SHARING SUKA SUKA

Tuesday 19 March 2013

APA SIH ITU POETRY ENGLISH SUBJECT

What Is Poetri

Poetry is as universal as language and almost as ancient. The most primitive peoples have used it, and the most civilized have cultivated it. In all age, and in all countries, poetry has been written _ and eagerly read or listened to _ by all kinds and conditions of people, by soldier, statesmen, lawyers, farmer, doctor, scientists, clergymen, philosophers, kings, and queens. In all ages it has been especially the concers of the educated, the intelegent, and the sensitive, and it has appealed, in its simpler forms, to the uneducated and to children. Poetry has given pleasure. People have read it or listened to it or recited it because they like it, because it gave them enjoyment.

Poetry in all ages has been regarded as importent , not simply as one of several alternative forms of amusement, as one men might choose bowling, another chess, and another poetry. Rather, it has been regared as something central to each man’s existance, something having unique value to the fully realized life, something that he is better off for having and spritually impoverished without. To understand the reason for this , we need to have at least a provisional understanding of what poetry is-provisional , because man has always more succesful at appreciating poetry than at defining it.

Poetry might be defined as a kind of language that says more and says it more intensely then does ordinary language. In order to understand this fully, we need to understand what it is that poetry “says. “ for language is employed on different to say quite different kinds of things; in other word, language has different uses.perhaps the commenest use of language is to communication information.

Poetry is not primarily to communicate information that novels and short stories and plays and poems are written. These exist to bring us a sense and perception of life, to widen and sharpen our contacts with existance. Their concern is with experience. We all have an inner need to live more deeply and fully and with greater awareness, to know the experience of other and to know better our own experience.

The poetry from his own store of felt, observed, or imagined experiences,selects, combines, and reorganizes. He creates significant new experience for the reader – significant because focused and formed – in which the reader can participate and thet he may use to give him a greater awareness and understanding of his world.

For instance, that we are intersted in eangles. If we want simply to acquire information about eangles, we may turn to an enclopedia or book of natural history. For the living eangle we must turn to literature.

Literature, than exist to communicate significant experience- significant because concerated and organized. Its function is not to tell us about experience but to allow us imaginatively to participate in it. It is mean of allowing us, through the imagination, to live more fully, more deeply, more richly, and with greater awareness.

Two false approaches often taken to poetry can be avoided if we keep this conception of literature firmly in mind. The first approach always looks for lesson or bit of moral intruction. The second expects to find poetry always beautiful.

Poetry takes all life as its province. Its primary concern is not with beauty , not with philosophical truth, not with persuation, but with experience. When person reads a poem and not experience is transmitted , either the poem is not a good poem or the reader is a poor reader or not properly tuned. With new poetry , we cannot always be sure which is at fault. With older poetry , if it has acquired critical acceptance - has been enjoyed by generation of good reader - we may assume that the receiving set is at fault. Fortunatly, the fault is not irremediable.

Poetry, finnaly, is a kind of multidimensional.ordinary language – the kind we use to communicate information – is one- dimensional. Poetry , which is language used to communicate experience , has at least four dimensions. Poetry, to the intelectual dimensions, adds a sensuous dimensions, an emotional dimensions, and imaginative dimensions.succesful poetry is effusive language.

BENTUK BENTUK UMUM POETRY COMMON FORM OF POETRY

Unknown 21:45:00 ENGLISH SUBJECT , pendidikan 0 Comments

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The Forms Of Poetry

Described below are some common forms of poetry widely used across a number of languages. Additional forms of poetry may be found in the discussions of poetry of particular cultures or periods and in the glossary.

1. Sonnet

Among the most common forms of poetry through the ages is the sonnet, which by the 13th century was a poem of fourteen lines following a set rhyme scheme and logical structure. By the 14th century, the form further crystallized under the pen of Petrarch, whose sonnets were later translated in the 16th century by Sir Thomas Wyatt, who is credited with introducing the sonnet form into English literature.[96] A sonnet's first four lines typically introduce the topic. A sonnet usually follows an a-b-a-b rhyme pattern. The sonnet's conventions have changed over its history, and so there are several different sonnet forms. Traditionally, in sonnets English poets use iambic pentameter, the Spenserian and Shakespearean sonnets being especially notable.[97] In the Romance languages, the hendecasyllable and Alexandrine are the most widely used meters, though the Petrarchan sonnet has been used in Italy since the 14th century.

