Filename:
|
ds_0031_panarateaching_cap_01.mp4
|
Identifier:
|
ds_0031_panarateaching_cap_01.mp4
|
Title:
|
Poetry class part one analysis of poetry
|
Creator:
|
Panara, Robert
|
Subject:
|
English poetry 19th century Study and teaching
|
Subject:
|
English poetry 20th century Study and teaching
|
Subject:
|
American poetry 19th century Study and teaching
|
Subject:
|
American poetry 20th century Study and teaching
|
Subject:
|
American Sign Language literature
|
Subject:
|
Deaf Poetry
|
Subject:
|
ASL poetry
|
Summary:
|
The video shows Dr. Panara explaining lyric poetry and plucking the strings of a lyre to demonstrate the five senses. He discusses sense imagery and asks students what they see, hear, feel, taste, and smell when they visit the seashore in preparation for the poem "Sea Fever" by John Masefield. The rhythm, alliteration, and rhyming structure of the poem are analyzed. He translates some phrases in the poem and explains why he uses particular signs and non-manual features for those signs.
|
Publisher:
|
National Technical Institute for the Deaf
|
Digital Publisher:
|
Rochester Institute of Technology - RIT Libraries - RIT Archive Collections
|
Date of Original:
|
1974
|
Date of Digitization:
|
2018
|
Broad Type:
|
moving image
|
Digital File Format:
|
mp4
|
Physical Format:
|
VHS
|
Dimensions of Original:
|
57 minutes
|
Language:
|
American Sign Language
|
Language:
|
English
|
Original Item Location:
|
RITDSA.0031
|
Library Collection:
|
Sculptures in the Air: An Accessible Online Video Repository of the American Sign Language (ASL) Poetry and Literature Collections
|
Library Collection:
|
Robert Panara Deaf Video Collection
|
Digital Project:
|
2018-2019 CLIR Grant-ASL Poetry and Literature
|
Catalog Record:
|
https://albert.rit.edu/record=b3954792
|
Catalog Record:
|
https://archivesspace.rit.edu/repositories/2/resources/820
|
Place:
|
New York - Rochester
|
RIT Spaces and Places:
|
Henrietta Campus
|
Rights:
|
RIT Libraries makes materials from its collections available for educational and research purposes pursuant to U.S. Copyright Law. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. It is your responsibility to obtain permission from the copyright holder to publish or reproduce images in print or electronic form.
|
Rights:
|
CC BY-NC-ND: Attribution NonCommercial NoDerivatives 4.0 International
|
Transcript:
|
MAN: FIRST,
"UNDER THE GLOOMY SEA"...
"ANNABEL LEE"...
AND THE OTHER POEM...
"SEA FEVER."
"SEA FEVER."
AND THE NEXT...
"STOPPING BY WOODS
ON A SNOWY EVENING."
FINE. 4. OK?
AND "WEST WIND."
THERE ARE 2 POEMS
WITH ALMOST THE SAME TITLE.
ONE IS "THE WEST WIND,"
AND THAT'S THE ONE
I WANTED YOU TO READ.
THAT'S BY JOHN MASEFIELD.
THE OTHER ONE...
"ODE TO THE WEST WIND."
THAT'S ANOTHER--
BY ANOTHER POET
NAMED SHELLEY.
WE WILL DEFINITELY
READ THAT LATER
WHEN WE STUDY THE BOOK...
"JONATHAN LIVINGSTON SEAGULL."
BECAUSE THAT POEM,
"ODE TO THE WEST WIND,"
BLENDS NICELY WITH THAT
STORY ABOUT SEAGULLS.
NOW, WE'RE GONNA ADD SOME MORE
POEMS FOR YOU TO READ
FOR THIS WEDNESDAY.
THAT ADDS UP TO 10 LYRIC POEMS
THAT WE WILL START WITH,
START OUR POETRY ASSIGNMENT,
BY STUDYING THOSE
10 LYRIC POEMS.
NOW, WHEN IT COMES
TO THE STUDY OF POETRY,
THIS IS A VERY INTERESTING
SIGN--"POETRY."
HE SAID HE THINKS IT HAS TO DO
WITH SONG, THE SIGN FOR "SONGS."
POETRY.
NOW, WHY SONGS?
WHAT, THE VIOLIN?
