1. TheElementsof Poetry

2. Poetry in Popular Culture 3. Public Poetry 4. The Greek Poet Sappho (7th century BCE)Our Poetic History 5. Meeting Poetry Ourwords poem and poetry are derived fromthe Greek poiein, to create or make, astructure that is created from the humanimagination and that is expressed rhythmicallyin words. The word poet originally referred to the writerof any kind of literature, although it nowmeans someone who writes poetry (642). 6. History of English Poetry Earliest poems in English date to the Old English period (450-1100 CE) Many reflected the influence of Christianity From the Middle Ages (1100-1500) poets wrote about manyBeowulf, the anonymous epic poem is the most subjects, including famous poem religious themes 7. Reading Poetry Responsively 8. Dont be intimidated by poetry. Remember, each of us brings our ownideas, interpretations, history, and knowledge tothe reading of a poem it, like all literature, isnever really finished until it is read. First Steps: Read straight through to get a general sense ofthe poem Ask questions about thetitle, speaker, words, descriptions, sounds, setting, form, structure Read aloud and listen for the rhythm of the words Develop theories about the particular elements ofthe poem create a paraphrase orbrief explication 9. Here a Pretty Baby Lies (1648) Robert Herrick (1594-1664)Here a pretty baby liesSung asleep with lullabies:Pray be silent, and not stirTheasy earth that covers her. 10. WordsThe Building Blocks of Poetry 11. Diction (Choice of Words)Specific & ConcreteGeneral & Abstract Specific language: General language:refers to objects or signifies broad classes ofconditions that can be persons, objects, andperceived or imaginedphenomena Concrete diction: Abstract diction: refers todescribes conditions orqualities that are rarefiedqualities that are exact and theoreticaland particular Poems tend to be Poems tend to be detached andvisual, familiar, andcerebral, deal withcompelling universal questions or emotions 12. Levels of Diction Elevated & ElaborateHigh or Formal Follows exact rules of syntax Stresses Simplicity Avoids elevated tones Middle or Neutral Also avoidsslang, colloquialisms, contractions, jargon, fadsof speech Language of common, everyday useLow or Informal Usesslang, contractions, swearwords, grammaticalerrors 13. Special Types of DictionIdiom Dialect Unique forms of Regional anddiction and word group usage andorder pronunciationSlang JargonInformal and Special language substandard and terminology ofvocabulary / idiom groups 14. Loveliest of Trees, the Cherry Now(1896) A.E. Housman (1859-1936) Loveliest of trees, the cherry now Is hung with bloom along the bough, And stands about the woodland ride Wearing white for Eastertide. Now, of my threescore years and ten, Twenty will not come again, And take from seventy springs a score, It only leaves me fifty more. And since to look at things in bloom Fifty springs are little room, About the woodland I will go To see the cherry hung with snow. 15. Syntax (Word Order &Sentence Structure) Parallelism = most often considered repetition produces lines or portions of lines that make strongimpressions because of the repetition of certain words orphrases also the repetition of verb endings packing of words to add multiple meaningsSo on we worked, and waited for the light,And went without the meat, and cursed the bread~ Richard Cory (Robinson) 16. Antithesis = a contrasting situation or idea that brings out surprise, shock, or climax works with parallelismSo on we worked, and waited for the light,And went without the meat, and cursed the bread;And Richard Cory, one calm summer night,Went home and put a bullet through his head. ~ Richard Cory (Robinson) 17. Denotation & Connotation Denotation = the actual, literal, dictionary meaning of a word Connotation = the cultural, emotional, psychological, social, and historical overtones of a word 18. Decorum Decorum = beautiful, appropriate Words and subjects should bein perfect accord Formal words for serioussubjects Informal words for lowsubjects and comedy William Wordsworthtransformed poetry in the19th century, opening thedoor for topics and languageof people from allclasses,with specialstress oncommon folk. (1770-1850) William Wordsworth 19. Daffodils (I Wandered Lonely asa Cloud) 1807 William Wordsworth (1770-1850) And then my heart with pleasure fills, And dances with the daffodils. 