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Showing posts with label Essays. Show all posts
Showing posts with label Essays. Show all posts
Beautful, Good, and True Example
Janell Loredo
Mr. Schwager
A.P. English IV
21 October 2009RJ #10: Poetry Response Questions
“Ars Poetica” by Archibald Macleish (page 734-735)
Context: Archibald Macleish’s 24-lined lyric genre poem, “Ars Poetica,” verbally illustrates his personal philosophical convictions about the qualities of true poetry. “Ars Poetica” was written in 1925 and first published in 1926 during the Modern literary period. Prominent historical events surrounding this piece include: the beginning of prohibition (1920), the 19th amendment granting women the right to vote (1920), WWI (1914-1918), and WWII (1939-1945). Written between the World Wars, this poem concerns itself with the essence and direction of poetry rather than the historical and political events and influences of its time. During the Modern literary period, poetry became overly focused on stylization and distinction by the use of the imagist form.
Tradition: This ingenious and insightful poem brings to mind an elegant vocal art song by Roger Quilter that sets to music the poem “Memory, hither come” by William Blake. Macleish’s poem implies that the visionary experiences that true poetry creates are a timeless standard for all poetry. This standard does not change with the stylistic developments of subsequent literary periods and genres. The poem by Blake, that serves as the lyrics for Quilter’s hauntingly wistful melody is one example of a timeless visionary poem that incorporates the Macleish’s universal ideals for “good” poetry. “Ars Poetica” calls poetry to be, instead of represent, to reveal instead of show, and to remain captured in time for the delight of future generations. Love, memories, and dreams are themes found in “Memory, hither come.” The melody and poetry in Quilter’s rendition of this poem portray its simplistic and frolicsome tone masked in a musical swirl of dreamlike abstraction. The two poems also share similar rhetorical devices such as alliteration and imagery.
Composition: My favorite line from this poem appears in the middle of the second stanza. Macleish’s use of imagery and alliteration allowed me to distinctly visualize the image of darkness between forest trees. Macleish writes, “Leaving, as the moon releases / Twig by twig the night-entangled trees,” (lines 11-12).
This poem is broken into three eight-lined stanzas that pair off into mostly rhyming couplets. The poem follows an iambic pattern of unstressed to stressed syllables. However, the meter in the poem varies continually throughout. Some figures of speech found in “Ars Poetica” include: alliteration, paradox, simile and anastrophe. Alliteration is the repetition of consonant sounds for emphasis and artistic emphasis. This device appears in the first stanza when Macleish writes, “Silent as the sleeve-worn stone” (line 5) and the second stanza, “Twig by twig the night-entangled trees” (line 12). The use of alliteration creates an imaginative literary effect that emphazises the key images in the poem. A paradox is a statement that seems contradictory but may actually be true. This device appears in lines sixteen through nineteen when the poet states that poetry should remain motionless like the moon as in climbs in the night sky. Macleish used this paradoxical image to suggest that poetry should be timeless in both expression and appreciation. Simile is defined as a comparison between two things that are different yet resemble one another. This rhetorical device is found throughout the poem as Macleish compares poetry to various inanimate objects, feelings, and images. The syntax of this poem is altered in several places by Macleish’s use of anastrophe. This rhetorical device inverts normal word order. The repetition, inversion, and couplet imitation found in this poem take Macleish’s simple statements about poetry from words to art. Poetry is born when an artist writes about his experiences, either imaginative or real, in a new way.
Distinction: The entire poem ultimately revolves around what poetry should be. This idea steadily develops from general to specific details. The first stanza focuses on comparing poetry to familiar images. This comparison emphasizes the need for poetry to address attainable subjects. At the same time, the adjectives used to describe these common images are invisible, unexplainable, and metaphysical ideas. The words “mute, dumb, wordless, and silent” infer that the imagery in the poem cannot itself communicate the emotions and invisible ambiances that take images from mental experiences to physical reality. This connection between physical and abstract elements of life stresses that true poetry reveals both the physical and metaphysical aspects of experiences. The second stanza focuses on the similarities between the moon and poetry. Basically, Macleish points out that poetry should hold universal standards that follow the pattern of literary development. In the third stanza, the poet exemplifies the need for poetry to “be” rather than “mean.” When readers become overly concerned with hidden implications and meanings, a poem may or may not be conveying, the true beauty of the experience is lost. Macleish confronts this issue by stating that poetry should capture experiences such as love, grief, anger, loneliness, or distant memories. By capturing these experiences the poem becomes the experience. In this sense the poetry no longer represents an idea but instead simply exists. The key images in this poem include: the moon, love, grief, and memories. The moon is the most prominent image due to its essential similarities to the true nature of poetry. The moon embodies the essence of the ideal portrait of poetry Macleish sought to illustrate.
