The Word.

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Thank you for visiting this blog and making it your constant reference point for research on poetry. I have enjoyed writing it, and I have learned a great deal in the process. As I rebrand, however, I am moving on to another blog and bringing this blog's content and more with me as this blog comes to an end. The New Blog will continue the work of this blog but the design and layout will be new, friendly and complete. If you have any questions or comments, please let me know. I hope you enjoy the new blog.

I invite you to visit the new blog, which is already up and going. Thank you for your readership over the past years. I hope you will continue to follow my work as I even plan to make it more detailed and educative.

Please visit: https://epic-word.blogspot.com/

LITERARY AND RHETORICAL DEVICES

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LITERARY AND RHETORICAL DEVICES

1. Rhetorical question:

Rhetorical questions are questions that do not (expect) need an answer. They are meant to Sway the emotions of the audience, to persuade or to impress e.g. Derek Walcott’s poem, ‘Parades, parades’

The rhetorical questions in Walcolt’s poem communicate bewilderment and hopelessness.

PARADES, PARADES

There’s the wide desert, but no one marches

Except in the pads of Old parallels,

There’s the blue sea above the mountains

But they scratch the same lines

In the jet trails

So the politicians plod

Without imagination, circling

The same somber gardens

With its fountain dry in the forecourt.

The gri-gri palms desiccating

Dung pods like goats,

The same lines rule the white papers,

The same steps ascend Whitehall,

And only the name of the fool changes

Under the plumbed white cork-hat

For the independence parades

Revolving round, in calypso,

To the brazen joy of the tubas.

Why are the eyes of the beautiful?

and unmarked children.

In the uniforms of the country

bewildered and shy,

why do they widen in terror

of the pride drummed into their minds?

were they true, the old songs?

when the law lived for away,

when the veiled queen, her girth

as comfortable as cushions,

upheld the Orb with its stern admonitions?

we wait for the changing of statues,

for the change of parades.

here he comes now, here he comes!

Papa! Papa! With his crowd,

the sleek, waddling seals of his cabinet,

trundling up to the dais,

as the wind puts its tail between

the cleft of the mountain, and a wave

coughs once, bruptly.

who will name this silence?

respect? Those forced, horse hosannas

awe? That tin-ringing tune

from the pumping, circling horns

the New world? Find a name

for that look on the faces

of the electorate. Tell me

how it all happened, and why

I said nothing.

- Derek Walcott (Trinidad)

2. Euphemism

Euphemism is the use of a polite, pleasant mild and indirect words or phrases in place of move direct ones. E.g. My father has passed away or my father kick the bucket.

3. Cacophony.

Cacophony is the use of direct words or phrases without an attempt of making it mild and indirect. For example, my father was slaughtered last night.

I am going to defecate.

4. Parody.

Just as the word suggests, parody is imitating one’s style of singing or writing (artistic style of speech and writing).

Example: Timothy Wangusa’s Poem (Psalms 23 part II)

Original Psalm 23.

The Lord is my shepherd; I shall not want.

he maketh me to lie down in green pastures;

he leads me beside the still waters.

he restores my soul; He leads in the path of

righteousness for His name’s sake.

yea, though I walk through the valley of the shadow os death,

I will fear no evil; for you are with me; Your

rod and your staff, they comfort me.

you prepare a table before me in the presence

of my enemies; you anoint my head with

oil; my cup runs over.

surely goodness and mercy shall follow me all

the days of my life; and I will dwell in the

house of the Lord forever.

Psalms 23 Part II

The State is my shepherd, I shall not want; it makes me to

lie down in a subsidized house.

It leads me into political tranquility; it restores my

faith in the lucrative future.

It leads me into paths of loans and pensions, for its

international reputation’s sake.

yea, even though I walk through the valley of the shadow

of Kivvulu I will for no kondos;

for the state is with me, its tanks and guns comfort me.

It preserves for me a bank account, in the presence of

devaluation’

It fills my pocket with allowances, my salary overflows

surely increments and promotion shall follow me all the days of my life;

And I shall dwell in the senior staff quarters forever.

- Timithy Wangusa (Uganda)

1. Paradox: A paradox is a self-contradictory statement which may seem absurd, but expresses a felt truth. For example:

a. eloquent silence

b. A good wedding without food

c. Sweet o dour (smell)

d. Ugly beauty

2. Spoonerism:

Spoonerism is a faulty speech usually accidental whereby there is changing of initial sounds of words. For example, instead of saying oiled bicycles, one says boiled bicycle, instead of saying; district one says biscuits.

3. Ambiguity:

Ambiguity is when words, statements or phrases have two or more possible meanings compressed into this one word, statement or phrase or even a whole poem. All the meanings may be important. For example; Spacious house (can mean, the house has a good or disorganized arrangement) it can also mean, the home is very large.

4. A postrophe/Apostrophise.

This is an exclamatory address to a particular person or thing that may even be death as though they are present. It’s also a direct address to a thing as if it were a person (human being) For example the poem, “Death be not proud” Refer also to the, “In the loving memory.” In the newspapers.

5. Oxymoron

This is a statement that seems to be self contradictory. it consists of words that are opposite in meaning to each other. They however are used more as compound words. Example: virtues robber, Cruel kindness, friendly fire,

rebel angels, etc

6. Metonym

This is when an object/thing is referred to by another thing.object closely associated to it. That object/thing is however not part of the described or referred object. example, a crowd is associated to authority or power and a pen to peace or education and a sword to brute force.

7. Synechdoche

A synechdoche is when a part of the whole is used to refer to the whole. For example, referring to a male as a beard and a female as a skirt.

FIGURATION LANGUAGE/FIGURES OF SPEECH

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FIGURATION LANGUAGE/FIGURES OF SPEECH

Figurative language is a language which does not mean what it says. It’s the opposite of plain language and is made up of words which do not have meaning transferred from elsewhere.

a) Simile

A simile is a definitely slated comparison of two unlike objects that have one point in common. In other words, one thing may be directly compared to another with the aid of words ‘like’ and ‘as’.