20. Still I Rise (1987) Maya Angelou (b. 1928) Still I RiseYou may write me down in historyWith your bitter, twisted lies,You may trod me in the very dirtBut still, like dust, I rise. Maya Angelou 21. Hazel Tells Lavernelast night Katharyn Machanim cleanin out myhoward johnsons ladies roomwhen all of a suddenup pops this frogmusta come from the sewerswimmin aroun an tryin taclimb up the sida the bowlso i goes ta flushm downbut sohelpmegod he starts talkinbout a golden ballan how i can be a princessme a princesswell my mouth dropsall the way to the flooran he sayskiss me just kiss meonce on the noseThe Princess and the Frogwell i screamsya little green pervertam i hitsm with my mopan has ta flushthe toilet down three timesmea princess 22. The Passionate Shepherd to His LoveCharacters & SettingWho, What, Where & When in Poetry 23. Characters Setting Speakeror persona Setting reflects Most significant Time character in a poem Place (1) Inside Speaker Thought uses the first-person Social Conventions voice and is involved in the poems actions Generalcircumstances of the Outside Speaker third- characters lives person perspective Religion (2) Listener imagined person, not the Economic reader, whom the circumstances speaker is addressing Condition of the (3) Major & Minornatural world Participants can be human or nonhuman 24. On the Amtrak from Boston to New York City Sherman Alexiesomebody from the enemy thought I was one of their own. 25. The Ruined Maid (1866) Thomas Hardy (1840-1928)O didnt you know Idbeen ruined, said she. Thomas Hardy 26. The Passionate Shepherd to HisLove (1599)Christopher Marlowe (1564-1593)Come live with me andbe my love,And we will all thepleasures proveThe Passionate Shepherd to His Love 27. The Nymphs Reply to theShepherd (1600) Sir Walter Raleigh (1522-1618)If all the world and love wereyoung,And truth in every shepherdstongue,These pretty pleasures mightme moveTo live with thee and be thy Sir Walter Raleighlove. 28. Sensory ImagesImageryThe Poems Link to the Senses 29. Types of Imagery Sensory Imagery. Visual = Sight Auditory = Sound Olfactory, Gustatory, and Tactile =Smell, Taste, and Touch Kinetic and Kinesthetic = Motion and Activity 30. Channel Firing(1914) Thomas Hardy (1840-1928)That night your great guns, unawares,Shook all our coffins as we lay,And broke the chancel window-squares,We thought it was the Judgment DayAnd sat upright. 31. Seven Horizons (2006) Stephen Stepanchev (b. 1915)Here in Flushing I let the rainWash away my rotting selves,The rubble of what I was, the thickDeeps of silence among the ruins,The seven layers of abandonmentNo archeologist will ever read. 32. Its Only Rock and Roll, but I LikeIt: The Fall of Saigon (1975, 1990) David Wojahn (b. 1953)An ice-cream suitedSaigonese drops his briefcase; both handsNow cling to the airborne skis. The camera getsIt all: the marine leaning out the copter bay,His fists beating time. Then the hands giving way. 33. Metaphorical LanguageThe Source of Depth and Range in Poetry 34. Metaphor A metaphor equates known objects or actionswith something that is unknown or to beexplained. A metaphor not only explains and illuminates thething being described but also offers distinctive,original, and often startling ways of seeing it andthinking about it.All the worlds a stage / and all the men andwomen merely players. ~ As You Like It, Shakespeare 35. Shall I Compare Thee to a Summers Day? (1609) William Shakespeare (1564-1616) Shall I compare thee to a summers day? Thou are more lovely and more temperate 36. SimileAsimile illustrates the similarity or comparability of the known to something unknown or to be explained by using the words like or as /as if/as though She walks in beauty, like the nightOf cloudless climes and starry skies;~ She Walks in Beauty, Lord Byron 37. Bright Star (1819, 1838) John Keats (1795-1822)Bright star! would I were steadfast as thou art Not in lone splendor hung aloft the night,And watching, with eternal lids apart,Like Natures patient, sleepless eremite, 38. Paradox A paradox is a figurative device through whichsomething apparently wrong or contradictory isshown to be truthful and non-contradictory.We look before and after,And pine for what is not:Our sincerest laughterWith some pain is fraught;Our sweetest songs are those that tell ofsaddest thought.~ To a Skylark, Percy Bysshe Shelley 39. On Monsieurs Departure (c. 1560) ElizabethTudor, QueenElizabeth I (1533-1603)I grieve and dare not show my discontent,I love and yet am forced to seem to hate,I do, yet dare not say I every meant,I seem stark mute but inwardly do prate. I am and not, I freeze and yet am burned, Since from myself another self I turned. 