Audio Transcript Auto-generated
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So today we're talking about musical devices and poetry.
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Poetry makes the most of the musical qualities present in
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language. In many cases, the poet chooses certain words because
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of how they sound in addition to their meaning.
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And sometimes the sounds helped to reinforce the meaning being
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conveyed as well.
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Two key elements to poetry that are also found in
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music are the combined use of repetition balanced with variation.
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We like the familiar.
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We like variety, and we really like it when their
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combined. If we get too much sameness, the result is
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monotony and tedium.
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But if we get too much variety, the result is
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potential confusion.
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Because nothing is familiar.
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This is why a music composer repeat certain musical tones
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and why songs have a repeated chorus.
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In a similar way.
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A poet may repeat certain sounds in a certain combination
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or arrangement on the poem takes on a musical quality
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In a really good poem, the use of repetition will
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serve several purposes.
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It will please the ear.
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It will emphasize the words and therefore meaning in which
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the repetition occurs, and it will give structure to the
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poem. There are three types of repetition and language that
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a poet can turn Thio.
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The first type is a liberation, which is defined as
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the repetition of initial constant sounds.
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For example, take the phrase tried and true, where the
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alliteration occurs with the repetition of those initial T sounds,
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safe and sound or rhyme and reason or other common
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examples of the literature of phrases.
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The second type of repetition is abstinence, defined as the
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repetition of vowel sounds.
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Take the phrase free and easy.
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For example, where the vowel sound of E is repeated,
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the final type is continents, which occurs when final continent
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sounds and words are repeated.
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For example, first and last where the final T sound
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is repeated or take short and sweet, these three types
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of repetition may be used alone or in combination.
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For example, the phrase thick and thin uses both alliteration
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and assessments.
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The phrase fit as a fiddle is another example, which
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combines the two types with alliteration and accidents, both occurring
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in the phrase We can see a liberation and continents
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being combined in phrases such as crisscross and last, but
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not least, rhyme.
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On the other hand is the repetition of the accented
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vowel sound and any continent sounds that come after it.
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There are three primary types of rhymes too familiar self
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with. The first is internal rhyme, which is when one
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or more rhyming words are within the line.
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Edgar Allan Poe's famous poem The Raven, uses internal rhyme
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in addition to end rhyme.
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The poem begins once upon a midnight dreary, while I
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pondered weak and weary and that very first line we
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can see and hear the use of the internal rhyme
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with the repeated sounds from the words dreary and weary.
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Ah, couple of lines later, we come across these lines
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while I nodded, nearly napping.
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Suddenly there came a tapping as of someone gently rapping,
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rapping at my chamber door.
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Several times, the internal rhyme of the APP sound comes
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through the use of the word snapping, tapping and wrapping.
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The most common type of rhyming pattern is the end
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rhyme, where the rhyming words occur at the ends of
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lines and rhyme is quite prominent in Frost poem stopping
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by Woods on a snowy evening, where in the first
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stands that we come, we come across thes rind lines
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whose woods these are.
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I think I know his house is in the village,
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though he will not see me stopping here to watch
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his would spill up with snow the 1st, 2nd and
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4th lines around with a repetition of the O sound.
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These air considered perfect rhymes where each repetition of the
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sound is exactly the same.
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But sometimes that's not always the case.
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And that's where our final category comes into play, which
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is termed Slant Run or an approximate run.
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Ah, slant run is an approximate or near rhyme where
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the words share a similarity, but the run isn't exact.
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W. B.
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Yates, one of the most influential poets of the 20th
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century, was one of the first poets to use slant
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rhyme in his work.
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In Sailing to Byzantium, he suddenly use a slant rhyme
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in the words young song and Long.
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The three don't run completely, but they share the same
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vowels. For example, that is no country for old men,
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the young and one another's arms, birds in the trees,
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those dying generations at their song, The Salmon Falls, the
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macro crowded sees fish, flesh or foul commend all summer
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long. There are a lot more types of rhymes and
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sound repetitions than the ones I've covered today.
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But our goal is not to become too bogged down
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in the technicalities.
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The terminology.
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But if you wanna learn more, then be sure to
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check out Chapter 11 of your textbook.
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Speaking of not getting bogged down, let's move on to
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our next point, which is rhythm and meter.
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Our love of rhythm is rooted even more deeply than
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our love of musical repetition.
