SAINT ANTHONY’S ACADEMY OF GONZAGA FIRST QUARTER: MODULE 2

SCHOOL YEAR 2020-2021 “ELEMENTS, TECHNIQUES, AND LITERARY

SUBJECT: CREATIVE WRITING/ MALIKHAING PAGSULAT DEVICES IN SPECIFIC FORMS OF POETRY”
I. INTRODUCTION
Interpreting poetry can be done through careful analysis of the structure of its form. As there are many different
forms, only a few will be looked at- which are classified under Eastern poetry (mostly Japanese), Western poetry, and
Filipino poetry (most of which are written in Filipino). Each form is restricted by several different elements like syllable
count, line count, stanza length, and rhyme scheme, to name a few. In this module, you will be learning the essential
elements, techniques and literary devices in specific forms of poetry. I will also show sample works of well-known local
and foreign writers.
II. STANDARD
The learners have an understanding of poetry as a genre and how to analyze its elements and techniques.
LEARNING COMPETENCIES
At the end of this module, students are expected to:
Identify the various elements, techniques, and literary devices in specific forms of poetry; and
Write a short poem applying the various elements, techniques and literary devices
III. TRANSFER
At the end of the module produce a short, well-crafted poem.
IV. LESSON PROPER and ACTIVITIES

LESSON 1: VARIOUS ELEMENTS AND TECHNIQUES AND LITERARY DEVICES IN SPECIFIC FORMS
OF POETRY
What is Poetry?
Poetry is a form of literature which allows the writers who called to be “poets” to express their thoughts, feelings, and
emotions, ideas about a particular theme or topic. When reading a poem, it is common that we get confuse between poet
and persona. Remember that poet is the author of the poem or literary piece while persona is the SPEAKER or narrator of
the poem. Poetry is recognizable by its greater dependence on at least one more parameter, the line, than appears in prose
composition. It will be easy for us to identify if the literary piece is under poetry. Poetry is cast in lines. It uses forms and
elements and does not use ordinary syntax. We do not use ordinary sentence formation since there are elements and
techniques used by the poets. Basically, poetry has significant elements that can be used by the poets to strengthen their
techniques and sustain it for recognition of poetic styles. Elements will help the poets to address the message of the
literary pieces to the audience or readers. Here are some of the elements of poetry as categorized into six sub elements
namely, structure, sound, imagery, figurative language, fictional elements, and poetic forms.

Theme is the lesson about life or statement about human nature that the poem expresses.
 Though related to the concept of a moral, or lesson, themes are usually more complicated and ambiguous.
 To describe the theme of a poem is to discuss the overarching abstract idea or ideas being examined in the poem.
 A major theme is an idea that a writer repeats in his work, making it the most significant idea in a literary work.
 A minor theme, on the other hand, refers to an idea that appears in a work briefly and gives way to another minor
theme.
Presentation of Themes
 the feelings of the main character about the subject written about
 through the thoughts and conversations of different characters
 the experiences of the main character in the course of a literary work
 the actions and events taking place in a narrative
Functions of Themes
 binds together various other essential elements of a poem
 is a truth that exhibits universality and stands true for people of all cultures
 gives readers better understanding of the main character’s conflicts, experiences, discoveries, and emotions
 gives readers an insight into how the world works or human life can be viewed
Theme Vs. Subject
 A poem’s subject is the topic of the poem, or what the poem is about
 The theme is an idea that the poem expresses about the subject or uses the subject to explore
Example:
In the Edgar Allan Poe poem “The Raven”, the subject is the raven, who continually repeats a single word in
response to the speaker’s questions.
The theme of the poem, however, is the irreversibility of death—the speaker asks the raven, in a variety of ways,
whether or not he will see his dead beloved again, to which the raven always replies “nevermore.”
Tone - In fact, it suggests two attitudes: one concerning the people you’re addressing (your audience) and the other
concerning the thing you’re talking about (your subject). That’s what the term tone means when it’s applied to poetry as
well. Tone can also mean the general emotional weather of the poem.
 the attitude expressed in a poem that a reader sees and feels
 the writer’s attitude toward the subject or audience

A. STRUCTURE
Form is the appearance of the words on the page of the reference. It may be different nowadays since layout artist may
simply adjust and create the desired form of poem.
Poetic Line or Line is a group of words that form a single line of poetry.
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Example: “„Twas the night before Christmas, when all through the house” is the well-known first poetic line of “A Visit
from Saint Nicholas” by Clement Clarke Moore.
Kinds of Metrical Lines/Numbers of Feet
monometer = one foot on a line
dimeter = two feet on a line
trimeter = three feet on a line
tetrameter = four feet on a line
pentameter = five feet on a line
hexameter = six feet on a line
heptameter = seven feet on a line
octometer = eight feet on a line
Almost all accentual-syllabic poetry in English, except for isolated lines in lyrics, will have four or five feet in the line.
Probably trimeter through hexameter will be all the terms you will ever have to use.
Stanza is a section of a poem named for the number of lines it contains.
Example: A couplet is a stanza of two lines. The first stanza from “Barbara Frietchie” by John Greenleaf Wittier is a
couplet:
Up from the meadows rich with corn,
Clear in the cool September morn,

