poem by T. S. Eliot. You can

almost see and hear the horse steaming and stamping and smell the steaks:

The winter evening settles down.

With smell of steaks in passageways.
Six o’clock.
The burnt-out ends of smoky days.
And now a gusty shower wraps
The grimy scraps
Of withered leaves about your feet
And newspapers from vacant lots;
The showers beat
On broken blinds and chimney-pots,
And at the corner of the street
A lonely cab-horse steams and stamps.
And then the lighting of the lamps.

Let us go then, you and I,

When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells
 SLEEP by ALFRED TENNYSON

Now sleeps the crimson petal, now the white;

Nor waves the cypress in the palace walk;
Nor winks the gold fin in the porphyry font:
The firefly wakens: waken thou with me.
Now droops the milk-white peacock like a ghost,
And like a ghost she glimmers on to me.

Now lies the Earth all Danaë to the stars,

And all thy heart lies open unto me.
Now slides the silent meteor on, and leaves
A shining furrow, as thy thoughts in me.
Now folds the lily all her sweetness up,
And slips into the bosom of the lake
So fold thyself, my dearest, thou, and slip
Into my bosom and be lost in me.
 Figurative Language

Sleep
By Annie Matheson

SOFT silence of the summer night!

Alive with wistful murmurings,
Enfold me in thy quiet might:
Shake o'er my head thy slumb'rous wings,
So cool and light:
Let me forget all earthly things
In sleep to-night!

Tired roses, passionately sweet,

Are leaning on their cool green leaves,
The mignonette1 about my feet
A maze of tangled fragrance weaves,
Where dewdrops meet:
Kind sleep the weary world bereaves
Of noise and heat.

White lilies, pure as falling snow,

And redolent2 of tenderness,
Are gently swaying to and fro,
Lulled by the breath of evening less
Than by the low
Music of sleepy winds, that bless
The buds that grow.
The air is like a mother's hand
Laid softly on a throbbing brow,
And o'er the darksome, dewy land
The peace of heaven is stealing now,
While, hand in hand,
Young angels tell the flowers how
Their lives are planned.

From yon deep sky the quiet stars

Look down with steadfast eloquence,
And God the prison-door unbars
That held the mute world's inmost sense
From all the wars
Of day's loud hurry and turbulence;
And nothing now the silence mars
Of love intense.
 Figurative Language

Lady
By Amy Lowell

Or like the sun-flooded silks

Of an eighteenth-century boudoir.
In your eyes
You are beautiful and faded
Like an old opera tune
Played upon a harpsichord;
Smoulder the fallen roses of outlived minutes,
And the perfume of your soul
Is vague and suffusing,
With the pungence of sealed spice-jars.
Your half-tones delight me,
And I grow mad with gazing
At your blent colors.

My vigor is a new-minted penny,

Which I cast at your feet.
Gather it up from the dust,
That its sparkle may amuse you.
 Rhythm and Meter

Rhythm in poems is best described as a pattern of recurrence, something

that happens with regularity. Poets use the following to create rhythm:

Repetition - the repeating of words creates rhythm. Examples: Walt

Whitman's "O Captain! My Captain!"and "Beat! Beat! Drums!" are two
examples of repetition creating rhythm in poems.

Line Length - Standard line lengths allow a poem to flow smoothly; breaking
up the flow with shorter lines or longer lines interrupts the flow and creates a
rhythm of its own. For example, Matthew Arnold's "Dover Beach" varies line
lengths to enhance the mood of sadness.

Meter and Line Length - Poets don't have to vary line length to create a
specific rhythm. Pentameter, five sets of two syllables following a stressed
unstressed pattern (called an iamb), is the most common meter, followed by
tetrameter, four sets of the aforementioned iambs. Compare the rhythm in a
Shakespearean sonnet, written in iambic pentameter, to that of Andrew
Marvell's "To His Coy Mistress." If this stuff really excites you, rewrite each
poem in the other's form and note the differences. When you get to the point
where you think nothing about rhythm and meter in poetry will amaze you,
check out Theodore Roethke's "My Papa's Waltz," written in iambic trimeter,
the same meter as a waltz (I told you you'd be amazed).

