And so the Big Day has arrived-the official launch of our audio-visual presentations on the selection of poems to be examined next year (this year, if you happen to be in Grade 10 or Year 11). The idea was to be as cinematic as possible ,and, whilst it has been mostly the first time we have all used windows movie maker, or imovie, to create a presentation in this sort of way, just about every one of them has a hint of a future film-maker. I am also impressed with the wide-selection of music chosen -eerily appropriate in many cases. I must take the opportunity to give a global ‘thanks’ to teachers out there who inspired this project on Youtube with their classes (some of which can be seen in the category called: ‘Soundbites’.) We really enjoyed ourselves,and would love to share them with YOU.
Below are some links to various power-point presentations on the CIE Anthology Poems examined in 2010, 2011 and 2012. Some are more detailed than others, though I think you will find each one useful when developing your understanding of the poems. They may prove to be helpful when revising for the Poetry section of the exam. You will note that not all the poems have been included. That’s because in my hunting-and-gathering I didn’t come across presentations on those poems. These ones, however, should be enough to get you thinking about the sorts of things you need to consider when composing a written response.
Below we have our very first Poem-‘movie’-Presentation. What do you think? I am looking forward to receiving them tomorrow and taking the opportunity to enjoy the fruits of your creativity! From general observation, the quality of presentations are excellent. So well done, in advance.
Below are links for Marrysong created by students from other schools. You may find them useful to watch.
Below are some sound bites from Clarke’s ‘Lament’ which have been mostly created by students. They will provide you with an excellent understanding of the themes.
A clear reading of the poem
Here are some sound-bites to inspire you!
Leonard Cohen’s recording of the poem as a song
Joan Baez sings ‘So we’ll go no more a-roving”
Cohen’s version but this time with a b/w montage of pictures
Here are some readings/presentations of John Clare’s ‘First Love’ – check out the hardware shop version for a giggle.
An exquisite reading of the poem.
A superb short film version of the poem -set in a hardware/nursery shop!
Students by the names of Jamie and Oz put Clare’s ‘First Love’ to music
Not the most original of presentations, and the lines of the poem ‘flash’ too quickly, however, it shows what can be achieved on Window Movie Maker.
A reading by Gary Watson
As we have discovered, ‘sonnet’ comes from the Italian word ‘sonnetto’ meaning ‘little song’ or ‘little lyric’ and contains 14 lines written in iambic pentameter (10 syllables for each line – 5 unstressed and 5 stressed). The iambic pentameter reflects the natural patterns of speech, and, the musicality of the sonnet is further reinforced by regular rhyme schemes. Sonnet 43 is a Petrarchan sonnet ( after an early Italian sonneteer, Petrarca) and was later adopted by the English-language poets Milton, Barrett-Browning, Wordsworth and Edna St Vincent Millay.
I. The Italian (or Petrarchan) Sonnet:
The basic meter of all sonnets in English is iambic pentameter although there have been a few tetrameter and even hexameter sonnets, as well.
The Italian sonnet is divided into two sections by two different groups of rhyming sounds. The first 8 lines is called the octave and rhymes:
a b b a a b b a
The remaining 6 lines is called the sestet and can have either two or three rhyming sounds, arranged in a variety of ways:
c d c d c d
c d d c d c
c d e c d e
c d e c e d
c d c e d c
The exact pattern of sestet rhymes (unlike the octave pattern) is flexible. In strict practice, the one thing that is to be avoided in the sestet is ending with a couplet (dd or ee), as this was never permitted in Italy, and Petrarch himself (supposedly) never used a couplet ending; in actual practice, sestets are sometimes ended with couplets (Sidney’s “Sonnet LXXI given below is an example of such a terminal couplet in an Italian sonnet).