Kinds of Stanza
Couplet = a two line stanza
Triplet (Tercet) = a three line stanza
Quatrain stanza = a four line stanza – This is the usual kind
Quintet = a five line stanza
Seste (Sextet) = a six line stanza
Septet = a seven line stanza
Octave = an eight line stanza
Enjambment is when there is no written or natural pause at the end of a poetic line, so that the word-flow carries over to
the next line. It affects the forms of the poem on a page. It can create certain form relevant to a poem’s content.
The general rules of Capitalization and Punctuation in poetry are not always followed; instead, they are at the service of
the poet’s artistic vision.

Verse is a line in traditional poetry that is written in meter.

Example: In “When I do count the clock that tells the time” from Shakespeare’s “Sonnet Number Twelve,” the underlined
syllables are accented, giving the line a metric pattern known as an iambic pentameter (see Meter).

Traditional Form Free Verse Blank Verse

Poems with rhyme and with Unlike metered poetry, free verse Written in lines of iambic
meter. poetry does NOT have any repeating pentameter but does NOT use end
patterns of stressed and unstressed rhyme.
syllables. Does NOT have rhyme.
With METER without end
Free verse poetry is very RHYME
conversational - sounds like someone
talking with you. A more modern type
of poetry.

B. SOUND
Rhythm is the basic beat in a line of a poem.
Example: “Whose woods these are, I think I know” is the first line from “Stopping by Woods on a Snowy
Evening” by Robert Frost. Notice that the accented words (underlined) give the line a distinctive beat.
Meter is a pattern of stressed and unstressed syllables. Meter happens when the stressed and unstressed syllables of the
words in a poem are arranged in a repeating pattern. In meter, when poets write, they need to count out the number of
stressed (strong) syllables and unstressed (weak) syllables for each line. They repeat the pattern throughout the poem.
FOOT is a unit of meter. A foot can have two or three syllables. Usually consists of one stressed and one or more
unstressed syllables.

TYPES OF FEET
The types of feet are determined by the arrangement of stressed and unstressed syllables.
1. trochee (adjective form, trochaic) stressed-unstressed
a. Never/ never/ never/ never/ never
b. In the/ spring a/ young man's/ fancy/ lightly/ turns to/ thoughts of/ love. (In spite of a few feet where the stress
is debatable, especially foot 3, this poem is generally trochaic, as a look at the rest of it would show. It is very
common to omit the final unstressed syllable in this meter; see c. under accentual-syllabic above.)
2. anapest (anapestic) unstressed-unstressed-stressed
a. It was man/y and man/y a year/ ago (The variation in the last foot is common.)
b The Assyr/ian came down/ like a wolf/ on the fold,
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 And his co/horts were gleam/ing in purp/le and gold.
3. dactyl (dactylic) stressed-unstressed-unstressed
a. This is the/ forest pri/meval, the/ murmuring/ pines and the/ hemlocks (The two stressed syllables in the last
foot are required by the classical Greek form of the epic, which Longfellow is imitating.)
b. What if a/ much of a/ which of a/ wind
4. spondee (spondaic) stressed-stressed
The spondee appears in isolated feet and never as a dominant meter in an entire poem. It is a convenient way of describing
feet in which it is hard to determine which syllable is stressed (e. g., young man's and hemlocks above) and of describing
passages like the following from sonnets, where Donne uses the spondees to hammer home the woes people can face in
life and Hopkins uses them along with internal rhyme, assonance, and alliteration for an unusual sound effect.
a. All whom/ war, death,/ age, ag/ues, tyr/annies,
Despair,/ law, chance,/ hath slain,/ and you/ whose eyes
Shall be/hold God
a. Crushed. Why/ do men/ then now/ not reck/ his rod?
5. pyrrhic (pyrrhic) unstressed-unstressed. See 6 d. below for an example.
At the/ round earth's/ ima/gined cor/ners blow.
The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee. This combination (called a Double or
Ionic Foot) often appears at the beginning of a line.
6. iamb (iambic) unstressed-stressed

The iamb is far and away the most common foot in English, comprising as much as 90-95 percent of English verse. It is
also the most conversational of the feet and therefore the most flexible and most susceptible to variations. One such
variation, as illustrated in the previous two quotes, is the substitution of spondees for iambs. Others are listed below:
a. Five years/ have passed,/ five sum/mers with/ the length
Of five/long wint/ers! . . .

