Biography of Henry Wadsworth Be still, sad heart!

and cease repining;

Longfellow and Robert Frost Behind the clouds is the sun still shining;
Henry Wadsworth Longfellow Thy fate is the common fate of all,
-one of the most widely known and best- Into each life some rain must fall,
loved American poets of the 19th century. Some days must be dark and dreary.
-Born on February 27, 1807, in Portland
(while Maine was still a part of 1. "Behind the clouds is the sun still
Massachusetts), shining", my interpretation in this line is that
-grew up in the thriving coastal city he behind your failures and misery in life there
remembered in “My Lost Youth” (1856) will still new chances awaits and there is
for its wharves and woodlands, the ships and still hope, that there will be a rainbow after
sailors from distant lands who sparked his the rain. Despite what's going on around
boyish imagination, and the historical him, the period of depression, he knows that
associations of its old fort and an 1813 behind the cloud there is still "sun" shining.
offshore naval battle between American and Every life has times of trouble, just believe
British brigs. there is something good behind it. There are
-“The Rainy Day” - uses the themes of lost always going to be days when things feel
and renewed hope, youth and grief to show darker and that's just part of life.
how much our past and future experiences 2. Based on how he wrote the poem, I've
affect our lives and how though we face visualize that Longfellow suffered so much
multiple struggles in life, and how we pain and hardships in life. In beginning of
overcome them. the poem, I felt that the mood of the poem is
-As we grow older and wiser and gain more very dark but in the final stanza the
experiences we come to face the fact that atmosphere lightens a little. Longfellow
not everything is rainbows and sunshine. stated that the darkness is not going to last
-Longfellow displays this idea through his forever.
poem, trying to express the ghosts of his 3. Upon reading the poem, I felt motivated. I
past. “My thoughts still cling to the find it inspirational because of how
mouldering Past, But the hopes of youth fall Longfellow deliver the message through the
thick in the blast,” poem and how he address that problems just
come and go and it's just a phase of our
The day is cold, and dark, and dreary; lives.
It rains, and the wind is never weary; Robert Frost
The vine still clings to the mouldering - (born March 26, 1874, San Francisco,
wall, California,US)
But at every gust the dead leaves fall, -(died January 29, 1963, Boston,
And the day is dark and dreary. Massachusetts)
-American poet who was much admired for
My life is cold, and dark, and dreary; his depictions of the rural life of New
It rains, and the wind is never weary; England, his command of American
My thoughts still cling to the mouldering colloquial speech, and
Past, his realistic verse portraying ordinary
But the hopes of youth fall thick in the people in everyday situations.
blast, - “A Time to Talk” is a poem about
And the days are dark and dreary. friendship. In A Time to Talk talks about
how if a friend comes to talk to him while he
is busy doing something, and he will put - The weakness defined by the poet is that,
down what he is doing and talk to his friend. weakness can also make you strong. That
“A Time to Talk” even if you failed numerous times, it will
When a friend calls to me from the road still have a good impact to you, that you can
And slows his horse to a meaning walk, still achieve something. Not all problem
I don't stand still and look around needs solution, you're the one who will
On all the hills I haven't hoed, decide if you will solve the problem to find
And shout from where I am, 'What is it?' happiness or to be contented in peace. It's
No, not as there is a time to talk. okay to lower down your pride, to feel weak
I thrust my hoe in the mellow ground, and it's okay not to be okay. Yes, I agree
Blade-end up and five feet tall, with his views, in other side I opened my
And plod: I go up to the stone wall thoughts to different kinds of weakness and
For a friendly visit. different kinds of coping up with the
weakness, the video open up my mind that
it's okay not to feel okay, that weakness has
also a positive influence in my existence.