For example:

1. Her thoughts in the morning areas tangled as her hair.

2. He burst out of the door like an explosion.

b) Metaphor

A metaphor is an implied comparison between unlike object that have one point in common. In other words one thing may be indirectly compared to another or giving something qualities or characteristic of something without using ‘like’ and ‘as’. For example;

1. A skirt walking

2. Some books are to tasted, other to be swallowed, and some few to be chewed and digested.

- Barcon.

NB: Many slang expressions are metaphors. Metaphores are more effective than similes e.g.

Smile would put it this way; “H’s laugh was shrill and high, like the sound of a cock crowing” While a metaphor would put it this way, “He had a shrill, high cock-crow of a laugh.”

c) Personification:

Personification is a kind of metaphor and it consists giving human (personal) attributed to inanimate objects (non-human things) or abstract ideas. For example: Pregnant clouds, smiling shoes, laughing toes.

“The wind whistled, wailed, sobbed and whispered.”

d) Deification

Deification is a sister to personification; it’s the giving of spiritual or godly attributes to non-godly or spiritual beings e.g My angel.

e) Hyperbole (figurative constrasts)

Litoles are under statements (under stating something) for example: The fruit was so small that it remained in my teeth.

f) Irony: (Figurative constrasts)

In speech or writing, its saying the opposite of what is meant in a tone or manner that shows what the speaker thinks. In other words, it’s the opposite meaning (contrary)

There are a number of the types irony. That is,

o Situational Irony: - This is when an event is contrary to what is expected or appropriate.

o Dramatical irony: - Occurs when the reader or spectator knows more about the true state of affairs a character does.

o Verbal irony: - This is when what is said or written is the opposite of the intended meaning.

o Non-verbal irony: -

o Socratic irony: - a person pretends to be ignorant.

Examples of irony;

1. To cry like a baby – that’s a fine way for a man to get.

2. It was very kind of you to remind me of my humiliation.

3. After Norman had wasted his evening in nonsense, his father remarked, “Don’t you think you have studied too hard this evening?”

g) Juxtaposition:

Juxtapositioning is putting two things or ideas side by side for the purpose of comparing.

h) Constrast:

Constrast is striking difference between objects or ideas. For example; “As communism calls for the collective co-operation of individuals for the good of the productive society, capitalism will call for individual independence of persons or firms in productive society. It’s there for a leiza faire government system” Opolot Simon.

i) Imagery:

Imagery is a figure of speech that develops from similes and metaphors appealing to the sense. It’s a formulation of pictures out of words or sensuous element of poetry. Mental images are formed which include one’s interests, values, tastes, temperaments and visions. It’s important to classify there metal image according to the sense they stimulate; Look at the following task. Does is help you in identifying the senses you are responsive to? Are they just five as commonly known or more? What are they?

Task 6

Since “We interact with our environments so effectively and so effortlessly, it is difficult to appreciate the extension computations that underline even the simplest sensory experience” In regard to this, let’s try to appreciate.

Picture yourself cycling a long a quiet country road. As you pedal, sensors in your legs enable you to apply just the right pressure to maintain your speed. Your organs of balance keep you upright; your nostrils smell the aromas; your eyes absorb the panorama; your ears are attuned to the chirping of birds. Thirsty, you grab your drink bottle, aided by touch receptors in your fingers. Your taste buds and hot and cold sensors reveal the flavor of the liquid and its temperature. Sensors in your skin and those attached to your body hair tell how strong the breeze is and, in cooperation with your eyes, how fast you are going. Your skin also informs you of the ambient temperature and humidity, while your awareness of time tells you approximately how long you have been on the road. Eventually, internal senses will compel you to rest and to eat. Yes, life truly is a superb sympholly of the senses!.

Where they just Five senses?

During such a bicycle ride, how many senses come into play – just the traditional five; sight, hearing, smell, taste and touch? If not what others have you registered in play/interaction in you.

1. Visual imagery:

This appeal to the sense of sight and yet stimulated by coloudity, brightness, colour and motion.

2. Audile/Auditory imagery:

Audile or Auditory imagery appeals to the sense of hearing and are stimulated by sound.

3. Olfactory imagery:

Olfactory imagery appeals to the sense of smell.

4. Gustatory imagery:

Gustatory imagery appeals to the sense of taste. That is, sweetness, bitterness and sour.

5. Tactile imagery:

Tactile imagery appeals to sense of touch. This has to do with the temperature and texture.

6. Thermal imagery:

Thermal imagery specifically deals with temperature. That is, how cold or hot.

7. Motile imagery: (appeals Kinesthetic sense)

Motile Appeals to the sense of movements and are concerned with muscle movement, action and tension.

8. Organic imagery:

Organic imagery appeals to the sense of Organs. (Internal organs).

Figurative Associations (This is under imagery too)

9. Synecdoche

Synecdoche is the calling of an object by a part of it. For example, calling men, beards and women, breasts or a skirt.

10. Metonym:

A metonym is a figure of speech in which a thin is referred to in terms of another closely associated or suggested by it. Four common relations that give rise to metonymy are;

i. Container and thing contained. Eg. Please address the chair (Chairman)

ii. Sign and thing signified. E.g The pen is mightier than the sword.

In this example, the pen metonyms; books, newspapers, magazines or in general education, whereas the sword metonyms armies or navies

iii. An Author and his books. E.g. We are reading or acting out Richard Bolt. Here, Richard Bolt refers to his works of are e.g. His play; A man for All Seasons.

iv. The part for the whole. E.g

a) She has seen sixteen summers.

b) All hands to the deck!

