Solved by verified expert:I have attached Unit 4 Reading with the Poems included in the reading. please use APA format.Read the following poems: • Lux, “A Little Tooth” (page 618) • Frost, “The Road Not Taken” (page 624) • Chandhok, “The Carpet Factory” (page 643) • Suárez, “Isla” (pages 679 – 680)1. “In 400 words explain the use of enjambment in Thomas Lux’s poem, “A Little Tooth.” In other words, what is the effect of Lux choosing to break the lines in his poem as he has? Pay close attention to the line breaks in these lines: ” … then she wants some meat / directly from the bone” and “she’ll fall / in love with cretins, dolts, a sweet / talker …” and “And you / your wife / get old, flyblown, and rue / nothing. Your response must include at least one scholarly source. Be sure to properly cite. For more details on how your response will be evaluated, please review the rubrics found under Unit 4 Course Materials.” 2. In popular culture, Robert Frost’s poem, “The Road Not Taken” is thought to be about life choices and choosing one path over another. Yet, literary critic and scholar David Orr says that we could be oversimplifying this poem and that this poem is actually much deeper, much more grave. By closely exploring the word choice in Frost’s poem, make a case for Orr’s argument that this poem is about more than simply taking one road and not another. In other words, how can this poem be read as a deeper philosophical statement about free will or choice? Explore your response to these questions in 400 words; be sure to support your ideas with quoted passages and words from the poem itself. Your response must include at least one scholarly source. Be sure to properly cite. For more details on how your response will be evaluated, please review the rubrics found under Unit 4 Course Materials.”3. “In Suárez’s poem, “Isla” the speaker uses the character of Godzilla to describe the immigrant experience and makes parallels between himself (as an immigrant) and the unwanted monster, Godzilla. In 400 words, explain how Suárez’s use of imagery and descriptive phrases elicit sympathy in you as a reader. Hone in on at least FOUR images/descriptive phrases in the poem and be sure to explain WHY/HOW these images effect you as a reader. Your response must include at least one scholarly source. Be sure to properly cite. For more details on how your response will be evaluated, please review the rubrics found under Unit 4 Course Materials.”
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CHAPTER 20
SOUND
Jacob Saenz
S
K
I
N
N
E
R
,
Maryam Fakouri
Walt Whitman
Bettmann/Corbis
Detail of vase showing Achilles
killing Hector
© The Trustees of the British Museum / Art
Resource, NY
E
Emily Dickinson
D
Bettmann/Corbis
W
WALT WHITMAN (1819–1892)
A
Had R
I the Choice*
D choice to tally greatest bards,
Had I the
To limn1 their portraits, stately, beautiful, and
emulate at will,
Homer5with all his wars and warriors—Hector,
Achilles,
4 Ajax,
Or Shakespeare’s woe-entangled Hamlet, Lear,
2
Othello—Tennyson’s
fair ladies,
Meter or
wit
the
best,
or
choice conceit to
7
5
wield in perfect
B delight of singers;
rhyme,
U
●
Publication date is not available.
limn: To draw, depict.
*
1
609
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
610
Chapter 20 • Sound
These, these, O sea, all these I’d gladly barter,
Would you the undulation of one wave, its trick to me transfer,
Or breathe one breath of yours upon my verse,
And leave its odor there.
Rhythm
Rhythm—the regular recurrence of sounds—is at the center of all natural phenomena: the beating of a heart,Sthe lapping of waves against the
shore, the croaking of frogs on a summer’s night, the whispering of wheat
K
swaying in the wind. Even mechanical phenomena, such as the movement
of rush-hour traffic through a city’s streets,
I have a kind of rhythm. Poetry,
which explores these phenomena, often tries to reflect the same rhythms.
N
Walt Whitman expresses this idea in “Had I the Choice” when he says that
N of Shakespeare for the ability to
he would gladly trade the “perfect rhyme”
reproduce “the undulation of one wave” E
in his verse.
Public speakers frequently repeat key words and phrases to create
Rfor example, Martin Luther King
rhythm. In his “I Have a Dream” speech,
Jr. repeats the phrase “I have a dream”, to create a rhythm that ties the
central section of the speech together:
I say to you today, my friends, even though we face the difficulties of
today and tomorrow, I still have a dream.