YOU'RE PROBABLY THINKING OF--
WHO WAS NERO?
A ROMAN WHAT?
ROMAN KING?
NERO THE VIOLINIST,
WHILE ROME BURNED.
OH, "WHAT AN ARTIST DIES...
IN ME."
HE THOUGHT HIMSELF AS THE
WORLD'S BEST ARTIST.
PAID MORE ATTENTION TO
WRITING SHORT POETRY
THAN ATTENDING TO THE GOVERNANCE
OF THE CITY OF ROME.
BUT THAT'S ANOTHER STORY.
BUT THE SIGN COMES
FROM THE WORD "LYRE."
YOU KNOW, BACK THEN,
BACK IN ROMAN TIMES,
EVEN BEFORE ROMAN TIMES,
THERE WAS EVEN
A GREATER CIVILIZATION...
CULTURALLY SPEAKING.
I'M TALKING ABOUT THE ARTS--
POETRY, DRAMA, SCULPTURE.
AND WHAT WAS THAT
CIVILIZATION BEFORE ROME?
GREECE.
THAT'S RIGHT, GREECE.
G-R-E-E-C-E. GREECE.
COMPARE ROME TO GREEK.
MANY OF YOU SIGN "GREEK" LIKE
THIS WITH THE "G" BY THE NOSE.
IF YOU LOOK AT
THEIR SCULPTURING,
YOU'LL SEE THE PROFILE
SHAPED LIKE THIS,
HENCE THE SIGN "GREEK."
HOWEVER, IF YOU LOOK AT
ROMAN SCULPTURE,
THEIR PROFILE
WAS SHAPED LIKE THIS.
AND THAT WAS CALLED AN
"AQUILINE NOSE."
BUT WHAT?
LIKE AN EAGLE.
SO, THE SIGN IS "ROMAN."
ROMAN.
THE STUDY OF LATIN LANGUAGE.
SO, DON'T CONFUSE THOSE TWO--
GREEK AND ROMAN. OK?
NOW, WHEN IT COMES TO
THE GREEK CIVILIZATION,
THE WORD "LYRE"...
WHAT IS MEANT BY L-Y-R-E?
A LYRE WAS A--DOES
ANYBODY HAVE AN IDEA?
WHAT WAS A LYRE?
YES.
IT WAS A HARP,
A VERY SMALL ONE.
THEY HAD LARGER HARPS
BACK IN THE DAY,
WHICH YOU PLUCKED,
OR YOU HAD THE SMALLER ONE
THAT YOU COULD CARRY AROUND.
IT WAS PORTABLE.
SO THAT WAS THE SIGN.
DURING GREEK TIMES,
THEY BELIEVED THAT...
POETRY AS WRITTEN OR SPOKEN
WAS MOST PLEASING
IF IT WAS ACCOMPANIED
WITH A LYRE...
AND THEY COULD FOLLOW
THE BOOM--THE METER.
SO, YOU GET THE IDEA--
BOOM, BOOM--MUSIC, POETRY.
MUSIC.
POETRY.
SO, THE IDEA WAS ABOUT
LYRIC POETRY.
LYRIC WAS A POEM THAT
WAS MEANT TO BE SUNG...
WHERE YOU HAVE TO THINK
AS POETRY AS SOMETHING ELSE
THAT IS SPOKEN
THAN SUNG.
SINGING IS SUPPOSED TO GIVE
PLEASURE TO THE LISTENER.
WE WHO ARE DEAF
SEEM THAT WE MAY BE
SHUT OUT FROM THAT PLEASURE,
BUT DO YOU THINK THAT'S SO?
YOU CAN READ.
YOU CAN FEEL.
WHAT DO YOU MEAN BY "FEEL"?
NO. I'M TALKING ABOUT POETRY.
DO YOU HEAR THE VIBRATIONS?
NO. YOU CAN'T HEAR.
YOU FEEL WHAT? FEEL
THE VIBRATIONS OF WHAT?
OF MUSIC?
BUT IF YOU HAD A LYRE,
YOU'RE PROBABLY RIGHT,
BUT PUSHING THAT ASIDE,
IF YOU JUST READ,
IT'S SILENTLY.
MAKES YOU FEEL INSPIRED?
BASED ON YOUR EMOTION.