The former takes ‘summers’ to refer to years while the latter uses ‘hands’ to refer to men.

j) Symbolism:

Symbolism is a presentation of one thing by another. In other words, it’s a representation of one object/idea by another. Symbolism berilds images while have a fixed and universal profound significance and power. However, actual ‘meaning’ will vary in accordance with the context and the understanding of the reader. For instance, others may take a lion for a symbol of courage and royalty yet others, for cruelty and terror depending on the context.

Time Symbol:

1. Morning; the setting of poem in morning in literature represents a new beginning. The sun is usually just rising, mild and even comfortable. The subject matter usually tallies with a physical condition. Activities are usually at a beginning or in usual (normal) stages.

2. Midday afternoon:

As the day grows and the sun’s heat grows up, activity increases. There is an improvement or change of the subject matter. When the sun heat is at a peak, a subject matter also reaches a peak in either negative or positive.

3. Evening/Night or Dusk:

With the sun setting, activity could be coming to an end. A change in the opposed direction. If negative initially, by night, would have reached to an end. If positive, then the situation gets back to normal.

If however, the subject matter begins at night, by the middle of the night, its at the peak and, by dawn or morning, there is a definite change.

4. Colour symbols:

a) White: White colour symbolizes; purity, innocence.

b) Black: Black symbolizes; evil, sorrow, death, tears, sadness.

c) Red: Re symbolizes; Love, danger, brotherhood.

d) Yellow: This symbolizes; Hope, jealously.

e) Green: Green symbolizes; Peace, nativity (Immaturity) childless and joy.

f) Blue: Symbolizes Romantic Love

g) Pink: Symbolizes lover.

h) Purple: This symbolizes royalty

POETIC TECHNIQUES

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POETIC TECHNIQUES

01. Language

a. Diction

Diction is a choice of individual words and expressions. That is, appropriateness, valid, relevant and deliberate.

i) Denotative: - This is the choice of words that maintain their dictionary meaning.

ii) Connotative: - This is the choice of words that have derived/extended or hidden meaning.

PIANO AND DRUMS

When at break of day at riverside.

I hear jungle drums telegraphing

the mystic rhythm, urgent, raw

like bleeding flash, speaking of

primal youth and the beginning,

I see the panther ready to pounce

the leopard snarling about the leap.

and the hunters crouch with spears poised.

Any my blood ripples, turns torrent,

topples the years and at once I’m

in my mother’s lap a suckling;

at once I’m walking simple

path with no innovations,

rugged, fashioned with the naked

warmth of hurrying feet and groping hearts

in green leaves and wild flowers pulsing.

Then I hear a wailing piano

Solo speaking of complex ways

in tear – furrowed concerto;

of far – away lands.

and new horizons with

coaxing diminuendo, counterpoint,

crescendo. But lost in the labyrinth

of its complexities, it ends in the middle

of a phrase at daggerpoint.

And I lost in the morning mist

of an age at a riverside keep

wandering in the mystic rhythm

of jungle drums and the concerto.

Signifier

Signified

Break of day at a river side

(early morning)

Jungle drums telegraphing.

Raw like bleeding flesh

Primal (first, fundamental)

Walking a simple path with no innovation.

Wailing piano

Solo speaking (performed by one person)

Concerto – music for an orchestra

New horizons

Diminuendo (a gradual decreases in loudness)

(counterpoint ( a melody added as accompaniment to given melody and providing decoration or contrast to it)

Crescendo ( aloud climax)

Labyrinth (amaze; the music is difficult to follow)

Daggerpoint

Lost in the morning mist wandering in the mystic rhythm

Culture – (Rivers are winding and water is life) culture has no end and it’s the peoples life.

Drum – way of communication

- culture

- common fareton (unifever)

- African heritage

Telegraphing – sending massage

Fresh, uncontaminated, pollute free

Something very important to us.Simple ways of life without any needs that call for creativity

Western culture

Capitalistic tendencies

Western ways

Western (ways/would new to Africans)

Complexity of the Western ways and culture.

Complexities in Western culture lead to intimate confusion.

Dangerous point in thought or decision to make

Failed to decide which culture is okay to make

NB: Signifier is the meaning of the word or phrase in the poem and signified is the implied meaning.

TASK 4

A TAXI DRIVER ON HIS DEATH

When with prophetic eye, I peer into the future.

I see that I shall parish upon this road.

Driving men that I do not know.

This metallic monster that now I dictate

This docile elaborate horse

That in silence seens to simmer and stain

Shall surely revolt some tempting day.

Thus, I shall die; not that I care

For any man’s journey,

Nor for proprietors gain,

Not for these do I attempt the forbidden limit

For this defy the traffic man and the cold cell

Risking everything for the little little move.

They shall say, I know, ho pick up my bones,

“poor chap, another victim to the ruthless marchine – “

Concealing my blood under the metal.

- Timothy Wangusa.

Analyse the poem in terms of subject matter and diction

Subject Matter

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02. SUBJECT MATTER/MEANING/MESSAGE/THEME/CENTRAL IDEA:

Subject matters is what the poem is about. That is, its meaning or the massage the poet is putting across. This includes all the aspects of the message and not merely the central idea. Theme on the other hand is the central idea in the poem.

Subject matter varies from critic to critic or from analyst to analyst. There can be as many meanings to a poem as there are readers of that poem since the interpretation depend on the individual experience and exposure.

ONCE UPON A TIME:

Once upon a time, son.

They used to laugh with their hearts

And laugh with their eyes;

But now they only laugh with their teeth,

While their ice – block – cold eyes.

Search behind my shadow.

There was a time indeed

They used to shake hands with their hearts;

But that’s gone, son.

Now they shake hands without their hearts

While their left hands search

My empty pockets.

‘Feel at home,’ ‘come again,’

They say, and when I come

A gain and feel.

At home, once, twice

For then I find doors shut on me.

So I have learned many things, son.

I have learned to wear many faces.

Like dresses – homeface,

Officeface, streetface, hostface, cocktailface –

With all their comforting smiles.

Like a fixed portrait smile.

And I have learned too

To laugh with only my teeth

And shake hands without my heart.