E It is a dream deeply rooted in
the American dream. I have a dream that one day this nation will rise up
and live out the true meaning of itsD
creed: “We hold these truths to be
self-evident, that all men are created
Wequal.” I have a dream that one day,
on the red hills of Georgia, sons of former slaves and the sons of former
Atogether at the table of brotherhood.
slave owners will be able to sit down
I have a dream that one day even the state of Mississippi, a state swelterR
ing with the heat of injustice, sweltering with the heat of oppression, will
be transformed into an oasis of freedom
D and justice. I have a dream that
my four little children will one day live in a nation where they will not be
judged by the color of their skin, but by the content of their character.
5 words and phrases, as GwenPoets too create rhythm by using repeated
dolyn Brooks does in the poem that follows.
4
2
7
Sadie and Maud (1945) B
U
Maud went to college.
GWENDOLYN BROOKS (1917–2000)
Sadie stayed at home.
Sadie scraped life
With a fine-tooth comb.
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
Brooks: Sadie and Maud
She didn’t leave a tangle in.
Her comb found every strand.
Sadie was one of the livingest chits
In all the land.
Sadie bore two babies
Under her maiden name.
Maud and Ma and Papa
Nearly died of shame.
611
5
10
S
When Sadie said her last so-long
K
Her girls struck out from home.
(Sadie had left as heritage I
Her fine-tooth comb.)
15
N
Maud, who went to college,
N
Is a thin brown mouse.
She is living all alone
E
In this old house.
20
R
Much of the force of this poem comes from the repeated words “Sadie” and
“Maud,” which shift the focus from ,one subject to the other and back again
(“Maud went to college / Sadie stayed home”). The poem’s singsong rhythm
recalls the rhymes children recite when jumping rope. This evocation of
E with the adult realities that both
carefree childhood is ironically contrasted
Sadie and Maud face as they grow up:
DSadie stays at home and has two children out of wedlock; Maud goes to college and ends up “a thin brown mouse.”
W Sadie and Maud represent are both
The speaker implies that the alternatives
undesirable. Although Sadie “scraped
Alife / with a fine-tooth comb,” she dies
young and leaves nothing to her girls but her desire to experience life. Maud,
Rlife and cuts herself off from her roots.
who graduated from college, shuts out
Just as the repetition of words and
Dphrases can create rhythm, so can the
appearance of words on the printed page. How a poem looks is especially
important in open form poetry (see p. 660), which dispenses with traditional
5 excerpt from “The Moon Is Hiding
patterns of versification. In the following
In” by E. E. Cummings, for example, an unusual arrangement of words forces
4
readers to slow down and then to speed up, creating a rhythm that empha2
sizes a key phrase—“The / lily”:
the moon is hiding
in her hair.
The
lily
of heaven
full of all dreams,
draws down.
7
B
U
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
612
Chapter 20 • Sound
Meter
Although rhythm can be affected by the regular repetition of words and
phrases or by the arrangement of words into lines, poetic rhythm is largely
created by meter, the recurrence of regular units of stressed and unstressed
syllables. A stress (or accent) occurs when one syllable is emphasized more
than another, unstressed, syllable: fór • ceps, bá • sic, il • lú • sion, ma • lár
• i • a. In a poem, even one-syllable words can be stressed to create a particular effect. For example, in ElizabethS
Barrett Browning’s line “How do I
love thee? Let me count the ways,” the metrical pattern that places stress on
K
“love” creates one meaning; stressing “I” would create another.
Scansion is the analysis of patterns Iof stressed and unstressed syllables
within a line. The most common method of poetic notation indicates stressed
N
syllables with a and unstressed syllables with a . Although scanning lines
≠
≠
N
gives readers the “beat” of the poem, scansion
only generally suggests the
sound of spoken language, which contains
E an infinite variety of stresses. By
providing a graphic representation of the stressed and unstressed syllables of
Rit is no substitute for reading the
a poem, scansion aids understanding, but
poem aloud and experimenting with various
, patterns of emphasis.
The basic unit of meter is a foot—a group of syllables with a fixed pattern
of stressed and unstressed syllables. The chart that follows illustrates the most
common types of metrical feet in EnglishEand American verse.
