1. CHAPTER 10 AND CHAPTER 11 CREATED BY TWO WONDERFUL FORMER STUDENTS!!! SOUND AND SENSE PROJECT

2. CHAPTER 10 - TONE Tone is defined as the writer’s or speaker’s attitude towards the subject, the audience, or himself/herself. Verbally, tone can make one phrase convey various emotional meanings. Ex. “I’m going to get married today.” “Hooray! I’m going to get married today!” – Ecstatic “Oh no! I’m going to get married today.” – Depressed “Might as well face it. I’m going to get married today.” – Resigned

3. CHAPTER 10 - TONE In poetry, understanding tone is highly important to understanding the overall meaning of a poem. There is no spoken voice in poetry so there are other tools that are used to determine a poem’s tone. They are: connotation, imagery, metaphor, irony, understatement, rhythm, sentence construction, and formal pattern.

4. CHAPTER 10 - TONE For a Lamb I saw on the slant hill a putrid lamb, Propped with daisies. The sleep looked deep. The face nudged in the green pillow But the guts were out for the crows to eat. Where’s the lamb? whose tender plaint Said all for the mute breezes. Say he’s in the wind somewhere, Say, there’s a lamb in the daisies. Richard Eberhart Example - The title suggests innocence, youth, and Christian symbolism. The word “ putrid ”, however, is in contrast to these implications. But, the words “ face ” and “ pillow ” once again revisit the idea of something more innocent. There is no doubt the lamb is dead. And in the second stanza, this truth is accepted. There is hope in the fact that the lamb might be “ in the wind somewhere ”. The speaker comes to terms with the fact that the animal is dead and will one day become part of the earth once again, “ in the daisies ”. Although, sad, the tone is realistic and resigned, rather than pessimistic.

5. CHAPTER 10 - TONE Apparently with no surprise To any happy flower, The frost beheads it at its play In accidental power. The blond assassin passes on, The sun proceeds unmoved To measure off another day For an approving God. Emily Dickinson Example - This poem is concerned with death. However, there is a contrast between happy and sad; “ happy flower ” and “ at its play ” with “ beheads it ”. Nothing else in nature seems to be disturbed by this death, though. The sun is “ unmoved ”. And God, whom is made out to be a benevolent force is “ approving ” of this death. The “ blond ” color of the assassin symbolizes innocence and potential. Usually assassins are associated with dark and dismal things. God would have created both the frost and the flower but yet feels no pain at their passing. This poem argues that death is inevitable. The tone of this poem is grim and horrific.

6. CHAPTER 10 - TONE At first glance, these poems appear to be highly similar. However, the difference in tone establishes the major difference between each poem. In order to ascertain the true tone of a poem, it is important to look within the story rather than just at the facts. Questions ?

7. CHAPTER 11 – MUSICAL DEVICES The poet often chooses a word for both sound as well as meaning. Edgar Allan Poe describes poetry as “music…combined with a pleasurable idea.” Repetition and variation are major facets of anything musical. People like the familiar as well as variety. People also like them combined. The poet, therefore, repeats certain sounds in certain combinations and arrangements. This adds a musical meaning to verse.

8. CHAPTER 11 – MUSICAL DEVICES The Turtle The turtle lives ‘twixt plated decks Which practically conceal its sex. I think it clever of the turtle In such a fix to be so fertile. Ogden Nash Example - Let us change just one word in the poem. If the word “ plight ” is substituted for “ fix ”, the line would read “In such a plight to be so fertile.” The words essentially mean the same thing. However, in changing just one word there is a huge difference in the quality of the poem. The x in “ fix ” resolves the hard consonant sound of x in “ sex ”. The f of “ fix ” is eventually repeated in the word “ fertile ”. Not only does using “ fix ” sound better, but it gives structure to the poem as well.

9. CHAPTER 11 – MUSICAL DEVICES Vocabulary: 1) Alliteration - the repetition of initial consonant sounds. ex. “safe and sound” 2) Assonance - the repetition of vowel sounds followed by different consonant sounds. ex. “mad as a hatter” 3) Consonance - the repetition of final consonant sounds. ex. “first and last” in the middle or end of the words “village/will” 4) End rime- rime where the riming words are at the ends of the lines. Twinkle, twinkle little star How I wonder what you are 5) Masculine rime - the repetition of the accented vowel sound and all succeeding sounds. ex. masculine (one syllable) “support” and “retort” 5) Feminine rime: repeated accented vowel is in either the second or third last syllable of the words (ceiling-appealing/ hurrying-scurrying) 6) Internal rime- rime where one or more riming words are within the line. ---- we waited for the trash and the camera’s flash /

10. 7) Approximate rime (slant rime, near rime, half rime…) - rime that includes words with any kind of sound similarity. 8) Refrain- repetition done according to some fixed pattern. *Especially popular in songlike poetry.

11. REFRAIN EXAMPLE: “I’LL MAKE A MAN OUT OF YOU” FROM MULAN Let's get down to business To defeat the Huns. Did they send me daughters When I asked for sons? You're the saddest bunch I ever met But you can bet before we're through Mister, I'll make a man Out of you. Tranquil as a forest But on fire within. Once you find your center You are sure to win. You're a spineless, pale pathetic lot And you haven't got a clue. Somehow I'll make a man Out of you. Chien-po: I'm never gonna catch my breath Yao: Say goodbye to those who knew me Ling: Boy, was I a fool in school for cutting gym Mushu: This guy's got them scared to death Mulan: Hope he doesn't see right through me Chien-po: Now I really wish that I knew how to swim [men] BE A MAN We must be swift as a coursing river [men] BE A MAN With all the force of a great typhoon [men] BE A MAN With all the strength of a raging fire Mysterious as the dark side of the moon Time is racing toward us 'til the Huns arrive. Heed my every order And you might survive. You're unsuited for the rage of war So pack up, go home you're through How could I make a man Out of you? [men] BE A MAN We must be swift as a coursing river [men] BE A MAN With all the force of a great typhoon [men] BE A MAN With all the strength of a raging fire Mysterious as the dark side of the moon [everyone]BE A MAN We must be swift as a coursing river BE A MAN With all the force of a great typhoon BE A MAN With all the strength of a raging fire Mysterious as the dark side of the moon Hoo-ah!

12. CHAPTER 11 – MUSICAL DEVICES Most readers will feel the effect of musical devices without necessarily being aware of what has caused the effect. Remember, though, that spelling is irrelevant when it comes to repetition. Sound is all that matters. Stressed or accented syllables are the syllables that make an impression on the ear to be considered significant to the sound pattern of the poem. Also, the sounds that are repeated must be close enough together so the reader remains aware, whether consciously or subconsciously, of the connection from the first occurrence to the second. The use of musical devices is not always necessary or valuable. Used sensibly, however, musical devices are pleasing to the ear, and provide yet another dimension to poetry. Questions ?

13. QUIZ Chapter 10 Answers 1)C 2)A 3)D Chapter 11 Answers 1)A 2)A 3)( anything with the repetition of initial consonant sounds ) 4)B

14. THANK YOU