Creative

SHS
Writing
Quarter 3

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 Lesson 1
Imagery, Diction, Figures of
Speech, and specific experiences to
evoke meaningful responses
What I Need to Know

At the end of this lesson, you will be producing short paragraphs or vignettes
using imagery, diction, figures of speech, and specific experiences.

After going through this lesson, you are expected to:

1. use imagery, diction, figures of speech, and specific experiences to evoke
meaningful responses from readers (HUMSS_CW/MP11/12-Ia-b-4)
2. analyze the imagery, diction, figures of speech, and specific experiences of
the specific literary pieces.
3. write short paragraphs or vignettes using imagery, diction, figures of speech,
and specific experiences.

What is Creative Writing?

Creative writing is any composing that goes beyond ordinary expert, editorial,
scholarly, or specialized types of writing, normally distinguished by an accentuation on
account make, character advancement, and the utilization of abstract tropes or with
different customs of verse and poetics. It is workable for composing, for example, include
stories to be viewed as exploratory writing, despite the fact that they fall under news
coverage, in light of the fact that the substance of highlights is explicitly centered around
account and character improvement.

What Is Sensory Imagery?

Sensory Imagery includes the utilization of elucidating language to make mental
pictures. In abstract terms, it is a sort of symbolism; the thing that matters is that tangible
symbolism works by drawing in a reader's five senses. It is an artistic gadget author utilize
to draw in a reader's brain on numerous levels. This investigates the five human detects:
sight, sound, taste, contact, and smell.

VISUAL IMAGERY engages the sense of sight. Descriptions can be associated to

Visual Imagery. Physical attributes including color, size, shape, lightness and darkness,
shadows, and shade are all part of visual imagery. The text in italics are some examples of
lines using visual imagery.

Her phone signaled, immediately setting her teeth on edge. She looked at the broken
screen, saw his name, and slapped the phone back down on her desk.
Armani stretched across her couch, legs twitching excitedly, and he knew he must be
dreaming of the kittens he tries to capture every morning when he is at the dirty kitchen.

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 GUSTATORY IMAGERY engages the sense of taste. Flavors are the considerations
in gustatory imagery which includes the five basic taste such as sweet, salty, bitter,
sour, and umami—as well as the textures and sensations tied to the act of eating.

The food tasted good.

The sweet pondant icing melted on my tongue. The word delightful came to mind.
Summer has always tasted like hot chocolate to me. His kisses tasted like
strawberries under the sun.

AUDITORY IMAGERY engages the sense of hearing. Sound devices such as

onomatopoeia and alliteration can help create sounds in writing.

Erick sat alone at the bench nearest the main door so he wouldn't miss Via. The room
was noisy. The clang of heavy dishes glided from the kitchen. Ice tinkled as it settled in
his water glass. His watch read 9:30. She wasn't coming.

OLFACTORY IMAGERY engages the sense of smell. Simile is common in using

olfactory imagery, because it lets writers to compare a particular scent to common smells
like dirt, grass, manure, or roses. The use of scents and stinks are common ways to use
olfactory imagery.

The scent of “latik” when my mother cooks rice cake is really nostalgic to me.
The street going to their house stinks of manure and the courtyard of urine, the
stairwells stank of moldering wood and rat droppings.

TACTILE IMAGERY engages the sense of touch. The feel, textures and many
sensations a human being experiences when touching something are associated in tactile
imagery. Differences in temperature is also a part of tactile imagery.

When we quickly plunge into the cool water, it took our breath away and raised
goose bumps to our arms. We had had been swimming in this pond since we were kids.

In other references, there is a sixth sense which called Kinesthetic imagery

engages the feeling of movement. This can be similar to tactile imagery but deals more
with full-body sensations, such as those experienced during exercise. Rushing water,
flapping wings, and pounding hearts are all examples of kinesthetic imagery.

What is Diction in Writing?

Diction is the careful selection of words to communicate a message or establish a

particular voice or writing style. For example, flowy, figurative language creates colorful
prose, while a more formal vocabulary with concise and direct language can help drive
home a point.

What is the purpose of diction in writing?