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Rhythm is related to the beating of our hearts, the
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pulse of our blood and intake and outflow of air
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from our lungs.
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Everything that we do naturally and gracefully we do rhythmically.
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There is a rhythm in the way we walk or
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dance the way we swim.
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Swing a baseball bat.
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The term rhythm refers to any wave like recurrence of
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motion or sound, all languages innately rhythmic because language consists
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of accented and unaccented syllables, which creates a rise and
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fall when words are arranged in a sentence, we give
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certain words or syllables more prominence in pronunciation than the
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rest, and we do this naturally.
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And poetry.
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However, the poet may arrange the words to the syllables
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occur at regular intervals, thus creating a pattern or rhythm.
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Poetic rhythm is also heavily influenced by pauses.
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The inclusion of punctuation, such as a comma, a semi
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colon or a period can stop the flow of the
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rhythm. As I mentioned before, we read poetry from punctuation
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to punctuation, pausing as indicated by the punctuation we find
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instead of pausing at the end of each line.
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If the line indicates that we pause due to the
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presence of punctuation, then we do.
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Sometimes a poet may want the rhythm to pause in
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the middle of a line, and the term for this
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is called A, says Jura.
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Most often, when people think of poetry, they think of
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the two broad branches, which are free verse and metrical
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verse or metered verse.
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Thes two types are distinguished from each other by the
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absence, or the presence of meter and meter Is that
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identifying characteristic of rhythmic language where the accents of language
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or range so they occur at equal intervals of time?
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We can mark off the meter of a line of
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poetry by tapping our hand or foot, although the terms
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rhythm and meter is sometimes used interchangeably.
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Rhythm designates the flow of actual pronounced sound and meter
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refers to the patterns that the sounds follow when a
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poet has arranged them into verse.
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So meter and poetry is made up of patterns of
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stress and on stressed syllables in iambic pentameter favored by
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Shakespeare. Each line of the poem can be broken into
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two syllable blocks or feet.
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These particular feet are called I Am defined as Unstrung
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est first syllable and a stressed second syllable.
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As in this line, shall I compare thee to a
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summer's day when there are five iambic feet per line
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through them is called iambic pentameter, and that is one
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of the most common meters in poetry.
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Your book contains the other basic kinds of poetic feet,
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and you can check those out on pages 904 and
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905 of your textbook.
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Our last segment today concerns the ideas of sound and
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meaning in poetry.
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We need both rhythm and sound, cooperating together in order
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to produce the musicality of a poem, but they also
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serve to reinforce meaning in the poem or intensify the
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poems. Overall, the fact Uh huh yeah, the poet may
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reinforce meaning through sound in numerous ways.
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One ways to choose words that sound like their meetings.
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The term for this is on a mat, Apia, which
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basically means the words actually sound like what they mean,
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such as hiss, bang jingles, creek or ring.
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Poets will also choose sounds and group them together in
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order to achieve a desired effect.
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If the poet wants to emphasize an effect of quiet
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calm or something pleasing, the words they choose will reflect
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that sense.
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Generally, vowel sounds are more pleasing than continents because vowel
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sounds are literally musical tones, whereas continents or noises that
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we make aligned with a higher number of vowel sounds
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will sound more melodious.
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Some continents are considered liquid like and therefore fluid, such
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as the continent's, L, N, N, R.
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V, F and S.
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Other continents are considered close sieves because they sound harsher
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and sharper, such as B, D, G, K, P and
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T. A third way to reinforce meeting through sound is
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to control the speed and movement of the lines through
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punctuation. As I mentioned before, particularly this is Dora occurring
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in the middle of the line.
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If a poet once a lively fast poem to reflect
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and intensify meaning, hardly any punctuation maybe used it all
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so the lines flow quickly and smoothly.
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Conversely, a poet may want us to pause, slow down,
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reflect or even come to a screeching halt on the
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use of punctuation can create that effect.
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So for this week, the assigned poems for you to
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read are below We real cool by Gwendolyn Brooks.
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The World Is Too Much With us by William Wordsworth
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on the love song of J Offered proof Rocked by
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T. S Eliot.
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And don't forget that your short response to is due
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on Sunday and it is worth 25 points and the
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upload link is available for you.
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You have any questions?
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Email me and I hope you all have a great
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week. Thank you for listening.