I have also learned to say ‘Goodbye’

When I mean ‘Good riddance’;

To say ‘Glad to meet you’;

Without being glad; and to say ‘It’s been

Nice talking to you’ after being bored.

But believe me, son,

I want to be what I used to be

When I was like you. I want

To unlearn all these muting things.

- Gabriel Okara.

Analyse the subject matter of the poem

Analyse the subject matter of the poem.

TYPES OF POEMS

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Under the different branches of poetry are small genres called poems. They are also in several different types. That is;

01. Ballads: - These are long songs that teach a moral lesson. e.g Hasana’s Lover by Paul Edwards and, In the Ghetto by Elvis Presley.

IN THE GHETTO

As the snow flies

On a cold and grey Chicago morning

A poor little baby child is born in the ghetto.

And his mama cries.

Because if there’s one thing she doesn’t need

It’s another little hungry mouth to feed

In the ghetto.

And, people, don’t you understand?

A child needs a helping hand.

He’s going to be an angry young man someday.

Take a look at you and me.

Are we too blind to see?

Do we simply turn our heads and look the other way?

Well, the world turns.

And a hungry little boy with a runny nose

Plays in the street as the cold wind blows

In the ghetto.

And his hunger burns.

So he starts to roam the streets at night

And he learns how to steal and he learns how to fight.

In the ghetto.

Then one night in desperation

The young man breaks away.

He buys a gun, steals a car,

Tries to run but be doesn’t get far

And his mama cries.

As the crowd gathers round.

An angry young man lies face down in the street

With a gun in his hand

In the ghetto.

And as her young man dies,

On a cold and grey Chicago morning

Another little baby child is born in the ghetto.

And his mama cries.

- Elvis Presley.

02. Ode: -

These are long poems that will address a person, an object, situation, event, (eg Independence Day), place (eg. Stonehedge, grave yard, etc) etc. All national Anthems are Ode poems, because they address the object called a country/nation.

03. Epics:

These are long poems that tell (narrate and describe) the deeds of great men, things, etc. For example: David Rubadiri’s poem. Stanley meets Mutesa

04. Alyric: -

A short emotional poem (expresses strong emotions) normally of Love. For example; the traditional Akan poem: The poor mother.

THE POOR MOTHER

Another mother wishes you were hers

But you are mine.

She wants to nurse you on her gorgeous rug.

She wishes you are hers,

To lay on her rug of caned – hair

But you are mine, to lay, on my poor ragged mat.

She wishes you were hers but you are mine.

(Traditional Akan)

THE SNAKE

Neither legs nor arms have I

But I crawl on my belly

And I have

Venom, venom, venom!

Neither horns nor hoofs have I

But I spit with my tongue

And I have

Venom, venom, venom!

Neither bows nor guns have I

But I flash fast with my tongue

And I have

Venom, venom, venom!

Neither radar nor missiles have I

But I stare with my eyes

And I have

Venom, venom, venom!

I master every movement

For I jump, run, swim

And I spit

Venom, venom, venom!

- John Mbiti

05. Epitaph: These are writings (poems) on peoples graves: For example;

EPITAPH ON CHARLES THE SECOND

Here lies our sovereign Lord the King,

Whose word no man relies on,

Who never said a foolish thing

Nor ever did a wise one.

- John Wilmot.

EPITAPH

The poem in the rock and

The poem in the mind

Are not one

It was in dying

I tried to make them so.

- R.S. Thomas

EPITAPH ON A PESSMIST

I’m Smith of stoke, aged sixty – odd,

I’ve lived without a dame

From youth – time on; and would to God

My dad had done the same.

- Thomas Hardy.

ON THE DEATH OF SIR A. MORTON’S WIFE

He first deceased – she, for a little, tried

To live without him, liked it not and died.

- Henry Wotton.

LATHER AS YOU GO

Beneath this slab

John Brown is stowed.

He watched the ads,

And not the road.

- Ogden Nash.

MATTHEW BIRD

I, the Reverend Matthew Bird,

Preacher of God’s Holy Word,

Taking leave of aisle and Pew,

Go to find how much is true.

- L.A.G. STRONG

EPITAPH ON A TYRANT.

Perfection, of a kind, was what he was after,

And the poetry he invented was easy to understand;

He knew human folly like the back of his hand,

And was greatly interested in armies and fleets;

When he laughed, respectable Senators burst with laughter,

And when he cried the little children died in the streets.

- W.H. Auden (England)

Example of a Limerick.

There was an old man with a beard,

Who said, “It is just as I feared! –

Two Owls and a Hen,

Four Larks and a Wren,

Have all built their nests in my beard!”

- Edward Lear.

ON A TIRED HOUSEWIFE

Here lies a poor woman who was

always tired,

She lived in a house where help

wasn’t hired;

Her last words on earth were ‘Dear

friends, I am going

To where there’s no cooking, or

washing, or sewing.

For everything there is exact to my

wishes,

For where they don’t eat there’s no

washing of dishes.

I’ll be where loud anthems will

always be singing,

But having no voice I’ll be quit of

the singing.

Don’t morn for me now, don’t

mourn for me never,

I am going to do nothing for ever

and ever!’

(Anon)

06. Sonnets: - These are poems of 14 lines. They have three distinct parts. That is, Introduction, explanation and summary/conclusion in the heroic couplets. For example; all Shakespeare’s short poems. That is Shakespearian Sonnets. Other types are Petrarchan Sonnets. Sperceran Sonnets and Mitonic Sonnet.

Much will be said in depth about these Sonnets when we handle poems structure/form.

07. Elegy: - This is a sad poem that will talk about death or when people are depressed. E.g.

Elegy for Alto by Christopher Okigbo (Nigeria),

The Slave by Bonus Zimunya (Zimbabwe)

THE SLAVE

Every where I look

Every time I think

I am a slave.

This ford Biscayne

This girl inside Afro

This St. Mark Suit

The tempest stereo

The Suzuki guitar

This camera.