Writers pick explicit words and expressions relying upon the result they're
attempting to accomplish. The motivation behind a bit of composing decides its expression.
In writing and fiction composing, authors regularly utilize casual lingual authority and
interesting expressions or words utilized for non-exacting implications, similar to

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comparisons and analogies. On the off chance that a researcher is distributing a paper on
their exploration, in any case, the language will be specialized, succinct, and formal,
composed for a particular crowd.

In composing a fiction, the language a creator utilizes bolsters the fundamental

story components, such as setting. Style sets up when and where a story is set by utilizing
language local to that time and spots.

Different Types of Diction in Writing

Different styles of diction impact how different ideas are expressed.

1. Formal diction. Formal diction uses grammatical rules and uses proper syntax or the
formation of sentences. It is considered as a professional choice of words which can be
found in legal documents like business correspondences and academic articles.

2. Informal diction. Informal diction is more conversational and often used in narrative
literature. This casual vernacular is representative of how people communicate in real life,
which gives an author freedom to depict more realistic characters. Most of the short stories
and novels use informal diction to make it easier to understand by anyone especially if the
target audience is anyone.

3. Colloquial diction. These are expressions which are connected to informal. It is

generally representing a particular region or place or era or period. Contractions in
American English such as “ain’t” instead of isn’t is an example of colloquial expressions, the
use of colloquialisms make the writing more realistic.

4. Slang diction. Slang is very informal language or specific words used by a particular
group of people. You'll usually hear slang spoken more often than you'll see it put in
writing, though emails and texts often contain many conversational slang words.

5. Poetic diction. Poetic diction is driven by melodious words that identify with a
particular subject reflected in a sonnet, and make a musical, or agreeable, sound. It
generally includes the utilization of elucidating language, in some cases set to a beat or
rhyme.

What is Figure of Speech?

A figure of speech is a rhetorical device that achieves a special effect by using
words in a distinctive way. Though there are hundreds of figures of speech, here
we'll focus on 20 top examples.
Figurative language is often associated with literature and with poetry in particular.
Whether we're conscious of it or not, we use figures of speech every day in our own
writing and conversations.
Some Figures of Speech
Using original figures of speech in our writing is an approach to pass on
implications in new, surprising ways. They can enable our readers to comprehend
and remain puzzled by what we need to state.
1. Alliteration: The repetition of an initial consonant sound. Example: Betty Botter
bought some butter.

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2. Anaphora: The repetition of the same word or phrase at the beginning of
successive clauses or verses. Example: Unexpetedly, we were in the wrong event at
the wrong time on the wrong day.
3. Antithesis: The combination of two different elements to attian equillibrium or
balance. Example: As Abraham Lincoln said, "Folks who have no vices have very
few virtues."
4. Apostrophe: Directly stating or calling a nonexistent person or an inanimate
object as though it were a living being. It commonly uses an apostrophe as a
punctuation. Example: "Oh, rain! Rain! Where are are you? Rain, we really need
you right now. Our town needs you badly.”
5. Assonance: It is the repetition of the vowel sounds in the structure of sentences
or lines. Example: We shall meet on the beach to reach the “Meach” Concert.
6. Chiasmus: A sentence or line structure where the half of the statement is
balanced against the other half. Example: The noble teacher said teachers should
live to teach, not teach to live.
7. Euphemism: The use of subtle and nonoffensive words to conceal or to replace
the offensive words in a statement. Example: "We're teaching our toddler how to go
potty," Bob said. The use of the word potty is euphemism.
8. Hyperbole: An overstatement; the use of exaggerated terms for the purpose of
emphasis or heightened effect. Example: I have a ton of homework to do when I get
home. I need to go home now.
9. Irony: It is a statement or situation where the meaning is contradicted by the
appearance or showing the concept. The use of words to convey the opposite of
their literal meaning is the highlight of irony. Example: Thalia received a very high
grade in her quiz resulting that her mother got mad.
10. Litotes: An understatement in which an affirmative is expressed by opposing
its counterpart. Example: A million pesos is no small chunk of change.
11. Metaphor: An implied comparison between two dissimilar things that have
something in common. Example: "All the world's a stage.” of As You Like It
12. Metonymy: A word or phrase is substituted for another with which it is closely
associated; Linking words that are related to the word to be replaced. Example: The
use of the word vow instead of wedding, the pen stands for "the written word.
13. Onomatopoeia: The use of words that imitate the sounds associated with the
objects or actions they refer to. Example: The clap of thunder went bang and
scared my poor dog.
14. Oxymoron: It is the combination of contradictory or incongruous words such
as cruel kindness; Example: “bitter sweet”
15. Paradox: a statement or proposition that, despite sound (or apparently sound)
reasoning from acceptable premises, leads to a conclusion that seems senseless,

