SHARING SUKA SUKA

CHAPTER I

INTRODUCTION

A. BACKGROUND

In order to increase knowledge in teaching and learning the we can perform activity of making paper group. We hope this paper can on oportunity for us to be more creative and capable be a lesson to active better permomance.

One of the main issues we disccur is “POETRY” in wich as associated with various kinds of things; nature of poetry, sound in poetry and poetry and form.

Basically the main things that we disccurs consists of two namely is history of poetry, and the earliest english poetry. Most hearing impaired students do not progres past a 6th grade poetry level. we do this several times until the student actually tell the story accurately.

And we hope after disscusing the two things above can provide for all readers benefit, especially for my own,and we also realize that the paper this still from perfection.

B. PROBLEM STATEMEN

1. What is poetry ?

2. What is different old english poetry and english poetry now ?

3. How the history about poetry ?

CHAPTER II

DISCUSSION

A. English poetry

This article is about the art form. For other uses, see Poetry (disambiguation).

"Poem", "Poems", and "Poetic" redirect here. For other uses, see Poem (disambiguation), Poems (disambiguation), and Poetic (disambiguation).

Poetry (from the Greek poiesis — ποίησις — with a broad meaning of a "making", seen also in such terms as "hemopoiesis"; more narrowly, the making of poetry) is a form of literary art which uses aesthetic and rhythmic qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning.

Poetry has a long history, dating back to the Sumerian Epic of Gilgamesh. Early poems evolved from folk songs such as the Chinese Shijing, or from a need to retell oral epics, as with the Sanskrit Vedas, Zoroastrian Gathas, and the Homeric epics, the Iliad and the Odyssey. Ancient attempts to define poetry, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama, song and comedy. Later attempts concentrated on features such as repetition, verse form and rhyme, and emphasized the aesthetics which distinguish poetry from more objectively-informative, prosaic forms of writing. From the mid-20th century, poetry has sometimes been more generally regarded as a fundamental creative act employing language.

Poetry uses forms and conventions to suggest differential interpretation to words, or to evoke emotive responses. Devices such as assonance, alliteration, onomatopoeia and rhythm are sometimes used to achieve musical or incantatory effects. The use of ambiguity, symbolism, irony and other stylistic elements of poetic diction often leaves a poem open to multiple interpretations. Similarly, metaphor, simile and metonymy ^[4] create a resonance between otherwise disparate images—a layering of meanings, forming connections previously not perceived. Kindred forms of resonance may exist, between individual verses, in their patterns of rhyme or rhythm.

Some poetry types are specific to particular cultures and genres and respond to characteristics of the language in which the poet writes. Readers accustomed to identifying poetry with Dante, Goethe, Mickiewicz and Rumi may think of it as written in lines based on rhyme and regular meter; there are, however, traditions, such as Biblical poetry, that use other means to create rhythm and euphony. Much modern poetry reflects a critique of poetic tradition, playing with and testing, among other things, the principle of euphony itself, sometimes altogether forgoing rhyme or set rhythm. In today's increasingly globalized world, poets often adapt forms, styles and techniques from diverse cultures and languages.

1. Nature of poetry

Poetry can be differentiated most of the time from prose, which is language meant to convey meaning in a more expansive and less condensed way, frequently using more complete logical or narrative structures than poetry does. This does not necessarily imply that poetry is illogical, but rather that poetry is often created from the need to escape the logical, as well as expressing feelings and other expressions in a tight, condensed manner. English Romantic poet John Keats termed this escape from logic Negative Capability. A further complication is that prose poetry combines the characteristics of poetry with the superficial appearance of prose, such as in Robert Frost's poem, "Home Burial." Other forms include narrative poetry and dramatic poetry, both of which are used to tell stories and so resemble novels and plays. However, both these forms of poetry use the specific features of verse composition to make these stories more memorable or to enhance them in some way.

