1. LITERARY ELEMENT

2. LITERATURE AS STRUCTURE
ELEMENTS
RELATION
UNITY

3. NATURE OF STRUCTURE
UNITY
SELF REGULATION
SELF TRANSFORMATION

4. ELEMENT
INTRINSIC ELEMENT
EXTRINSIC ELEMENT

5. Because there is language there is poetry

6. MAIN CHARACTERISTIC
PREMIUM LANGUAGE  STYLE ()/Gesture(Wainwright,2004: 2)
qualities we employ to signal our meaning strongly by emphasizing particular word sounds, rhythmic sequences or patterns.
diction, syntax, voice, tone, and effective use of figures and tropes.

7. GENRE
NARRATIVE POETRY: poetry which tells stories with clearly developed, structured plot, for examples: epic long poem, the romance, and the ballad
LYRIC POETRY: shorter poetry which is mainly concerned with one event, impression, or idea (Klarer, 1999: 28)

8. INTRINSIC ELEMENT lexical-thematic dimension visual dimension
diction
rhetorical figures
Theme
visual dimension
stanzas
concrete poetry
rhythmic-acoustic dimension
rhyme and meter
Onomatopoeia
(Klarer, 1999:30)

9. lexical-thematic dimension

10. Diction
Diction is the choice of words used in a literary work

11. rhetorical figures
simile is a comparison betweentwo different things which are connected by “like,” “than,” “as,” or “compare,”
Metaphor is The equation of one thing with another without actual comparison.
Metonymy (Greek for "a change of name") the literal term for one thing is applied to another with which it has become closely associated be-cause of a recurrent relationship in common experience.
Synecdoche (Greek for "taking together"), a part of something is used to signify the whole, or (more rarely) the whole is used to signify a part.
personification, or in the Greek term, prosopopeia, in which either an inanimate object or an abstract concept is spoken of as though it were endowed with life or with human attributes or feelings

12. Theme
Theme is a salient abstract idea that emerges from a literary work's treatment of its subject-matter; or a topic recurring in a number of literary works.

13. Visual dimension

14. The Altar A broken Altar, Lord, Thy servant rears, Made of a heart and cemented with tears; Whose parts are as Thy Hand did frame; No workman’s tool hath touched the same. A heart alone Is such a stone, As nothing but Thy power doth cut. Wherefore each part Of my hard heart Meets in this frame To praise Thy frame To praise Thy name, That if I chance to hold my peace, These stones to praise Thee may not cease. Oh, let Thy blessed sacrifice be mine, And sanctify this altar to be Thine.

16. rhythmic-acoustic dimension

17. Meter
Meter is the recurrence, in regular units, of a prominent feature in the sequence of speech-sounds of a language.

18. Kinds of Meter
(1) Iambic (the noun is "iamb"): an unstressed syllable followed by a stressed syllable.
The cúr I few tolls I the knéll I of par I ting day. I
(Thomas Gray, "Elegy Written in a Country Churchyard")
(2) Anapestic (the noun is "anapest"): two unstressed syllables followed by a stressed syllable.
The Äs syr I iän came down I like ä wólf I on the fold. I
(Lord Byron,"The Destruction of Sennacherib")

19. Kinds of Meter
(3) Trochaic (the noun is "trochee"): a stressed followed by an unstressed syllable.
There they I are, my I fif ty I men and I wó men. I
(Robert Browning, "One Word More")
(4) Dactylic (the noun is "dactyl"): a stressed syllable followed by two unstressed syllables.
Eve, with her I bas kët, was I
Deep in the I bells and grass. I
(Ralph Hodgson, "Eve")

20. Kinds of Meter
Spondaic (the noun is "spondee"): two successive syllables with approximately equal strong stresses, as in each of the first two feet of this line:
Good stróngl thick stulpë fyl ing inlcënse smóke.I
(Browning, "The Bishop Orders His Tomb")
Pyrrhic (the noun is also "pyrrhic"): a foot composed of two successive syllables with approximately equal light stresses, as in the second and fourth feet in this line:
My way I is to I be gin I with the I be gin ningl
(Byron, Don Juan)

21. Rhyme
the repetition, in the rhyming words, of the last stressed vowel and of all the speech sounds following that vowel: láte-fáte; fóllow-hóllow.

22. rhyme
True ease in writing comes from art, not chance, As those move easiest who have learned to dance. ’Tis not enough no harshness gives offense, The sound must seem an echo to the sense: Soft is the strain when Zephyr gently blows, and the smooth stream in smoother numbers flows; But when loud surges slash the sounding shore, The hoarse, rough verse should like the torrent roar.

23. Onomatopoeia
In the narrow and most common use, onomatopoeia designates a word, or a combination of words, whose sound seems to resemble closely the sound it denotes: "hiss," "buzz," "rattle," "bang
The snow softly falling as it “hushes” and “shushes” the cars that drive in the street.

24. Onomatopoeia
Here comes a pale horse click, clack, click, clack Upon it sits Death click, clack, click, clack. Death rides down the street, He stops, he looks For the man with no heart beat, He enters more silently than the best of crooks. 

25. Exercise 1 Pot ( 1970 ) Pot apa pot itu pot kaukah pot aku Pot pot pot
Yang jawab pot pot pot pot kaukah pot itu
Yang jawab pot pot pot pot kaukah pot aku
Potapa potitu potkaukah potaku ?

26. Exercise 2
l(a le af fa ll s) one l

27. REFERENCES
Abrams. M.H Glossary of Literary Terms. Boston: Heinle&Heinle
Baldick, Christ Oxford Concise Dictionary. Oxford: Oxford University Press
Klarer, Mario Introduction to Literary Study. London& New York: Routledge
Wainwright, Jeffrey Poetry The Basic. London& New York: Routledge