The shoes

The wedding cake

The job in the plan

The millionaire

That footballer

This film star

All live in my head

All too near

And too far from my reach

Lord, I wish too much

Want too much

For the mind

In this gourd

Of a head

And gain too little

To escape this haunting slavery.

- Bonus Zimunya (Zimbabwe)

08. Rhymes (Nursery rhymes) – These are very musical poems. For example:

(A) Jack and Jill

Went up the hill

To fetch a pail of water

Jack fell down and broke his heel

And Jill came tumbling after.

(B) Tick a Tack ta

Tick a tack tuu

This is the way

We make a shoe.

09. Acrostic/Acronstics: These are very musical (song like) poem. The first letters of the given line will be used to form a sentence. E.g

a) Sweet, Sweet, Sweet

Opolot, I love you

b) David, Daniel, Douglus

You

A are all my good good

Darlings.

Dyad refers to friends.

10. Limerick.

This is a short humerical and ironical five lined nonsensical poem. E.g. On the tired housewife

11. Diamites:

These are poems that look like Diamonds in shape

12. Altar: This poem looks like an altar or a cross.

Download in PDF to reveal the pictures

TERMS USED IN POETRY:

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01. The poet or poetess. – It’s the writer of a poem.

02. The persona or personae – the person(s) in the poem being written or talked about/to.

03. The speaker – is the person speaking or taking in the poem.

04. Lines: A line is a collection of words that make a unit of sense, although there are one word line that makes a unit of sense. It’s called a verse.

05. Stanzas: There are a collection of lines in a poem that make a unit of sense. There are also one line stanzas that make sense.

THE MAN HE KILLED”

‘Had he and I but met.

By some old ancient inn

We should have sat us down to wet

Right many a nipperkin!

‘But ranged as infantry,

And staring face to face,

I shot at him as he at me,

And killed him in his place.

‘I shot him dead because, -

Because he was my foe,

Just so: my foe of course he was;

That’s clear enough; although

‘He thought he’d list, perhaps,

Off hand like – just as I –

Was out of work – had sold his traps –

No other reason why.

‘Yes; quaint and curious war is!

You shoot a fellow down

You’d treat if met where any bar is,

Or help to half – a – crown,’

- Thomas Hardy.

C.F. Epilogue by Grace Nicholes as well –

Fare a simple/one word line.

Not that, there can be one stanza poems as well. For examples, Shakespeares sonnets (poems of fourteen (14) lines.

Other one letter line and one work stanzas is also possible. For example e.e. (from U.S.A) cummings’ poem, ‘Nothing can Surpass the mystery of stillness.’

NOTHING CAN SURPASS THE MYSTERY OF STILLNESS

OthI

g can

urpass

⁰⁵ s

The m

¹⁰ ster

tillness

¹⁵ s

TYPES OF POETRY

01. Narrative: -

02. Descriptive: -

03. Humerous: -

04. Dramatic:

05. Pastro: -

06. Didactic: -

07. Lyrical: - These are musical (song) poems. It is full of strength rhythm. E.g. in the Ghetto, and

The snake by E. Presley and J. Mbiti respectively.

JULY. – John Clare.

… noon burns with its blistering breath.

Around, and day dies still as death

The busy noise of man and brute.

Is on a sudden lost and mute;

Even the brook that leaps along

Seems weary of its bubbling song,

And, so soft its waters creep,

Tired silence sinks in sounder sleep.

The very flies forget to hum;

And, save the wagon rocking round

The landscape sleeps without sound.

The breeze is soft, the lazy bough

Hash not a leaf that dances now;

The totter – grass upon the hill,

And spiders’ threads, are standing still;

The feathers dropt from moor – hen’s wing,

Which to the waters surface cling,

Are steadfast, and as heavy seem

As stones beneath them in the stream;

Hawkweed and groundsel’s fanning downs

Unruffled keep their seedy crowns;

And in the Oven-heated air,

Not one light thing is floating there,

Save that to the earnest eye,

The restless heat seems twittering by.

From: The Shepherd’s Calendar

ATTACK

At dawn the ridge emerges massed and dun

In the wild purple of the glowing sun,

Smouldering through spourts of drifting smoke that shroud

The menacing scarned slope; and, one by one,

Tanks creep and topple forward to the wire.

The barraqe roars and shovels and battle – gear,

Men jostle and climb to meet the bristling fire;

They leave their trenches, going over the top,

While time ticks blank and busy on their wrists,

And hope, with furtive eyes and grappling fists,

Flounders in mud. O Jesus, make it stop!

- Siegfried Sassoon

Pounding grain,

Pounding grain makes you cry,

Tears drip drip;

Drawing water,

Drawing water make you cry,

Tears drip drip;

Fetching wood

Fetching wood makes you cry

Tears drip drip;

Hoeing

Hoeing makes you cry,

Tears drip drip.

- (Chi Chewa, Malawi)

LAPOBO

Lapobo,

Tall but not too tall,

Short but not too short,

She is of medium size.

Lapobo,

Her teeth are not as ash

Nor the colour of maize flour

Her teeth are white as fresh milk.

The whiteness of her teeth.

When I think of her

Makes food drop from my hand.

Lapobo,

Black but not too black,

Brown but not too brown,

Her skin colour is just between black and brown.

Lapobo,

Her heels have no cracks,

Her palms are smooth and tender to touch

Her eyes – Ho! They can destroy anybody.

- A.R. Cliff – Lubwa P’Chong

The terms in Poetry have been shown labeled in the poem,

"The Man He killed" but because blogger could not support the labels, please download in PDF to reveal the labels.

DIFFERENCE OF POETRY FROM PROSE AND OTHER LITERATURE

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Poetry differs from other literature despite the fact that the same language is used and the same world, described.

First and foremost, poems are short compared to short story, play or Novel.