What is generally accepted as "great" poetry is debatable in many cases. "Great" poetry usually follows the characteristics listed above, but it is also set apart by its complexity and sophistication. "Great" poetry generally captures images vividly and in an original, refreshing way, while weaving together an intricate combination of elements like theme tension, complex emotion, and profound reflective thought. For examples of what is considered "great" poetry, visit the Pulitzer prize and Nobel prize sections for poetry.

The Greek verb ποιεω [poiéo (= I make or create)], gave rise to three words: ποιητης [poiet?s (= the one who creates)], ποιησις [poíesis (= the act of creation)] and ποιημα [poíema (= the thing created)]. From these we get three English words: poet (the creator), poesy (the creation) and poem (the created). A poet is therefore one who creates and poetry is what the poet creates. The underlying concept of the poet as creator is not uncommon. For example, in Anglo-Saxon a poet is a scop (shaper or maker) and in Scots makar.

2. Sound in poetry

Perhaps the most vital element of sound in poetry is rhythm. Often the rhythm of each line is arranged in a particular meter. Different types of meter played key roles in Classical, Early European, Eastern and Modern poetry. In the case of free verse, the rhythm of lines is often organized into looser units of cadence.

Poetry in English and other modern European languages often uses rhyme. Rhyme at the end of lines is the basis of a number of common poetic forms, such as ballads, sonnets and rhyming couplets. However, the use of rhyme is not universal. Much modern poetry, for example, avoids traditional rhyme schemes. Furthermore, Classical Greek and Latin poetry did not use rhyme. In fact, rhyme did not enter European poetry at all until the High Middle Ages, when it was adopted from the Arabic language. The Arabs have always used rhymes extensively, most notably in their long, rhyming qasidas. Some classical poetry forms, such as Venpa of the Tamil language, had rigid grammars (to the point that they could be expressed as a context-free grammar), which ensured a rhythm. Alliteration played a key role in structuring early Germanic and English forms of poetry (called alliterative verse), akin to the role of rhyme in later European poetry. The alliterative patterns of early Germanic poetry and the rhyme schemes of Modern European poetry alike both include meter as a key part of their structure, which determines when the listener expects instances of rhyme or alliteration to occur. In this sense, both alliteration and rhyme, when used in poetic structures, help to emphasise and define a rhythmic pattern. By contrast, the chief device of Biblical poetry in ancient Hebrew was parallelism, a rhetorical structure in which successive lines reflected each other in grammatical structure, sound structure, notional content, or all three; a verse form that lent itself to antiphonal or call- and-response performance.

In addition to the forms of rhyme, alliteration and rhythm that structure much poetry, sound plays a more subtle role in even free verse poetry in creating pleasing, varied patterns and emphasising or sometimes even illustrating semantic elements of the poem. Devices such as alliteration, assonance, consonance, dissonance and internal rhyme are among the ways poets use sound. Euphony refers to the musical, flowing quality of words arranged in an aesthetically pleasing way.

3. Poetry and form

Compared with prose, poetry depends less on the linguistic units of sentences and paragraphs, and more on units of organisation that are purely poetic. The typical structural elements are the line, couplet, strophe, stanza, and verse paragraph.

Lines may be self-contained units of sense, as in the well-known lines from William Shakespeare's Hamlet:

To be, or not to be: that is the question.

Alternatively a line may end in mid-phrase or sentence:

Whether 'tis nobler in the mind to suffer

this linguistic unit is completed in the next line,

The slings and arrows of outrageous fortune.

This technique is called enjambment, and is used to create a sense of expectation in the reader and/or to add a dynamic to the movement of the verse.

In many instances, the effectiveness of a poem derives from the tension between the use of linguistic and formal units. With the advent of printing, poets gained greater control over the visual presentation of their work. As a result, the use of these formal elements, and of the white space they help create, became an important part of the poet's toolbox. Modernist poetry tends to take this to an extreme, with the placement of individual lines or groups of lines on the page forming an integral part of the poem's composition. In its most extreme form, this leads to the writing of concrete .