40. Anaphora Anaphora = the repetition of the same word or phrasethroughout a work in order to lend weight andemphasisYes, we had laughed often day and nightYes, we fought violence and knew violenceYes, we hated the inner and outer oppression~ Looking at Each Other, Muriel Rukeyser 41. Apostrophe In an apostrophe a speaker addresses a real orimagined listener who is not present in the work. Creates the drama of a speaker addressing anaudience.I almost wish we were butterflies and livd but threesummer days - three suchdays with you I could fill withmore delight than fiftycommon years could evercontain. ~ John KeatsBright Star film clip 42. London, 1802 (1802) William Wordsworth (1770-1850)Milton! thou shouldst be living at this hour:England hath need of thee: she is a fenOf stagnant waters: altar, sword, and pen, 43. Personification Personification= the attribution of human traits to abstractions or to nonhuman objectsRemember the sky that you were born under,know each of the stars stories.Remember the moon, know who she is. I met herin a bar once in Iowa City. ~ Remember, Joy Harjo 44. Synecdoche & Metonymy Synecdoche = a part stands for the whole, or the whole stands for a part Indiana won the championship meaning that the basketball team, not the entire university or the entire state, won the game Christian Watford won the championship meaning he made a great play that won the game for the Indiana basketball team Metonymy= substitutes one thing for another with which it is closely identified The silver screen or Hollywood used to refer to the movie industry 45. Pun or Paronomasia Pun or Paronomasia = wordplay stemmingfrom the fact that words with differentmeanings have surprisingly similar or evenidentical soundsThe portrait tumbled from the wallAnd hit the young mans head.A striking likeness! That was allThe rueful punster said. ~Author Unknown 46. Synesthesia Synesthesia = a description of feelings or perceptions using words or images that are typically used for other feelings or perceptions, or for the exact opposite things O for a beaker full of the warm South ~Ode to a Nightingale, Keats 47. Overstatement/Understatement Overstatement/ Hyperbole = exaggerationused for effect Understatement = deliberate underplaying orundervaluing of a thing 48. Symbolism Symbolism in poetry can be found in actions setting and scenes characters situations and in the automatic symbolism of certain words shepherd, cross, flood, winter 49. Snow (1977) Virginia Scott (b. 1938)A doe stands at the roadside,spirit of those who have lived hereand passed known through our memory.The doe stands at the edge of the icy road,then darts back into the woods. 50. Allusion An allusion carries the entire context ofthe work from which it is drawn Use to add depth of meaning to poetry Allusions can be drawn from a single wordor from an entire passage that isreminiscent of another famoustext, idea, or image 51. To His Coy Mistress (c. 1650) Andrew Marvell (1621-1678) *a carpe diem poemHad we but world enough, and time,This coyness, Lady, were no crime. Andrew Marvell 52. Marvell Noir (2005) Ann LauingerSweetheart, if we had the time,A week in bed would be no crime. Humphrey Bogart as a Guy Noir 53. ToneThe Creation of Attitude in Poetry 54. Tone, Choice, & Response Tone is derived from the phrase tone of voice Describes the shaping of attitudes in poetry The poets choice of language and tone is designedto evoke a response from the reader Common Grounds of Assent An appeal to a bond of commonly heldinterests, concerns, and assumptions is essential tomaintaining an effective tone In a poem with well-controlled tone Details and situations should be factually correct Observations should be logical and fair 55. Dulce et Decorum Est (1920) Wilfred Owen (1893-1918)If you could hear at every jolt, the bloodCome gargling from the froth-corrupted lungs,Obscene as cancer, bitter as the cudOf vile, incurable sores on innocent tongues. My friend, you would not tell with such high zestTo children ardent for some desperate glory,The old Lie: Dulce et decorum estPro patria mori.Wilfred Owen: GreatestEnglish War Poet 56. Tone & Irony Irony is a mode of indirection, a way ofmaking a point by emphasizing adiscrepancy or opposite. Verbal Irony indicates the irony achievedthrough the subtleties of language. Situational Irony is derived from thediscrepancies between the ideal and theactual in a poem. Dramatic Irony is at work when the readerknows more about a situation than thecharacters do. Satire uses humor and irony to expose humanfollies and vices. 