In addition to the spondees in the first line, the word with receives what is called a courtesy accent; that is, it must be
given more than normal conversational stress to fill out the line. Critics have argued that the basic rhythm of spoken
English usually dictates about four stresses per line (the form of Old English verse) and that lines of poetry with five feet
will therefore contain one courtesy accent. This example also shows how a poet can manipulate meter for effect.
Wordsworth stresses the sense of the time lapse by repeating five and long (and its noun form length) and stressing these
words in normally unstressed positions.
b. Scoffing/ his state/ and grin/ning at/ his pomp.
In addition to the courtesy accent in the fourth foot, Shakespeare includes a trochee in the first foot. A trochee in an
iambic line is called a reversed foot. In iambic pentameter verse, a reversed foot occurs frequently in the first foot,
sometimes in the third and fourth, and almost never in the second and fifth.
c. To be/ or not/ to be;/ That is/ the question.
The extra unstressed syllable at the end of the line, though not common, is still a possible variation in an iambic line. Note
the fourth foot is reversed (unless you startle people by saying "That IS the question," as Peter O'Toole is said to have
done in one production of Hamlet).
d. At the/ round earth's/ ima/gined cor/ners blow.
The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee. This combination (called a Double or
Ionic Foot) often appears at the beginning of a line.
e. Of all/ that in/solent Greece/ or haught/y Rome,
An anapest in an iambic line is more common in some ages and poets (here, Jonson) than in others.
f. And my/ tears make/ a heaven/ly Lethe/an flood.
This line by Donne shows such a wide range of variations that we might not call it iambic if it were not in a sonnet with
other iambic lines. As a clergyman, Donne almost certainly pronounced heaven as one syllable (the way it is in hymns),
and he appears to have stressed the second syllable of Lethean. The line thus contains three regular feet, a spondee, and an
anapest. Donne generally makes his "Holy Sonnets" very irregular to combine powerful emotion and a oratorical effect as
in a sermon. But the point is that knowing what the regular meter was supposed to be helps us identify and describe the
effect Donne creates.

There are some other exotic feet such as the amphibrach (unstressed-stressed-unstressed), but for all practical purposes,
these six are the ones you need to know).

Rhythm is the beat created by the sounds of the words in a poem. It can be created by meter, rhyme, alliteration, and
refrain.
There are five types of rhythm, but we will just focus with Accentual-syllabic. The number of syllables and the number of
accents is both counted, and the stressed and unstressed syllables are usually alternated in a consistent pattern. When we
think of poetry in English, this is the form we think of, and it is the most common form from the time of Chaucer to the
advent of free verse in the late nineteenth and early twentieth centuries:
A. And justify the ways of God to men. (5 accents, 10 syllables)
B. And malt does more than Milton can (4 accents, 8 syllables)To justify God's ways to man.
C. Wake: the silver dusk returning (4 accents, 8 syllables with final
Up the beach of darkness brims. unstressed syllables in lines 2 & 4 And the ship of sunrise burning omitted, a
common variation) Strands upon the eastern rims.
HOW TO FIND A METER IN ACCENTUAL-SYLLABIC VERSE
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1. Find syllables that would ordinarily be accented in a dictionary and in conversation. In the line "And justify the ways of
God to men," for example, the first syllable in justify and the syllables comprising ways, God, and man would receive
stress in normal conversation. There is a problem: although in the dictionary and in analyzing meter, we usually talk as if
there were only two levels of stress (stressed and unstressed), linguists suggest that there may be as many as four in actual
spoken English. Thus, in the word justify, the just is stressed more than i or fy, but fy is stressed more than i. Nevertheless,
if you look at enough lines, you should be able to get an overall sense of the meter. The important thing to remember is
that skillful poets will have a meter, which fits a pattern, but which is also true to the actual rhythms of spoken English;
their work should sound natural.

2. Because poets want their work to sound natural, the meter of a given line, or even passage, may vary slightly from the
basic pattern; therefore, you need to go over several lines assigning the stresses where they would fall in normal
conversation. If you look at enough lines, a general pattern should emerge.

3. A stressed syllable will be accompanied by some unstressed syllables, and in English they usually (though not always)
come before the stressed syllable. A stressed syllable and the unstressed syllable(s), which go with it, are called a Foot. If
you look at several lines, it should become clear whether the unstressed syllables precede or follow the stressed.

4. After you have found the stressed and unstressed syllables, you may then put strokes between the feet to determine the
meter. The meter depends on the Type and Number of feet in a line. In the example below, the type of foot has an
unstressed syllable followed by a stressed, and there are five such feet. The meter would therefore be labeled iambic
pentameter (iambic for the type of foot and pentameter for the number).
The cur/ few tolls/ the knell/ of part/ ing day.

End Rhyme has same or similar sounds at the end of words that finish different
lines.
Example: The following are the first two rhyming lines from “The King of Cats Sends a Postcard to His Wife” by Nancy
Willard:
Keep your whiskers crisp and clean,
Do not let the mice grow lean,

Hector the Collector

Collected bits of string.
Collected dolls with broken heads
And rusty bells that would not ring.