Understanding: “Ars Poetica” is Latin for “the art of poetry.” The title of the poem summarizes the central message Macleish hoped to express. Macleish wanted the world to become as captivated with poetry as it was with the other art forms. Poetry should enchant readers with its artistic grace and raw beauty. It should “be” instead of “mean” by capturing an experience so perfectly and precisely that no explanation or meaning is needed. One distinct example of this theme occurs in the third stanza when the poet writes, “A poem should not mean / But be” (line 23-24). The composition and distinction adds to the efficacy of the central theme. The poem gains its power from the support of its compositional structure. The poet empowers his artistic masterpiece by not only explaining the correct essence of poetry but also providing an example of truly masterful poetry.
Judgment: “Ars Poetica” is essentially a poetic depiction of advice given from a master to novices of his art form. The ideas offered by this poem are inspiring and thoughtful. The central theme of the poem challenges the reader to fully appreciate life, art, and beauty. This work gains beauty from its underlying desire to create something artistic and astounding. In Proverbs 8:1-5 David writes,
“1Doth not wisdom cry? and understanding put forth her voice? 2She standeth in the top of high places, by the way in the places of the paths. 3She crieth at the gates, at the entry of the city, at the coming in at the doors. 4Unto you, O men, I call; and my voice is to the sons of man. 5O ye simple, understand wisdom: and, ye fools, be ye of an understanding heart” (KJV).
These verses depict God’s desire for us to give ear to his example of wisdom. The poet desired others to see the beauty of quality poetry. God desires all people to see the beauty of wisdom. This poem is in essence a cry for younger generations to not forget the timeless beauty of the poetic art form. To lead by example like Jesus Christ did for all sinners is a beautiful endeavor. Goodness is defined as the value, quality, virtue, positive effect, worth, and use of an item. In Philippians 4:8, the scripture defines the type of things we should meditate on. Reading is a type of meditation. When we read, we open our mind to new ideas, viewpoints, and philosophies. Reading makes us vulnerable by challenging our personal convictions and opinions. Philippians 4:8 states that we should think on things that are: true, honest, just, pure, lovely, and of good report. “Ars Poetica” does not in any way infringe upon the characteristics of what is “good” as mentioned in scripture. This poem is positive and does not revel in ungodly ideas. Therefore, this poem is good. The poem focuses on philosophical ideas and artistic standards that contain no underlying falsehoods or agendas. For these reasons, this poem is true. This poem supports and encourages the respect and preservation of poetic standards. Therefore, this poem shouldn’t be replaced by a modern piece.
Creative Writing:
A song should be graceful yet sound
As a clear pool round,
Soft
As fine butterfly wings do aloft
Tearful as the tragic woes do tell
Of silent streams of still serenity.
Mr. Schwager
A.P. English IV
21 October 2009RJ #10: Poetry Response Questions
“Ars Poetica” by Archibald Macleish (page 734-735)
Context: Archibald Macleish’s 24-lined lyric genre poem, “Ars Poetica,” verbally illustrates his personal philosophical convictions about the qualities of true poetry. “Ars Poetica” was written in 1925 and first published in 1926 during the Modern literary period. Prominent historical events surrounding this piece include: the beginning of prohibition (1920), the 19th amendment granting women the right to vote (1920), WWI (1914-1918), and WWII (1939-1945). Written between the World Wars, this poem concerns itself with the essence and direction of poetry rather than the historical and political events and influences of its time. During the Modern literary period, poetry became overly focused on stylization and distinction by the use of the imagist form.
Tradition: This ingenious and insightful poem brings to mind an elegant vocal art song by Roger Quilter that sets to music the poem “Memory, hither come” by William Blake. Macleish’s poem implies that the visionary experiences that true poetry creates are a timeless standard for all poetry. This standard does not change with the stylistic developments of subsequent literary periods and genres. The poem by Blake, that serves as the lyrics for Quilter’s hauntingly wistful melody is one example of a timeless visionary poem that incorporates the Macleish’s universal ideals for “good” poetry. “Ars Poetica” calls poetry to be, instead of represent, to reveal instead of show, and to remain captured in time for the delight of future generations. Love, memories, and dreams are themes found in “Memory, hither come.” The melody and poetry in Quilter’s rendition of this poem portray its simplistic and frolicsome tone masked in a musical swirl of dreamlike abstraction. The two poems also share similar rhetorical devices such as alliteration and imagery.