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logically unacceptable, or self-contradictory. Example: "This is the beginning of the
end," said Eeyore, always the pessimist.
16. Personification: The utilization of inanimate objects or abstraction to associate
with human qualities or abilities. Example: The leaves of the Fire tree are dancing
with the wind during dry season in our country.
17. Pun: A statement with a double meaning, in some cases on various faculties of
a similar word and here and there on the comparative sense or sound of various
words. Example: I renamed my playlist of The Titanic, so when I plug it in, it says
“The Titanic is syncing.”
18. Simile: The comparison between two fundamentally dissimilar things that have
certain qualities in common using like or as. Example: Michael was white as a
sheet after he walked out of the horror movie.
19. Synecdoche: A figure of speech in which a part is used to represent the whole.
Example: Mark is asking for the hand of our daughter.
20. Understatement: A figure of speech employed by writers or speakers to
intentionally make a situation seem less important than it really is. Example: You
win 10 million pesos in a lottery.

Creative Writing
Various elements, techniques, and
literary devices in specific
forms of poetry

What I Need to Know

At the end of this lesson, you will be seeking for some literary pieces and
identify the elements, techniques and literary devices used.

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After going through this lesson, you are expected to:
1. identify the various elements, techniques, and literary devices in specific
forms of poetry (HUMSS_CW/MP11/12c-f6)
2. appreciate some literary pieces which used various identify the various
elements, techniques, and literary devices.

What is It
What is Poetry?
Poetry is a form of literature which allows the writers who called to be
“poets” to express their thoughts, feelings, emotions, ideas about a particular
theme or topic.
When reading a poem, it is common that we get confuse between poet and
persona. Remember that poet is the author of the poem or literary piece while
persona is the SPEAKER or narrator of the poem.
Poetry is recognizable by its greater dependence on at least one more
parameter, the line, than appears in prose composition.
It will be easy for us to identify if the literary piece is under poetry. Poetry is
cast in lines. It uses forms and elements and does not use ordinary syntax. We do
not use ordinary sentence formation since there are elements and techniques used
by the poets.
Basically, poetry has significant elements that can be used by the poets to
strengthen their techniques and sustain it for recognition of poetic styles. Elements
will help the poets to address the message of the literary pieces to the audience or
readers.
Here are some of the elements of poetry as categorized into six sub-elements
namely, structure, sound, imagery, figurative language, fictional elements, and
poetic forms.

Theme is the lesson about life or statement about human nature that the poem
expresses.
– Though related to the concept of a moral, or lesson, themes are usually
more complicated and ambiguous.
– To describe the theme of a poem is to discuss the overarching abstract idea
or ideas being examined in the poem.
– A major theme is an idea that a writer repeats in his work, making it the
most significant idea in a literary work.
– A minor theme, on the other hand, refers to an idea that appears in a work
briefly and gives way to another minor theme.

Presentation of Themes
– the feelings of the main character about the subject written about
– through the thoughts and conversations of different characters
– the experiences of the main character in the course of a literary work
– the actions and events taking place in a narrative

Functions of Themes
– binds together various other essential elements of a poem
– is a truth that exhibits universality and stands true for people of all cultures
– gives readers better understanding of the main character’s conflicts,
experiences, discoveries, and emotions

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 – gives readers an insight into how the world works or human life can be
viewed

Theme Vs Subject
– A poem’s subject is the topic of the poem, or what the poem is about
– The theme is an idea that the poem expresses about the subject or uses the
subject to explore

Example:
– So, for example, in the Edgar Allan Poe poem “The Raven”, the subject is
the raven, who continually repeats a single word in response to the
speaker’s questions.
– The theme of the poem, however, is the irreversibility of death—the
speaker asks the raven, in a variety of ways, whether or not he will see his
dead beloved again, to which the raven always replies “nevermore.”

