TREK 11/14/23 Flashcards
alliteration
a repetition of the same consonant sounds in a sequence of words, usually at the
beginning of a word or stressed syllable: “descending dew drops”
assonance
the repetition of similar internal vowel sounds in a sentence or a line of poetry, as
in “I rose and told him of my woe.”
figurative language
a form of language use in which the writers and speakers mean
something other than the literal meaning of their words. Two figures of speech that are
particularly important for poetry are simile and metaphor.
simile
involves a comparison
between unlike things using like or as. For instance, “My love is like a red, red rose.”
metaphor
a comparison between essentially unlike things without a word such as like or as.
For example, “My love is a red, red rose.”
metonymy
a type of metaphor in which something closely associated with a subject is
substituted for it, such as saying the “silver screen” to mean motion pictures.
imagery
the concrete representation of a sense impression, feeling, or idea that triggers our
imaginative ere-enactment of a sensory experience. Images may be visual (something seen),
aural (something heard), tactile (something felt), olfactory (something smelled), or gustatory
(something tasted). Imagery may also refer to a pattern of related details in a poem.
rhyme
the repetition of identical or similar concluding syllables in different words, most
often at the ends of lines.
rhythm
the term used to refer to the recurrence of stressed and unstressed sounds in poetry.
Poets rely heavily on rhythm to express meaning and convey feeling.
caesura
a strong pause
within a line of poetry that contributes to the rhythm of the line
run-on line / enjambment
a line that ends without a pause and continues into the next line for its meaning is called
stanza
a grouping of lines, set off by a space, which usually has a set pattern of meter and
rhyme.
tone
conveys the speaker’s implied attitude toward the poem’s subject.
diction
a writer’s particular word choice
syntax
order of words in sentences or phrases
Natasha Trethewey
Natasha Trethewey (born April 26, 1966 in Mississippi) is an American poet who served as United States Poet Laureate from 2012 to 2014. She won the 2007 Pulitzer Prize in Poetry for her 2006 collection Native Guard.
Trethewey is the Board of Trustees Professor of English at Northwestern University. She previously served as the Robert W. Woodruff Professor of English and Creative Writing at Emory University, where she taught from 2001 to 2017.
Trethewey was elected in 2019 both to the American Academy of Arts and Letters and as a Chancellor of the Academy of American Poets. Trethewey “is always unveiling the racial and historical inequities of our country and the ongoing personal expense of these injustices.” Trethewey was elected to the American Philosophical Society in 2022.
Trethewey’s “South” (2014)
Trethewey recounts returning to her hometown in Mississippi, and despite the racist history she finds beauty in the place, and declares she will be buried there.
Ezra Pound
Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic, a major figure in the early modernist poetry movement, and a collaborator in Fascist Italy and the Salò Republic during World War II.
Pound’s contribution to poetry began in the early 20th century with his role in developing Imagism, a movement stressing precision and economy of language. Working in London as foreign editor of several American literary magazines, he helped discover and shape the work of contemporaries such as T. S. Eliot, Ernest Hemingway, and James Joyce.
Angered by the carnage of World War I, Pound blamed the war on finance capitalism. Through the 1930s and 1940s he promoted an economic theory known as social credit, wrote for publications owned by the British fascist Sir Oswald Mosley, embraced Benito Mussolini’s fascism, and expressed support for Adolf Hitler. During World War II, Pound recorded hundreds of paid radio propaganda broadcasts for the Italian government, including in German-occupied Italy, in which he attacked the United States Federal Government, Franklin D. Roosevelt, Great Britain, international finance, munitions makers, arms dealers, Jews, and others, as abettors and prolongers of the war.
Ezra Pound’s “In a Station of the Metro” (1913)
A two-line poem describing the faces of people reflecting on the wet, black concrete. Considering he is attributed with building the idea of imagery, I suppose he was wanting to see how simply he could convey imagery.
Claude McKay
Festus Claudius “Claude” McKay OJ (September 15, 1890[1] – May 22, 1948) was a Jamaican-American writer and poet. He was a central figure in the Harlem Renaissance.
Born in Jamaica, McKay first travelled to the United States to attend college, and encountered W. E. B. Du Bois’s The Souls of Black Folk which stimulated McKay’s interest in political involvement. He moved to New York City in 1914 and, in 1919, he wrote “If We Must Die”, one of his best known works, a widely reprinted sonnet responding to the wave of white-on-black race riots and lynchings following the conclusion of the First World War.
Claude McKay’s “If We Must Die” (1919)
Described his views on the attack of Black folk. He explains that even when attacked, they should not allow them to portray them as animals, and to instead die with dignity, strong and noble, but fighting back.