Key Features of Poetry

1. Rhyme
The repetition of syllables, typically at the
end of a verse line. Rhymed words
conventionally share all sounds following
the word’s last stressed syllable.
Frost felt inspired that day because of his  End rhyme occurs in the last syllables
own personal experience about friendship of verses, as in stanza. “When a poem
and he wants to share his life experience has lines ending with words that sound
through a poem and he also wants people to the same.”
appreciate the value of friendship. Yes, We Examples:
can visualize that the speaker were having a Midstairs
lot of works to do but unfortunately his Virginia Hamilton Adair
friend needs him, so instead of working, And here on this turning of the stair
Frost decided to talk to his friend and lend Between passion and doubt,
an ear.
I pause and say a double prayer,
One for you, and one for you;
And so they cancel out.

Stopping by Woods on a Snowy Evening

Robert Frost
Whose woods these are I think I know,
Jared Singer’s His house is in the village, though;
- "Secrets on How to Get Through the Day” He will not see me stopping here
To watch his woods fill up with snow. All turn and look one way. (B)
 Eye rhyme is an imperfect rhyme in They turn their back on the land. (A)
which two words are spelled similarly They look at the sea all day. (B)
but pronounced differently. As long as it takes to pass (C)
 move and love A ship keeps raising its hull; (D)
 bough and though The wetter ground like glass (C)
 come and home Reflects a standing gull. (D)
 laughter and daughter This is an ABAB pattern of rhyme scheme,
Examples: in which each stanza applies this format.
Sonnet 18 For instance, in the first stanza, “sand”
William Shakespeare rhymes with the word “land,” and “way”
rhymes with the word “day.”
“Shall I compare thee to a summer’s day? Example 2:
Thou art more lovely and more temperate. Twinkle Twinkle Little Star
Rough winds do shake the darling buds of by Donald Barthelme
May, Twinkle, twinkle, little star, (A)
And summer’s lease hath all too short a How I wonder what you are. (A)
date.” Up above the world so high, (B)
Like a diamond in the sky. (B)
Sonnet 19 The following example uses an AABB rhyme
William Shakespeare scheme. Here, the first line ends in the
“Devouring time, blunt thou the lion’s word “star,” which rhymes with the final
paws, word of the second line, “are.” Since both
And make the earth devour her own sweet words rhyme with each other, they are
brood; signified with letter “A.”
Pluck the keen teeth from the fierce tiger’s 2. IMAGERY
jaws, Imagery is a vivid and vibrant form of
And burn the long-lived phoenix in her description that appeals to readers’ senses
blood.” and imagination (MasterClass, 2019).
-allows reader to clearly see, touch, taste,
Rhyme Scheme smell, and hear what is happening and in
A rhyme scheme is the pattern according to some cases even empathize with the poet
which end rhymes (rhymes located at the or their subject.
end of lines) are repeated in works poetry. Types of Imagery
Rhyme schemes are described using letters  Visual imagery. In this form of poetic
of the alphabet, such that all the lines imagery, the poet appeals to the
reader’s sense of sight by describing
in a poem that rhyme with each other are something the speaker or narrator of
assigned a letter, beginning with "A." the poem sees. It may include colors,
brightness, shapes, sizes, and patterns.
Example 1: I wandered lonely as a cloud
Neither Out Far nor in Deep That floats on high o’er vales and hills,
by Robert Frost When all at once I saw a crowd,