Tone
In fact, it suggests two attitudes: one concerning the people you’re
addressing (your audience) and the other concerning the thing you’re talking about
(your subject).
That’s what the term tone means when it’s applied to poetry as well. Tone
can also mean the general emotional weather of the poem.
– the attitude expressed in a poem that a reader sees and feels
– the writer’s attitude toward the subject or audience

A. STRUCTURE

Form is the appearance of the words on the page of the reference. It may be
different nowadays since layout artist may simply adjust and create the desired
form of poem.

Poetic Line or Line is a group of words that form a single line of poetry.

Example: “„Twas the night before Christmas, when all through the house” is the
well-known first poetic line of “A Visit from Saint Nicholas” by Clement Clarke
Moore.

Kinds of Metrical Lines/Numbers of Feet

monometer = one foot on a line
dimeter = two feet on a line
trimeter = three feet on a line
tetrameter = four feet on a line
pentameter = five feet on a line
hexameter = six feet on a line
heptameter = seven feet on a line
octometer = eight feet on a line

Almost all accentual-syllabic poetry in English, except for isolated lines in

lyrics, will have four or five feet in the line. Probably trimeter through
hexameter will be all the terms you will ever have to use.

Stanza is a section of a poem named for the number of lines it contains.

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Example: A couplet is a stanza of two lines. The first stanza from “Barbara
Frietchie” by John Greenleaf Wittier is a couplet:
Up from the meadows rich with corn,
Clear in the cool September morn,

Kinds of Stanza
Couplet = a two line stanza
Triplet (Tercet) = a three line stanza
Quatrain = a four line stanza – This is the usual kind of stanza
Quintet = a five line stanza
Sestet (Sextet) = a six line stanza
Septet = a seven line stanza
Octave = an eight line stanza

Enjambment is when there is no written or natural pause at the end of a poetic

line, so that the word-flow carries over to the next line. It affects the forms of the
poem on a page. It can create certain form relevant to a poem’s content.

The general rules of Capitalization and Punctuation in poetry are not always
followed; instead, they are at the service of the poet’s artistic vision.

Verse is a line in traditional poetry that is written in meter.

Example: In “When I do count the clock that tells the time” from Shakespeare’s
“Sonnet Number Twelve,” the underlined syllables are accented, giving the line a
metric pattern known as an iambic pentameter (see Meter).

Traditional Form
 Poems with rhyme and with meter.
Free Verse:
 Unlike metered poetry, free verse poetry does NOT have any repeating
patterns of stressed and unstressed syllables. Does NOT have rhyme.
 Free verse poetry is very conversational - sounds like someone talking with
you. A more modern type of poetry.

Blank Verse:
 Written in lines of iambic pentameter but does NOT use end rhyme.
 With METER without end RHYME

B. SOUND
Rhythm is the basic beat in a line of a poem.
Example: “Whose woods these are, I think I know” is the first line from “Stopping
by
Woods on a Snowy Evening” by Robert Frost. Notice that the accented words
(underlined) give the line a distinctive beat.

Meter is a pattern of stressed and unstressed syllables. Meter happens when the
stressed and unstressed syllables of the words in a poem are arranged in a
repeating pattern. In meter, when poets write, they need to count out the number
of stressed (strong) syllables and unstressed (weak) syllables for each line. They
repeat the pattern throughout the poem.

FOOT is a unit of meter.

A foot can have two or three syllables.

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 Usually consists of one stressed and one or more unstressed syllables.

TYPES OF FEET
The types of feet are determined by the arrangement of stressed and
unstressed syllables.

TYPES OF FEET
1. trochee (adjective form, trochaic) stressed-unstressed
a. Never/ never/ never/ never/ never
b. In the/ spring a/ young man's/ fancy/ lightly/ turns to/ thoughts of/
love. (In spite of a few feet where the stress is debatable, especially foot 3,
this poem is generally trochaic, as a look at the rest of it would show. It is
very common to omit the final unstressed syllable in this meter; see c. under
accentual-syllabic above.)