Composition: My favorite line from this poem appears in the middle of the second stanza. Macleish’s use of imagery and alliteration allowed me to distinctly visualize the image of darkness between forest trees. Macleish writes, “Leaving, as the moon releases / Twig by twig the night-entangled trees,” (lines 11-12).
This poem is broken into three eight-lined stanzas that pair off into mostly rhyming couplets. The poem follows an iambic pattern of unstressed to stressed syllables. However, the meter in the poem varies continually throughout. Some figures of speech found in “Ars Poetica” include: alliteration, paradox, simile and anastrophe. Alliteration is the repetition of consonant sounds for emphasis and artistic emphasis. This device appears in the first stanza when Macleish writes, “Silent as the sleeve-worn stone” (line 5) and the second stanza, “Twig by twig the night-entangled trees” (line 12). The use of alliteration creates an imaginative literary effect that emphazises the key images in the poem. A paradox is a statement that seems contradictory but may actually be true. This device appears in lines sixteen through nineteen when the poet states that poetry should remain motionless like the moon as in climbs in the night sky. Macleish used this paradoxical image to suggest that poetry should be timeless in both expression and appreciation. Simile is defined as a comparison between two things that are different yet resemble one another. This rhetorical device is found throughout the poem as Macleish compares poetry to various inanimate objects, feelings, and images. The syntax of this poem is altered in several places by Macleish’s use of anastrophe. This rhetorical device inverts normal word order. The repetition, inversion, and couplet imitation found in this poem take Macleish’s simple statements about poetry from words to art. Poetry is born when an artist writes about his experiences, either imaginative or real, in a new way.
Distinction: The entire poem ultimately revolves around what poetry should be. This idea steadily develops from general to specific details. The first stanza focuses on comparing poetry to familiar images. This comparison emphasizes the need for poetry to address attainable subjects. At the same time, the adjectives used to describe these common images are invisible, unexplainable, and metaphysical ideas. The words “mute, dumb, wordless, and silent” infer that the imagery in the poem cannot itself communicate the emotions and invisible ambiances that take images from mental experiences to physical reality. This connection between physical and abstract elements of life stresses that true poetry reveals both the physical and metaphysical aspects of experiences. The second stanza focuses on the similarities between the moon and poetry. Basically, Macleish points out that poetry should hold universal standards that follow the pattern of literary development. In the third stanza, the poet exemplifies the need for poetry to “be” rather than “mean.” When readers become overly concerned with hidden implications and meanings, a poem may or may not be conveying, the true beauty of the experience is lost. Macleish confronts this issue by stating that poetry should capture experiences such as love, grief, anger, loneliness, or distant memories. By capturing these experiences the poem becomes the experience. In this sense the poetry no longer represents an idea but instead simply exists. The key images in this poem include: the moon, love, grief, and memories. The moon is the most prominent image due to its essential similarities to the true nature of poetry. The moon embodies the essence of the ideal portrait of poetry Macleish sought to illustrate.
Understanding: “Ars Poetica” is Latin for “the art of poetry.” The title of the poem summarizes the central message Macleish hoped to express. Macleish wanted the world to become as captivated with poetry as it was with the other art forms. Poetry should enchant readers with its artistic grace and raw beauty. It should “be” instead of “mean” by capturing an experience so perfectly and precisely that no explanation or meaning is needed. One distinct example of this theme occurs in the third stanza when the poet writes, “A poem should not mean / But be” (line 23-24). The composition and distinction adds to the efficacy of the central theme. The poem gains its power from the support of its compositional structure. The poet empowers his artistic masterpiece by not only explaining the correct essence of poetry but also providing an example of truly masterful poetry.
Judgment: “Ars Poetica” is essentially a poetic depiction of advice given from a master to novices of his art form. The ideas offered by this poem are inspiring and thoughtful. The central theme of the poem challenges the reader to fully appreciate life, art, and beauty. This work gains beauty from its underlying desire to create something artistic and astounding. In Proverbs 8:1-5 David writes,
“1Doth not wisdom cry? and understanding put forth her voice? 2She standeth in the top of high places, by the way in the places of the paths. 3She crieth at the gates, at the entry of the city, at the coming in at the doors. 4Unto you, O men, I call; and my voice is to the sons of man. 5O ye simple, understand wisdom: and, ye fools, be ye of an understanding heart” (KJV).