Pauses - Poets manipulate rhythm with end-stopped lines--when the poems's

sentences end naturally at the end of lines; run-on lines-when the sentence
carries over into the next line; and enjambments--when the sentence ends
midway through the line.

Understanding

It's easy to confuse rhythm and meter in poetry. Meter is the basic plan of
the line; rhythms are how the words actually flow, often with the meter, but
sometimes varying from it.
I'll use a football analogy. In football, the coach calls a play--that's meter.
As the play develops, players may make individual adjustments--a running
back may cut inside, a wide receiver may break off his route, or a quarterback
may scramble, for example--that's rhythm. Just like a football team that makes
no adjustments would lose every game, a poet that makes no adjustment in
his meter turns out losing poems.

Examples:

Meter is the pattern of stressed and unstressed syllables in a poem--each

set of syllables is referred to as a foot. The name of the meter is based on this
pattern and the length of the line--trimeter, tetrameter, pentameter, hexameter,
and heptameter. Following are the most common feet:

iamb - an iamb consists of an unstressed syllable followed by a stressed

syllable. Because it mimics the natural rhythm of language, it is the most
common. Any poetry anthology will contain more iambic pentameter than any
other meter.
pyrrhic - a pyrrhic is a foot with two unstressed syllables.
spondee - a foot with two stressed syllables is a spondee.
trochee - a foot with a stressed syllable followed by an unstressed syllable is a
trochee.
anapest - an anapest consists of two unstressed syllables followed by a
stressed syllable.
dactyl - a dactyl consists of one stressed syllable followed by two unstressed
syllables.
 Meaning and Idea

Porphyria's Lover
BY ROBERT BROWNING

The rain set early in to-night,

The sullen wind was soon awake,
It tore the elm-tops down for spite,
And did its worst to vex the lake:
I listened with heart fit to break.
When glided in Porphyria; straight
She shut the cold out and the storm,
And kneeled and made the cheerless grate
Blaze up, and all the cottage warm;
Which done, she rose, and from her form
Withdrew the dripping cloak and shawl,
And laid her soiled gloves by, untied
Her hat and let the damp hair fall,
And, last, she sat down by my side
And called me. When no voice replied,
She put my arm about her waist,
And made her smooth white shoulder bare,
And all her yellow hair displaced,
And, stooping, made my cheek lie there,
And spread, o'er all, her yellow hair,
Murmuring how she loved me — she
Too weak, for all her heart's endeavour,
To set its struggling passion free
From pride, and vainer ties dissever,
And give herself to me for ever.
But passion sometimes would prevail,
Nor could to-night's gay feast restrain
A sudden thought of one so pale
For love of her, and all in vain:
So, she was come through wind and rain.
Be sure I looked up at her eyes
Happy and proud; at last I knew
Porphyria worshipped me; surprise
Made my heart swell, and still it grew
While I debated what to do.
That moment she was mine, mine, fair,
Perfectly pure and good: I found
 A thing to do, and all her hair
In one long yellow string I wound
Three times her little throat around,
And strangled her. No pain felt she;
I am quite sure she felt no pain.
As a shut bud that holds a bee,
I warily oped her lids: again
Laughed the blue eyes without a stain.
And I untightened next the tress
About her neck; her cheek once more
Blushed bright beneath my burning kiss:
I propped her head up as before,
Only, this time my shoulder bore
Her head, which droops upon it still:
The smiling rosy little head,
So glad it has its utmost will,
That all it scorned at once is fled,
And I, its love, am gained instead!
Porphyria's love: she guessed not how
Her darling one wish would be heard.
And thus we sit together now,
And all night long we have not stirred,
And yet God has not said a word!

The Eagle
BY ALFRED, LORD TENNYSON

He clasps the crag with crooked hands;

Close to the sun in lonely lands,
Ring'd with the azure world, he stands.

The wrinkled sea beneath him crawls;

He watches from his mountain walls,
And like a thunderbolt he falls.