C. History of Poetry

The history of English poetry stretches from the middle of the 7th century to the present day. Over this period, English poets have written some of the most enduring poems in Western culture, and the language and its poetry have spread around the globe. Consequently, the term English poetry is unavoidably ambiguous. It can mean poetry written in England, or poetry written in the English language.

In the 21st century, only a small percentage of the world's native English speakers live in England, and there is also a vast population of non-native speakers of English who are capable of writing poetry in the language. A number of major national poetries, including the American, Australian, New Zealand, Canadian and Indian poetry have emerged and developed. Since the establishment of the Irish Republic in 1922, only poets from Northern Ireland are now British.

C. The earliest English poetry

1. Old English poetry

"Old English literature" (sometimes referred to as "Anglo-Saxon literature") encompasses literature written in Old English (also called Anglo-Saxon) in Anglo-Saxon England from the 7th century to the decades after the Norman conquest of Norman Conquest of 1066. "Cædmon's Hymn", composed in the 7th century according to Bede, is often considered the oldest extant poem in English, whereas the later poem, The Grave is one of the final poems written in Old English, and presents a transitional text between Old and Middle English.^[1] Likewise, the Parker Chronicle continues until the 12th century.

The poem Beowulf, which often begins the traditional canon of English literature, is the most famous work of Old English literature. The Anglo-Saxon Chronicle has also proven significant for historical study, , Old English literature consists of: sermons and saints' lives, biblical translations; translated Latin works of the early Church Fathers; Anglo-Saxon chronicles and narrative history preserving a chronology of early English history.

In descending order of quantity works; laws, wills and other legal works; practical works on grammar, medicine, geography; and poetry.^[2] In all there are over 400 surviving manuscripts from the period, of which about 189 are considered "major".^[3]

Alongside, Old English literature, Anglo-Saxons wrote a number of Anglo-Latin works.

Much of the poetry of the period is difficult to date, or even to arrange chronologically; for example, estimates for the date of the great epic Beowulf range from AD 608 right through to AD 1000, and there has never been anything even approaching a consensus.^[2] It is possible to identify certain key moments, however. The Dream of the Rood was written before circa AD 700, when excerpts were carved in runes on the Ruthwell Cross.^[3] Some poems on historical events, such as The Battle of Brunanburh (937) and The Battle of Maldon (991), appear to have been composed shortly after the events in question, and can be dated reasonably precisely in consequence.

By and large, however, Anglo-Saxon poetry is categorised by the manuscripts in which it survives, rather than its date of composition. The most important manuscripts are the four great poetical codices of the late 10th and early 11th centuries, known as the Cædmon manuscript, the Vercelli Book, the Exeter Book, and the Beowulf manuscript.

While the poetry that has survived is limited in volume, it is wide in breadth. Beowulf is the only heroic epic to have survived in its entirety, but fragments of others such as Waldere and the Finnesburg Fragment show that it was not unique in its time. Other genres include much religious verse, from devotional works to biblical paraphrase; elegies such as The Wanderer, The Seafarer, and The Ruin (often taken to be a description of the ruins of Bath); and numerous proverbs, riddles, and charms.

With one notable exception (Rhyming Poem), Anglo-Saxon poetry depends on alliterative verse for its structure and any rhyme included is merely ornamental.

2. English poetry now

The last three decades of the 20th century saw a number of short-lived poetic groupings, including the Martians, along with a general trend towards what has been termed 'Poeclectics', namely an intensification within individual poets' oeuvres of "all kinds of style, subject, voice, register and form". There has also been a growth in interest in women's writing, and in poetry from England's minorities, especially the West Indian community. Performance poetry has gained popularity, fuelled by the poetry slam movement. Poets who emerged in this period include Carol Ann Duffy, Andrew Motion, Craig Raine, Wendy Cope, James Fenton, Blake Morrison, Liz Lochhead, Linton Kwesi Johnson and Benjamin Zephaniah.