2. anapest (anapestic) unstressed-unstressed-stressed

a. It was man/y and man/y a year/ ago (The variation in the last foot is
common.)
b The Assyr/ian came down/ like a wolf/ on the fold,
And his co/horts were gleam/ing in purp/le and gold.

3. dactyl (dactylic) stressed-unstressed-unstressed

a. This is the/ forest pri/meval, the/ murmuring/ pines and the/ hemlocks
(The two stressed syllables in the last foot are required by the classical
Greek form of the epic, which Longfellow is imitating.)
b. What if a/ much of a/ which of a/ wind

4. spondee (spondaic) stressed-stressed

The spondee appears in isolated feet and never as a dominant meter in an entire
poem. It is a convenient way of describing feet in which it is hard to determine
which syllable is stressed (e. g., young man's and hemlocks above) and of describing
passages like the following from sonnets, where Donne uses the spondees to
hammer home the woes people can face in life and Hopkins uses them along with
internal rhyme, assonance, and alliteration for an unusual sound effect.
a. All whom/ war, death,/ age, ag/ues, tyr/annies,
Despair,/ law, chance,/ hath slain,/ and you/ whose eyes
Shall be/hold God
a. Crushed. Why/ do men/ then now/ not reck/ his rod?

5. pyrrhic (pyrrhic) unstressed-unstressed. See 6 d. below for an example.

At the/ round earth's/ ima/gined cor/ners blow.
The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee.
This combination (called a Double or Ionic Foot) often appears at the beginning of
a line.

6. iamb (iambic) unstressed-stressed

The iamb is far and away the most common foot in English, comprising as much as
90-95 percent of English verse. It is also the most conversational of the feet and
therefore the most flexible and most susceptible to variations. One such variation,
as illustrated in the previous two quotes, is the substitution of spondees for iambs.
Others are listed below:
a. Five years/ have passed,/ five sum/mers with/ the length
Of five/long wint/ers! . . .

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In addition to the spondees in the first line, the word with receives what is called a
courtesy accent; that is, it must be given more than normal conversational stress
to fill out the line. Critics have argued that the basic rhythm of spoken English
usually dictates about four stresses per line (the form of Old English verse) and
that lines of poetry with five feet will therefore contain one courtesy accent. This
example also shows how a poet can manipulate meter for effect. Wordsworth
stresses the sense of the time lapse by repeating five and long (and its noun form
length) and stressing these words in normally unstressed positions.
b. Scoffing/ his state/ and grin/ning at/ his pomp.
In addition to the courtesy accent in the fourth foot, Shakespeare includes a
trochee in the first foot. A trochee in an iambic line is called a reversed foot. In
iambic pentameter verse, a reversed foot occurs frequently in the first foot,
sometimes in the third and fourth, and almost never in the second and fifth.
c. To be/ or not/ to be;/ That is/ the question.
The extra unstressed syllable at the end of the line, though not common, is still a
possible variation in an iambic line. Note the fourth foot is reversed (unless you
startle people by saying "That IS the question," as Peter O'Toole is said to have done
in one production of Hamlet).
d. At the/ round earth's/ ima/gined cor/ners blow.
The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee.
This combination (called a Double or Ionic Foot) often appears at the beginning of
a line.
e. Of all/ that in/solent Greece/ or haught/y Rome,
An anapest in an iambic line is more common in some ages and poets (here,
Jonson) than in others.
f. And my/ tears make/ a heaven/ly Lethe/an flood.
This line by Donne shows such a wide range of variations that we might not call it
iambic if it were not in a sonnet with other iambic lines. As a clergyman, Donne
almost certainly pronounced heaven as one syllable (the way it is in hymns), and he
appears to have stressed the second syllable of Lethean. The line thus contains
three regular feet, a spondee, and an anapest. Donne generally makes his "Holy
Sonnets" very irregular to combine powerful emotion and a oratorical effect as in a
sermon. But the point is that knowing what the regular meter was supposed to be
helps us identify and describe the effect Donne creates.

There are some other exotic feet such as the amphibrach (unstressed-stressed-
unstressed), but for all practical purposes, these six are the ones you need to
know).

Rhythm is the beat created by the sounds of the words in a poem. It can be
created by meter, rhyme, alliteration, and refrain.

