1. “Poetry is nearer to vital truth than history.” ~Plato, Ion

2. Five Types of Poetry As well as extending language, poetry generally does at least on of the following: It reveals deep personal feelings It tells a story It may present a drama or reveal character It may make a serious social comment It uses intrigue or humour to entertain us.

3. 1. Lyric Poetry Express deep, personal feelings of a speaker or poet in a song-like form. Lyric poetry deals with basic human needs, thoughts, feelings, common human experiences and well-known things, and helps us view these in a new way. The most common types of lyric poems include idylls, haiku, odes, sonnets, elegies, hymns, most free verse, and popular song lyrics.

4. I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund company: I gazed---and gazed---but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils. - William Wordsworth

5. 2. Narrative Poetry Tells a story in simple, direct, rhythmical language with a strong emphasis on plot or physical action. Often deals with history, geography, or myth.

6. The Rime of the Ancient Mariner, Part II "The sun now rose upon the right: Out of the sea came he, Still hid in mist, and on the left Went down into the sea. And the good south wind still blew behind, But no sweet bird did follow, Nor any day for food or play Came to the mariners' hollo! And I had done a hellish thing, And it would work 'em woe: For all averred, I had killed the bird That made the breeze to blow. Ah wretch! said they, the bird to slay, That made the breeze to blow! Nor dim nor red, like God's own head, The glorious sun uprist: Then all averred, I had killed the bird That brought the fog and mist. 'Twas right, said they, such birds to slay, That bring the fog and mist. The fair breeze blew, the white foam flew, The furrow followed free; We were the first that ever burst Into that silent sea. Down dropped the breeze, the sails dropped down, 'Twas sad as sad could be; And we did speak only to break The silence of the sea! All in a hot and copper sky, The bloody sun, at noon, Right up above the mast did stand, No bigger than the moon. Day after day, day after day, We stuck, nor breath nor motion; As idle as a painted ship Upon a painted ocean. Water, water, every where, And all the boards did shrink; Water, water, every where, Nor any drop to drink. - Samuel Coleridge

7. 3. Dramatic Poetry Intended to be read aloud or performed in front of an audience. Situation, characterization, and conflict are revealed through monologue or dialogue.

8. My Last Duchess That's my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek: perhaps Fra Pandolf chanced to say “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat”: such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?—too soon made glad, Too easily impressed; she liked whate’er She looked on, and her looks went everywhere. Sir, ’twas all one! My favour at her breast, The dropping of the daylight in the West, The poem is preceded by the word Ferrara:, indicating that the speaker is most likely Alfonso II d'Este, the fifth Duke of Ferrara (1533–1598) who, at the age of 25, married Lucrezia di Cosimo de' Medici, 14-year-old daughter of Cosimo I de' Medici

9. The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men,—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody’s gift. Who’d stoop to blame This sort of trifling? Even had you skill In speech—(which I have not)—to make your will Quite clear to such an one, and say, “Just this Or that in you disgusts me; here you miss, Or there exceed the mark”—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse, —E’en then would be some stooping; and I choose Never to stoop. Oh sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will’t please you rise? We’ll meet The company below, then. I repeat, The Count your master’s known munificence Is ample warrant that no just pretence Of mine for dowry will be disallowed; Though his fair daughter’s self, as I avowed At starting, is my object. Nay, we’ll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me! - Robert Browning

10. 4. Social Commentary Criticizes social habits, customs, attitudes, and problems in order to promote much-needed change in the individual or society.

11. A Song: ‘Men of England’ Men of England, wherefore plough For the lords who lay ye low? Wherefore weave with toil and care The rich robes your tyrants wear? Wherefore feed and clothe and save, From the cradle to the grave, Those ungrateful drones who would Drain your sweat -nay, drink your blood? Wherefore, Bees of England, forge Many a weapon, chain, and scourge, That these stingless drones may spoil The forced produce of your toil? Have ye leisure, comfort, calm, Shelter, food, love's gentle balm? Or what is it ye buy so dear With your pain and with your fear? The seed ye sow another reaps; The wealth ye find another keeps; The robes ye weave another wears; The arms ye forge another bears. Sow seed, -but let no tyrant reap; Find wealth, -let no imposter heap; Weave robes, -let not the idle wear; Forge arms, in your defence to bear. Shrink to your cellars, holes, and cells; In halls ye deck another dwells. Why shake the chains ye wrought? Ye see The steel ye tempered glance on ye. With plough and spade and hoe and loom, Trace your grave, and build your tomb, And weave your winding-sheet, till fair England be your sepulchre! - Percy Bysshe Shelley

12. 5. Light Verse Meant to entertain, amuse, or intrique, although it sometimes has a serious purpose behind its humour. Forms include limericks, parodies, epigrams, and satire. Satire mocks a person, idea, or social institution.

13. Edward Lear, Book of Nonsence There was an Old Man with a beard, Who said, "It is just as I feared!– Two Owls and a Hen, Four Larks and a Wren, Have all built their nests in my beard!" There was a Young Lady whose chin, Resembled the point of a pin: So she had it made sharp, And purchased a harp, And played several tunes with her chin.