how poems come about 2

Universidade Federal da Bahia

POESIA DE LÍNGUA INGLESA

Ivana

Lidiane

Ranulfo

HOW POEMS COME ABOUT:

INTENTION AND MEANING. Understanding poetry p. 464-492

“The most unfailing herald,

companion, and follower of the

awakening of a great people to

work a beneficial change in

opinion or institution, is

poetry.”

(Percy Bysshe Shelley, 1891)

How poems come about: intention and meaning.

The interest is in the origin of

the poem and its quality.

The materials and the process

whereby the poem is made.

How poems come about: intention and meaning

MATERIALS:

The Language

Literary Convention

Ideas

Personal experiences

How poems come about: intention and meaning

THE LANGUAGE

The poet uses language arranged in lines,

with a regular rhythm and often a definite

rhyme scheme. These words chosen by

poets to convey their ideas, guide our

reactions.

“The English of one time is not like the

English of another.”


LITERARY CONVENTION

Is a traditional rule or practice, the

use of accepted forms or structures

such as verse form, rhythm and

rhyme in poetry, the features of the

ballad form (a story told in verse and

usually meant to be sung), etc.


PETHARCHAN CONVENTION:

Began in Italy in the thirteenth century, and,

under the later influence of the Italian poet Petrarch, became internationally popular. Petrarch also established the convention of the sonnet sequence as a series of love poems written by an adoring lover to an unattainable and unapproachable lady of unsurpassed beauty. The Petrarchan sonnet convention, in other words, established, not merely the form of the poem, but also the subject matter.

BLAME NOT MY CHEEKS

Blame not my cheeks, though pale with love they be; The kindly heat into my heart is flown To cherish it that is dismayed by thee,

Who art so cruel and unstedfast grown. For nature, called for by distressed hearts,

Neglects and quite forsakes the outer parts.

But they whose cheeks with careless blood are stained, Nurse not one spark of love within their hearts;

And when they woo they speak with passion feigned, For their fat love lies in their outward parts;

But in their breasts, where Love his court should hold, Poor Cupid sits and blows his nails for cold.

THOMAS CAMPION


CONVENTION OF THE PASTORAL

ELEGY

Class of literature that presents the society

of shepherds as free from the complexity

and corruption of city life. Many of the idylls

written in its name are far remote from the

realities of any life, rustic or urban.


A distinct kind of elegy is the pastoral elegy, which borrows the classical convention of representing its subject as an idealized shepherd in an idealized pastoral background and follows a rather formal pattern. It begins with an expression of grief and an invocation to the Muse to aid the poet in expressing his suffering.


Milton composed a pastoral elegy called

Lycidas, which commemorates the death

of a fellow student at Cambridge, Edward

King, who drowned while crossing the Irish

Sea.

LYCIDAS

Et once more, O ye Laurels, and once more Ye Myrtles brown, with Ivy, never sea I com to pluck your Berries harsh and crude, And with forc'd fingers rude, Shatter your leaves before the mellowing year. Bitter constraint, and sad occasion dear, Compels me to disturb your season due: For Lycidas is dead, dead ere his prime, Young Lycidas, and hath not left his peer: Who would not sing for Lycidas? he knew

Himself to sing, and build the lofty rhyme. He must not flote upon his watry bear Unwept, and welter to the parching wind, Without the meed of som melodious tear.

MR, John Milton


IDEAS

“A poet may do something original with the

ideas available to him.”

“The ideas are conditioned by his time.”


PERSONAL EXPERIENCES

“ Sometimes, very often in fact, the event in

a poem are fictitious, are products of

imagination. But the imagination is not

entirely free; it is conditioned, too by the

experience of the poet.”


London, London

Caetano Veloso

Composição: Caetano Veloso

I'm wandering round and round, nowhere to go I'm lonely in London, London is lovely so I cross the streets without fear Everybody keeps the way clear I know I know no one here to say hello I know they keep the way clear I am lonely in London without fear I'm wandering round and round, nowhere to go While my eyes go looking for flying saucers in the sky


Oh Sunday, Monday, Autumn pass by me And people hurry on so peacefully A group approaches a policeman He seems so pleased to please them It's good at least, to live and I agree He seems so pleased, at least And it's so good to live in peace And Sunday, Monday, years, and I agree While my eyes go looking for flying saucers in the sky (2x) I choose no face to look at, choose no way I just happen to be here, and it's ok Green grass, blue eyes, grey sky (2x) God bless silent pain and happiness I came around to say yes, and I say While my eyes go looking for flying saucers in the sky


PROCESS OF COMPOSITION

What do we mean by the process of

composition?

-Does it begin when the poet first takes a pen in hand?

-Does it begin when, without necessarily intending a poem, he begins to think about the material and try to interpret it?

-Does it really matter which view we take?


A POEM MAY START FROM

-Personal experience of the poet;

-A general idea;

-Theme;

-Seek episodes and images to embody it;

-From a story, an episode or a situation heard or read.


NATURE OF POEM PROCESS

-Some poets work very slowly and carefully

-Some poets work by fits and stanzas trust in to the suggestion of the moment

-Some poets have been dreamed up in an instant

-Some have required years of thought


SORTS OF WAYS OF COMPOSITION

-Robert Frosts, poems come spontaneously without effort

-Sheakespeare, apparently composed with great speed and fluency, and did a little revision

-Dryden, the thoughts outran the pen

-Bonnard, all the words seemed to crowd in at the same time, so he had the impression of having a thousands voices

-A. E. Housman, one part of the same poem may be composed in almost a flash and another part may require long and tedius efforts.


I hoed and trenched and weeded,

And took the flowers to fair:

I brought them home unheeded;

The hue was not the wear.

So up and down I sow them

For lads like me to find,

When I shall lie below them,

A dead man out of mind.

Some seed the birds devour,

And some the season mars,

But here and there will flower

The solitary stars,

And fields will yearly bear them

As light-leaved spring comes on,

And luckless lads will wear them

When I am dead and gone.


Be on Your Way I’m so sad. I ache for love.

You weren’t the one who could give it.

You had your chance. You made cry.

A consequence is

That now there is no turning back.

What I say you seem to reject

When you feel sorry for yourself

Claiming you’re always correct?

I can forgive; I won’t forget:

Nobody’s perfect.

Please leave. There is no need to plead.

I’ve already decided.

Now you’re free, to be who you’ll be.

Meet your destiny.

Be on your way. Be happy.

We won’t have to wake with this ache any more.

Be on your way, baby now we are free,

And our lives can go on as before.

how poems come about 2

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