There are five types of rhythm, but we will just focus with Accentual-syllabic.
The number of syllables and the number of accents is both counted, and the
stressed and unstressed syllables are usually alternated in a consistent pattern.
When we think of poetry in English, this is the form we think of, and it is the most
common form from the time of Chaucer to the advent of free verse in the late
nineteenth and early twentieth centuries:
a. And justify the ways of God to men. (5 accents, 10 syllables)
b. And malt does more than Milton can (4 accents, 8 syllables)
To justify God's ways to man.
c. Wake: the silver dusk returning (4 accents, 8 syllables with final
Up the beach of darkness brims. unstressed syllables in lines 2 & 4
And the ship of sunrise burning omitted, a common variation)

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 Strands upon the eastern rims.

HOW TO FIND A METER IN ACCENTUAL-SYLLABIC VERSE

1. Find syllables that would ordinarily be accented in a dictionary and in
conversation. In the line "And justify the ways of God to men," for example, the first
syllable in justify and the syllables comprising ways, God, and man would receive
stress in normal conversation. There is a problem: although in the dictionary and
in analyzing meter, we usually talk as if there were only two levels of stress
(stressed and unstressed), linguists suggest that there may be as many as four in
actual spoken English. Thus, in the word justify, the just is stressed more than i or
fy, but fy is stressed more than i. Nevertheless, if you look at enough lines, you
should be able to get an overall sense of the meter. The important thing to
remember is that skillful poets will have a meter, which fits a pattern, but which is
also true to the actual rhythms of spoken English; their work should sound
natural.

2. Because poets want their work to sound natural, the meter of a given line, or
even passage, may vary slightly from the basic pattern; therefore, you need to go
over several lines assigning the stresses where they would fall in normal
conversation. If you look at enough lines, a general pattern should emerge.

3. A stressed syllable will be accompanied by some unstressed syllables, and in

English they usually (though not always) come before the stressed syllable. A
stressed syllable and the unstressed syllable(s), which go with it, are called a Foot.
If you look at several lines, it should become clear whether the unstressed syllables
precede or follow the stressed.

4. After you have found the stressed and unstressed syllables, you may then put
strokes between the feet to determine the meter. The meter depends on the Type
and Number of feet in a line. In the example below, the type of foot has an
unstressed syllable followed by a stressed, and there are five such feet. The meter
would therefore be labeled iambic pentameter (iambic for the type of foot and
pentameter for the number).
The cur/ few tolls/ the knell/ of part/ ing day.

End Rhyme has same or similar sounds at the end of words that finish different
lines.
Example: The following are the first two rhyming lines from “The King of Cats
Sends a Postcard to His Wife” by Nancy Willard:
Keep your whiskers crisp and clean,
Do not let the mice grow lean,

Hector the Collector

Collected bits of string.
Collected dolls with broken heads
And rusty bells that would not ring.

Internal Rhyme has same or similar sounds at the end of words within a line.
Example: A line showing internal rhyme from

When they said the time to hide was mine,

- “The Rabbit” by Elizabeth Maddox Roberts
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 Once upon a midnight dreary, while I pondered weak and weary.
- “The Raven” by Edgar Allan Poe
Rhyme Scheme is a pattern of rhyme in a poem. A rhyme scheme is a pattern of
rhyme (usually end rhyme, but not always).

Example: A quatrain – a stanza of four lines in which the second and fourth lines
rhyme – has the following rhyme scheme: abcb (see Quatrain).
The Germ by Ogden Nash
A mighty creature is the germ, a
Though smaller than the pachyderm. a
His customary dwelling place b
Is deep within the human race. b
His childish pride he often pleases c
By giving people strange diseases. c
Do you, my poppet, feel infirm? a
You probably contain a germ. a

Assonance is the repetition of vowel sounds within words in a line. Example: A line
showing assonance (underlined) from “A Visit from Saint Nicholas” by Clement
Clarke Moore:
The children were nestled all snug in their beds

Sounds of a for words like Lake Fate Base Fade

Consonance is the repetition of consonant sounds within words in a line.

Example: A line showing consonance (underlined) from “A Visit from Saint
Nicholas” by Clement Clarke Moore: Not a creature was stirring, not even a mouse

“silken, sad, uncertain, rustling . . “

Alliteration is the repetition of consonant sounds at the beginning of words.