IT'S SOMETHING
INSIDE OF YOU.
YOU READ AND THINK AND IMAGINE.
YOU THINK AND READ...
PART OF MUSIC?
YOU FEEL? YOU USE
YOUR IMAGINATION?
AND YOU IMAGINE THAT?
READ. WELL, IF YOU
READ THE PROSE,
NOT POETRY
BUT EVERYDAY PROSE,
AND STILL SEE THE PICTURE,
STILL YOU SEEM TO
TOUCH SOMETHING,
TOUCH A ROUGH SIDEWALK,
FOR EXAMPLE,
WHEN YOU'RE WALKING
IN BARE FEET AND YOU READ.
JUST IMAGINE THAT,
CAN YOU?
THAT'S THE SAME WITH POETRY.
I ONCE WROTE A POEM.
AND IN THAT POEM, I TRIED
TO PICTURE THAT EVEN THOUGH
I CAN'T HEAR, STILL,
THROUGH MY IMAGINATION,
I COULD IMAGINE WHAT
THE WORDS SOUNDED LIKE.
SO I ONCE WROTE
A POEM LIKE THAT.
LET ME START OFF
BY SIGNING THAT POEM
TO GIVE YOU SOME IDEA OF WHAT
THE PRINTED WORD CAN...
MAKE US IMAGINE.
THIS IS "ON HIS DEAFNESS."
MY EARS ARE DEAF,
BUT STILL I SEEM TO HEAR
SWEET NATURE'S MUSIC
AND THE SOUND OF MAN.
FOR I HAVE LEARNED
FROM FANCY ARTISANS
HOW WRITTEN WORDS CAN THRILL
THE INNER EAR
JUST AS THEY MOVE THE HEART.
AND SO, FOR ME,
THEY ALSO SEEM
TO RING OUT LOUD AND FREE.
IN SILENT STUDY,
I'VE LEARNED TO TELL
EACH SECRET SHADE OF MEANING
AND TO HEAR A MAGIC HARMONY
AT ONCE SINCERE
THAT SOMEHOW NOTES
A TINKLE OF A BELL,
A COOING OF A DOVE...
THE SWISH OF LEAVES...
THE RAINDROPS PITTER-PATTER
ON THE EAVES...
THE LOVERS' SIGH,
AND THE STRUMMING
OF A GUITAR...
AND IF I CHOOSE,
THE RUSTLE OF A STAR.
YOU GET THE IDEA?
READING AND IMAGINATION
CAN MAKE US "HEAR."
NOW, DEALING WITH ONE
OF OUR SENSE EXPERIENCES,
ONE--DO WE HAVE ANY
OTHER SENSES?
A SIXTH?
THAT'S TRUE,
BUT WHAT IS THE SIXTH?
TACT?
SOMETHING TACTFUL?
A SIXTH? WHAT IS
THE SIXTH SENSE?
WHAT?
ESP?
ESP?
THAT'S AN IDEA.
HARD TO EXPLAIN, RIGHT?
WHAT IS IT?
WHEN YOU SLEEP AND SOMEONE
WALKS INTO YOUR ROOM,
YOU CAN'T HEAR IT.
YOU FEEL...YOU FEEL
A PRESENCE.
YEAH.
WE USE THE WORD--
SIGN "FEEL,"
BUT IT'S NOT EXACTLY
THAT BECAUSE YOU'RE NOT
REALLY TOUCHING...
TOUCHING ANYTHING.
IT'S SOMETHING INSIDE.
SOME PEOPLE...YEAH.
IT'S REALLY HARD
TO EXPLAIN.
IT'S SOMETHING THAT...
IS INTUITIVE,
BUT WE SIGN THIS.
THAT'S TRUE.
IT'S SOMETHING THAT WE CAN HAVE
A LOT OF ARGUMENT ABOUT,
BUT WE'RE TALKING ABOUT
THE 5 SENSES.
ONE IS HEARING.
WHAT'S THE OTHER?
SMELL. HEARING, SMELL.
TASTE...
SIGHT...
FEELING REALLY MEANS WHAT?
TOUCH.
THAT'S CORRECT.
REMEMBER, IT'S MORE TOUCH.
TOUCH. YOU TOUCH THIS,
YOU TOUCH THAT.
THAT'S PRETTY ROUGH
THERE, HUH? HA HA!
