Tag Archives: poetry

Term of Art: Allegory

“Allegory (noun) The use of metaphoric, often schematic storytelling and characters for two levels of meaning, with that beneath the surface narrative expressing deeper human truths, whether with a spiritual or moral message or as a form of satire; a literary work whose characters, settings, and incidents have their own verisimilitude but also mask hidden, parallel significations; symbolic narrative. Adj. allegorical; adv, allegorically; n. allegorization, allegorist; v. allegorize.

‘Tolstoy describes her as a creature so sensitive that we wonder she can’t speak. Now we see her lying at his feet, she bends her head back and gazes at him with her speaking eyes. The very suspicion of allegory destroys the validity of the scene.’ Joyce Cary, Art and Reality”

Excerpted from: Grambs, David. The Random House Dictionary for Writers and Readers. New York: Random House, 1990.

Dante’s 11

Dante was a keen follower of Pythagoras, the sixth-century BC Greek philosopher and mathematician who sought to explain the world, both spiritual and material, by numbers. Pythagoras believed that the mathematical principles that underlay the universe, gave it harmony, literally a music of the spheres. Dante, in his great work, Divine Comedy, sought to create the divine song.

The key number for Dante was 11—the union of 5 and 5—and its multiples. The Inferno, Purgatorio, and Paradiso, have thirty-three cantos each, and the poem is written in hendecasyllabic rhyme (eleven syllables long). Dante twice provides dimensions of Hell, stating that that circumference of the ninth bolgia (ditch) in the Eighth Circle is 22 miles (miglia ventidue), and the tenth bolgia is 11 miles. There is nothing accidental about this mention of 11 and its multiple 22; twenty-two forms part of the well-known fraction 22/7 which expresses the Pythagorean value of pi.

Three and nine also figure prominently in Dante’s numerology. The three books of the Divine Comedy delineate the nine circles of Hell, the nine rings of Mount Purgatory and the nine celestial bodies of Paradise.”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

Battle of Lepanto

“Battle of Lepanto: A naval engagement in the Gulf of Corinth on October 7, 1571, fought between the forces of the Ottoman Empire and those of a holy league comprising Spain, Venice, and the papacy. Under the leadership of Don John of Austria, the Christians overwhelmingly defeated the Turks, ending their naval domination of the Mediterranean. Cervantes took part in the battle and was wounded in the left hand.”

It is the subject of a poem by G.K. Chesterton.

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

“When Lilacs Last in the Dooryard Bloomed”

“An elegy on the death of President Abraham Lincoln (1809-65) by the US poet Walt Whitman (1819-92), published in 1865-6 and incorporated into Leaves of Grass in 1867. Lincoln was assassinated on the evening of 14 April 1865, and died the following morning. It was lilac time.

‘When lilacs last in the dooryard bloomed,

And the great star early drooped in the western sky in the night,

I mourned, and yet shall mourn with ever-returning spring.’

There is a musical setting for soloists, chorus and orchestra (1970) by the US composer Roger Sessions (1896-1985). The US writer Ray Bradbury (1920-2012) entitled one of his early collections of poetry When Elephants Last in the Dooryard Bloom’d (1973).”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Term of Art: Affective Fallacy

“affective fallacy: A critical term denoting the confusion between what a literary work is and what it does. That is, a work should be judged solely on its literary components, not by its emotional (or affective) impact on the reader. It was first identified as a critical ‘error’ by Monroe Beardsley and W.K. Wimsatt in The Verbal Icon (1954). It is related to intentional fallacy, in which a work is judged according to what the author presumably intended to say or in relation to the author’s biography.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

A Learning Support on Poetry Terms

This short learning support on poetry terms is the last of the English Language Arts learning supports I have to publish for the time being. I expect, as I continue to teach, I’ll develop more of them. Maybe you can use this cogent explanation of basic terms of art in poetry.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Weekly Text, July 19, 2019: A Lesson Plan on the Crime and Puzzlement Case “The Lunchroom Murder”

It’s Friday again, so again it’s time for the Weekly Text at Mark’s Text Terminal.

This week’s Text is a lesson plan on the Crime and Puzzlement case “The Lunchroom Murder.” This Cultural Literacy worksheet on “Shall I compare thee to a summer’s day?”, the first line of Shakespeare’s 18th sonnet. Direct from the pages of the first Crime and Puzzlement book, here are the illustration and list of questions that drive this lesson. Finally, you’ll need the answer key to solve this mystery.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Book of Answers: Alice Walker

Did Alice Walker start out by writing fiction or poetry? The first published work of the poet and novelist was a book of poetry: Once: Poems (1968). She followed up soon after, however, with a novel: The Third Life of Grange Copeland (1970).

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Satan’s 13 Peers of Hell

“Beelzebub * Moloch * Chemos * Peor * Baalem * Ashtoreth/Astarte * Thammuz/Adonis * Dagon * Rimmon * Osiris * Isis * Horus * Belial

In Book One of Milton’s Paradise Lost, Satan, having been expelled from Heaven, falls ‘nine times the space that measures day and night’ into Hell’s cavern. In this ‘dismal situation waste and wild, a dungeon horrible on all sides round as one great furnace flamed’ he rears up from a pool of liquid fire to offer words of comfort to the fallen cherubs. One by one, Milton identifies and to a certain extent creates the thirteen chief captains of Hell, from his own selective reading of the mythology of the ancient Near East, who follow ‘their great Emperor’s call’ in order to stand beside him. These Peers of Hell are a bad lot–‘besmeared with blood,’ fomentors of ‘lustful orgies’ and ‘wanton passions of the sacred porch’–and summon myriad other fallen angels to arms with a shout that ‘frighted the reign of Chaos and old Night.'”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

The Age of Anxiety

“(1947) A long poem by W.H. Auden. It concerns men and women who meet by chance in a New York bar in wartime; all are suffering from the modern malaise and feel guilty, isolated, and rootless. In a common dream, they set out on a quest through a barren wasteland. Hope in Christianity is presented as the solution to their problems. The title has frequently been used as a name to describe the mid-20th century.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.