TSL 653: GROUP ORAL PRESENTATION: APOSTROPHE, ALLEGORY, VILLANELLE, TERZA RIMA, AND RONDEAU

PREPARED BY: NURUL HANANI HASAN 2010887088 AIMI SYAFIQAH GHAZALI NUR SYAMIRA YUSOFF LUTEFI FATIM AZZAHRA HAMSA

APOSTROPHE
DEFINITION: A poetic device used to address absent or imaginary people / objects as if they were present or alive and able to respond.

TIME FRAME: 17th to 19th centuries

FAMOUS EXAMPLES: William Wordsworth, Lord Byron, William Shakespeare, John Donne, etc.

FUNCTION: 1. To convey, emphasize, and create vivid images. 2. To help poets express their mood and emotion.

MISCONCEPTION: Commonly confused with the punctuation mark.

Gods World
by Edna St. Vincent Millay O world, I cannot hold thee close enough! Thy winds, thy wide grey skies! Thy mists, that roll and rise! Thy woods, this autumn day, that ache and sag And all but cry with colour! That gaunt crag To crush! To lift the lean of that black bluff! World, World, I cannot get thee close enough! Long have I known a glory in it all, But never knew I this; Here such a passion is As stretcheth me apart,Lord, I do fear Thou'st made the world too beautiful this year; My soul is all but out of me,let fall No burning leaf; prithee, let no bird call.

Talking to Giraffe
by Elaine Magliaro

You are taller than tall. Youre the tallest of all The creatures that live on the land. You can nibble the leaves From the tip-tops of trees. Dont you think being tallest is grand? Why, your head is so high That it touches the sky. You can wink at the birds as they go flying by.

You can you nuzzle the clouds, Drink the first drops of rain. You must have a great view from your lofty domain. Do you like being tall The tallest of all The creatures that live on the land? With your head at that height The whole world is in sight! You MUST think being tallest is grand!

PERSONIFICATION: Def: The treatment of inanimate objects, nonliving things, and abstract entities as if they were living things. Eg: The leaves danced in the cool breeze.

APOSTROPHE: A poetic device used to address absent or imaginary people / objects as if they were present or alive and able to respond. Capitalizes the entity that is being addressed. Has more profound impact and developed in a more detailed manner

DEFINITION: A description of one thing under the image of another.

FUNCTION: 1. To deliver the message of a story / poetry in a more imaginative way. 2. To present a meaning, idea, or principle through symbolic representation or figures. Examples: Edmund Spencers The Faerie Queene John Drydens Absalom and Achitophel Dante Alighieri's Inferno

TIME FRAME: Classical era, Medieval era, and Modern era.

Gitanjali Song 50 by Rabindranath Tagore

I had gone a-begging from door to door in the village path, when thy golden chariot appeared in the distance like a gorgeous dream and I wondered who was this King of all kings! My hopes rose high and methought my evil days were at an end, and I stood waiting for alms to be given unasked and for wealth scattered on all sides in the dust. The chariot stopped where I stood. Thy glance fell on me and thou camest down with a smile. I felt that the luck of my life had come at last. Then of a sudden thou didst hold out thy right hand and say `What hast thou to give to me?' Ah, what a kingly jest was it to open thy palm to a beggar to beg! I was confused and stood undecided, and then from my wallet I slowly took out the least little grain of corn and gave it to thee. But how great my surprise when at the day's end I emptied my bag on the floor to find a least little gram of gold among the poor heap. I bitterly wept and wished that I had had the heart to give thee my all.

A1 b A2 a b A1 a b A2 a b A1 a b A2 a b A1 A2

Dance/Song form: 19 century

Before th

19

Poetic form: th century Renaissance

Def:(Italian) villanella (Latin) Villanus rustic

Dylan Do Not Go Gentle Thomas Into That Good Night

Do not go gentle into that good night, Wild men who caught and sang the sun in Old age should burn and rave at close of day; flight, Rage, rage against the dying of the light. And learn, too late, they grieved it on its way, Do not go gentle into that good night. Though wise men at their end know dark is right, Grave men, near death, who see with Because their words had forked no lightning blinding sight they Blind eyes could blaze like meteors and be Do not go gentle into that good night. gay, Rage, rage against the dying of the light. Good men, the last wave by, crying how bright And you, my father, there on the sad height, Their frail deeds might have danced in a Curse, bless, me now with your fierce tears, I green bay, pray. Rage, rage against the dying of the light. Do not go gentle into that good night. Rage, rage against the dying of the light.