OK. NOW,
YOU GET THE IDEA
THAT ALL OF US HAVE--
ALL OF US HAVE EXPERIENCED
THE WORLD THROUGH THE SENSES--
SIGHT, HEARING, TASTE, TOUCH.
FOR EXAMPLE,
WHEN YOU GO TO...
THE SEASHORE,
YOU CAN SEE WHAT?
YOU SEE THE WATER.
WHAT?
YOU SEE THE FISH?
WELL, IF YOU LOOK
DOWN DEEP, YEAH.
MAYBE THEY'RE JUMPING. OK.
YOU SEE BIRDS.
WHAT ELSE?
HUH?
COLORS? WHAT COLORS?
BLUE...THE BLUE SKY.
AND YOU SEE GREEN,
THE GREEN WATER.
SO YOU SEE THESE THINGS.
ALL RIGHT...
WHAT DO YOU HEAR?
THE SOUND OF THE OCEAN,
THE SOUND OF THE WAVES
CRASHING.
YOU HEAR RAIN?
NO. I'M TALKING ABOUT
GOING TO THE BEACH.
WELL, IF IT'S RAINING, YEAH.
IF IT'S RAINING.
WHAT ELSE?
THE SURF
AND THE SOUNDS.
WHAT ELSE?
THERE. VERY INTERESTING.
YOU FEEL IT?
HE SAYS, WITHOUT SHOES--
YOU TAKE YOUR SANDALS OFF;
THAT'S A GOOD ONE--
AND YOU WALK ON THE SAND,
THE WHITE SAND.
YOU WALK IT,
AND YOU CAN HEAR...
STEPS, BUT AT THE
SAME TIME, YOU FEEL--
WHAT DO YOU FEEL?
YOU FEEL THE TEXTURE
OF THE SAND.
AND IF IT'S HOT AND IF YOU'RE
IN THE MIDDLE OF THE SUN,
YOU FEEL THE SUN ON YOUR BACK
AND THE SUN AT THE
SOLES OF YOUR FEET.
WHAT ELSE?
WHAT ABOUT--YOU FEEL THE HOT
TEMPERATURES UNDER YOUR FEET
AND THE SUN BEATING
IN YOUR FACE.
WHAT DO YOU HEAR?
YOU HEAR THE WAVES.
YOU HEAR YOURSELF
WALKING ON THE SAND.
WHAT ELSE DO YOU HEAR?
I'M TALKING ABOUT HEARING.
IMAGINE WHAT?
SHELLS? AH!
YOU PICK UP A SHELL
AND PUT IT UP TO YOUR EARS
AND YOU LISTEN TO IT.
YES. WHAT ELSE?
SEAGULLS.
YEAH. YOU HEAR THEM CAWING.
THEY'RE FIGHTING
EACH OTHER FOR FISH.
YOU HEAR A GULL'S CRYING.
CRYING. GOOD.
WHAT ABOUT OTHER SENSES?
ANY OTHER SENSES?
HOW ABOUT AN AIRPLANE?
BUT WE'RE TALKING
ABOUT THE SEASHORE.
LIMIT IT TO THE SEA.
I HAVE A SPECIAL REASON
FOR THAT EXPERIENCE...
THAT YOU GET FROM
VISITING THE SEASHORE.
COLORFUL,
AS THE SUN GOES DOWN?
COLOR...
AS IT GOES UNDER
THE WATER?
OK, YEAH.
WIND. WIND.
ESPECIALLY IF
YOU ARE ON A BOAT
WITH A SAIL.
THE SAIL--IS IT QUIET?
OR DOES IT FLAP A LOT?
YOU MENTIONED THAT? OHH!
YEAH, WHAT AN EXPERIENCE.
THE HEARING OF THE
FLAPPING OF THE SAIL.
THAT'S A DIFFERENT SOUND.
WHAT ABOUT SMELL?
WE HAVEN'T COME TO THAT.
OH, A FISHY SMELL, RIGHT.
YOU SMELL SALT WATER.
FISHY AND SALT.
COOL.
TASTE--LAST. TASTE.
WHAT DO YOU TASTE?
SALT?
SALT WATER?
OK. FINE.
YOU SEE, POETRY DEALS WITH
ALL OF THAT, YES.
