Literature: Poetry

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LIT2000

Florida State University

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Everything you need to know is in the attached "poems and instructions". I have also provided two sample essays to help you give an idea of what you need to write

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Need a response paper done for a poem; the required length is only a page & a half. Below is the poem you need to read and all the instructions needed to work on this assignment. I'll also attach two examples of a response paper to help give you an idea of what you need to do. Below is the poem The Raven BY EDGAR A LLA N P OE Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.” Ah, distinctly I remember it was in the bleak December; And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow;—vainly I had sought to borrow From my books surcease of sorrow—sorrow for the lost Lenore— For the rare and radiant maiden whom the angels name Lenore— Nameless here for evermore. And the silken, sad, uncertain rustling of each purple curtain Thrilled me—filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating “’Tis some visitor entreating entrance at my chamber door— Some late visitor entreating entrance at my chamber door;— This it is and nothing more.” Presently my soul grew stronger; hesitating then no longer, “Sir,” said I, “or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you”—here I opened wide the door;— Darkness there and nothing more. Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before; But the silence was unbroken, and the stillness gave no token, And the only word there spoken was the whispered word, “Lenore?” This I whispered, and an echo murmured back the word, “Lenore!”— Merely this and nothing more. Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. “Surely,” said I, “surely that is something at my window lattice; Let me see, then, what thereat is, and this mystery explore— Let my heart be still a moment and this mystery explore;— ’Tis the wind and nothing more!” Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately Raven of the saintly days of yore; Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door— Perched upon a bust of Pallas just above my chamber door— Perched, and sat, and nothing more. Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, “Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, Ghastly grim and ancient Raven wandering from the Nightly shore— Tell me what thy lordly name is on the Night’s Plutonian shore!” Quoth the Raven “Nevermore.” Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning—little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door— Bird or beast upon the sculptured bust above his chamber door, With such name as “Nevermore.” But the Raven, sitting lonely on the placid bust, spoke only That one word, as if his soul in that one word he did outpour. Nothing farther then he uttered—not a feather then he fluttered— Till I scarcely more than muttered “Other friends have flown before— On the morrow he will leave me, as my Hopes have flown before.” Then the bird said “Nevermore.” Startled at the stillness broken by reply so aptly spoken, “Doubtless,” said I, “what it utters is its only stock and store Caught from some unhappy master whom unmerciful Disaster Followed fast and followed faster till his songs one burden bore— Till the dirges of his Hope that melancholy burden bore Of ‘Never—nevermore’.” But the Raven still beguiling all my fancy into smiling, Straight I wheeled a cushioned seat in front of bird, and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore— What this grim, ungainly, ghastly, gaunt, and ominous bird of yore Meant in croaking “Nevermore.” This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom’s core; This and more I sat divining, with my head at ease reclining On the cushion’s velvet lining that the lamp-light gloated o’er, But whose velvet-violet lining with the lamp-light gloating o’er, She shall press, ah, nevermore! Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor. “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee Respite—respite and nepenthe from thy memories of Lenore; Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” Quoth the Raven “Nevermore.” “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— Whether Tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted— On this home by Horror haunted—tell me truly, I implore— Is there—is there balm in Gilead?—tell me—tell me, I implore!” Quoth the Raven “Nevermore.” “Prophet!” said I, “thing of evil!—prophet still, if bird or devil! By that Heaven that bends above us—by that God we both adore— Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels name Lenore— Clasp a rare and radiant maiden whom the angels name Lenore.” Quoth the Raven “Nevermore.” “Be that word our sign of parting, bird or fiend!” I shrieked, upstarting— “Get thee back into the tempest and the Night’s Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken!—quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!” Quoth the Raven “Nevermore.” And the Raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon’s that is dreaming, And the lamp-light o’er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted—nevermore! Below is the instructions For the Response Papers #3 and #4, you should explicate and paraphrase a poem or parts of a poem we have come across in the sections assigned. The word explication is derived from a Latin word that means ‘unfolding.’ When you explicate a text, you unfold its meaning in an essay, proceeding carefully to interpret it passage by passage, sometimes even line by line or word by word. A good explication concentrates on details. An entire story or poem is usually too long to explicate completely—the explication would be far longer than the story or poem—so you will usually select a short passage or section that relates to the idea you are developing. Ideally, you concentrate on a central line (one stanza or one single sentence or even one single word). In some cases, you could concentrate on the meaning of a recurring word or phrase and explain its significance in the poem, probably by advancing different interpretations of the word or phrase. For our purposes, you could just focus on a few selected lines as in the Poetry RP Sample #2. Or, if it is a short poem, you could explicate the entirety or most of the poem, as in Poetry RP Sample #1. If it is longer, you can focus on one or two, possibly three, stanzas. That means you should carefully interpret each line (each word or imagery) to arrive at an overall interpretation. Awesome 1 Seau Awesome Dr. Wolfgang Lepschy LIT 2000 March 2, 2017 Explication of “A Certain Lady” Written by Dorothy Parker, “A Certain Lady” is a poem that expresses the heartbreak and distress a woman feels while listening to the man she loves describe his nights with various other ladies. Playing the role of the eager listener, the speaker smiles and tilts her head as she drinks “[his] rushing words with eager lips.” In spite of the fact that what he tells her breaks her heart, for the sake of this man that she adores so much, she will pretend that his words are the most amazing thing in the world. Going through the trouble of dolling herself up, the