Example: Notice the alliteration (underlined) in “Sarah Cynthia Sylvia Stout Would
Not Take the Garbage Out” by Shel Silverstein.
Tongue Twisters are perfect examples of Alliteration
If Peter Piper picked a peck of pickled peppers, how many pickled peppers
did Peter Piper pick?

Onomatopoeia are words that sound like their meaning.

Example: buzz, swish, hiss, gulp

Repetition is sounds, words, or phrases that are repeated to add emphasis or

create rhythm. Parallelism is a form of repetition.
Examples: Two lines from “Jabberwocky” by Lewis Carroll showing
parallelism:
Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Read the poem “The Bells” by Edgar Allan Poe and listen to the way the repetition
of the word “bells” adds rhythm and creates an increasingly ominous and morbid
mood.

Refrain is a line or stanza repeated over and over in a poem or song.

Example: In “Jingle Bells,” the following refrain is repeated after every stanza:
Jingle Bells, jingle bells,

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 Jingle all the way!
Oh, what fun it is to ride
In a one-horse open sleigh!

Word Play is to play with the sounds and meanings of real or invented words.
Example: Two lines from the poem “Synonyms” by Susan Moger:
Claptrap, bombast, rodomontade,
Hogwash, jargon, and rant
Note: Imageries and Figures of Speech were already presented in the
previous module. Take a glimpse for you to recall it.

Questions to Ponder: Why do you think tone is important in writing a

poem? Does it affect your interest as a reader? Can you identify the tone
elements of your favorite poem?

C. ELEMENTS OF FICTION
(Poems may contain some or all elements of fiction. For example, a narrative poem
(a poem that tells a story) may contain all elements.)

Setting is the time and place where a story or poem takes place.

Point of View / Narrative Voice is the person narrating a story or poem (the
story/poem could be narrated in first person (I, we), second person (you), or third
person limited or omniscient (he/she, they).

Characterization is the development of the characters in a story or poem (what

they look like, what they say and do, what their personalities are like, what they
think and feel, and how they are referred to or treated by others).

Dialog or Dialogue is the conversation between the characters in a story or

poem.

Dialect or Colloquial Language is the style of speaking of the

narrator and the characters in a story or poem (according to their region, period,
and social expectations).

Conflict is the problem or situation a character or characters face in a story or

poem.

Plot is the series of events in a story or poem.

Tone and Voice are the distinctive, idiosyncratic way a narrator has of telling a
story or poem (tone and voice depend on the intended audience, the purpose for
writing, and the way the writer or poem feels about his/her subject).

Style is the way a writer uses words to craft a story or poem.

Mood is the feelings and emotions the writer wants the reader to experience.

Theme and Message are the main topic of a story or poem, and the message the

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author or poet wants to convey about that topic.

Questions to Ponder: Can you think of a poem with a character? How

was it delivered? Is it possible to tell a story even if it is a poem? If you were
a poet, how would you use the presented elements?

D. FORMS OF POETRY
1. Found poems are created through the careful selection and organization of
words and phrases from existing text. These take existing texts and refashion
them, reorder them, and present them as poems. The literary equivalent of a
collage found poetry is often made from newspaper articles, street signs,
graffiti, speeches, letters, or even other poems.

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Source: https://spark.adobe.com/page/pFdRX0QqcJvw6/

2. Tanaga is a type of Filipino poem which consists of four lines with seven
syllables each with the same rhyme at the end of each line. It has a 7-7-7-7 syllabic
verse, with commonly an AABB rhyme scheme
1. “Oh be resilient you Stake
Should the waters be coming!
I shall cower as the moss
To you I shall be clinging.”
2. Inumit na salapi
Walang makapagsabi
Kahit na piping saksi
Naitago na kasi.

– Like the Japanese haiku, Tanagas traditionally do not have any titles.

– They are poetic forms that should speak for themselves.

– Most are handed down by oral history, and contain proverbial forms,
morals, and snippets of a code of ethics.

– A poetic form similar to the tanaga is the ambahan.

