Download - Group 7 Oral Ppt
-
7/31/2019 Group 7 Oral Ppt
1/19
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
-
7/31/2019 Group 7 Oral Ppt
2/19
APOSTROPHE
DEFINITION:
A poetic device used to
address absent or imaginary
people / objects as if they
were present or alive andable to respond.
FUNCTION:
1. To convey, emphasize, and
create vivid images.
2. To help poets express their
mood and emotion.
TIME FRAME:
17th to 19th
centuries
FAMOUS EXAMPLES:
William Wordsworth, LordByron, William
Shakespeare, John Donne,
etc.
MISCONCEPTION:
Commonly confused
with the punctuation
mark.
-
7/31/2019 Group 7 Oral Ppt
3/19
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 cragTo 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.
-
7/31/2019 Group 7 Oral Ppt
4/19
Talking to Giraffeby 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 goflying 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 allThe 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!
-
7/31/2019 Group 7 Oral Ppt
5/19
PERSONIFICATION:
Def: The treatment of
inanimate objects, non-living 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 / objectsas 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
-
7/31/2019 Group 7 Oral Ppt
6/19
DEFINITION:
A description of one
thing under the image
of another.
FUNCTION:
TIME FRAME:
Classical era,Medieval era, and
Modern era.
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
-
7/31/2019 Group 7 Oral Ppt
7/19
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 openthy 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.
Gitanjali Song 50 by Rabindranath Tagore
-
7/31/2019 Group 7 Oral Ppt
8/19
Def:(Italian) villanella
(Latin) Villanus rustic
Poetic form:
19th centuryRenaissanceDance/Song form:Before19th century
A1
b
A2
a
b
A1
a
b
A2
a
b
A1
a
bA2
a
b
A1
A2
-
7/31/2019 Group 7 Oral Ppt
9/19
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light.
Though wise men at their end know dark isright,
Because their words had forked no lightning
they
Do not go gentle into that good night.
Good men, the last wave by, crying how
bright
Their frail deeds might have danced in a
green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in
flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.
Grave men, near death, who see with
blinding sight
Blind eyes could blaze like meteors and be
gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I
pray.
Do not go gentle into that good night.
Rage, rage against the dying of the light.
Dylan
Thomas
Do Not Go Gentle
Into That Good Night
-
7/31/2019 Group 7 Oral Ppt
10/19
TERZA RIMA,TERCET
NUR SYAMIRA BT YUSOFF LUTEFI
-
7/31/2019 Group 7 Oral Ppt
11/19
Definition of Terza Rima
Terza rima is a type of poetry consisting of 10or 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.
-
7/31/2019 Group 7 Oral Ppt
12/19
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
-
7/31/2019 Group 7 Oral Ppt
13/19
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!
-
7/31/2019 Group 7 Oral Ppt
14/19
HISTORY OF RONDEAU
A rondeau is a form of French poetry with 15 lines writtenon two rhymes, as well as a corresponding musical formdeveloped to set this characteristic verse structure.
The rondeau began as a lyric form in thirteenth-centuryFrance, popular among medieval court poets andmusicians. Named after the French word for "round," therondeau is characterized by the repeating lines ofthe rentrement, or refrain, and the two rhyme soundsthroughout. The form was originally a musical vehicledevoted to emotional subjects such as spiritual worship,
courtship, romance, and the changing of seasons. To sing ofmelancholy was another way of using the rondeau, butthoughts on pain and loss often turned to a cheerful cest lavie in the final stanza.
-
7/31/2019 Group 7 Oral Ppt
15/19
FORMS OF RONDEAU
It is composed of fifteen lines, eight to tensyllables each, divided stanzaically into a quintet,a quatrain, and a sestet.
The rentrementconsists of the first few words orthe entire first line of the first stanza, and itrecurs as the last line of both the second andthird stanzas.
Two rhymes guide the music of the rondeau,whose rhyme scheme is as follows (Rrepresenting the refrain): aabba aabR aabbaR.
-
7/31/2019 Group 7 Oral Ppt
16/19
EXAMPLE OF RONDEAU
We Wear the Maskby 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)
-
7/31/2019 Group 7 Oral Ppt
17/19
TRIOLET
Close cousin of Rondeau
A triolet is eight lines, as follows:
1st line A
2nd line B3rd 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)
-
7/31/2019 Group 7 Oral Ppt
18/19
Triolets were originally written in the French ofthe Middle Ages.
The first triolets in English were prayers writtenby Patrick Carey, a Benedictine monk of the 17thcentury.
Robert Bridges, an English poet and critic who
later was named Poet Laureate and saw to thepublication of Gerard Manley Hopkins poems,reintroduced the triolet into English at the end ofthe 19th century.
Since its brief vogue back then, only a few poetshave written trioletsmost contemporary poetsshy away from its extreme repetition and limitedrhymes.
-
7/31/2019 Group 7 Oral Ppt
19/19
Example: Triolet by Robert Bridges
When first we met, we did not guessThat 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.