Internal Rhyme has same or similar sounds at the end of words within a line.
Example: A line showing internal rhyme from
When they said the time to hide was mine,
“The Rabbit” by Elizabeth Maddox Roberts
Once upon a midnight dreary, while I pondered weak and weary.
- “The Raven” by Edgar Allan Poe
Rhyme Scheme is a pattern of rhyme in a poem. A rhyme scheme is a pattern of rhyme (usually end rhyme, but not
always).
Example: A quatrain – a stanza of four lines in which the second and fourth lines rhyme – has the following rhyme
scheme: abcb (see Quatrain).
The Germ by Ogden Nash
A mighty creature is the germ, a
Though smaller than the pachyderm. a
His customary dwelling place b
Is deep within the human race. b
His childish pride he often pleases c
By giving people strange diseases. c
Do you, my poppet, feel infirm? a
You probably contain a germ. a

Assonance is the repetition of vowel sounds within words in a line. Example: A line showing assonance (underlined)
from “A Visit from Saint Nicholas” by Clement Clarke Moore:
The children were nestled all snug in their beds

Sounds of a for words like LakeFate Base Fade

Consonance is the repetition of consonant sounds within words in a line.
Example: A line showing consonance (underlined) from “A Visit from Saint Nicholas” by Clement Clarke Moore: Not a
creature was stirring, not even a mouse
“silken, sad, uncertain, rustling . . “

Alliteration is the repetition of consonant sounds at the beginning of words.

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Example: Notice the alliteration (underlined) in “Sarah Cynthia Sylvia Stout Would Not Take the Garbage Out” by Shel
Silverstein.
Tongue Twisters are perfect examples of Alliteration
If Peter Piper picked a peck of pickled peppers, how many pickled peppers did Peter Piper pick?

Onomatopoeia are words that sound like their meaning.

Example: buzz, swish, hiss, gulp

Repetition is sounds, words, or phrases that are repeated to add emphasis or

create rhythm. Parallelism is a form of repetition.
Examples: Two lines from “Jabberwocky” by Lewis Carroll showing parallelism:
Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Read the poem “The Bells” by Edgar Allan Poe and listen to the way the repetition of the word “bells” adds rhythm and
creates an increasingly ominous and morbid mood.

Refrain is a line or stanza repeated over and over in a poem or song.

Example: In “Jingle Bells,” the following refrain is repeated after every stanza:
Jingle Bells, jingle bells,
Jingle all the way!
Oh, what fun it is to ride
In a one-horse open sleigh!

Word Play is to play with the sounds and meanings of real or invented words.
Example: Two lines from the poem “Synonyms” by Susan Moger:
Claptrap, bombast, rodomontade,
Hogwash, jargon, and rant

C. ELEMENTS OF FICTION
Poems may contain some or all elements of fiction. For example, a narrative poem (a poem that tells a story) may contain
all elements.
 Setting- is the time and place where a story or poem takes place.
 Point of View / Narrative Voice is the person narrating a story or poem (the story/poem could be narrated in first
person (I, we), second person (you), or third person limited or omniscient (he/she, they).
 Characterization is the development of the characters in a story or poem (what they look like, what they say and
do, what their personalities are like, what they think and feel, and how they are referred to or treated by others).
 Dialog or Dialogue is the conversation between the characters in a story or poem.
 Dialect or Colloquial Language is the style of speaking of the narrator and the characters in a story or poem
(according to their region, period, and social expectations).
 Conflict is the problem or situation a character or characters face in a story or poem.
 Plot is the series of events in a story or poem.
 Tone and Voice are the distinctive, idiosyncratic way a narrator has of telling a story or poem (tone and voice
depend on the intended audience, the purpose for writing, and the way the writer or poem feels about his/her
subject).
 Style is the way a writer uses words to craft a story or poem.
 Mood is the feelings and emotions the writer wants the reader to experience.
 Theme and Message are the main topic of a story or poem, and the message the author or poet wants to convey
about that topic.

D. FORMS OF POETRY
1. Found poems are created through the careful selection and organization of words and phrases from existing text. These
take existing texts and refashion them, reorder them, and present them as poems. The literary equivalent of a collage
found poetry is often made from newspaper articles, street signs, graffiti, speeches, letters, or even other poems.
Examples: Source: https://spark.adobe.com/page/pFdRX0QqcJvw6/

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2. Tanaga is a type of Filipino poem which consists of four lines with seven syllables each with the same rhyme at the
end of each line. It has a 7-7-7-7 syllabic verse, with commonly an AABB rhyme scheme.
Example 1: Example 2:

“Oh be resilient you Stake Should the waters be coming! Inumit na salapi
I shall cower as the moss Walang makapagsabi
To you I shall be clinging.” Kahit na piping saksi Naitago na kasi.