These verses depict God’s desire for us to give ear to his example of wisdom. The poet desired others to see the beauty of quality poetry. God desires all people to see the beauty of wisdom. This poem is in essence a cry for younger generations to not forget the timeless beauty of the poetic art form. To lead by example like Jesus Christ did for all sinners is a beautiful endeavor. Goodness is defined as the value, quality, virtue, positive effect, worth, and use of an item. In Philippians 4:8, the scripture defines the type of things we should meditate on. Reading is a type of meditation. When we read, we open our mind to new ideas, viewpoints, and philosophies. Reading makes us vulnerable by challenging our personal convictions and opinions. Philippians 4:8 states that we should think on things that are: true, honest, just, pure, lovely, and of good report. “Ars Poetica” does not in any way infringe upon the characteristics of what is “good” as mentioned in scripture. This poem is positive and does not revel in ungodly ideas. Therefore, this poem is good. The poem focuses on philosophical ideas and artistic standards that contain no underlying falsehoods or agendas. For these reasons, this poem is true. This poem supports and encourages the respect and preservation of poetic standards. Therefore, this poem shouldn’t be replaced by a modern piece.
Creative Writing:
A song should be graceful yet sound
As a clear pool round,
Soft
As fine butterfly wings do aloft
Tearful as the tragic woes do tell
Of silent streams of still serenity.
Analysis Strategies: D.I.D.L.S.S
D.I.D.L.S.S. A mnemonic for literary analysis
Diction: the denotative and connotative meanings of words.
What words does the author choose? Consider his/her word choice compared to another.
Why did the author choose that particular word? What are the connotations of that word choice?
Details: Facts that are included or those that are omitted. What details does the author choose to include? What do they imply? What does the author choose to exclude? What are the connotations of the choice of details? (Rhetoric NOTE: Details are facts or fact-lets. They differ from images in that they don’t have a strong sensory appeal. Hard Copy vs. CNN vs. NPR)
Language: The overall use of language such as formal, clinical, informal, slang. What is the overall impression of the language the author uses? Does it reflect education? A particular profession? Intelligence? Is it plain? Ornate? Simple? Clear? Figurative? Poetic? Make sure you don’t skip this step. An ambassador will speak differently than a police offer or child.
Syntax: How the author’s use of syntax, or sentence structure, affects the reader. What are the sentences like? Are they simple with one or two clauses? Do they have multiple phrases? Are they choppy? Flowing? Sinuous like a snake? Is there antithesis, chiasmus, parallel construction? What emotional impression do they leave? If we are talking about poetry, what is the meter? Is there a rhyme scheme? Long flowing sentences give us a different feeling than short choppy ones. If the narrator has awkward sentence structure, we night think he is uneducated or fearful. Sophisticated mature sentences might suggest artistic creativity.
So What?
Diction: the denotative and connotative meanings of words.
What words does the author choose? Consider his/her word choice compared to another.
Why did the author choose that particular word? What are the connotations of that word choice?
- different words for the same thing often suggest different attitudes (happy vs. content vs. ecstatic)
- denotative vs. connotative (dead vs. passed away)
- concrete vs. abstract (able to perceive with 5 senses, tangible, vs. an idea or concept that exists in one’s mind, intangible)
- monosyllabic vs. polysyllabic (Cats eat meat; felines are carnivorous animals.)
- simple vs. ornate
- positive vs. negative (slender vs. skinny, determined vs. stubborn)
- colloquial / informal / formal / technical
- cacophonous vs. euphonious (e.g., harsh sounding, raucous, croak or pleasant sounding, languid, murmur)
Details: Facts that are included or those that are omitted. What details does the author choose to include? What do they imply? What does the author choose to exclude? What are the connotations of the choice of details? (Rhetoric NOTE: Details are facts or fact-lets. They differ from images in that they don’t have a strong sensory appeal. Hard Copy vs. CNN vs. NPR)
Language: The overall use of language such as formal, clinical, informal, slang. What is the overall impression of the language the author uses? Does it reflect education? A particular profession? Intelligence? Is it plain? Ornate? Simple? Clear? Figurative? Poetic? Make sure you don’t skip this step. An ambassador will speak differently than a police offer or child.