Foot
Stress Pattern
Iamb
≠≠
Trochee
≠≠
Anapest
≠ ≠≠
Dactyl
≠≠ ≠
D
WExample
AThe
Theeyy pace|in
ce|in sleek|
ce|in
c val|ri
al|riicc cer|tai
r|taiin
r|tai
n ty
Rchi
(Adrienne Rich)
D
Thou,
u, wh
wheen|t
en|thou
r
n’st,
’st, wil
wilt|tell
5 re|tur
4 me. (John Donne)
With
ith a hey,|an
y,|and
y,|an
nd a
2 Wi
,|and
,|an
nd a hey|
7 ho,|an
no ni
ni no (William
Bno
Shakespeare)
U
Consta
stantl
sta
antly
ntly|riskin
king
kin
ng
a urd
ab|s
rdit
rd
dity
ity (Lawrence
Ferlinghetti)
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
Meter
613
Iambic and anapestic meters are called rising meters because they progress
from unstressed to stressed syllables. Trochaic and dactylic meters are called
falling meters because they progress from stressed to unstressed syllables.
The following types of metrical feet, less common than those listed
above, are used to add emphasis or to provide variety rather than to create
the dominant meter of a poem.
Foot
Stress Pattern
Spondee
≠≠
Pyrrhic
≠≠
S
K
I
N
N
E
R
,
Example
Pomp, pride|an
ide|an
ide|a
nd
nd
circumstaance oof
gloriou
oriouuss war!
oriou
(William Shakespeare)
A horse! a horse!
Myy kking|do
ng|doom
ng|do
m ffoor|
or|
a horse! (William
Shakespeare)
A metric line of poetry is measured
E by the number of feet it contains.
D Pentameter five feet
W Hexameter six feet
Dimeter two feet
Trimeter three feet
A Heptameter seven feet
Tetrameter four feet
R Octameter eight feet
D
The name for a metrical pattern of a line of verse identifies the name of the
Monometer
one foot
foot used and the number of feet the line contains. For example, the most
common foot in English poetry is the iamb, most often occurring in lines of
5
three or five feet.
Metrical Pattern
Iambic trimeter
Iambic pentameter
4
2
Example
7
Eigght
Eig
ht hun|
n| ddrred
red of|th
f|t e brave
f|th
B
(William
Cowper)
U
O, how|muc
|muccch
|mu
h more|doth
e|doth
e|dot
beau|ty
u|ty beau|teo
u|ty
u|teoous
us seem
(William Shakespeare)
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
614
Chapter 20 • Sound
Because iambic pentameter is so well suited to the rhythms of English speech,
writers frequently use it in plays and poems. Shakespeare’s plays, for example,
are written in unrhymed lines of iambic pentameter called blank verse (see
pp. 635–36).
Many other metrical combinations are also possible; a few are illustrated
below.
Metrical Pattern
Example
Trochaic trimeter
Like a|high-bo
gh-born|m
gh-bo
orn|maide
iden
ide
en
K Bysshe Shelley)
(Percy
Anapestic tetrameter
T eA
Th
Ass sy|ri
|riian
|ri
an ccaaame
me down|
Dactylic hexameter
Iambic heptameter
S
I
N
likkee tth
lik
he wolf|on
oon
n tth
he fold
N Byron)
(Lord
E
Maid en
n mo
most|b
ost|beau ttii ffuul|
ul|
R
moth eerr m
moost|b
ost|boun ttii fu
ful,|l
ul,|la
,
d of|lan
dy
o
ds, (A. C. Swinburne)
T e yel|lo
Th
el|loow
el|lo
w ffoog|th
g|t at rubs|its
s|it
s|its
E
back|up
u on|the
t win|
the
D up
dow-pan
do
ow-pan
W es (T. S. Eliot)
A
Scansion can be an extremely technical
process, and when readers
become bogged down with anapests andR
dactyls, they can easily forget that
poetic scansion is not an end in itself. Meter should be appropriate for the
D help to create a suitable tone. A
ideas expressed by the poem, and it should
light, skipping rhythm, for example, would be inappropriate for an elegy,
and a slow, heavy rhythm would surely be out of place in an epigram or
5 by Samuel Taylor Coleridge
a limerick. The following lines of a poem
illustrate the uses of different types of metrical
4 feet:
2
7
From long to long in solemn sort
B yet ill able
Slow Spondee stalks; strong
ng ffoot!