57. The Workbox (1914) Thomas Hardy (1840-1928)Yet still her lips were limp and wan,Her face still held aside,As if she had known not only John,But known of what he died. 58. homage to my hips (1987) Lucille Clifton (1936-2010)these hips are big hipsthey need space tomove around in.they dont fit into littlepetty places, these hipsare free hips.they dont like to be held back.these hips have never been enslaved.they go where they want to go.they do what they want to do. Lucille Cliftonthese hips are mighty hips.these hips are magic hips.i have known themto put a spell on a man and Lucille Clifton, Walnut Grovespin him like a top! 59. ProsodySound, Rhythm, and Rhyme in Poetry 60. Prosody Prosody describes the study of poetic sounds andrhythms. Prosodic technique cannot be separated from apoems content. The study of prosody aims to determine how poetscontrol their words so that the sound of a poemcomplements its expression of emotions and ideas. Prosody examines vowel sounds, consonantsounds, syllables, and rhyme. 61. Scansion Scansion= the systematic study of poetic rhythm Scansion examines accented and unaccentedsyllables Accented / Primary Stress / Heavy Stress Signified by a prime mark () or by capitalization ofstressed syllables: to BE or NOT to BE Unaccented/ Light Stress Indicated by a breve () or by lowercase lettersWhen I con-SID-er HOW my LIGHT is SPENT 62. Meter and Metrical Feet Metrical verse follows a set rhythmical pattern.Free verse does not. The meter of a poem is its rhythmicalpattern, measured by the number of feet in itslines. English verse is made up of rhythmical unitscalled feet. A foot is made up of weaklystressed () and strongly stressed () syllables. Virgules or slashes (/) are used to separatemetric feet.WA ter / WA ter / Ev ery WHERE 63. Annabel Lee (1849) Edgar Allan Poe (1809-1849)And so all the night-tide, I lie down by the sideOf my darling, my darling, my life and my bride In her sepulchre there by the sea In her tomb by the side of the sea. 64. Determining MeterMetric Term Number of Feet ExampleMonometer One foot And I Shall fly awayDimeter Two feet After autumn Comes the winterTrimeterThree feet In the midst of morningTetrameterFour feetO saddle up my milk white steedPentameterFive feetThat time of year thou mayst in me beholdHexameter Six feet A perfect knight he was, that allcould plainly see.HeptameterSeven feetOctameter Eight feet 65. The Major Metrical FeetType of Foot Stress Pattern ExampleIamb, or iambic foot afraidTrochee, or trochaic foot freedomAnapest, or anapestic foot in a flashDactyl, or dactylic foot feverishSpondee, or spondaic foot baseballPyrrhee or pyrrhic foot UnbelievableAmphibrach Ah FEED meAmphimacer LOVE is BESTImperfect foot or catalectic a single stressed orfoot or unstressed syllable byitself 66. When I was One-and-Twenty(1896) A.E. Housman (1859-1936) When I was one-and-twentyI heard a wise man say, Give crowns and pounds and guineasBut not your heart away; Give pearls away and rubiesBut keep your fancy free. But I was one-and-twenty,No use to talk to me. A.E. Housman 67. The Caesura (Pause) Pauses or caesurae are used to indicate the naturalrhythm of speech Indicated by commas, semi-colons, and periods (orother forms of punctuation)! Two virgules are used in indicate a caesura Caesura create end-stopped lines and run-on lines:A thing of beauty is a joy forever.Its loveliness increases; // it will neverPass into nothingness; // but still will keepA bower quiet for us, // and a sleepFull of sweet dreams, // Endymion ~ John Keats 68. Segmented Poetic Devices Used to create emphasis or echo sounds Assonance = the repetition of identical vowel soundsin different words swift Camilla skims Consonance = the repetition of identical consonantsounds typically in the middle of words Alliteration = the repetition of identical consonantsounds falling at the beginning of each wordbrazen brainless brothers Onomatopoeia = verbal imitation of real soundscrack, buzz, bump, thump Euphony = pleasing sounds Cachophony = harsh sounds 69. We Real Cool (1959) Gwendolyn Brooks (1917-2000)The Pool Players.Seven at the Golden Shovel.We real cool. WeLeft school. WeLurk late. WeStrike straight. WeSing sin. WeThin gin. WeJazz June. We Gwendolyn BrooksDie soon. 70. Rhyme and Meter ExactRhyme = words with identical rhymingsounds: ache, bake, break, opaque Inexact Rhyme / Slant Rhyme / Near Rhyme =words with nearly identical rhyming sounds:could, solitude Eye Rhyme / Sight Rhyme = identical in spellingbut different in pronunciation:cough, dough, through Identical Rhyme = the same word is used indifferent lines to formulate the rhyming pattern Internal Rhyme = rhyming patterns which fallwithin the line of poetry rather than at the endof the line 71. At a Summer Hotel (1979) Isabella Gardner (1915-1981)I am here with my bountiful womanful childto be soothed by the sea not roused by these roses roving wild.My girl is gold in the sun and bold in the dazzling water,She drowses on the blond sand and in the daisy fields my daughterdreams. Uneasy in the drafty shade I rock on the verandareminded of Europa Persephone Miranda. 