Alliteration

Poem:"The Raven" by Edgar Allan PoeOnce upon a midnight drearywhile I ponderedweak andweary;rare andradiant maidenAnd the silkensad uncertain rustling of each purple curtain Deep into that darkness peering, long I stood there wondering, fearing, Doubting,dreamingdreams no mortal everdared to dream before.

Poem:"Death Be Not Proud" by John DonneOneshortsleepe past,weewake eternally, And death shall be no more;death, thou shaltdie.

Poem:"Birches" by Robert FrostWhen I seebirchesbend from left and right.I like to think someboy'sbeen swinging them.

Onomatopeia

Poem:"Honky Tonk in Cleveland, Ohio" by Carl SandburgIt's a jazz affair, drumcrashesand cornetrazzes. The trombone ponyneighsand the tuba jackasssnorts. The banjo tickles andtitterstoo awful.

Poem:"The Highwayman" by Alfred NoyesOver the cobbles heclatteredandclashedin the dark inn-yard, Hetappedwith his whip on theshutters, but all was locked and barred;Tlot tlot, tlot tlot!Had they heard it? The horse-hooves, ringing clear; Tlot tlot, tlot tlot,in the distance! Were they deaf that they did not hear?

Poem:"Fossils" by Ogden NashThere were no drums or saxophones, But just theclatterof their bones, Rolling, rattlingcarefree circus, Of mammoth polkas and mazurkas

Assonance

Poem: Daffodils by William Wordsworth I wandered lonely as a cloudThat floats on high o'er vales and hills,When all at once I saw a crowd,A host, of golden daffodils;Beside the lake, beneath the trees,Fluttering and dancing in the breeze.

Poem: Stopping by Woods on a Snowy Eveningby Robert FrostHe gives his harness bells a shakeTo ask if there is some mistake.The only other sound's the sweepOf easy wind and downy flake.Poem: The Lotus-Eatersby Alfred Lord TennysonThere is sweet music here that softer fallsThan petals from blown roses on the grass,Or night-dews on still waters between wallsOf shadowy granite, in a gleaming pass;Music that gentlier on the spirit lies,Than tir'd eyelids upon tir'd eyes;Music that brings sweet sleep down from the blissful skies.

Feminism (Analysis)

The Filipino Woman

Who are the Filipinos? What is it like to be a Filipino woman? How do you describe yourself? These are important questions are finding our true identity as a nation and the identity of a Filipino woman in our modern world. Nakpil chose 4 historical women, Cory, Leonor, Gabriela and Imelda, to represent most, if not all, the women in our nation throughout the years.

Cory and Leonor both came from the same small town and had both gone through the loss of a loved one. However, that is where the similarities end. Their differing personalities and the decisions they made lead them to very opposite roads in life. While Leonor was obedient and submissive to her parents and society, Cory overcame the tragic loss of her husband and became the first woman president of the Philippines.

Gabriela and Imelda also had different stories to tell. Gabriela became a rich widow after her first husband died. However, she married a peasant leader and took up his revolution against Spain after he was shot in the back. The opposite was true for Imelda. She was the daughter of the least successful child in a family of professionals and government officials, but she later married the only Philippine president to reign for 20 years in office.

Nakpil highlights that these women, although somehow similar, reflect the different personalities and attitudes that make up a Filipina. All the traits these women show, both positive and negative, can be seen in Filipino women migrant workers. These women migrant workers have sacrificed time, memories and contact with their families just to earn a suitable income. Many of them are overqualified for the work given to them overseas, sacrificing their dignity but rising above the challenge of poverty to provide a future for their families. Despite everything Filipino women have gone through throughout the centuries, they keep an identifiable Filipino trait with them, their unquenchable optimism.

Short Story (Analysis)

"Summer Solstice or Tatarin"

"Summer Solstice" is a short story that has received recognition both critical and praising. Written by Nick Joaquin, the story takes place in 1850s Philippines during the festival days of St. John. There is a pro-woman feel to the story, which has garnered a lot of debate and attention considering the setting is in a time where women must be submissive. In this analysis, learn about the setting, the themes and symbolism that this short and interesting story incarnates.