Syntax: How the author’s use of syntax, or sentence structure, affects the reader. What are the sentences like? Are they simple with one or two clauses? Do they have multiple phrases? Are they choppy? Flowing? Sinuous like a snake? Is there antithesis, chiasmus, parallel construction? What emotional impression do they leave? If we are talking about poetry, what is the meter? Is there a rhyme scheme? Long flowing sentences give us a different feeling than short choppy ones. If the narrator has awkward sentence structure, we night think he is uneducated or fearful. Sophisticated mature sentences might suggest artistic creativity.
So What?
AP Language Review: Common Logical Fallacies
Logical Fallacies
ad hominum fallacy — “to the man”; a person’s character is attacked instead of his argument
ad populum fallacy — “to the crowd”; a misconception that a widespread occurrence of something is assumed to make it right or wrong
circular reasoning — using two ideas to prove each other
false analogy — making a misleading comparison between logically unconnected ideas
false dilemma — committed when too few of the alternative are considered and all but one are assessed and deemed impossible or unacceptable
guilt by association – claim is rejected because disliked people accept the claim
loaded words — using highly connotative words to describe favorably or unfavorably without justification
non sequitur — “it does not follow”; an inference or conclusion that does not follow from the established premises/evidence
oversimplification — tendency to provide simple solutions to complex problems
pedantry — narrow-minded, trivial scholarship or arbitrary adherence to rules and forms
poisoning the well – discrediting what a person might later claim by presenting unfavorable information in advance
post hoc ergo propter hoc — “after this, therefore because of this”; assuming that an incident that precedes another is the cause of the second incident (when it wasn't necessarily)
A red herring is a fallacy in which an irrelevant topic is presented in order to divert attention from the original issue. The basic idea is to "win" an argument by leading attention away from the argument and to another topic.
slippery slope – an assertion that some event must inevitably follow without any argument for the inevitability of the consequences
straw man – when a person ignores a person’s actual position and substitutes a distorted, exaggerated, or misrepresented version of that position
Also consider illogical appeals to the following:
Popularity
Ridicule
Emotion
Fear
Flattery
Novelty
Pity
Spite
Authority
Belief
Common Practice
ad hominum fallacy — “to the man”; a person’s character is attacked instead of his argument
ad populum fallacy — “to the crowd”; a misconception that a widespread occurrence of something is assumed to make it right or wrong
- bandwagon – threat of rejection is substituted for evidence, desire to conform to beliefs of a group
circular reasoning — using two ideas to prove each other
- begging the question — assuming in a premise that which needs to be proven
false analogy — making a misleading comparison between logically unconnected ideas
false dilemma — committed when too few of the alternative are considered and all but one are assessed and deemed impossible or unacceptable
guilt by association – claim is rejected because disliked people accept the claim
loaded words — using highly connotative words to describe favorably or unfavorably without justification
non sequitur — “it does not follow”; an inference or conclusion that does not follow from the established premises/evidence
oversimplification — tendency to provide simple solutions to complex problems
pedantry — narrow-minded, trivial scholarship or arbitrary adherence to rules and forms
poisoning the well – discrediting what a person might later claim by presenting unfavorable information in advance
post hoc ergo propter hoc — “after this, therefore because of this”; assuming that an incident that precedes another is the cause of the second incident (when it wasn't necessarily)
A red herring is a fallacy in which an irrelevant topic is presented in order to divert attention from the original issue. The basic idea is to "win" an argument by leading attention away from the argument and to another topic.
slippery slope – an assertion that some event must inevitably follow without any argument for the inevitability of the consequences
straw man – when a person ignores a person’s actual position and substitutes a distorted, exaggerated, or misrepresented version of that position
Also consider illogical appeals to the following:
Popularity
Ridicule
Emotion
Fear
Flattery
Novelty
Pity
Spite
Authority
Belief
Common Practice
Essay Strategy #2 (paint by numbers...write by letter): S.T.A.A.RS.
S.T.A.A.RS.
S Subject (one word – literal subject)
T Thematic Statement (what the writer says about the subject up to this point – one complete sentence)
A Attitude (tone; what the writer feels about the subject – 3 tone words)
A Audience (To whom is the passage addressed?)
RS Rhetorical Strategies (Choose one and cite it from the text)
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