Even more recent activity focused around poets in Bloodaxe Books' The New Poetry, including Simon Armitage, Kathleen Jamie, Glyn Maxwell, Selima Hill, Maggie Hannan, Michael Hofmann and Peter Reading. The New Generation movement flowered in the 1990s and early 2000s, producing poets such as Don Paterson, Julia Copus, John Stammers, Jacob Polley, K M Warwick, David Morley and Alice Oswald. A new generation of innovative poets has also sprung up in the wake of the Revival grouping, notably Caroline Bergvall, Tony Lopez, Allen Fisher and Denise Riley.^[15] There has been, too, a remarkable upsurge^[^{citation
needed}^] in independent and experimental poetry pamphlet publishers such as Barque, Flarestack, Heaventree and Perdika Press. Throughout this period, and to the present, independent poetry presses such as Enitharmon have continued to promote original work from (among others) Dannie Abse, Martyn Crucefix and Jane Duran.

D. CHARACTERISTIC

1. Imagery

Imagery is something concrete, like a sight, smell or taste. Imagery describes what the poet sees, hears or otherwise senses, be it a literal image or one that exists in his mind. Visual imagery, which describes what the poet sees, is the most common type of image in poetry. It creates a picture that the reader or listener can see in his mind.

2. Punctuation and Format

The punctuation and format of the poem deal with how it is arranged on the page and how the author intends for you to read it. For example, if a poem has frequent line breaks and short stanzas, it forces you to read it in a different rhythm than if it were arranged in longer stanzas with fewer breaks. To better understand this concept, read poetry aloud instead of in your head; when you read poetry, or listen to the poet read his own work, you see the impact of the format.

3. Meter

The meter of a poem is the rhythm or pattern of speech with which you read it, and it doesn't happen by accident. Poets utilize different meters to give their poetry different rhythms, which have technical names like iambic pentameter or spondaic heptameter. These names function like measurements for poetry -- a poem's rhythm and meter can be broken down and analyzed according to measurements like these.

4. Figures of Speech

Figures of speech, or figurative language, are ways of describing or explaining things in a non-literal or non-traditional way. For example, a metaphor describes something by likening it to something else: "His touch was a lightning strike." The author doesn't mean that the touch was literally a lightning strike, but rather that it produced feelings of heightened excitement and charged emotions. Other figures of speech may include hyperbole, which is a frequently humorous exaggeration that hints at a larger truth. The quote "I ran faster than a cheetah" is an example of hyperbole. The mention of object to symbolize or represent something else is also hyperbole.

5. Sounds

Poets utilize different sounds and tones throughout poetry to change the way it sounds. For example, the poet may use alliteration, which is when multiple consecutive words start with the same letter. For example, he may write, "Pretty pugs playfully prance on the promenade." The poet may choose his letters to give the poem a soft or sharp sound, as well. For example, choosing words that use "soft" consonants like f, m, and w produces a different sound than words with "hard" consonants like d, k, t and z.

CHAPTER III

CLOSING

A. Conclution

The earliest known English poem is a hymn on the creation; Bede attributes this to Cædmon (fl. 658–680), who was, according to legend, an illiterate herdsman who produced extemporaneous poetry at a monastery at Whitby. This is generally taken as marking the beginning of Anglo-Saxon poetry, and The last three decades of the 20th century saw a number of short-lived poetic groupings, including the Martians, along with a general trend towards what has been termed 'Poeclectics', namely an intensification within individual poets' oeuvres of "all kinds of style, subject, voice, register and form.

B. Suggestion

And do not forget we also give advice with the completion of this paper is we hope thet the lecturer who taught us that continue to guide us, and we are also very much hope to lecturer and friend in order to provide input to further improve and refine this paper.