The people along the sand (A) A host of golden daffodils;
Beside the lake, beneath the trees, describing something the speaker of the
Fluttering and dancing in the breeze. poem feels on their body.
(Wadsworth: “I Wandered Lonely as a -include the feel of temperatures,
Cloud”) textures, and other physical sensations.
 Auditory imagery - sense of hearing or When glided in Porphyria; straight
sound. She shut the cold out and the storm,
-include music and other pleasant And kneeled and made the cheerless grate
sounds, harsh noises, or silence. Blaze up, and all the cottage warm (Robert
Where are the songs of Spring? Ay, where Browning: Porphyria’s Lover)
are they?  Olfactory imagery - sense of smell by
Think not of them, thou hast thy music too, describing something the speaker of
While barred clouds bloom the soft-dying the poem inhales.
day, - include pleasant fragrances or off
And touch the stubble-plains with rosy hue; putting odors.
Then in a wailful choir the small gnats They silently inhale
mourn the clover-scented gale,
Among the river sallows, borne aloft And the vapors that arise
Or sinking as the light wind lives or dies; From the well-watered and smoking soil
And full-grown lambs loud bleat from hilly (H.W. Longfellow: Rain in Summer)
bourn;
Hedge-crickets sing; and now with treble 3. PUNCTUATION AND FORMAT
soft Punctuation in poetry is similar to
The red-breast whistles from a garden-croft; punctuation in prose and serves almost the
And gathering swallows twitter in the skies. same purpose. In other words, punctuation
(John Keats: To Autumn) assists in organizing your words into
 Gustatory imagery - sense of taste by discernible verses, it also:
describing something the speaker or  encapsulates thoughts and ideas
narrator of the poem tastes.  ensures coherence and the
-include sweetness, sourness, saltiness, presentation of meaning
savoriness, or spiciness.  signals when and where to breathe
Where have you disposed of their (very important) (Kukogho, 2015)
carcasses?
Those drunkards and gluttons of so many  End-stopped
generations? A metrical line ending at a grammatical
Where have you drawn off all the foul liquid boundary or break—such as a dash or
and meat? closing parenthesis— or with punctuation
I do not see any of it upon you to-day, or such as a colon, a semicolon, or a period.
perhaps I am deceiv’d, Then say not man’s imperfect, Heav’n in
I will run a furrow with my plough, I will fault;
press my spade through the sod and turn it Say rather, man’s as perfect as he ought:
up underneath, His knowledge measur’d to his state and
I am sure I shall expose some of the foul place,
meat. (Walt Whitman: This Compost) His time a moment, and a point his space.
 Tactile imagery - sense of touch by If to be perfect in a certain sphere,
 What matter, soon or late, or here or is stressed and the next two of which are
there? unstressed. (S,U,U)
The blest today is as completely so, example: ELephant, POSSible, TRINity.
As who began a thousand years ago. 5. Anapest: Three syllables, the first two of
(Alexander Pope: An Essay on Man: Epistle which are unstressed and the third of which
I) is stressed. (U,U,S)
 Enjambment ex: of a KIND, souvenIR, underSTAND.
The running-over of a sentence or phrase The most common number of feet found in
from one poetic line to the next, without lines of poetry are:
terminal punctuation; the opposite of end-
stopped.  Monometer (1 foot)
the back wings  Dimeter (2 feet)
of the  Trimeter (3 feet)
 Tetrameter (4 feet)
hospital where  Pentameter (5 feet)
nothing  Hexameter (6 feet)