72. Rhyme Scheme Rhyme Scheme refers to a poemspattern of rhyming sounds, designated byalphabetical letters The rhyming pattern is determined by thefinal word in the line The rhyming pattern is broken into stanzas Iambic pentameter (the form of aShakespearean Sonnet) follows this rhymescheme:abab cdcd efef gg 73. The Road Not Taken (1920) Robert Frost (1874-1963)I shall be telling this with a sighSomewhere ages and ages hence:Two roads diverged in a wood, and II took the one less traveled by,And that has made all the difference. 74. The Lover Not Taken (1984) Blanche FarleyOh, she turned with a sigh.Somewhere ages and ages hence,She might be telling this. And I She would say, stood faithfully by.But by then who would know the difference?With that in mind, she took the fast way home,The road by the pond, and phoned the blond. 75. FormThe Shape of Poems 76. Closed-Form Poetry Closed-FormPoetry refers to poetry written in specific and traditional patterns of lines produced through line length, meter, rhyme, and line groupings. Walt Whitman 77. Blank Verse Blank Verse = unrhymed iambic pentameter One of the most common closed forms in English Consists of five unrhymed iambic lines Resembles normal speech patterns in English Shakespeare is the master of blank verse (in his plays) Like a / good child,/ and a / true gen- / tle - man.That I / am guilt- / less of/ your fa- / thers death.And am / most sen- / si-bly / in grief / for it,It shall / as le- / vel to / your judg- / ment pear ~ The King, Hamlet, Shakespeare 78. The Couplet The Couplet = contains two rhyming lines and is theshortest distinct closed form Lines are usually identical in length and meter Heroic Couplet = iambic pentameter coupletconsidered appropriate for epic, or heroic, poetry Falls at the end of Shakespearian Sonnets Expresses a complete idea and is grammatically self-sufficientMy garden is unfolding before my startled eyes.Each blossom as it opens is a welcome, glad surprise.The daffodils are blooming and spread sunshiny cheer,While the tulips are struggling to hold up their heads thisyear. ~ My Garden, Joyce Johnson 79. Tercet or Triplet A Tercet or Triplet is a three line stanza Typically ryhmes aaa, bbb, ccc, and so on But, there are two variations on the tercetHe clasps the crag with crooked hands;Close to the sun in lonely lands,Ringd with the azure world, he stands.The wrinkled sea beneath him crawls;He watches from his mountain walls,And like a thunderbolt he falls. ~The Eagle, Alfred, Lord Tennyson 80. Terza Rima In a Terza Rima, the stanzas are interlocked through apattern that requires the center rhyme in one tercet tobe rhymed twice in the next: aba, bcb, cdc, ded, andso onO wild West Wind, thou breath of Autumns being, (a)Thou, from whose unseen presence the leaves dead (b)Are driven, like ghosts from an enchanter fleeing, (a)Yellow, and black, and pale, and hectic red, (b)Pestilence-stricken multitudes: O Thou,(c)Who chariotest to their dark wintry bed(b)~ Ode to the West Wind, Percy Bysshe Shelley 81. VillanelleA Villanelle = the most complex form oftercet pattern Nineteen lines containing six tercets,rhymed aba and concluded by four lines First and third lines of the first tercet arerepeated alternately in subsequenttercets as a refrain, also in the concludingfour lines Dylan Thomas Do Not Go Gentle intoThat Good Night is an excellent exampleof the Villanelle form. 82. Do Not Go Gentle into That GoodNight (1951) Dylan Thomas (1914-1953)Do not go gentle into that good night,Old age should burn and rave at close of day;Rage, rage against the dying of the light.Though wise men at their end know dark is right,Because their words had forked no lightening theyDo not go gentle into that good night.Good men, the last wave by, crying how brightTheir frail deeds might have danced in a green bay,Rage, rage against the dying of the light. 