Poetry
Group 1
Name : SRN :
1. Ita
Riyanti 2113003
2.Andri
Saputra 2113004
3.Windi
Virginia 2113006
4.Neli
Suryani 2113009
a. Poetry
Robert
Burns (1759 - 1796)
A Red,
Red Rose
O My
Luve's like a red, red rose,
That's
newly sprung in June;
O My
Luve's like a melodie
That's
sweetly played in tune.
As fair
art though, my bonnie lass,
So deep
in luve am I;
And I
will luve thee still, my dear,
Till a'
the seas gang dry.
Definition:
Poetry is an imaginative awareness of
experience expressed through meaning, sound, and rhythmic language choices so
as to evoke an emotional response. Poetry has been known to employ meter and
rhyme, but this is by no means necessary. Poetry is an ancient form that has
gone through numerous and drastic reinvention over time. The very nature of
poetry as an authentic and individual mode of expression makes it nearly
impossible to define.
Poetry is a form of literature that uses aesthetic and rhythmic[1][2][3] 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 figures of
speech such as 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,[5] playing with and
testing, among other things, the principle of euphony itself, sometimes
altogether forgoing rhyme or set rh
Examples in Poetry
“Hope is the thing with feathersThat perches in the soul,
And sings the tune–without the words,
And never stops at all,
“And sweetest in the gale is heard;
And sore must be the storm
That could abash the little bird
That kept so many warm.
“I’ve heard it in the chilliest land,
And on the strangest sea;
Yet, never, in extremity,
It asked a crumb of me.”
(Emily Dickinson)
In the poem given above, Emily Dickinson has remarkably made use of the tool of extended metaphor by comparing “hope” with the “little bird”.
Example
“But soft! What light through yonder window breaks?
It is the East, and Juliet is the sun!
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief.”
(Shakespeare’s Romeo and Juliet)
Here again, Shakespeare has made use of extended metaphor by comparing “Juliet” with the “sun”.
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