Summary

The Tatarin, or otherwise known as the Tadtarin, was a three day festival that celebrated a ritual of fertility. This was done only by women. Many men frowned upon the extravagant dances and plays surrounding the ritual. "Summer Solstice" is set during the three days of the St. Johns festival. Lupeng, a Filipino woman who feels closed to her womanhood, is married to Paeng, who is no doubt loyal to her. They have three small boys and live a somewhat wealthy life as they have a carriage driver named Entoy and a maid and cook named Amada.

Guido is a cousin of Paengs who comes back to the Philippines after studying in Europe. The story starts when the family is enjoying the days of the St. Johns festival until Guido makes suggestive comments to Lupeng, and even bending down to kiss her feet. This makes her leave abruptly and have a discussion with her husband the coming night.

Lupeng secretly found herself intrigued by the attention of Guido; she felt that he was correct in saying that women should be ravished and men should adore them. This causes her to participate in the last night of the festival, which is the Tatarin ritual. Paeng goes with her and tries to drag her back once the dancing begun, but she runs from him to the women. He tries to take her back but the women in the crowds beat him out, leaving him helpless. As the two return home, Paeng says he must whip his wife because he loves her and feels that she needs to be put in her place. To this, she shouts and says she wants to be adored, not respected and orders him to kiss her feet.Setting and Conflicts

SettingSince the story takes place in the 1850s, women were repressed and felt shut in. Lupeng may seem to be happy in her routine life, but she also feels angry. You can notice this when she states to the children Hush, hush I implore you! Now look: your father has a headache, and so have I. So be quiet this instant or no one goes to Grandfather. It indeed sounds like she feels as though she has a duty that she must carry on but she gets annoyed at her family because of her subdued state of womanhood. Although she tries act horrified when Guido tells of her woman should be adored rather than beneath their husbands, she contemplates and realizes she wants to be the leader of the pack.

External and Internal ConflictsThe stereotypes of masculinity and feminine traits run rampant in the story. Women are supposed to look after their husbands and children while the husbands work and wait for their supper. Not only is this seen in the story but in daily life as well, which makes the story shocking to readers since it is about women wanting to be free. Lupeng shatters the concept of the suppressed woman when she gains control of her husband, who kisses her feet at the end of story. This makes it seem as though the internal conflict was that women are the ones who want to be the rulers of men, as seen in the Tatarin festival.

Themes and SymbolismMain Theme: St. Johns and Tatarin Festivals The St. Johns festival is about men and their fertility, which seems quite vulgar to Lupeng and makes her start to realize how she wishes women could be seen in the same way. The Tatarin festival is the exact opposite, showing women as leaders of fertility since they carry children. This festival is the last trigger to make Lupeng feel as though she is stronger than a man and deserves adoration.

SymbolismAmada When Lupeng rushes to find her cook, Amada, she sees her in a compromising position on the bed which makes Lupeng blush and feel restrained about her own sexuality. This is the first trigger for Lupeng before she announces she wants admiration.Guidos Speech When Paengs cousin Guido returns from Europe, he tells Lupeng of his travels. He also says I remember that you are a woman, yes. A beautiful woman. And why not? Did you turn into some dreadful monster when you married? Did you stop being a woman? Did you stop being beautiful? Then why should my eyes not tell you what you are just because you are married? This makes Lupeng lash out and call it simple comedy but it is also the second set off before she feels liberated. She takes his words to heart as well as when he lowers himself to kiss her feet in appreciation.