83. Quatrain A Quatrain = a four line stanza The most common stanzaic form Very popular in poetry Determining factor is rhyme scheme, but that can vary inpattern A Quatrain is the basic component ofballads, lyrics, common measure or hymnal stanza, and issignificant in many religious hymns:Amazing Grace! How sweet the sound, That saved a wretch like me.I once was lost, but now am found, Was blind but now I see. ~ Amazing Grace, John Newton 84. Ballad of Birmingham (1966)(On the bombing of a church inBirmingham, Alabama, 1963) Dudley Randall (1914-2000)The mother smiled to know her childWas in the sacred place,But that smile was the last smileTo come upon her face.For when she heard the explosion,Her eyes grew wet and wild.She raced through the streets of BirminghamCalling for her child. 85. How Many Lines Per Stanza? Number of Stanzaic LinesPoetic Form2 lines Couplet3 lines Tercet or Triplet4 lines Quatrain5 lines Cinquain6 lines Sestet7 lines Heptastich8 lines Octave 14 lines Sonnet 86. Italian / Petrarchan Sonnet Sonnets= consist of 14 lines Initially an Italian form of poetry made famous bythe Italian poet Petrarch (1304-1374) In iambic pentameter Include two quatrains (the octave) andtwo tercets (the sestet) The octave presents a problem orsituation that is resolved in the sestet Fixed rhyme scheme abba, abba, cdc, cdcor abba, abba, cde, cde 87. Poem 292 Francesco Petrarcha (1304-1374) *Written on Lauras deathThe eyes I spoke of with such warmth,The arms and hands and feet and faceWhich took me away from myselfAnd marked me out from other people;The waving hair of pure shining gold,And the flash of her angelic smile,Which used to make a paradise on earth,Are a little dust, that feels nothing.And yet I live, for which I grieve and despise myself,Left without the light I loved so much,In a great storm on an unprotected raft.Here let there be an end to my loving song:The vein of my accustomed invention has run dry,And my lyre is turned to tears. 88. English / Shakespearian Sonnet Sonnets = consist of 14 lines Shakespeare transformed the Italiansonnet into English Recognized that there are fewer rhyming words inEnglish Modified the rhyme scheme: abab, cdcd, efef, gg Added a heroic couplet to the end of the sonnet Each quatrain (first 12 lines) contains a separate development of the sonnets central idea or problem The couplet provides the resolution to the problem 89. Sonnet 130 William Shakespeare (1564-1616)My mistress eyes are nothing like the sun;Coral is far more red than her lips red;If snow be white, why then her breasts are dun;If hairs be wires, black wires grow on her head.I have seen roses damasked, red and white,But no such roses see I in her cheeks;And in some perfumes is there more delightThan in the breath that from my mistress reeks.I love to hear her speak, yet well I knowThat music hath a far more pleasing sound;I grant I never saw a goddess go;My mistress when she walks treads on the ground.And yet, by heaven, I think my love as rareAs any she belied with false compare. 90. Haiku Haiku = a complete poem of 17 syllables Originated in Japan Follows strict guidelines: (1) Must be a tercet (three lines) (2) Must include five, seven, and five syllables per line (3) the poem should embody a unique observation orinsight. Spun in high, dark clouds, Snow forms vast webs of white flakes And drifts lightly down. ~ Spun in High, Dark Clouds, Anonymous 91. Epigram, Epitaph, Limerick Epigram= short, witty poem that usually makes a humorous or satiric point Epitaph= brief poems composed to mark the death of someone, humorous or sometimes irreverent Limerick= a five-line poem that is humorous, sometimes bawdy 92. Elegy & Ode Elegy = a poem about death and its meaning for the living A poem of lamentation Subject is typically the death of a particular person, but can also be death in general, mortality, or grief Ode = a complex and extensive stanzaic poem Varying line lengths and intricate rhyme schemes Meditative and philosophical topics, but a broad range of topics Closest closed-form pattern to open-form poetry 93. Open-Form Poetry Open-Form Poetry = also known as free verse, eliminatesthe restrictions of the closed form. Free in form and variable in contentWord over all, beautiful as the sky,Beautiful that war and all its deeds of carnage must in time be utterly lost,That the hands of the sisters of Death and Night incessantly softly wash again, and ever again, this soiled world;For my enemy is dead, a man divine as myself is dead,I look where he lies white-faced and still in the coffin I draw near,Bend down and touch lightly with my lips the white face in the coffin.~ Reconciliation, Walt Whitman 94. Concrete, Shaped Verse Concrete poetry = poems whose outlines depict a recognizable shape