Eve
ver
ve
er tto come uupp w
wiiith
th Dacty
ctyyll tr
cty
triis
iU
sylla
llabl
lla
able
ble.
e.
Troche
ocheeee trips
oche
ps fr
frooom
m long
ng ttoo short;
I mbi
Ia
biics
bi
cs march
rch fr
frooom
m short
rt ttoo long—
5
With
Wi
ith a leap and
a a bound
nd tthe sw
swiiift
ft Ana
nap
ape
peests
sts throng;
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
Dickinson: I like to see it lap the Miles—
615
One syllable long, with one short at each side,
Amphibra
ibrach
ibra
achy
chyyss hastes
stes w
wiith
ith a stately
tely stride—
tely
Firstt aan
ndd last bein
n
ein
ein
ngg long, middl
ddllee short, Amphi
ddl
mphim
mphi
imacer
Strikes
kes h
hiiiss thunderi
riing
ri
ng hoofs like a proud high-br
gh-brred
gh-br
ed Racer.
10
©
B e ttm a n n / C o rb is
A poet may use one kind of meter—iambic meter, for example—throughout
a poem, but may occasionally vary line length to relieve monotony or to
accommodate the poem’s meaning or
S emphasis. In the following poem, the
poet uses iambic lines of different lengths.
K
I
EMILY DICKINSON (1830–1886)
N
I like to
N see it lap the
Miles—
E (1891)
I like to see
R it lap the Miles—
And lick the Valleys up—
And stop ,to feed itself at Tanks—
And then—prodigious step
Around aE
Pile of Mountains—
And supercilious peer
D
In Shanties—by the sides of Roads—
And thenW
a Quarry pare
To fit its Ribs
A
And crawl between
R
Complaining all the while
D
In horrid—hooting
stanza—
Then chase itself down Hill—
And neigh like Boanerges1—
5
Then—punctual as a Star
4 and omnipotent
Stop—docile
At its own2stable door—
5
10
15
Dickinson’s poem is a single sentence
7 that, except for some pauses, stretches
unbroken from beginning to end. Iambic lines of varying lengths actually
B
suggest the movements of the train that the poet describes. Lines of iambic tetrameter, such as the first, give
U readers a sense of the train’s steady,
●
Boanerges: A vociferous preacher and orator. Also, the name, meaning “son of thunder,” Jesus gave to
apostles John and James because of their fiery zeal.
1
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
616
Chapter 20 • Sound
rhythmic movement across a flat landscape, and shorter lines (“To fit its
Ribs / And crawl between”) suggest the train’s slowing motion. Beginning
with two iambic dimeter lines and progressing to iambic trimeter lines, the
third stanza increases in speed just like the train that is racing downhill “In
horrid—hooting stanza—.”
When a poet uses more than one type of metrical foot, any variation in
a metrical pattern—the substitution of a trochee for an iamb, for instance—
immediately calls attention to itself. For example, in line 16 of “I like to see
it lap the Miles,” the poet departs from iambic
S meter by placing unexpected
stress on the first word, stop. By emphasizing this word, the poet brings the
K the jolt riders experience when
flow of the poem to an abrupt halt, suggesting
a train comes to a stop.
I
Another way of varying the meter of a poem is to introduce a pause known
N
as a caesura—a Latin word meaning “a cutting”—within
a line. When scanning a poem, you indicate a caesura withN
two parallel lines: . Unless a line of
poetry is extremely short, it probably will contain a caesura.
E mark or at a natural break in
A caesura occurs after a punctuation
phrasing:
R
, the ways.
How do I love thee? Let me count
Elizabeth Barrett Browning
Two loves I have of comfort and
E despair.
William Shakespeare
D
High on a throne of royal state, which far
Outshone the wealth of Ormus W
and of Ind
John Milton
A
R in a single line:
Sometimes more than one caesura occurs
’Tis good. Go to the gate. Somebody
knocks.
D
William Shakespeare
Although the end of a line may mark the
5end of a metrical unit, it does not
always coincide with the end of a sentence. Lines that have distinct pauses
4
at the end—usually signaled by punctuation—are
called end-stopped lines.