 Like the Japanese haiku, Tanagas traditionally do not have any titles.
 They are poetic forms that should speak for themselves.
 Most are handed down by oral history, and contain proverbial forms, morals, and snippets of a code of ethics.
 A poetic form similar to the tanaga is the ambahan.
 Unlike the ambahan whose length is indefinite, the tanaga is a compact seven-syllable quatrain.

3. Diona is an ancient form of poetry that is composed of 7 syllables for every verse/line, 3 verses/lines for every stanza,
and has a single rhyme scheme. Sa kasalukuyan, tinatanggap ang diona bilang isang tulang may pitong pantig at tatlong
taludtod. Iisa ang tugmaan nito (pero may mga makabagong diona na hindi na rin ito sinusunod). At sari-sari na ang tema.
Example 1: by Ferdinand Bajado Example 2: by Gregorio Rodillo

Kung aso’y hinahanap Lolo, huwag malulungkot

Pag nagtampo’t naglayas Ngayong uugod-ugod
Ikaw pa kaya anak. Ako po’y inyong tungkod

4. Haiku is a Japanese poem written in three lines followong the Five Syllables, Seven Syllables and Five Syllables.
Often focusing on images from nature, haiku emphasizes simplicity, intensity, and directness of expression.
Example: I call to my love
on mornings ripe with sunlight.
The songbirds answer.

5. An Acrostic poem is a poem where the first letters of each line spell out a word or phrase vertically that acts as the
theme or message of the poem. Sometimes a word or phrase can also be found down the middle or end of the poem, but
the most common is at the beginning. A lot of people use these poems to describe people or holidays, and lines can be
made up of single words or phrases. Acrostic poems do not follow a specific rhyme scheme, so they are easier to write.
Example: A FRIEND
F is for the fun we had together
R is for the relaxing time we shared together
I is for the interesting moments we had
E is for the entertaining time we spent
N is for the never-ending friendship that we'll have
D is for the days we'll never forget.

6. A sonnet is a poem that has 14 lines and follows a specific rhyme scheme. It comes from the Italian word that means
“little song.” There are various types of sonnets, and each one is formatted a little differently, following various rhyme
schemes. The three main types are the Italian (or Petrarchan) sonnet, the English (or Shakespearean) sonnet, and the
Spenserian sonnet. They are named after the poets who made them famous. These forms have been around since the
sixteenth century. The poem is written in three quatrains and ends with a couplet. Example:
How Do I Love Thee?
By Elizabeth Barrett Browning
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
I love thee to the level of every day's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for right;
I love thee purely, as they turn from Praise.
I love with a passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints, I love thee with the breath,
Smiles, tears, of all my life! and, if God choose,
I shall but love thee better after death.

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7. Concrete Poem is a poem that uses words to form the shape of the subject of the
poem (also known as a “shape poem”). Example:

8. Lyric Poem is a short poem that usually written in first person point of view and
expresses an emotion or an idea or describes a scene. It does not tell a story and are
often musical. Example: I Wandered Lonely as a Cloud
BY WILLIAM WORDSWORTH
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.
The waves beside them danced; but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed—and gazed—but little thought
What wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

9. Cinquain is a five-line untitled poem, where the syllable pattern

increases by two for each line, except for the last line, which ends in two
syllables (2,4,6,8.2).

10. Narrative Poem is a form of poetry that tells a story, often making the voices of a narrator and characters as well; the
entire story is usually written in metered verse. Narrative poems do not need rhyme.
The Iliad by Homer
Sing, Goddess, Achilles' rage,
Black and murderous, that cost the Greeks
Incalculable pain, pitched countless souls
Of heroes into Hades' dark,
And left their bodies to rot as feasts For dogs
and birds, as Zeus' will was done. Begin with the
clash between AgamemnonThe Greek warlord -
and godlike Achilles.

Activity 1: IDENTIFICATION
A. Directions: Read the statements carefully. Identify the element of poetry being described in each sentence. Write your
answers on your paper.
1. The repetition of sounds within different words, either end sound, middle or beginning is called __
2. Something that represents something else through association, resemblance or convention is called __.
3. It is the meaning of the poem, the main idea that the poet is trying to communicate.
4. The feeling that the poet creates and that the reader senses through the poet’s choice of words, rhythm, rhyme, style and
structure is called __.
5. It refers to the “pictures” which we perceive with our mind’s eyes, ears, nose, tongue, skin, and through which we
experience the “duplicate world” created by poetic language.
6. It is the poet’s choice of words. The poet chooses each word carefully so that both its meaning and sound contribute to
the tone and feeling of the poem.
7. It is the systematic regularity in rhythm; this systematic rhythm (or sound pattern) is usually identified by examining
the type of "foot" and the number of feet.