Note that, the length and density should not be confused. Poets have to convey ideas in lines. This means that even a short poem can convey or contain very profound and complexed idea. For example, Grace Nicholes’ poem, ‘Epilogue’ has one of the most profound and complex subject matter/ideas. It expresses important ideas about separation and a new beginning.

EPILOGUE

I have crossed an Ocean

I have lost my tongue

From the roots of the Old

One,

A new one has sprung.

- Grace Nicholes (Guyana)

Short poems may be difficult to understand; because of the complexity in their message; it’s usually connotative (symbolic with a hidden message) compared to quite long poems with surface massage. You ask yourself the first time you see a poem like ‘Epilogue’,

What does this poem mean?

Who is the poet talking about?

Which Ocean has she crossed?

Does the poet mean this literally or does

“Crossing an Ocean” mean something as well?

Who has she been separated from?

Poetry also differs from other genres of literature in that, it’s written in lines and stanzas instead of sentences and paragraph that prose presents its massage in. this makes the message passed by poetry rhythmic and more powerfully put forward than that put across by other genres of literature. For example, William Shakespeare’s sonnet ‘Shakespeare On Love’ and any other poets’ poems are more beautiful and powerful in their verse form than in their prose form.

Verse form:

SHAKESPEARE ON LOVE:

Weary with toil, I haste me to my bed^a,

The dear repose for limbs with travels tired^b;

But then begins a journey in my head^a

To work my mind, when body’s work’s expired^b;

For then my thoughts, from far where I abide^c,

Intend a zealous pilgrimage to thee^d.

And keep my drooping eyelids open wide^c,

Looking on darkness which the blind do see:^d

Save that my soul’s imaginary sight^e _

Presents thy shadow to my sightless view^f,

Which, like a jewel hung in ghastly night,^e

Makes black night beauteous and her old face New^f.

Lo, thus, by day my limbs, by night my mind^g

For thee and for myself no quiet find.^g

- William Shakespeare

A PROSE VERSION

Tired after a long journey (work), I hurry to my

Bed to rest my body. Instead of sleeping, however, I begin to think of you who are far away, And my eyes remain open and look on darkness. I can see nothing with my eyes but in my imagination, I see you. You are like a precious jewel shining in the dark and making the night beautiful. While I am away from you I cannot forget you and I can find no peace of mind for either of us.

Poetry therefore, is not only able to present its message more strongly and effectively, but also musically. Look at the ending words in each line of the poem ‘Shakespeare on love, you will find that, there is a similarity in their sounding, thus making a musical note. This makes poetry more enjoyable than prose.

Thirdly, poetry economises language. As prose expresses in a commonly accepted form usually intended to put across meaning in its simplified and most explicit way, poetry suggests its message than giving it straight forward. This is possible by used of figurative language like imagery.

For example, Alex Laguna in his book had to write pages upon pages to explain the life of Africans in the Apartheid South Africa, so did Peter Abrahams in the Mine Boy. But Claude Mackey says exactly the same thing in very short poem and yet more strongly and effectively put across.

IF WE MUST DIE

If we must die, let it not be like dogs

Hunted and pained down in an inglorious spot

While round us bark the mad and angry dogs

Making their mock at our cast lot.

If we must die Ooh, let us nobly die

So that as precious blood may not be shade

In vain, then even the monsters we defy

Shall be constrained to honour us though dead.

Ooh Kins men! We must meet the common foe

Though far outnumbered, let us show as have

And for their thousands blow dead one death blow

Even though before us lies the open grave

Like men will face the murderous cowardly pack.

Pressed to wall digging but fighting back.

- Claude Mackey

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WHAT IS POETRY?

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Poetry is the imaginative expression of strong feelings usually rhythmic. The spontaneous outflow of powerful feelings recollected in tranquility.

Poetry is the art which uses words as both speech and song to reveal the relatives that the senses record, the feelings salute, the minds perceive and the shaping imagination orders it.

Poetry is variety in uniformity. Tailer says, ‘Prose is the words in their best order while poetry is the best words in the best order.’

It’s the act or art of doing by means of words what the painter does by means of colours.

Poetry is like a mini – skirt

Long enough to cover the subject.

Short enough to rouse the interest.

Poetry is a study of poems, which is a piece of writing, arranged in pattern of lines and or sounds, expressing some thought of feeling or human experience in an imaginative way of language.

From the dawn of time, man has made poetry and listened to it. It’s therefore as old as man. It is one of the most important things he can do, for it is through his poetic power that man advances and evolves within his world. D.H Lawrence puts it very well: “The essential quality of poetry is that it makes a new effort of attention and discovers a new world within the known world. Man, and the animals, and the flowers, all live within a strange and forever surging chaos. The chaos which we have got used to, we call cosmos. The unspeakable inner chaos of which we are composed we call consciousness, and mind, and even civilization. But it is ultimately chaos lit up by visions, or not lit up by visions. Just as the rainbow may or may not light up the storm.’

The critic and poet, Archibald Macheish also says:

The poet’s labour is to struggle with

the meaninglessness and silence of

the world until he can force it

to mean: until he can make the

silence answer and the non – being

BE. It is labour which undertakes

to “know” the world not by exeg–esis

or demonstration of proof but

directly as man knows apple in the

mouth.

To know the apple you have to eat it. To know a poem you read it, hear it, allow it to come to life in your mind.

As the poet therefore struggles with Non–being to force it to yield Being; knocking upon silence for an answering music, we the readers or reciters or critics listen and appreciate what they have discovered or brought to light from the ‘dark and silent world’.

Since poems are written by man and for man, they are very much like people. It’s very much like you having a thought of the people you know, especially your friends. How did you feel about them when you first met them? Sometimes, you did not like someone immediately; other people, you take long to get to know – may be, you don’t even like them much at the first meet, then gradually has you get to know them; you begin to appreciate qualities in them which you could not see when you first met. Sometimes, our best friends come from friendship which grows slowly.

