&object0=js|800|600|80|80|0|0|100|0|7|0|0|background_style1.jpg|1|0|0|0& &autoPlayOn=0& &navobjectsVisible=1& &numberOfSlides=9& &numberOfObjects1=6& &object1_1=js|681|768|66.9|66.9|90|-29|100|0|0|1|0|poet-pic.jpg|2|0|0|0& &object1_2=t|269|100|100|100|59|4|100|1|7|left|1|2|1|0|0|18|0|0|0|1|POETRY - The Elements& &object1_3=t|116|100|100|100|367|155|100|0|0|left|0|9|1|0|0|24|0|0|1|0|Meter& &object1_4=t|273|100|100|100|263|201|100|0|0|left|0|9|1|0|0|24|0|0|1|0|Simile cx26 Metaphor& &object1_5=t|108|100|100|100|328|243|100|0|0|left|0|9|1|0|0|24|0|0|1|0|Rhyme& &object1_6=t|139|100|100|100|401|280|100|0|0|left|0|9|1|0|0|24|0|0|1|0|Diction& &numberOfObjects2=32& &object2_1=t|522|100|100|100|59|4|100|1|7|left|1|2|1|0|0|18|0|0|0|1|The Element of - page 1& &object2_2=t|535|100|100|100|60|41|100|1|20|left|0|4|4|0|0|16|0|0|0|0|In verse and poetry, METER is a recurring pattern of ________(accented, or long) and __________(unaccented, or short) syllables in lines of a set length. For example, suppose a line contains ten syllables (which is the set length of that line) in which the first syllable is __________, the second is ________, the third is __________, the fourth is ________, and so on until the line reaches the tenth syllable. 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There are eight basic types of meter length: & &object3_26=t|134|100|100|100|393|255|100|0|0|left|0|16|1|0|0|14|0|0|1|0|number of feet& &object3_27=t|576|100|100|100|60|396|100|1|2|center|1|1|4|1|0|16|0|0|0|1|METER in poetry is defined by the QUALITY of a foot the NUMBER of feet.& &object3_28=js|600|301|16.1|16.1|537|411|100|0|7|1|1|blackbox_arrow_right.jpg|2|0|0|0& &object3_29=js|50|50|30|30|450|400|100|0|0|0|0|plus_sign.jpg|5|0|0|0& &object3_30=t|125|100|100|100|130|295|100|0|0|left|1|1|2|0|-10|14|0|0|0|0|MONOMETER DIMETER TRIMETER TETRAMETER& &object3_31=t|125|100|100|100|367|295|100|0|0|left|1|1|2|0|-10|14|0|0|0|0|PENTAMETER HEXAMETER HEPTAMETER OCTAMETER& &object3_32=t|134|100|100|100|244|300|100|0|0|left|0|16|1|0|-2|12|0|0|1|0|= One Foot = Two Feet = Three Feet = Four Feet& &object3_33=t|134|100|100|100|488|300|100|0|0|left|0|16|1|0|-2|12|0|0|1|0|= Five Feet = Six Feet = Seven Feet = Eight Feet& &object3_34=t|235|100|100|100|398|67|100|0|0|left|1|1|2|0|-10|16|0|0|0|0|Two Syllabes Two Syllabes Two Syllabes Three Syllabes Three Syllabes Two Syllabes& &object3_35=t|187|100|100|100|60|65|100|0|0|left|1|1|2|0|-10|16|0|0|0|0|Iam (iambic) Trochee (trochaic) Spondee (spondaic) Anapest (anapestic) Dactyl (dactylic) Pyrrhic& &object3_36=js|318|383|41|41|529|16|80|0|7|1|0|shakespeare_hip.jpg|2|0|0|0& &object3_37=t|502|100|100|100|60|34|100|1|20|left|0|4|4|0|2|14|0|0|0|1|A “_______” is the first term of poetic METER. In all, there are six types of _______:& &object3_38=t|522|100|100|100|59|4|100|1|7|left|1|2|1|0|0|18|0|0|0|1|The Element of - page 2& &object3_39=t|98|100|100|100|232|-2|100|0|0|left|0|5|1|0|0|26|0|0|1|0|Meter& &object3_40=t|56|100|100|100|82|34|100|0|0|left|0|16|1|0|0|14|0|0|1|0|FOOT& &object3_41=t|56|100|100|100|494|35|100|0|0|left|0|16|1|0|0|14|0|0|1|0|FEET& &numberOfObjects4=25& &object4_1=t|522|100|100|100|59|4|100|1|7|left|1|2|1|0|0|18|0|0|0|1|The Element of - page 3 (examples)& &object4_2=t|572|100|100|100|60|79|100|1|7|left|1|14|2|1|-4|16|0|0|0|1|When I consider how my life is spent Ere half my days in this dark world and wide& &object4_3=t|98|100|100|100|232|-2|100|0|0|left|0|5|1|0|0|26|0|0|1|0|Meter& &object4_4=t|84|100|100|100|480|85|100|0|0|left|0|19|4|0|0|16|0|0|0|2|unstressed& &object4_5=t|28|100|100|100|300|70|100|0|0|left|0|16|1|0|0|16|0|0|1|0| & &object4_6=t|73|100|100|100|571|85|100|0|0|left|0|2|4|0|0|16|0|0|0|2|stressed& &object4_7=t|52|100|100|100|542|105|100|0|7|left|0|18|1|0|0|14|0|0|1|0|x 5& &object4_8=t|516|100|100|100|118|364|100|0|0|left|1|2|1|0|0|14|0|0|0|1|Which Principles of Art Works are affected by mixed meter?& &object4_9=t|430|100|100|100|45|63|100|0|0|left|1|2|4|1|0|16|0|0|0|2|IAMBIC PENTAMETER (from Milton's "On His Blindness")& &object4_10=js|50|50|20|20|557|92|100|0|0|0|0|plus_sign.jpg|5|0|0|0& &object4_11=t|572|100|100|100|60|160|100|1|7|left|1|14|2|1|-4|16|0|0|0|1|The Assyrian came down like the wolf on the fold. And his cohorts were gleaming in purple and gold. And the sheen of their spears was like stars on the sea.& &object4_12=t|558|100|100|100|45|143|100|0|0|left|1|2|4|1|0|16|0|0|0|2|ANAPESTIC TETRAMETER (from Byron’s "The Destruction of Sennacherib") & &object4_13=t|73|100|100|100|534|192|100|0|0|left|0|2|4|0|0|16|0|0|0|2|stressed& &object4_14=t|73|100|100|100|480|175|100|0|0|left|0|19|4|0|0|16|0|0|0|2|unstressed& &object4_15=t|73|100|100|100|561|175|100|0|0|left|0|19|4|0|0|16|0|0|0|2|unstressed& &object4_16=js|50|50|20|20|550|181|100|0|0|0|0|plus_sign.jpg|5|0|0|0& &object4_17=js|50|50|20|20|522|199|100|0|0|0|0|plus_sign.jpg|5|0|0|0& &object4_18=t|52|100|100|100|540|209|100|0|0|left|0|18|1|0|0|14|0|0|1|2|x 3& &object4_19=t|558|100|100|100|45|245|100|0|0|left|1|2|4|1|0|16|0|0|0|2|MIXED METER (from Wordsworth’s "Intimations of Immortality") & &object4_20=t|572|100|100|100|60|269|100|1|7|left|1|14|2|1|-4|16|0|0|0|1|It is not now as it has been of yore; Turn where so e’er I may, By night or day, The things which I have seen I now can see no more.& &object4_21=t|176|100|100|100|455|280|100|0|0|right|0|18|1|1|0|12|0|0|1|2|Iambic PENTAMETER& &object4_22=t|176|100|100|100|455|300|100|0|0|right|0|18|1|1|0|12|0|0|1|2|Iambic TRIMETER& &object4_23=t|176|100|100|100|455|320|100|0|0|right|0|18|1|1|0|12|0|0|1|2|Iambic DIMETER& &object4_24=t|176|100|100|100|455|341|100|0|0|right|0|18|1|1|0|12|0|0|1|2|Iambic HEXAMETER& &object4_25=js|498|599|29|29|-7|354|100|0|7|1|0|Lord_Byron.jpg|2|0|0|0& &numberOfObjects5=13& &object5_1=js|1024|768|43.5|43.5|255|105|60|0|6|4|0|leaf.jpg|2|0|0|0& &object5_2=t|227|100|100|100|408|298|100|0|0|left|1|4|3|0|0|18|0|0|1|1|Why is there space between some parts of the words?& &object5_3=t|206|100|100|100|411|248|100|0|0|left|1|4|3|0|0|18|0|0|1|1|Why do the words "fall down" the page?