speaker puts on a “fragrant red” lipstick in an attempt to entice the man. As he goes on to “rehearse [his] list of loves,” she puts on her mask, and she laughs along with him, seemingly urging him to continue speaking. This man, however, does not see how much the speaker loves him and therefore cannot see the pain that he is inflicting on her heart every time he mentions the other women in his life. She has performed her act so often that he thinks nothing differently of her being “gay as morning” and “light as snow.” The speaker does not show her sadness or anger when he speaks of the other women, so he’ll never know “all the straining things” that she has held inside. Although it is not stated outright, the speaker could assumedly be this man’s wife or even one of his many conquests. In any case, their relationship involves a bit of physical contact, since he allows her to “trace [his] brows with tutored finger-tips.” It is also a little strange how he feels comfortable enough around her to tell her, in so much detail, about these “tales of fresh Awesome 2 adventurings.” Would a man feel so at ease as to tell his wife about sleeping with other women? Most likely not, but even so, who could tell? The speaker is very clearly head over heels for this man, and yet this man seems to not even notice her genuine feelings and seemingly takes her for granted. This makes their relationship seem enigmatic and confusing. The irony added at the end of the poem only adds to the confusion and mysteriousness of the relationship between the speaker and this man. Even though she continues to stress how much she is in love with him, the speaker says that she can “kiss [him] blithely” as he goes out in search of new women to conquer. Then she clinches, shockingly, “And what goes on, my love, while you’re away / You’ll never know.” Thus, although this man has no issue telling her what he does while she’s not around, she does not feel the same. While he has told her of all the women he’s been with, she has not told him anything about the other men that are in her life. The fact that she says “you’ll never know” implies that she will most likely end up taking her secret to the grave. Zing 1 Ama Zing Dr. Wolfgang Lepschy LIT 2000 March 31, 2017 The Blackberry in “Blackberry Eating” In the poem “Blackberry Eating,” Galway Kinnell decides to use a blackberry to describe the way that he views words and writing. He deliberately compares blackberries and words in such depth that links these objects in a way that one would have rarely seen on one’s own. Kinnell uses such familiarity and ease when reflecting on each subject that it would be difficult to dispute the similarities. Kinnell makes no mistake in selecting this berry over a cherry or blueberry. A blackberry’s individual precise lumps come together to form the whole berry, much like words must to convey an idea. Additionally, blackberries produce a dark, rich juice, similar to ink on a page. The berries and words also both grow wild and may have sharp edges. All of these minute likenesses come together to truly make a blackberry’s similarity to words more significant than any other arbitrary berry. Primarily, the many spherical clusters that comprise a blackberry are significant to the choice of this berry to compare to words. After the transition from the narrator reminiscing about eating blackberries to describing their relation to words in the ninth line, the author uses the words “one-syllable lumps” to portray the parts of words. The usage of the word “lumps” directly reflects on the clusters that make up blackberries. In addition, this creates the mental picture of multiple syllables lumped together, like blackberries clusters, to form a whole word. The comparison allows the reader to truly analyze how many small parts must come together to create a whole word. Each syllable of a word creates varying sounds that lump together and Zing 2 produce a network of noises and parts that deliver a word that is discernable and familiar to the human ear. In addition, the color and amount of juice that blackberries possess is definitely an influential factor in Kinnell selecting a blackberry over all other berries to convey his perception of words. In the beginning of the stanza, the narrator is describing, in great detail, his ventures of eating ripe blackberries in late September. The narrator depicts the blackberry plant itself producing the berries as a “black art.” This phrase refers to the dark juice that is squeezed out of the berry, but also is referring to them as an “art.” The author uses this choice of words deliberatively to show his appreciation for the formation of these delicious berries and their unique nature. Also, this allows the reader to picture a dark, whimsical juice from blackberries. When the word description stanzas are introduced, that mental picture is still fresh in the reader’s mind and a comparison to artful black ink etched on a page may easily be imagined. After the transition of the narrator’s focus to words, he describes his use of words as “I squeeze, squinch open, and splurge well / in the silent, startled, icy, black language.” The onomatopoeias and alliteration the narrator uses trigger the thought of blackberry juice. The description of “black language” also helps the correlation between the black ink on a page and the blackberry juice to be formed. Additionally, the wild way in which the blackberry vines grow, as well as the sharp thorns that they possess, are significant qualities to the selection of this specific berry. When describing the art of blackberry eating, the narrator uses the phrase “stalks very prickly, a penalty” to portray the blackberry vines. The usage of the word “penalty” to describe the thorns on the vines suggests that there is a consequence for eating a delicious berry with sharp edges. The narrator must be careful to avoid the thorns to collect the ripe fruit. This can directly relate Zing 3 to the manner in which words may be perceived. Words can have sharp, hurtful edges. The hurtful words must be avoided in order to receive what you want in life. Thoughts of words are always going to grow wild, but the correct words must be carefully selected in order to not cut ties. Moreover, small, sweet clusters that comprise blackberries much like sounds and syllables make up words. The black juice that bursts out of blackberries when a bite is taken directly relates to the black ink used to record words on a page. The wild blackberry vines and their sharp thorns are identical to the sharp edges that words are capable of having. Kinnell aptly chooses the blackberry to convey his perception of words.
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Explication of “Raven”
The poem Raven was written by Edgar Allan Poe. The poem expresses the sorrow of a man
whose lover had just passed on and the man was trying to move on. On a midnight in the month
of December, the man was reading a book while half asleep. He was reading the book in a bid to
alleviate the sorrow that gripped him after losing his lover Lenore. While reading, he heard a
tapping at his chamber. The man muttered, “Tis some visitor.” He had been gripped with fear and
therefore hesitated in opening the door. Convi...


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