Poetry is a bit like that. It’s about the way you feel. Sometimes a poem is immediately enjoyable. It makes you smile or laugh out aloud. Sometime, it reminds you of something you have experience; you think,

“How true – that is exactly how I feel.

But I did not think of putting it like that.”

At times, a poem may be hard to understand at first and even second reading, but after you have become so familiar with it, you can begin to understand.

Occasionally, poems like that become our favourites. So, you see, poems are like people you meet.

SPOKEN ENGLISH

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In distinguishing between written and spoken English, spoken English attempts to record accurately exactly what people say. In a passage for example, someone could say, ‘defendin’ instead of defending or ‘s’ for it’s. Omissions like this when quoted from the passage are accurate records of what people say. In spoken English people can say, ‘James and me’ instead of ‘James and I’

Other characters of spoken English include a mixture of tenses. For example a mixture of past and present tense in narrating one story. Such a change of tense is not usually in formal written English but tenses change when people are talking.

The story is also sometimes interrupted by exclamations like; Hey you, hey home boy/girl, oh gosh, Ooooops, which contributes nothing to the story itself.

Some of the statements that sound sensible when spoken can be seen as in logical in print or in writing.

The constructed form of spoken English makes it clearly different from written English e.g. you’re, he’s, gays, etc. constructed verbs are very common in spoken English and read in single words.

The other characteristic is the use of statement form for a question. In written English it will usually be, “Have you seen him? Instead of spoken English, it’s you’ve seen him. Want me to take you out? Where the auxiliary verb do and the subject you, have been omitted.

Another characteristic that appears throughout passages is the use of slangy words and colloquialisms such as guy, smash up job for the holiday or the entertainment was so slap. Hook up or hooked up.

Colloquialisms are words used in spoken English while slangy are the expected use of words with a meaning different from their formal dictionary meaning. Slangy in general is regarded has substandard and out of place for written English.

Signal words, may come anywhere in a sentence in spoken English. They often indicate a change of tone for emphasis. They may indicate that the speaker is not certain of what he is explaining or his uncertain that his explaining himself fully or clearly. Eg. As it were, after all, in fact you understand, you get the point. Spoken English is always released and conservational.

descriptive (tion) Essay

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1. DESCRIPTIVE(TION) PROSE

As the name suggests, description has to do with describing, and by doing this, one has to make the best use of Adjectives i.e. words that describe a noun. There are two sorts of descriptive writing; the objective and the impressionistic (subjective). The writer of an objective prose tries to give an account of something. He sees what he is describing as something in its own right. He looks at it from the outside and therefore, his attitude or feeling towards it is not import. The writer is like a camera.

But impressionistic description concentrates on the feelings that the described object arouses in the observer. The writer is more interested in making the reader feel rather than see. To do this, they must be sure of what their own feelings are about the object, so that; they can try to arouse the same feelings in the reader. The impressionistic writer often writes as if they were inside the thing they are writing about.

The two types of description are dependent of each other. The objective writer has feeling which they may come across and the impressionistic writer must also have factual description if what they are describing must seem real to the reader.

Objective description often begins with a short general picture of the entire thing described; then, some details are given. It’s often written impersonally as if the writer was not interested. E.g. you may write about a large house by stating facts about its size, qualities and excellent materials without any emotions.

An impressionistic description may be communicated directly or indirectly. The direct way is easier where the author describes the feelings itself like telling the reader that his amused by something although this does not make the reader amused. The indirect way is not for the writer to describe his feelings but rather, describe the object in such a way that will arouse in a reader feeling similar to his own, like describing what has amused him in such a way that makes the reader smile or laugh. In such a way, he would have communicated his feeling (amusement in this case) to us.

Impressionistic descriptions are not concerned with factually accurate picture like the objective description that minds about objective accuracy. They are concerned with feelings, attitudes and points of view. The writer can exaggerate, omit or even add information if it helps them do what they want to do. His not trying to tell us what something is but instead, what it means to them or how they feels about it.

Task 3:

Write two essays to differentiate between objective and impressionistic descriptions.

Exposition Prose

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1. EXPOSITION PROSE:

As the name suggests, exposition prose is a writing that explain or gives facts about a topic. It’s the commonest kind of prose found in text books, letters, legal documents, Newspapers or in anything where you look for information and explanation.

The straight forward exposition gives the facts without any addition of personal opinion. They are long carefully balanced or intricately constructed sentences but… rather simple and straight sentences.

The construction and vocabulary are simple and straight forward as possible. For example, in making of a meal, facts would be given about amount and the method of preparation.

Slanted prose is also factual and concise, but improved by the addition of colour such that it’s sometimes called, coloured writing. Its intension is to convey the writer’s attitude and pursue the reader to accept the writer’s opinion. The writer does this by specific choice of words especially verbs and nouns that draw the reader’s attention on minor details. The tone of the writer is sometimes meant to pursue the reader. It can be sarcastic or the whole piece can be satirising or mocking to pursue the reader.

The primary purpose of exposition is to explain. However, the explanation can either be straight forward or slanted, and when slanted, it should be persuasive. The words chosen should reflect the opinion of the writer.

Task 1

Write two passages to differentiate straight forward from slanted prose

Prose and Poetry

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Introduction to Prose:

Prose is written in spoken language that is not in verse form. Verse is a form of writing arranged in lines often with a regular rhythms or rhythm scheme; that is with sound effects. So, prose is plain writing of speech without pains taken to shape it into a definite form of structure.

Characteristics/Qualities of Prose

Prose is basically passages or pieces of writing that have some logical grammatical order and its ideas are connectedly stated rather than merely listed.

Prose writing is usually elaborate and detailed with sentences and paragraphs whose length and size vary from writer to writer according to the different styles and accompanying intentions.

The variety of expressions is brought out through the individual choice of words and also through sentence structure. Therefore，how much of the passage is understood by readers is determined by the author’s choice of words (diction) and expression.