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8. It is the repetition of vowel sounds (anywhere in the middle or end of a line or stanza) - Tilting at windmills
9. It is the repetition of entire lines or phrases to emphasize key thematic ideas.
10. It is a poetic foot that has a pattern of weak syllable followed by strong syllable with five pairs.

B. Directions: Read the statements carefully. Identify the type of foot in meter being defined in each sentence. Choose
among the given options. Write your answers on your answer sheet.
Choices: a. trochee b. anapest c. spondee d. iamb e. dactyl
______ 1. It is a weak syllable followed a strong syllable. Words like 'guitar' and phrases like 'to sleep'.
______ 2. These are two weak syllables followed by one strong syllable. Words like 'understand' and phrases like 'in the
dark.
______ 3. It is one strong syllable followed by two weak syllables (the exact opposite of an anapest). Words like 'camera'
and phrases like 'This is a...'
______ 4. It is a strong syllable followed by a weak syllable (the exact opposite of an iamb). Words like 'baseball' and
phrases like 'Thank you'.
______ 5. It is a metrical foot consisting of two long syllables, as determined by syllable weight in classical meters, or
two stressed syllables in modern meters.

LESSON 2: WRITING A POEM

WRITING PREFERENCES AND THE WRITING PROCESS WRITING PREFERENCES

Every author has his/her own inclinations when drafting a record. Regardless of whether an individual is
composing a story, a sonnet, a diary passage, a letter, or an innovative genuine piece, the composing approach is peculiar,
implying that it is particular to the individual who is composing.
Some are think-compose journalists. They have to think and think and figure some more until they can compose
their first draft. At the point when they compose their first draft, they need a huge square of time to get it down on paper.
Their first drafts feel like a completed item to the essayist since they've done the greater part of their prewriting and
updating in the reasoning procedure. In any case, these scholars need to recollect that the primary draft is only that—a
first draft. Modification is fundamental.

Advantages Disadvantages
Once they’ve start writing, they finish the They need time to think; they can’t write under
draft easily. command or time pressure. Starting the opening
paragraph can be difficult because they are still
thinking.
The first draft can feel like a polished final Revising their work is difficult because from their
draft to the writer. They usually finish drafts perspective a lot of the revision decisions were made in
on time or earlier than the deadline. the thinking process.
Different scholars have different styles in writing. They compose, cut, duplicate, and rearrange their work just as
discard and start once more—here and there numerous occasions. They are continually prewriting, arranging, and
modifying as they go. They now and then battle with completing a last draft, and they have even been known to erase a
portion of their best work. These essayists need to make sure to spare all drafts, with the goal that the best work is rarely
lost.

THE WRITING PROCESS

Every piece of writing goes through a process of stages: prewriting (also sometimes called planning), drafting,
cooling, revising, and publishing. These steps do not always follow one another in succession. Instead, they are recursive,
meaning a step can occur again at any point in the process. For instance, while revising an historically-based short story, a
writer may discover he/she needs to do additional research about the time period that the story is set, which takes the
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This is the stage where the writer thinks of the possible concept or ideas. Conceptualizing helps determine the flow
of the write up.

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 Some writers keep a composing diary, a record of records and notes, possibly drawings or photos, that at first
grabbed their eye. Authors by and large are solid eyewitnesses who record what they see, hear, taste, contact, and smell
since it might turn out to be a piece of a story, a sonnet, a true to life article, a play, and so on. Scholars may convey a
little journal with them for the duration of the day and set it on the end table close to their bed around evening time. At
that point, it is promptly accessible when a thought a motivation catches their eye.
Writers make several decisions in the prewriting stage as well. They will answer questions like the topic,
readers/audience, the mode of delivering the context, the genre, the point of view on how to tell the content and some
factual information.

2. Conceptualizing
Drafting includes composing the primary draft of a report. A few journalists compose their first draft with a pen
and a note pad. Different essayists compose legitimately on a PC or PC. The decision relies upon the inclination of the
essayist.
A short bit of composing can be drafted at a time. The objective is to get everything down on paper before it is
lost. On the off chance that a piece can't be drafted at a time since it is excessively long, scholars for the most part stop
at a spot where they recognize what they will compose straightaway. This forestalls a mental obstacle, the
powerlessness to compose the following day.
When drafting, writers are urged to not focus on spelling, accentuation, language structure, and so on. Re-
examining while at the same time composing makes essayists lose the first progression of the thought. Spelling,
accentuation, language structure, and so on can be tended to in the last update.

3. Revitalizing
Time plays an important part in writing. Once you create your draft, you need to have some break for you to
unwind your mind in conceptualizing. This will help you to rethink and reconceptualise for a new possible content or
inputs. This allows writers to have a new perspective when entering the revision stage. To do this, journalists should be
sorted out and time supervisors. The main draft must be done early enough to save it for the suggested cooling time.
Writers of books have significantly longer cooling periods. It might be weeks, months, and here and there even years,
contingent upon the author's inclination and the cutoff time for the distribution of the book.