Lines that do not end with strong pauses
2 are called run-on lines. (Sometimes the term enjambment is used to describe run-on lines.) End-stopped
7
lines can sometimes seem formal, or even forced, because their length is
rigidly dictated by the poem’s meter, rhythm,
and rhyme scheme. In the
B
following excerpt from John Keats’s “La Belle Dame sans Merci” (p. 771),
U
for example, rhythm, meter, and rhyme dictate the pauses that occur at the
ends of the lines:
O, what can ail thee, knight-at-arms,
Alone and palely loitering?
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
Rich: Aunt Jennifer’s Tigers
617
The sedge has wither’d from the lake,
And no birds sing.
In contrast to end-stopped lines, run-on lines often seem more natural.
Because their ending points are determined by the rhythms of speech and by
the meaning and emphasis the poet wishes to convey rather than by meter
and rhyme, run-on lines are suited to the open form of much modern poetry.
In the following lines from the poem “We Have Come Home,” by Lenrie
Peters, run-on lines give readers the sense of spoken language:
S
We have come home
From the bloodless war K
With sunken hearts
I
Our boots full of pride—
N
From the true massacre of the soul
N
When we have asked
“What does it cost
E
To be loved and left alone?”
R
Rather than relying exclusively on end-stopped or run-on lines, poets often
, the effects they want.
use a combination of the two to produce
E and Meter
FURTHER READING: Rhythm
D
W
Aunt Jennifer’s Tigers (1951)
A
Aunt Jennifer’s tigers prance across a screen,
R
Bright topaz denizens of a world of green.
D
They do not fear the men beneath
the tree;
ADRIENNE RICH (1929–
)
They pace in sleek chivalric certainty.1
Aunt Jennifer’s fingers fluttering through her wool
5
Find even the ivory needle hard to pull.
4 wedding band
The massive weight of Uncle’s
Sits heavily upon Aunt Jennifer’s
hand.
2
When Aunt is dead, her terrified
7 hands will lie
Still ringed with ordeals she was mastered by.
The tigers in the panel thatBshe made
Will go on prancing, proudU
and unafraid.
5
10
●
chivalric certainty: With pride and honor.
1
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
618
Chapter 20 • Sound
Reading and Reacting
1. What is the dominant metrical pattern of the poem? How does the meter
enhance the contrast the poem develops?
2. The lines in the first stanza are end-stopped, and those in the second and
third stanzas combine end-stopped and run-on lines. What does the poet
achieve by varying the rhythm?
3. What ideas do the caesuras in the first and fourth lines of the last stanza
emphasize?
S
4. JOURNAL ENTRY What is the speaker’s opinion of Aunt Jennifer’s marriage?
Do you think she is commenting onK
this particular marriage or on marriage in general?
I
5. CRITICAL PERSPECTIVE In The Aesthetics
N of Power, Claire Keyes writes of
this poem that although it is formally beautiful, almost perfect, its voice
N
creates problems:
E the speaker seeming fairly detached
[T]he tone seldom approaches intimacy,
from the fate of Aunt Jennifer. . . . The
R dominant voice of the poem asserts
the traditional theme that art outlives the person who produces it. . . . The
, for Aunt’s death. . . . Who cares that
speaker is almost callous in her disregard
Aunt Jennifer dies? The speaker does not seem to; she gets caught up in those
gorgeous tigers. . . . Here lies the dominant voice: Aunt is not compelling; her
creation is.
E
Do you agree with Keyes’s interpretation
D of the poem?
W
Related Works: “Miss Brill” (p. 166), “Everyday Use” (p. 344), “Rooming
A
houses are old women” (p. 579)
THOMAS LUX (1946–
R
D
)
A Little Tooth
(1989)
5
Your baby grows a tooth, then two,
4
and four, and five, then she wants some meat
2
directly from bone. It’s all
over: she’ll learn some words she’ll
7 fall
in love with cretins, dolts, a sweets
B
talker on his way to jail. And you,
5
your wife, get old, flyblown, andUrue
nothing. You did, you loved, your feet
are sore. It’s dusk. Your daughter’s tall.
9781337509633, PORTABLE Literature: Reading, Reacting, Writing, Ninth edition, Kirszner – © Cengage Learning. All rights reserved. No distribution allowed without express authorization.
Carroll: A Boat Beneath a Sunny Sky
619
Reading and Reacting
1. This poem was selec …
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