TERZA RIMA,TERCET
NUR SYAMIRA BT YUSOFF LUTEFI

Definition of Terza Rima

Terza rima is a type of poetry consisting of 10 or 11 syllable lines arranged in three-line "tercets". A Terza Rima consist of stanzas containing three lines each with equal number of syllables. There is no set length to these poems as long as they follow the pattern.

 Each set of three lines (STANZA) is as follows: ABA BCB CDC DED EE A Terza Rima poem is a Japanese poem which can also be known as a waka or uta A Terza Rima poem is similar to a haiku but has two additional lines

O wild West Wind, thou breath of Autumn's being, Thou, from whose unseen presence the leaves dead Are driven, like ghosts from an enchanter fleeing, Yellow, and black, and pale, and hectic red, Pestilence-stricken multitudes: O thou, Who chariotest to their dark wintery bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o'er the dreaming earth, and fill (Driving sweet buds like flocks to feed in air) With living hues and odours plain and hill: Wild Spirit, which art moving everywhere; Destroyer and preserver; hear, oh, hear!

HISTORY OF RONDEAU
A rondeau is a form of French poetry with 15 lines written on two rhymes, as well as a corresponding musical form developed to set this characteristic verse structure. The rondeau began as a lyric form in thirteenth-century France, popular among medieval court poets and musicians. Named after the French word for "round," the rondeau is characterized by the repeating lines of the rentrement, or refrain, and the two rhyme sounds throughout. The form was originally a musical vehicle devoted to emotional subjects such as spiritual worship, courtship, romance, and the changing of seasons. To sing of melancholy was another way of using the rondeau, but thoughts on pain and loss often turned to a cheerful cest la vie in the final stanza.

FORMS OF RONDEAU
It is composed of fifteen lines, eight to ten syllables each, divided stanzaically into a quintet, a quatrain, and a sestet. The rentrement consists of the first few words or the entire first line of the first stanza, and it recurs as the last line of both the second and third stanzas. Two rhymes guide the music of the rondeau, whose rhyme scheme is as follows (R representing the refrain): aabba aabR aabbaR.

EXAMPLE OF RONDEAU
We Wear the Mask by Paul Laurence Dunbar: We wear the mask that grins and lies, (A) It hides our cheeks and shades our eyes, (A) This debt we pay to human guile; (B) With torn and bleeding hearts we smile, (B) And mouth with myriad subtleties. (A) Why should the world be over-wise, (A) In counting all our tears and sighs? (A) Nay, let them only see us, while (B) We wear the mask. (C) We smile, but, O great Christ, our cries (A) To thee from tortured souls arise. (A) We sing, but oh the clay is vile (B) Beneath our feet, and long the mile; (B) But let the world dream otherwise, (A) We wear the mask! (C)

TRIOLET
Close cousin of Rondeau A triolet is eight lines, as follows: 1st line A 2nd line B 3rd line a (rhymes with A) 4th line A (entire 1st line repeated) 5th line a (rhymes with A) 6th line b (rhymes with B) 7th line A (entire 1st line repeated) 8th line B (entire 2nd line repeated)

 Triolets were originally written in the French of the Middle Ages. The first triolets in English were prayers written by Patrick Carey, a Benedictine monk of the 17th century. Robert Bridges, an English poet and critic who later was named Poet Laureate and saw to the publication of Gerard Manley Hopkins poems, reintroduced the triolet into English at the end of the 19th century. Since its brief vogue back then, only a few poets have written trioletsmost contemporary poets shy away from its extreme repetition and limited rhymes.

 Example: Triolet by Robert Bridges When first we met, we did not guess That Love would prove so hard a master; Of more than common friendliness When first we met we did not guess. Who could foretell the sore distress, This irretrievable disaster, When first we met?We did not guess That Love would prove so hard a master.