4. Revising
Revising literally means “to see again” not just once but multiple times. Revision has two types of processes
where the larger problems such as content and organization and the smaller problems such as sentence structure, word
choice, and formatting shall both be considered in revising your output. Revising will help you to notice the other
elements of your write up from the mechanics, structure, coherence of the paragraphs and its core. Some portion of
updating may incorporate requesting that others read drafts and make modification proposals. Eventually, it does
consistently up to the author whether those update suggestions will be actualized into the last draft.

5. Publishing
Publishing involves submitting final manuscripts to editors of print and online journals and magazines,
newspapers, or publishing companies. Although it’s great to see one’s name in print, not all writers write for
publication. Some write their stories, poems, letters, diaries, etc. for the next generations – their children, grandchildren,
and great-grandchildren. They write to record their personal history.

CREATIVE WRITING vs. TECHNICAL WRITING

Creative writing is written to entertain and educate. We enjoy reading novels and stories, not because they are
necessary to read or helpful for us, just because we get a certain pleasure from reading them, the pleasure which can’t be
got from reading technical writing.
Creative writing has such huge numbers of sorts and sub-classes that they merit an entire area of an article for
themselves. It in some cases keeps a given arrangement of rules, and once in a while tosses alert to the breezes and
breaks every one of them. In any case, ability is fairly an important fixing in the event that you need to compose
inventively. Obviously, composing can be improved by training. Be that as it may, on the off chance that you don't have
the fundamental ability, your composing would not offer joy to anybody.
Technical writing is wholly written to inform and sometimes to trigger the person reading into making an action
beneficial to the one of the writer.
Technical writing isn't composed to entertain. It has its own arrangement of rules, shows, do's and don'ts, magnum
opuses and bits of garbage. There is an entire craftsmanship to acing specialized composition, despite the fact that it also
is fanned: online specialized composition and disconnected specialized composition. Actually, I believe that on the off
chance that you need to ace specialized composition, you should initially ace brief and attractive composing that attracts
the critics whether or not it's inventive or specialized.

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 Comparison and Contrasts of Creative Writing and Technical Writing

Tips in Creative Writing – Writing a Poem

Benefits of Learning How to Write a Poem

Even if you aren’t looking to become a full-time poet, or even attempt to publish a single poem, writing poetry can be
beneficial in several ways.
One, it fortifies your abilities recorded as a hard copy strong symbolism. Verse is a very picture based type of
composing, so rehearsing verse will improve your symbolism in different structures also.
Poetry is concise and impactful because it uses strong language that is not literal. Connotation is mostly used in
writing a poem. Elements are being associated to attain the aesthetics of the piece.
Poetry helps you to incorporate your thoughts, feelings and emotions in an effective way. Other forms of writing
have the plot to hide behind—with poetry, all you’ve got are emotions. You can become a professional poet and earn a
living writing. Even if you just want to enjoy poetry for the above reasons, you can also make a full-time income this way.

Fundamentals for How to Write a Poem

Poetry can often be subjective. Not every poem will speak to every person. That being said, there are different
attributes that you should learn if you want to know how to write poetry well regardless.
Select the form of your poem - The structure of a poem can refer to many different things, but we’re going to discuss
some different forms of poetry, how to use punctuation, and last words.
Form of a Poem
The form of your poem is the physical structure. It can have requirements for rhyme, line length, number of
lines/stanzas, etc.
Here are different types of poetry forms that we have discussed in the previous module:
Sonnet – A short, rhyming poem of 14 lines
Haiku – A poem of 3 lines where the first is 5 syllables, the middle is 7 syllables, and the last is 5.
Acrostic – A poem where the first letter of each line spells a word that fits with the theme of the poem or
exposes a deeper meaning.
Couplet – This can be a part of a poem or stand alone as a poem of two lines that rhyme.
Free verse – This type of poem doesn’t follow any rules and is free written poetry by the author.
Most of the poets have explicitly less experienced ones, compose what's called free stanza, which is a sonnet
without a structure, or with a structure the writer has compensated for that particular piece. The writer may choose to have
a specific rhyme conspire or may make their sonnets syllabic. With a free refrain sonnet, you can set up any topic or
example you wish, or have none by any means. The extraordinary thing about verse is that you can even beginning with a
particular sonnet structure, and afterward decide to adjust it so as to make it special and your own.

Poetry Punctuation
Writing a poem is difficult because you never know what the appropriate punctuation is, because it can be
different from punctuation when writing a book. This means you use punctuation properly for every grammar rule; if you
removed the lines and stanzas, it would work as a grammatically correct paragraph, and this even includes writing
dialogue in your poem. Moreover, it implies you use accentuation to serve the manner in which you might want the sonnet
to be perused. A comma shows a brief delay, a period demonstrates a more drawn out respite, a scramble demonstrates an
interruption with an association of contemplations. Utilizing no accentuation at all would loan to a surged feeling, which
you may need. Your accentuation decisions will rely upon your objectives when composing a sonnet.