The point here is that the poem is divided into two sections by the two differing rhyme groups. In accordance with the principle (which supposedly applies to all rhymed poetry but often doesn’t), a change from one rhyme group to another signifies a change in subject matter. This change occurs at the beginning of L9 in the Italian sonnet and is called the volta, or “turn”; the turn is an essential element of the sonnet form, perhaps the essential element. It is at the volta that the second idea is introduced, as in this sonnet by Wordsworth:
Milton! thou shouldst be living at this hour:
England hath need of thee: she is a fen
Of stagnant waters: altar, sword, and pen,
Fireside, the heroic wealth of hall and bower,
Have forfeited their ancient English dower
Of inward happiness. We are selfish men;
Oh! raise us up, return to us again;
And give us manners, virtue, freedom, power.
Thy soul was like a Star, and dwelt apart;
Thou hadst a voice whose sound was like the sea:
Pure as the naked heavens, majestic, free,
So didst thou travel on life’s common way,
In cheerful godliness; and yet thy heart
The lowliest duties on herself did lay.
Here, the octave develops the idea of the decline and corruption of the English race, while the sestet opposes to that loss the qualities Milton possessed which the race now desperately needs.
A very skillful poet can manipulate the placement of the volta for dramatic effect, although this is difficult to do well. An extreme example is this sonnet by Sir Philip Sidney, which delays the volta all the way to L 14:
Who will in fairest book of Nature know
How Virtue may best lodged in Beauty be,
Let him but learn of Love to read in thee,
Stella, those fair lines,which true goodness show.
There shall he find all vices’ overthrow,
Not by rude force, but sweetest sovereignty
Of reason, from whose light those night-birds fly;
That inward sun in thine eyes shineth so.
And not content to be Perfection’s heir
Thyself, dost strive all minds that way to move,
Who mark in thee what is in thee most fair.
So while thy beauty draws the heart to love,
As fast thy Virtue bends that love to good.
“But, ah,” Desire still cries, “give me some food.”
Here, in giving 13 lines to arguing why Reason makes clear to him that following Virtue is the course he should take, he seems to be heavily biassing the argument in Virtue’s favor. But the volta powerfully undercuts the arguments of Reason in favor of Virtue by revealing that Desire isn’t amenable to Reason.
There are a number of variations which evolved over time to make it easier to write Italian sonnets in English. Most common is a change in the octave rhyming pattern from a b b a a b b a to a b b a a c c a, eliminating the need for two groups of 4 rhymes, something not always easy to come up with in English which is a rhyme-poor language. Wordsworth uses that pattern in the following sonnet, along with a terminal couplet:
“Scorn Not the Sonnet”
Scorn not the Sonnet; Critic, you have frowned,
Mindless of its just honours; with this key
Shakespeare unlocked his heart; the melody
Of this small lute gave ease to Petrarch’s wound;
A thousand times this pipe did Tasso sound;
With it Camoens soothed an exile’s grief;
The Sonnet glittered a gay myrtle leaf
Amid the cypress wtih which Dante crowned
His visionary brow: a glow-worm lamp,
It cheered mild Spenser, called from Faery-land
To struggle through dark ways; and when a damp
Fell round the path of Milton, in his hand
The Thing became a trumpet; whence he blew
Soul-animating strains–alas, too few!
Another variation on the Italian form is this one, by Tennyson’s older brother Charles Tennyson-Turner, who wrote 342 sonnets, many in variant forms. Here, Turner uses an a b b a c d c d e f f e f e pattern, with the volta delayed until the middle of L9:
“Missing the Meteors”
A hint of rain–a touch of lazy doubt–
Sent me to bedward on that prime of nights,
When the air met and burst the aerolites,
Making the men stare and the children shout:
Why did no beam from all that rout and rush
Of darting meteors, pierce my drowsed head?
Strike on the portals of my sleep? and flush
My spirit through mine eyelids, in the stead
Of that poor vapid dream? My soul was pained,
My very soul, to have slept while others woke,
While little children their delight outspoke,
And in their eyes’ small chambers entertained
Far notions of the Kosmos! I mistook
The purpose of that night–it had not rained.
Listen to the recordings below of Sonnet 43. Some are readings, some are put to music and others are advertisements, all of which are testimony to the sonnet’s enduring quality. Poetry is nothing but as it is heard.
Reading by British actress, Helen Mirren
Words and text to Sonnet 43
Heinz Ketchup Advertisment
New York Bagels
June Bronhill 1977