POETRY IS SHORT
COMPARED WITH PROSE,
EVERYDAY LANGUAGE.
IT USES A LOT OF WORDS,
OFTEN USES TOO MANY WORDS.
POETS CAREFULLY CHOOSE WORDS...
VERY ECONOMICAL,
BY CAREFULLY CHOOSING.
AND EACH WORD SHOULD HAVE
A SPECIAL IMPRESSION
ON ONE OF YOUR SENSES.
NOW, SO, THAT'S THE IDEA.
NOW WE ARE GOING TO GO INTO
THE LANGUAGE OF POETRY.
IMAGE, IMAGE, IMAGE.
MOST OF THE TIME,
YOU THINK OF A PICTURE.
WE TALK ABOUT
A "PHOTOGRAPHIC IMAGE."
YOU'VE SEEN THAT
EXPRESSION, RIGHT?
"PHOTOGRAPHIC IMAGE."
LIKENESS, A PHOTO,
THAT LOOKS THE SAME AS,
COPIED FROM THERE,
REPRODUCED,
BUT IMAGES REALLY RELATE TO
ANY OF THE SENSES.
YOU CAN HAVE AN IMAGE THAT
APPEALS TO YOUR SENSE OF TOUCH.
YOU FEEL SOMETHING ROUGH,
DOESN'T FEEL GOOD--
SOMETHING SHARP.
OR IMAGE CAN APPEAL
TO YOUR SENSE OF SOUND,
AS WE SAID BEFORE--
A SEAGULL'S CRYING.
SO, THAT'S THE IDEA.
THE IDEA, THE CONCEPT
THAT DEALS WITH
ALL OF THE DIFFERENT
SENSE EXPERIENCES.
WE CALL THAT IMAGERY.
HOW DO YOU PRONOUNCE THAT?
IMAGERY.
IM'IDGE REE.
IM'IDGE REE.
IMAGERY.
IMAGERY, IMAGERY.
OFTEN, I LIKE TO MAKE
A COMPARISON...
THAT SUPPOSE YOU HAVE
A SMALL LYRE...
A SMALL ONE.
SUPPOSE THAT LYRE
HAS 5 STRINGS.
CHORDS. WE CALL
THEM STRINGS. 5.
AND I STRUM THE STRINGS.
OR SUPPOSE ONE OF THOSE
STRINGS THAT YOU PLUCK
DEALS WITH THE SENSE OF TASTE.
YOU PLUCK THE STRING.
WHEN I READ A POEM,
IF IT CONTAINS ONE WORD
THAT DEALS WITH TASTE...
AND SAY IT WAS SALT
OR THE SEA,
SEA SPRAY--
SALT SEA SPRAY.
CAN--AT THE SAME TIME,
YOU CAN TASTE IT AND FEEL IT.
SEE THE BEACH AND
THE SURF AND THE SPRAY
HITTING YOU IN THE FACE.
IT'S PART OF FEELING IT,
TASTING IT--BOTH.
SO YOU PLUCK THE STRING,
AND YOU GET 2 OF MY SENSES,
THAT EXPERIENCE, A SENSE--
SENSE OF TOUCH
AND THE SENSE OF TASTE.
SO, WHEN YOU PLUCK
THE DIFFERENT STRINGS,
YOU GET DIFFERENT
SENSES ACTIVATED.
YOU GET THE IDEA?
YOU PUT THEM ALL TOGETHER,
WE CALL THAT
"SENSE EXPERIENCES."
THEY TRAVEL TO THE MIND
UP THE DIFFERENT STRINGS.
OR MAYBE THEY GO TO YOUR HEART.
DEPENDS WHICH ONE.
BOTH, YOU'RE SAYING.
RIGHT. BOTH.
SOMETIMES, RIGHT,
IT GOES TO YOUR STOMACH
AND DOESN'T FEEL SO GOOD.
WHEN SOMEBODY SCRATCHES
A CHALKBOARD,
THAT DOESN'T FEEL SO GOOD.
THAT GOES TO THE GUT.
NOT SUCH A GOOD
SENSATION, RIGHT?
ANYWAY, NOW, THERE
ARE CERTAIN POEMS THAT
I'VE ASKED YOU TO STUDY.
WHAT POEM COMES TO MIND
BASED ON THIS DISCUSSION?