Functions of Titles

1. Important Object

The Necklace by Guy de MaupassantA Piece of String by Guy de MaupassantThe Cactus by O. Henry

2. Introducing the Main CharacterGabriel-Ernest byH.H. Munro (SAKI)The Happy PrincebyOscar WildeThe Brave Tin Soldier byHans Christian Andersen

3. To Arouse CuriosityA Dead Woman's Secret byGuy de MaupassantHow the Widow Won the Deacon byWilliam James LamptonThe Way to the Dairy byH.H. Munro (SAKI)

4. To give the type of storyThe Laughing Hippopotamus byL. Frank BaumA Duel byGuy de MaupassantA Boring Story byAnton Chekhov

5. To give the SettingThe story of an Hour by Kate ChopinThe striding Place by Gertrude AthertoneOne Autumn Night by Maxim Gorky

6. Tone/moodLost Hearts byM.R. JamesRegret byKate ChopinEx Oblivione byH. P. Lovecraft

Functions of the First Paragraph1. To introduce the main CharacterA Dark Brown Do byStephen Crane

A Child was standing on a street-corner. He leaned with one shoulder against a high board-fence and swayed the other to and fro, the while kicking carelessly at the gravel.An Angel in Disguise by T.S. Arthur

Idleness, vice, and intemperance had done their miserable work, and the dead mother lay cold and still amid her wretched children. She had fallen upon the threshold of her own door in a drunken fit, and died in the presence of her frightened little ones.

The Servant by S.T. Semyonov I

Gerasim returned to Moscow just at a time when it was hardest to find work, a short while before Christmas, when a man sticks even to a poor job in the expectation of a present. For three weeks the peasant lad had been going about in vain seeking a position.

2. To give the settingLost Hearts by M.R. JamesIt was, as far as I can ascertain, in September of the year 1811 that a post-chaise drew up before the door of Aswarby Hall, in the heart of Lincolnshire.The Striding Place by Gertrude AthertonWeigall, continental and detached, tired early of grouse shooting. To stand propped against a sod fence while his host's workmen routed up the birds with long poles and drove them towards the waiting guns, made him feel himself a parody on the ancestors who had roamed the moors and forests of this West Riding of Yorkshire in hot pursuit of game worth the killing. But when in England in August he always accepted whatever proffered for the season, and invited his host to shoot pheasants on his estates in the South.Springtime a la Carte by O. HenryIt was a day in March.Never, never begin a story this way when you write one. No opening could possibly be worse. It is unimaginative, flat, dry and likely to consist of mere wind. But in this instance it is allowable. For the following paragraph, which should have inaugurated the narrative, is too wildly extravagant and preposterous to be flaunted in the face of the reader without preparation3. To give the tone and moodThe Story of An Hour by Kate ChopinKnowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as possible the news of her husband's death.To Build a Fire by Jack LondonDay had broken cold and grey, exceedingly cold and grey, when the man turned aside from the main Yukon trail and climbed the high earth- bank, where a dim and little-travelled trail led eastward through the fat spruce timberland.Ex Oblivione by H. P. LovecraftWhen the last days were upon me, and the ugly trifles of existence began to drive me to madness like the small drops of water that torturers let fall ceaselessly upon one spot of their victims body, I loved the irradiate refuge of sleep. In my dreams I found a little of the beauty I had vainly sought in life, and wandered through old gardens and enchanted woods.1. Perfect RhymePoem by Sylvia ChidiMore than a million people may read itEven if I have to sell it on creditI will be the businesswoman with witSit down! Think about it!

Robert Frosts "the Road Not Taken" is in perfect rhyme (abaab):

TWO roads diverged in a yellow wood,And sorry I could not travel bothAnd be one traveler, long I stoodAnd looked down one as far as I couldTo where it bent in the undergrowth;2. general rhyme Emily Dickinson's 'Not any Higher Stands the Grave.''Not any higher stands the GraveFor Heroes than for men--Not any nearer for the ChildThan numb Three Score and Ten--' (1-4)W. B Yeats's 'Easter 1916.''I have met them at close of dayComing with vivid facesFrom counter or desk among greyEighteenth-century houses.' (1-4)

3. eye rhymeLast Rose of SummerLet's look at an example of eye rhyme in the first stanza of the poem,The Last Rose of Summer, by Thomas Moore.'Tis the last rose of summer,Left blooming alone;All her lovely companionsAre faded and gone;

SONNET 116Let me not to the marriage of true mindsAdmit impediments. Love is not loveWhich alters when it alteration finds,Or bends with the remover to remove:

Identical RhymesSimply using the same word twice. An example is in (some versions of) Emily Dickinsons Because I Could not Stop for Death :We paused before a House that seemedA Swelling of the GroundThe Roof was scarcely visibleThe Cornicein the Ground

Our world was bound before lifeAs we live to astound the wifeAnd we are alive to live this life

Rich RhymesRhyme using two different words that happen to sound the same (i.e. homonyms) for example raise and raze. The following example a triple rich rhyme is from Thomas Hoods A First Attempt in Rhyme :Partake the fire divine that burns,In Milton, Pope, and Scottish Burns,Who sang his native braes and burns.