will grow lie

cinders The name of a meter is based on the
foot it uses (stated as an adjective,
in which shine with an "–ic" at
the broken the end), and the number of feet in
the line.So,a line with four dactyls
pieces of a green would be "dactylic tetrameter." Note
bottle that the total number of syllables can
(William Carlos Williams: Between Walls) be different even for lines that have
4. METER the same number of feet, because
-a stressed and unstressed syllabic pattern some feet have two syllables while
in a verse, or within the lines of a poem. others have three. A line of Iambic
Common Forms of Meter in English pentameter has 10 syllables,
1. Iamb: Two syllables, the first of which is because it has five iambs, each of
unstressed and the second of which is which have two syllables. Dactylic
stressed. (U,S) pentameter has 15 syllables,
example: comPUTE, disPEL, aGREE. because it has five dactyls,
2. Trochee: Two syllables, the first of which each of which has three syllables.
is stressed and the second of which is
unstressed. TO INDICATE THE CHANGES IN METER,
(S ,U) scholars put a diagonal line (´) or a macron
ex: ARgue,BISHop,DOCtor. (-) over stressed syllables. A small curving
3. Spondee: Two syllables, both of which loop (˘) or a small x (x) goes over the
are stressed. (S, S) unstressed syllables.
example: ICE CREAM, HOT LINE, CELL
PHONE.  Theme
4. Dactyl: Three syllables, the first of which - The central idea, topic or point of a
 literary text. Dickens)
“What’s it about?” or “What’s the point?” Charles Dickens creates a calm and peaceful
Ex. A man, fuelled by an urge for power and mood in his novel Pickwick Papers.
control due to his own pride, builds a
supercomputer. That supercomputer then “The river, reflecting the clear blue of the
takes over the world, causing chaos and sky, glistened and sparkle as it flowed
struggle galore. noiselessly on.”
 Danger of excessive pride
 The risky relationship between The depiction of idyllic scenery imparts a
humankind and developing serene and non-violent mood to the
technology. readers.
 Tone
- refers to the “feel” of a piece of writing.
-it is closer to the meaning of “style” or
voice in writing. MODALS AND ITS FUNCTIONS
-possibly referring to any or all of the
-Modal verbs are unlike other verbs. They
stylistic qualities the writing, such as
do not change their form (spelling) and they
formality, dialect and atmosphere. have no infinitive or past participle
-the feeling displayed by the author toward (past/present). Modals are auxiliary verb
the subject of the poem. -Modal verb-is a type of verb that is used to
Example 1 indicate modality – that is: (likelihood,
I’ll just swing by your office at 4 tomorrow! ability, permission, request, capacity,
I will meet you in your office tomorrow at suggestions, order, obligation, or advice.)
4:00. Auxiliary verb-a verb used in forming the
- Conveys exactly the same ideas but tenses, moods, and voices of other verbs.
one is formal tone and the other one is (can,could,may,can’t, mustn’t, have to and
highly informal tone. must)
Example 2  PERMISSION
In addition to style, tone can also be set by  can
content. The tone is mostly about how you We often use can to ask for and give
express your ideas, but also a partially permission.
about what you express. For example, if - Can I sit here?
you’re writing a philosophy paper on ethics - You can use my car if you like.
and you use a case study as an example, - Can I make a suggestion?
your selection of the example will help to  could
set the tone. A silly example will set a We also use could to ask for permission
humorous, informal tone, while a more (but not to give it). Could is more formal
serious example will have the opposite and polite than can.
effect. - Could I ask you something?
 Mood - Could I interrupt?
-a literary element that evokes certain - Could I borrow your pen for a
feelings or vibes in readers through words moment, please?
and descriptions.  may
Example 1: Pickwick Papers (By Charles May is the most formal way to ask for and
give permission. - (Student to teacher) When do we
- May I see your passport, please? have to hand in our homework?
- Customers may request a refund - Al has to work tomorrow so he can't
within a period of 30 days. come.
We sometimes call this 'external
 PROHIBITION obligation'.
We use can't and mustn't to show that  must
something is prohibited – it is not allowed. Must expresses a strong obligation or
 can't necessity. It often shows us that the
We use can't to talk about something that obligation comes from the speaker (or the
is against the rules, particularly when we authority that wrote the sentence).
didn't make the rules. - I must phone my dad. It's his
- What does this sign say? Oh, we birthday today.
can't park here. - (Teacher to student) You must hand
- You can't take photos in the in your homework on Tuesday or
museum. They're really strict about you will lose ten per cent of your
it. mark.
- Sorry, we can't sell knives to under- - (Sign on a plane) Seat belts must be
18s. worn by all passengers.
 must not/mustn't Note that we don't use must to express
We use must not to talk about what is not obligation in the past. We use have to
permitted. It is common on public signs and instead.
notices informing people of rules and laws. - I had to pay £85 to renew my
- Visitors must not park in the staff car passport last week.
park.
- Baggage must not be left unattended.
- Guests must not make noise after 10  NO OBLIGATION
p.m.  don't have to
We use mustn't particularly when the We use don’t have to to show that there is
prohibition comes from the speaker. no obligation. You can do something if you
- (Parent to child) You mustn't say want to but it's not compulsory.
things like that to your sister. - You don't have to wear a tie in our office
- (Teacher to student) You mustn't be but some people like to dress more
late to class. formally.
- I mustn't let that happen again. - You don't have to go to the bank to do a
 OBLIGATION transfer. You can do it online.
We use have to and must to express - You don't have to come with me,
obligation. There is a slight difference honestly. I'll be fine!
between the way we use them.
 have to
Have to shows us that the obligation comes
from outside the speaker.
- We have to wear a uniform when
we're working in reception.