Sonnets are particularly associated with love poetry, and often use a poetic diction heavily based on vivid imagery, but the twists and turns associated with the move from octave to sestet and to final couplet make them a useful and dynamic form for many subjects.[99] Shakespeare's sonnets are among the most famous in English poetry, with 20 being included in the Oxford Book of English Verse.

2. Shi

Shi (traditional Chinese: 詩; simplified Chinese: 诗; pinyin: shī; Wade–Giles : shih) Is the main type of Classical Chinese poetry.[101] Within this form of poetry the most important variations are "folk song" styled verse (yuefu), "old style" verse (gushi), "modern style" verse (jintishi). In all cases, rhyming is obligatory. The Yuefu is a folk ballad or a poem written in the folk ballad style, and the number of lines and the length of the lines could be irregular. For the other variations of shi poetry, generally either a four line (quatrain, or jueju) or else an eight line poem is normal; either way with the even numbered lines rhyming. The line length is scanned by according number of characters (according to the convention that one character equals one syllable), and are predominantly either five or seven characters long, with a caesura before the final three syllables. The lines are generally end-stopped, considered as a series of couplets, and exhibit verbal parallelism as a key poetic device.[102] The "old style" verse (gushi) is less formally strict than the jintishi, or regulated verse, which, despite the name "new style" verse actually had its theoretical basis laid as far back to Shen Yue, in the 5th or 6th century, although not considered to have reached its full development until the time of Chen Zi'ang (661-702)[103] A good example of a poet known for his gushi poems is Li Bai. Among its other rules, the jintishi rules regulate the tonal variations within a poem, including the use of set patterns of the four tones of Middle Chinese The basic form of jintishi (lushi) has eight lines in four couplets, with parallelism between the lines in the second and third couplets. The couplets with parallel lines contain contrasting content but an identical grammatical relationship between words. Jintishi often have a rich poetic diction, full of allusion, and can have a wide range of subject, including history and politics.[104][105] One of the masters of the form was Du Fu, who wrote during the Tang Dynasty (8th century).[106]

3. Villanelle

The villanelle is a nineteen-line poem made up of five triplets with a closing quatrain; the poem is characterized by having two refrains, initially used in the first and third lines of the first stanza, and then alternately used at the close of each subsequent stanza until the final quatrain, which is concluded by the two refrains. The remaining lines of the poem have an a-b alternating rhyme.[107] The villanelle has been used regularly in the English language since the late 19th century by such poets as Dylan Thomas,[108] W. H. Auden,[109] and Elizabeth Bishop.[110]

4. Tanka

Tanka is a form of unrhymed Japanese poetry, with five sections totalling 31 onji (phonological units identical to morae), structured in a 5-7-5 7–7 pattern.[111] There is generally a shift in tone and subject matter between the upper 5-7-5 phrase and the lower 7-7 phrase. Tanka were written as early as the Asuka period by such poets as Kakinomoto no Hitomaro, at a time when Japan was emerging from a period where much of its poetry followed Chinese form.[112] Tanka was originally the shorter form of Japanese formal poetry (which was generally referred to as "waka"), and was used more heavily to explore personal rather than public themes. By the tenth century, tanka had become the dominant form of Japanese poetry, to the point where the originally general term waka ("Japanese poetry") came to be used exclusively for tanka. Tanka are still widely written today.[113]

5. Haiku

Haiku is a popular form of unrhymed Japanese poetry, which evolved in the 17th century from the hokku, or opening verse of a renku.[114] Generally written in a single vertical line, the haiku contains three sections totalling 17 onji, structured in a 5-7-5 pattern. Traditionally, haiku contain a kireji, or cutting word, usually placed at the end of one of the poem's three sections, and a kigo, or season-word.[115] The most famous exponent of the haiku was Matsuo Bashō (1644–1694). An example of his writing:[116]