Sealer of your poem

The last word of a line, the last word of your poem, and the last line of your poem are very important—these are
the bits that echo in your reader’s head and have the most emphasis.

The use of the imageries

The use of imagery as a literary device in your writing consists of descriptive language that can function as a way
for the reader to better imagine the world of the piece of literature and also add symbolism to the work. Imagery draws on
the five senses, namely the details of taste, touch, sight, smell, and sound. Imagery can also pertain to details about
movement or a sense of a body in motion or the emotions or sensations of a person, such as fear or hunger. Using imagery
helps the reader develop a more fully realized understanding of the imaginary world that the author has created.

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 Taste: The familiar tang of his grandmother’s cranberry sauce reminded him of his youth.
Sound: The concert was so loud that her ears rang for days afterward.
Sight: The sunset was the most gorgeous they’d ever seen; the clouds were edged with pink and gold.
Smell: After eating the curry, his breath reeked of garlic.
Touch: The tree bark was rough against her skin.

The association of Sound Devices

The use of the auditory effect on your piece will also give aesthetics to your piece not just the physical outlook of
the piece but also on how to sound it when the reader reads the piece. It gives additional impact to the reader and let him
to remember it. The use of figures of speech like Alliteration, Assonance, Consonance, Onomatopoeia, rhyme and rhythm
will surely help you to utilize sound aesthetics well.

Tell and Express the feelings

Structure, imagery, and sound work together to make up the technical excellence of the poem. But if your words
are empty of a deeper meaning, what’s the point in writing a poem at all?
“Poetry is a form of storytelling. The key to writing is making the audience feel. Give them something to remember and
hold onto.” – Brookes Washington
Numerous new scholars lock onto buzzwords and tired points (peep that similar sounding word usage) for their
sonnets, since they imagine that is what they should do. In any case, copying something another person has done, or some
thought of what you should figure a sonnet ought to be about, won't give you a certified, passionate piece that others can
interface with. So compose the sonnet that no one but you can compose.
Considering at your own experiences will help you to establish your thought s and emotions. What do you know?
Since your experiences may be the first sources of your concept, it will be easy for you to tell and share. Where could be
the writers of stories and poem, composers of songs get their thoughts? As you learn in literature that personal experiences
could be the substantial source of concepts. As a writer, all you need to do is to transfer the concepts into words. Can you
make that feeling an image other people can see through your words? That is the poem you write.

Do not be so ordinary, be unique to standout

There are many clichés you want to avoid when writing poetry. Nothing really marks an amateur poet like clichés.
The temptation, avoid cliché phrases. Go line by line and make your language as crisp and original as you can. If there are
pieces in your poem that seem like you’ve read or heard them before, try to reword it in order to make it more original.
If your poem seems long-winded to you, imagine what that would be like for your reader. Be ready to edit your
poem to get it down to its best form. “Poetry is just word math. Every piece has mean something, and there can’t be any
extraneous bits otherwise it gets confusing. It just becomes a puzzle made out of all the words that make you feel
something.” – Abigail Giroir

Enhancing your poem using the Writing Cycle

The genuine enchantment of verse occurs in the reexamining and refining. Amend the ever-living hell out of it.
To summarize an old educator of mine: Don't be reluctant to sit with it. For a considerable length of time, months, years—
as long as the sonnet needs. It's incredible to have composing objectives and courses of events, yet don't surge a sonnet
before you know it's prepared.

Avoid abstractions.
A word that can just allude to an idea or feeling—it is anything but a solid, unmistakable thing. A few instances of
this are freedom, love, servitude, hostility. Reflections make each individual picture something other than what's expected,
so they are powerless words, and they will debilitate your sonnet.
Rather than utilizing a reflection, consider what symbolism you can use to pass on that feeling or idea. Freedom can
become chains breaking or winged creatures flying. Love can be acquiring your life partner espresso bed, petting a canine,
cleaning a headstone.
Think about the best pictures to pass on your concept of that deliberation, so every person can be on the same
wavelength with you. Try not to categorize yourself into a structure that will smother your inventiveness, use symbolism
and sound, have an importance and a reason for each sonnet, and change until your fingers drain.

V. NEW IDEAS
After going through this module, what Anthonian attitude did you develop? As an Anthonian, I develop
_________________________________________.

VI. EVALUATION: CREATIVE MINDS

Directions: You are in a generation where playing mobile game is more important rather than reading books at home. For
your task, choose one from the different forms of poetry and create a short but well-crafted poem on how to preserve and
enhance literary pieces/work. Make sure that you observe the proper use of the different elements.

Teacher: Abigail F. Gumabay / 09752436791 | Page 11