& &object5_4=t|205|100|100|100|64|326|100|0|0|center|0|2|1|0|0|14|0|0|1|1|Use the power of both connotative and visual as an element of poetry& &object5_5=t|130|100|100|100|107|365|100|0|0|left|0|5|1|0|0|16|0|0|1|2|METAPHORS& &object5_6=r|126|258|100|100|279|167|100|0|2|1|2& &object5_7=t|189|100|100|100|77|254|100|0|0|center|0|2|4|0|0|14|0|0|1|2|l(a... (a leaf falls on loneliness) e.e. cummings & &object5_8=t|120|100|100|100|282|175|100|0|0|center|0|1|4|0|0|18|0|0|1|0|l(a le af fa ll s) one l iness & &object5_9=t|184|100|100|100|61|166|100|1|7|left|0|2|1|0|0|16|0|0|0|1|But there are ________ metaphors in poetry as well…& &object5_10=t|82|100|100|100|57|183|100|0|0|left|0|5|1|0|0|16|0|0|1|0|VISUAL& &object5_11=t|569|100|100|100|60|53|100|0|0|left|0|2|1|0|0|16|0|0|0|1|Metaphors carry meaning from one word or idea “across” to another word or idea, to show that seemingly unrelated words are connected by an important or essential idea or essence they have in common. Initially, metaphors are about connotations.& &object5_12=t|522|100|100|100|59|4|100|1|7|left|1|2|1|0|0|18|0|0|0|1|The Elements of & &object5_13=t|294|100|100|100|244|-2|100|0|0|left|0|5|1|0|0|26|0|0|1|0|Simile cx26 Metaphor& &numberOfObjects6=9& &object6_1=js|822|501|13.6|13.6|526|384|80|0|6|1|0|curvyarrow_right.jpg|2|0|0|0& &object6_2=t|562|100|100|100|59|67|100|1|6|left|0|4|1|0|0|16|0|0|0|1|Rhyme is perhaps the most recognizable convention of poetry, but its FUNCTION is often overlooked. Rhyme helps to _______ a poem by repeating a sound that links one concept to another, thus giving structure to a poem. In contemporary poetry, where conventions aren't as rigidly prescribed as in cultures past, rhyme can indicate a poetic theme or a structure to what might seem chaotic. Rhyme works closely with meter! There are varieties of rhyme: ___________________ functions WITHIN a line of poetry; ______________ occurs at the end of the line; also, ________________ (bear, care) and _____________________ (lying, mine). There are a number of predetermined RHYME SCHEMES that poets use to set the foundation of their work.& &object6_3=t|166|100|100|100|339|264|100|0|0|left|0|5|1|0|0|16|0|0|1|0|INTERNAL Rhyme& &object6_4=t|76|100|100|100|149|103|100|0|0|left|0|5|1|0|0|16|0|0|1|0|UNIFY& &object6_5=t|390|100|100|100|59|4|100|1|7|left|1|2|1|0|0|18|0|0|0|1|The Element of - Page 1& &object6_6=t|103|100|100|100|237|-1|100|0|0|left|0|5|1|0|0|26|0|0|1|0|Rhyme& &object6_7=t|113|100|100|100|299|283|100|0|0|left|0|5|1|0|0|16|0|0|1|0|END Rhyme& &object6_8=t|140|100|100|100|228|301|100|0|0|left|0|5|1|0|0|16|0|0|1|0|TRUE Rhymes& &object6_9=t|167|100|100|100|57|319|100|0|0|left|0|5|1|0|0|16|0|0|1|0|SLANTED Rhymes& &numberOfObjects7=22& &object7_1=t|562|100|100|100|60|43|100|1|6|left|0|4|1|0|0|16|0|0|0|1|A Rhyme scheme is a regular pattern of rhyme, one that is consistent throughout the extent of the poem. Rhyme schemes are labeled according to their rhyme sounds.& &object7_2=t|560|100|100|100|59|143|100|1|14|left|1|6|4|1|0|18|0|0|0|1|Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge.& &object7_3=t|390|100|100|100|59|4|100|1|7|left|1|2|1|0|0|18|0|0|0|1|The Element of - Page 2& &object7_4=t|103|100|100|100|237|-2|100|0|0|left|0|5|1|0|0|26|0|0|1|0|Rhyme& &object7_5=r|53|20|100|100|325|145|35|0|4|0|0& &object7_6=r|100|116|100|100|521|111|90|0|18|0|1& &object7_7=t|44|100|100|100|565|140|100|0|20|left|0|6|4|0|0|22|0|0|1|0|a& &object7_8=t|105|100|100|100|520|116|100|0|0|left|0|6|1|0|0|12|0|0|0|0|Rhyme