6. Ode

Odes were first developed by poets writing in ancient Greek, such as Pindar, and Latin, such as Horace. Forms of odes appear in many of the cultures that were influenced by the Greeks and Latins.[117] The ode generally has three parts: a strophe, an antistrophe, and an epode. The antistrophes of the ode possess similar metrical structures and, depending on the tradition, similar rhyme structures. In contrast, the epode is written with a different scheme and structure. Odes have a formal poetic diction, and generally deal with a serious subject. The strophe and antistrophe look at the subject from different, often conflicting, perspectives, with the epode moving to a higher level to either view or resolve the underlying issues. Odes are often intended to be recited or sung by two choruses (or individuals), with the first reciting the strophe, the second the antistrophe, and both together the epode.[118] Over time, differing forms for odes have developed with considerable variations in form and structure, but generally showing the original influence of the Pindaric or Horatian ode. One non-Western form which resembles the ode is the qasida in Persian poetry.[119]

7. Ghazal

The ghazal (also ghazel, gazel, gazal, or gozol) is a form of poetry common in Arabic, Persian, Turkish, Azerbaijani, Urdu and Bengali poetry. In classic form, the ghazal has from five to fifteen rhyming couplets that share a refrain at the end of the second line. This refrain may be of one or several syllables, and is preceded by a rhyme. Each line has an identical meter. The ghazal often reflects on a theme of unattainable love or divinity.[120]

As with other forms with a long history in many languages, many variations have been developed, including forms with a quasi-musical poetic diction in Urdu.[121] Ghazals have a classical affinity with Sufism, and a number of major Sufi religious works are written in ghazal form. The relatively steady meter and the use of the refrain produce an incantatory effect, which complements Sufi mystical themes well.[122] Among the masters of the form is Rumi, a 13th-century Persian poet who lived in Konya, in present-day Turkey.[123]

MAKALAH TENTANG HOW TO READ THE POEM

Unknown 21:40:00 ENGLISH SUBJECT , pendidikan 0 Comments

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CHAPTER I

INTRODUCTION

A. Background

Reading poetry well is part attitude and part technique. Curiosity is a useful attitude, especially when it’s free of preconceived ideas about what poetry is or should be. Effective technique directs your curiosity into asking questions, drawing you into a conversation with the poem.

In Great Books programs, the goal of careful reading is often to take up a question of meaning, an interpretive question that has more than one answer. Since the form of a poem is part of its meaning (for example, features such as repetition and rhyme may amplify or extend the meaning of a word or idea, adding emphasis, texture, or dimension), we believe that questions about form and technique, about the observable features of a poem, provide an effective point of entry for interpretation. To ask some of these questions, you’ll need to develop a good ear for the musical qualities of language, particularly how sound and rhythm relate to meaning. This approach is one of many ways into a poem.

Poems speak to us in many ways. Though their forms may not always be direct or narrative, keep in mind that a real person formed the moment of the poem, and it’s wise to seek an understanding of that moment. Sometimes the job of the poem is to come closer to saying what cannot be said in other forms of writing, to suggest an experience, idea, or feeling that you can know but not entirely express in any direct or literal way. The techniques of word and line arrangement, sound and rhythm, add to—and in some cases, multiply—the meaning of words to go beyond the literal, giving you an impression of an idea or feeling, an experience that you can’t quite put into words but that you know is real.

B. Problem Statment

1. What is the reading ?

2. What is the poem ?

3. How to the reading a poem ?

C. Distinations

1. Reader know definition of reading.

2. Reader know definition of poem.

3. Reader can explain how to read the poem.

CHAPTER II

DISCUSSION

A. Definition

1. Definition Reading

Reading is a complex cognitive process of decoding symbols in order to construct or derive meaning (reading comprehension). It is a means of language acquisition, of communication, and of sharing information and ideas. Like all language, it is a complex interaction between the text and the reader which is shaped by the reader’s prior knowledge, experiences, attitude, and language community which is culturally and socially situated. The reading process requires continuous practice, development, and refinement.

Readers use a variety of reading strategies to assist with decoding (to translate symbols into sounds or visual representations of speech) and comprehension. Readers may use morpheme, semantics, syntax and context clues to identify the meaning of unknown words. Readers integrate the words they have read into their existing framework of knowledge or schema (schemata theory).