– Unlike the ambahan whose length is indefinite, the tanaga is a compact

seven-syllable quatrain.
3. Diona is an ancient form of poetry that is composed of 7 syllables for every
verse/line, 3 verses/lines for every stanza, and has a single rhyme scheme.
Sa kasalukuyan, tinatanggap ang diona bilang isang tulang may pitong pantig at
tatlong taludtod. Iisa ang tugmaan nito (pero may mga makabagong diona na
hindi na rin ito sinusunod). At sari-sari na ang tema.
1. Kung ang aso hinahanap
Pag nagtampo’t naglayas
Ikaw pa kaya anak.
– Ferdinand Bajado
2. Lolo, huwag malulungkot
Ngayong uugod-ugod
Ako po’y inyong tungkod
– Gregorio Rodillo
4. Haiku is a Japanese poem written in three lines followong the Five Syllables,
Seven Syllables and Five Syllables. Often focusing on images from nature, haiku
emphasizes simplicity, intensity, and directness of expression.
1. I call to my love
on mornings ripe with sunlight.
The songbirds answer.

2. An old pond!
A frog jumps in—
the sound of water.

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5. An Acrostic poem is a poem where the first letters of each line spell out a word
or phrase vertically that acts as the theme or message of the poem. Sometimes a
word or phrase can also be found down the middle or end of the poem, but the
most common is at the beginning. A lot of people use these poems to describe
people or holidays, and lines can be made up of single words or phrases.
Acrostic poems do not follow a specific rhyme scheme, so they are easier to write.

A FRIEND
F is for the fun we had together
R is for the relaxing time we shared together
I is for the interesting moments we had
E is for the entertaining time we spent
N is for the never-ending friendship that we'll have
D is for the days we'll never forget

6. A sonnet is a poem that has 14 lines and follows a specific rhyme scheme. It
comes from the Italian word that means “little song.” There are various types of
sonnets, and each one is formatted a little differently, following various rhyme
schemes. The three main types are the Italian (or Petrarchan) sonnet, the
English (or Shakespearean) sonnet, and the Spenserian sonnet. They are named
after the poets who made them famous. These forms have been around since the
sixteenth century. The poem is written in three quatrains and ends with a
couplet.
How Do I Love Thee?
By Elizabeth Barrett Browning
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
I love thee to the level of every day's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for right;
I love thee purely, as they turn from Praise.
I love with a passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints, I love thee with the breath,
Smiles, tears, of all my life! and, if God choose,
I shall but love thee better after
death.

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 6. Concrete Poem is a poem that uses words to form the shape of the subject
of the poem (also known as a “shape poem”).

7. Lyric Poem is a short poem that usually written in first person point of view
and expresses an emotion or an idea or describes a scene. It does not tell a
story and are often musical.
I Wandered Lonely as a Cloud
I wandered lonely as a cloud The waves beside them danced; but
That floats on high o'er vales and they
hills, Out-did the sparkling waves in glee:
When all at once I saw a crowd, A poet could not but be gay,
A host, of golden daffodils; In such a jocund company:
Beside the lake, beneath the trees, I gazed—and gazed—but little thought
Fluttering and dancing in the breeze. What wealth the show to me had
brought:
Continuous as the stars that shine
And twinkle on the milky way, For oft, when on my couch I lie
They stretched in never-ending line In vacant or in pensive mood,
Along the margin of a bay: They flash upon that inward eye
Ten thousand saw I at a glance, Which is the bliss of solitude;
Tossing their heads in sprightly And then my heart with pleasure fills,
dance. And dances with the daffodils.

8. Cinquain is a five-line
untitled poem, where the
syllable pattern increases by
two for each line, except for
the last line, which ends in
two syllables (2,4,6,8.2).

9. Narrative Poem is a form of poetry that tells a story, often making the voices
of a narrator and characters as well; the entire story is usually written in
metered verse. Narrative poems do not need rhyme.

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 Sing, Goddess, Achilles' rage,
Black and murderous, that cost the Greeks
Incalculable pain, pitched countless souls
Of heroes into Hades' dark,
And left their bodies to rot as feasts
For dogs and birds, as Zeus' will was done.
Begin with the clash between Agamemnon-
The Greek warlord - and godlike Achilles.
- The Iliad by Homer

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