Scheme& &object7_9=t|44|100|100|100|564|160|100|0|20|left|0|6|4|0|0|22|0|0|1|0|b& &object7_10=t|44|100|100|100|565|179|100|0|20|left|0|6|4|0|0|22|0|0|1|0|a& &object7_11=t|44|100|100|100|565|200|100|0|20|left|0|6|4|0|0|22|0|0|1|0|b& &object7_12=r|53|20|100|100|457|165|35|0|4|0|0& &object7_13=r|53|20|100|100|365|185|35|0|4|0|0& &object7_14=r|57|20|100|100|340|205|35|0|4|0|0& &object7_15=t|124|100|100|100|214|121|100|0|0|left|1|2|4|0|0|16|0|0|0|1|- Wilfred Owen& &object7_16=t|200|100|100|100|60|121|100|0|0|left|1|2|4|1|0|16|0|0|0|1|Dulce Et Decorum Est& &object7_17=t|560|100|100|100|60|274|100|1|14|left|1|6|4|1|0|16|0|0|0|1|Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore — While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door — Only this and nothing more.”& &object7_18=r|121|111|100|100|500|273|100|0|18|0|1& &object7_19=t|200|100|100|100|60|250|100|0|0|left|1|2|4|1|0|16|0|0|0|1|The Raven& &object7_20=t|175|100|100|100|137|250|100|0|0|left|1|2|4|0|0|16|0|0|0|1|- Edgar Allen Poe& &object7_21=t|108|100|100|100|508|279|100|0|0|center|1|6|4|0|0|14|0|0|0|0|Can you find and differentiate the INTERNAL and END Schemes?& &object7_22=js|365|418|41|41|492|329|60|0|0|1|0|raven.jpg|2|-5|3|-21& &numberOfObjects8=5& &object8_1=js|299|517|98|98|358|-7|70|0|0|1|0|orator.jpg|2|0|0|0& &object8_2=t|555|100|100|100|56|63|100|0|5|left|0|2|1|0|0|14|0|0|0|1|The language of poetry is sometimes different from the language of everyday life. Poets may set their language apart by choosing archaic words, or they may use Latinate diction ("Propitious Heaven," "ethereal plain") rather than more familiar Anglo-Saxon words. They may employ devices such as "periphrasis," in which a simple term is avoided by constructing a more roundabout alternative (one of the most famous is "the finny tribe" instead of "fish"). Diction refers to both the choice and the order of words. It has typically been split into vocabulary and syntax. The basic question to ask about vocabulary is "Is it simple or complex?" The basic question to ask about syntax is "Is it ordinary or unusual?" Taken together, these two elements make up diction. Poets may employ more than one kind of diction in a poem, perhaps setting one speech pattern off against another to achieve a particular effect.& &object8_3=t|298|100|100|100|58|4|100|1|7|left|1|2|1|0|0|18|0|0|0|1|The Element of & &object8_4=t|113|100|100|100|233|-2|100|0|0|left|0|5|1|0|0|26|0|0|1|0|Diction& &object8_5=b|0|0|100|100|144|364|3|16|1|18|1|0|18|"SEE" Diction - Click to Open File|-5|1|1|4|Poetry_Diction_Hughes.pdf& &numberOfObjects9=3& &object9_1=js|681|768|51.3|51.3|-41|37|60|0|6|1|0|poet-pic.jpg|2|0|0|0& &object9_2=t|385|100|100|100|246|42|100|0|7|left|0|4|1|0|0|16|0|0|0|1|Study and research the elements of poetry that have been presented here, then look for others in your own research. Manipulate the Meter, Rhyme Scheme, Diction, and use of Metaphor just like a painter manipulates colors, values, and lines. Don’t’ forget the power of visual metaphors… how will you “layout” your poem on the page? When you have finished the poem, draft and develop your presentation. Tell the story of your process (word process it for submission). Decide how you will share your poem. The best option is to “sound it out” by reading it live, but always include the written version in your submission.& &object9_3=t|565|100|100|100|60|4|100|1|7|left|1|2|1|0|0|18|0|0|0|1|MAKING A POEM FOR YOUR PREMIER IN THE ARTS!&