2. Definition Poetry

a. A verbal composition designed to convey experiences, ideas, or emotions in a vivid and imaginative way, characterized by the use of language chosen for its sound and suggestive power and by the use of literary techniques such as meter, metaphor, and rhyme.

b. A composition in verse rather than in prose.

c. A literary composition written with an intensity or beauty of language more characteristic of poetry than of prose.

d. A creation, object, or experience having beauty suggestive of poetry.

B. How to The Reading The Poem

The primary purpose of this book is to develop your ability to understand and appreciate poetry. Here some preliminary suggestions :

1. Read the poem more than once. A good pem will no more yield its full meaning on single reading that will a beethoven sympony on a single hearing. Two readings may be necessery simply to let you get your hearings. And if the poem is a work of art, it will repay repeated and prolonged examinatio. One does not listen to a good piece of music once and forget it ; one does not look at a good painting once and throw it away. A poem is not like a newspaper , to be hastily read and cast into the wastebasket. It is to be hung on the wall of one’s mind.

2. Keep a dictionaryby you and use it. It s futile to try to understand poetry without troubling to learn the meanings of the words of which is composed. One might as well attempt to play tennis without a ball. One of your primary purposes while in college should be to build a good vocabulary, and the study of poetry gives you an exelent opportunity. A few other reference books will also be invaluable. Particularly desireble are a good book on mythology and a bibble.

3. Read so as to hear the sounds of the words in your mind. Poetry is written to be heard : its meanings are conveyed through sound as well as trough print. Every word therefore importent. The best way to read a poem is just the opposite of the best way to read a newspaper. One reads a newspaper as rapidly as he can one should read a poem as slowly as he can. When you cannot read a poem aloud, lip-read it : form the words with your tongue and mouth though you do not utter them. With ordinary material , lip reading is a bad habit ; with poetry it is a good habit.

4. Always pay careful attention to what the poem is saying. Though one should be consious of the sound of the poem, he should never be so exclusively conscious of them that he pays no attention to what the poem means. For some readers reading a poem is like getting on board a rhythmical roller coaster. The car stars, and off they go , up and down paying no attention to the landscape flashing past them, arriving at the and the poem breatless, with no idea of what it has been about. This is the wrong way to read a poem . one should make the utmost effort to follow the through continuously and to grasp the full implications and suggestions. Because, a poem says so much , several readings may be necessary, but on the very first reading one should determine which noun goes with which verb.

5. Practice reading poems aloud. When you find one you especially like, make your roomate or a friend listen to it. Try to read it to him in such a way that the will like it too.

a. Read it affectionately, but not affecdly. The two extremes oral readers often fall into are equally deadly. One is to read as if one were reading a tax report or a railroad timetable, unexpressively, in a monotone. The other is to elocute , with artificial flourishes and vocal historionics. It is not necessery the put emotions into reading the poem.the emotions is already there. It only wants a fair chance to get out. It will expresitself if the poem is read naturally and sensitively.

b. Of the two extremes, reading too fast offers greater danger than reading to slow.

c. Read the poem so that the rhythmical pattern is felt but not exaggerated . Remember that poetry is written in sentence , just as prose is, and that punctuation is a signal as to how it should be read. Give all gramatical pauses their full due. Do not distort the natural pronunciation of words or a normal accentuation of the sentence to fit into what you have decided is its metrical pattern.

CHAPTER III

CLOSING

A. Conclution

1. Reading is a complex cognitive process of decoding symbols in order to construct or derive meaning (reading comprehension). It is a means of language acquisition, of communication, and of sharing information and ideas.

2. A verbal composition designed to convey experiences, ideas, or emotions in a vivid and imaginative way, characterized by the use of language chosen for its sound and suggestive power and by the use of literary techniques such as meter, metaphor, and rhyme.

3. The primary purpose of this book is to develop your ability to understand and appreciate poetry. Here some preliminary suggestions :

- Read the poem more than once

- Keep a dictionary by you and use it

- Read so as to hear the sounds of the words in your mind

- Always pay careful attention to what the poem is saying

- Practice reading poems aloud

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.