The language of prose also varies from writer to writer. Sometimes, its archaic and difficult to understand. For example，Elizabeth and Shakespeare writers. Including Shakespeare himself. Others use very descriptive and vivid language as the writers of the Victorian era like George Owen, Charles Dickens, Thomas Hardy did; whose essays have very long sentences. The other prose writers use the 20th and 21stcentury era style and language that has no specific characteristics except that, the English is simple and simpler than the other, for example, African novelists like Ngugi wa Thiogo, Chinne Achebe, Okot B’bitek.

(Mistake not however the simple English for simplicity in the subject, they are as complex as any writer of any era is. I personally consider Wole Soyinka the 20th/21st Century Shakespeare.)

The Protest

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Humility I held as you your ear
Crying out foul to mistreatment
of my soul, dear.
You moved by my rotting situation as I lay me
down my soul.
Looking not, for you mined your own pleasurities
And I your 'inconvenience', worth the under look
Pleaded, whimpered and begged.

Today, I try again. Desperate for a listening ear,
Turn to my last and desperate weapon-
I strip and nude I stand there as
you curse and abuse but barge in.
It works, it works.

Bitcoins

2014-05-06T10:19:00.001+03:00

bitcoin:16UpeQJAej7ATfNZ9qcfqd9Brdz1LHPoX8?amount=0.0008

Bududa land-scape

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The ever-green fertile hills of Bududa.
What picture do you have of Bududa? Is it of landslides and camps? Think again. Not ruling out mudslides, this land is cool and beautiful to see. Ever thought of visiting? Tarry not. It's a place tourist are yet to uncover! Be the first.

WHAT TO BE

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For virtue,

Do not be but clay to man

That any may touch and mould to what

shape they desire.

But like Bronze

Holding an edge for all

to form shape upon.

In character, a fool

Like water is,

Takes shape of it's container,

But like a still container,

A shrewd man

Shapes all that into his life enter.

The wise, my little one,

know when to 'be' water or a still container.

To spot a vice and flee,

Be eagle eyed.

Be shift of foot and

Procrastinate not

Lest thou taketh the liking of clay.

Let follies from others

Be thine learning,

And thou shall but thine own make few.

Thus a fixed North Star

Shall thee be

For man, as even a sailor,

To take his bearing from.

Opolot Simon

Mining the Mine

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Gold you may have,

Silver and all that

Passes for precious minerals

But there is just but

One mineral of them all,

the Mine,

Mine it today, and you

shall forever prosper.

Opolot Simon

INSPIRATION

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I smitten me down with

a thunderbolt that deafens,

Hearing not all other calls

than this lightening fast idea that

now rocks me to the bottom.

This one spot of light

That now shines bright from this blacked out stage,

Bestows its urgency upon me and

hastily beckons me to its calling.

All other calls, secondary but become,

And I, smitten down by

a thunderbolt in a haste post haste,

Are lost in this but a single spotlight of inspiration

That now I hold.

Until the logical conclusion come,

Prisoner to it shall I be,

Of it but an inspiration.

Opolot Simon

InExperience

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Like a plain page,

You are my little one!

And everybody around,

Like eager authors,

Readily inscribe on you.

Your author you choose not

But their work, edit

Correctly what on your page write.

And you shall be but a virtuous one.

Little one,

wrongly edit

And you shall be but a piece of dung

For everyone to spit upon,

And no better than a plain page will your worth be.

Opolot Simon

River of doubt

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Where I come from or go

I know not

What shape or form I am

I know not

Colour have I not,

Taste or smell are but alien unto me.

Size matter's not.

But all to mine enslavement come,

even for a minute!

This second of smallest doubt destroys eternity!

And forever flow I, River of doubt.

Opolot Simon

Hunger Pangs

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What can I compare you to

Ooh hunger pangs?

An ulcer that upon her mouth soar fluid tasted

Or a corrosive acid that

Upon my skin fell?

This weight of an empty stomach that

Weighs me down as I in

Slow motion rise from my sitting!

What can I compare you to?

To weight of liquor to a

Drunk who can't find his footing,

Or an empty tin that

can't in a howling wind

find its stand for its own weightlessness?

A thunder storm roars not in clear sky,

A cloudless sky.

But in my empty belly,

Roars this very storm!

Ooh hunger pangs,

To your own strength you concede!

Gradually to vanity you vanish.

As I to eternal bridge of darkness sink.

Weakness I feel,

Pain I feel not

As to eternal oblivion I so journey.

Opolot Simon

WHEN SUNSET CAME

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To the bushes we ran

Away from our homes

For with sunset came more uncertain terror.

The grass that roofed our homes,

Now made beds for us.

The trees that gave poles to our shelters,

Now happily sheltered us

And took no revenge upon our earlier murderous hand on their lot.

Snakes sought for warmth among us and took no bite.

The piercing thorns that now

threateningly stood beneath

the grass that now was our

bed, pierced not.

The wind that spoke fallacies,

The ears that listen to imaginary sounds,

The eyes that gave life to still figures

That in their ghastly shapes

Appeared to move.

Crouched and stood they as I did!

All were part of the horrifying spooky tidings that rocked our very being to the core.

As we to the bushes so journeyed.

To hideouts where verbal communications would turn heads in horror.

Where fire was lit only at night in controlled manner

For smoke speaks volumes to foes far away.

Like a fix north star, it would bring our bearing to they that seek to hurt us.

When into the bushes we took refuge.

Opolot Simon

The Alien

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Unto this alien kingdom I return

Deformed I find the alien generation

Modernity diseases it

A new kind of civilisations they say

That but poisoned mine

Yet with all might have they clung to it!

And I

Should be glad of another death!

Opolot Simon

‘SHADOWS’

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In aerial view,

Shadows are but real

And we the real are but shadows.

For what our shadow is but a reflection

And we ‘deformed’ thou

Reflect as perfect

Mirrors, of ourselves.

In an aerial view

Where we reflect not.

Opolot Simon