Internal RhymesRhyming of two words within the same line of poetry. The following, for example, is from Edgar Allan Poes The Raven :Once upon a midnight dreary, while I pondered, weak and weary,Over many a quaint and curious volume of forgotten lore,

End RhymesRhyming of the final words of lines in a poem. The following, for example, is from Seamus Heaneys Digging :Under my window, a clean rasping soundWhen the spade sinks into gravelly ground

In Emily Dickinson's brief but interesting poem 'A word is dead' end rhyme is used in a different way:A word is deadWhen it is said,Some say.I say it justBegins to liveThat day.

SUMMARY:Shakespeare considers the world a stage and men and women actors on the stage of life. They play seven roles according to their age. The first stage, as described by the poet, is the infant who is being carried by a nurse. The infant cries and vomits all the time. Later, that infant grows into a schoolboy, not willing to attend school which is the fourth stage of a mans life. The third stage is that of a lover who is lost in his thoughts of love. The lover writes poetry to his ladys beauty. In the fourth stage, as he grows older, he joins the army and becomes a soldier. He is physically fit and is aggressive, short-tempered and ambitious in nature. The fifth stage shows that with maturity and wisdom, the family man becomes a judge. He is a fair, healthy man full of wisdom. His look is authoritative and he advises people. The sixth stage is about the man who has grown old and is seen in a pantaloon and spectacles. His authoritative voice has grown weak and his voice trembles as he talks.The last stage is about the senile man who loses his teeth, his vision and his hearing. After this, the man part in the play ends and he exits from the stages of his life forever.ANALYSIS:Shakespeare wants to render a message through his poem, The Seven Ages of Man that men and women are merely players in the drama of life. They are termed as merely players because no one lives forever but plays his or her part and departs. At birth, they enter a stage and during death, they leave it. Man passes through seven phases of life in accordance with their age.Structure:The poem is composed in free verse. The style is narrative. The poem describes seven different stages of life in brief but has a powerful impact throughout.Metaphor:Metaphor is that figure of speech where comparison of two different things are implied but not clearly stated. Examples of metaphor in the poem are as follows,-*All the worlds a stage*And all men and women are merely players*seeking the bubble reputation (reputation has been termed as short-lived like a bubble)Simile: A simile is a figure of speech in which two dissimilar objects are compared and the comparison is made clear by the use of terms like like, such as and so on. Examples of simile in the poem are,*Sighing like furnace*creeping like a snailAlliteration: Alliteration is the close repetition of the consonant sounds at the beginning of words to facilitate narration. Example of alliteration in the poem is,*shrunk shank*plays his partThe Seven Ages of ManWilliam Shakespeare

All the worlds a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts,5 His acts being seven ages. At first the infant, Mewling and puking in the nurses arms; And then the whining schoolboy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover,10 Sighing like furnace, with a woeful ballad Made to his mistress eyebrow. Then a soldier, Full of strange oaths, and bearded like the pard, Jealous in honor, sudden and quick in quarrel, Seeking the bubble reputation15 Even in the cannons mouth. And then the justice, In fair round belly with good capon lined, With eyes severe and beard of formal cut, Full of wise saws and modern instances; And so he plays his part. The sixth age shifts20 Into the lean and slippered pantaloon, With spectacles on nose and pouch on side; His youthful hose, well saved, a world too wide For his shrunk shank; and his big manly voice, Turning again toward childish treble, pipes25 And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans teeth, sans eyes, sans taste, sans everything.