YOU KNOW, WHAT POEM COMES TO
MIND FROM YOUR OUTSIDE READING
THAT DEALS WITH--
YES. "SEA FEVER."
"SEA FEVER." OK.
LET'S TURN TO THAT PAGE NOW.
"SEA FEVER."
PAGE 343.
343.
WHY DON'T YOU READ
THE FIRST VERSE AGAIN?
JUST THE FIRST VERSE,
THE FIRST STANZA,
THE FIRST 4 LINES.
PAGE 343.
343.
READ THE FIRST 4 LINES.
WE'RE GETTIN' CLOSE.
YOU READ THE FIRST 4 LINES,
AND YOU FEEL THE RHYTHM.
SAY THE WORDS:
"I MUST GO DOWN TO
THE SEASHORE AGAIN
"TO THE LONELY SEA AND SKY.
AND ALL I ASK
IS FOR A TALL SHIP..."
MAST. RIGHT.
"A TALL SHIP.
"AND THE SAIL
AND THE STARS
AND THE WHEELS--"
WHAT ARE THE WHEELS?
WHERE "THE WHEELS KICK?"
AND ARE THERE
ACTUAL WHEELS? NO.
THE CONTROLS?
THE RUDDER, THAT
YOU WOULD HAVE HERE?
OR IT WOULD BE
CONNECTED TO THE WHEEL.
A CONSOLE. THAT'S
THE RIGHT WORD.
BUT WHAT DOES "KICK" MEAN?
KICK. KICK.
WHEN IT SAYS "WHEELS KICK."
WHAT KICKS? YOUR...
YOU KICK THE WHEEL?
IF YOU CAN DRIVE ON
A ROUGH ROAD,
SOMETIMES HOLDING
THE STEERING WHEEL
WILL MAKE IT A LITTLE
JERKY--IT KICKS,
LIKE A DEER KICK,
GETTING KICKED BY AN ANIMAL.
THAT'S THE SAME WITH A BOAT.
AS YOU TRAVERSE THE WATER,
IT KICKS BACK AND FORTH.
AND THE WIND...
AND THE WHITE SAIL'S,
SHAKING,
FLAPPING IN THE WIND,
SHAKING.
AND THE GREY MIST--AGAIN,
GREY MIST ON THE SEA FACE,
MISTING AHEAD OF YOU
ON THE WATER AND THE FOG,
ALL COMING TOGETHER.
AND THE WHITE DAWN BREAKING.
WHAT TIME IS THAT REFERRED TO?
YES. EARLY IN THE MORNING
AS THE SUN STARTS RISING...
AND THE MIST STARTS EVAPORATING.
OK, NOW, YOU SAY,
"I MUST GO DOWN TO THE SEA."
AGAIN, "THE LONELY SEA
AND SKY.
AND ALL I ASK IS FOR
A TALL SHIP TO LEAD."
YOU SEE?
THE WHEELS KICK...
AND THE WIND KICKS.
AND THE SONG
"THE WHITE SAIL'S SHAKING."
DO YOU FEEL A RHYTHM
BACK AND FORTH,
BACK AND FORTH, BACK?
SO, POETRY TRIES TO
MAKE THAT RHYTHM...
SOUND ALMOST AS IF THE WATER
AND THE WAVES ARE PASSING ALONG.
SO, YOU HAVE THE MEASURED BEAT.
DO YOU KNOW
WHAT A BEAT IS?
WHAT IS A BEAT?
A HEARTBEAT.
CAN YOU FEEL
YOUR HEART BEATING?
HOW FAST IS IT NOW?
HOW FAST?
YOU KNOW, IF YOU'RE SLEEPING
RIGHT AFTER LUNCH...
NOT? OK. HA HA!
SO, YOUR HEART BEATS--
BOOM BOOM.
WHEN YOU RUN, RIGHT,
IT BEATS FASTER. OK.
SO, THERE'S BEATS
IN MANY, MANY THINGS.
WHAT OTHER THINGS HAVE BEATS?
DRUMS.
DANCE HAS A BEAT, TOO.
YEAH? RIGHT?
THAT'LL PUT YOU
TO SLEEP OR...
IT'LL FEEL LIKE
A DOPE-LIKE TRANCE.
EVERYTHING--MANY
THINGS HAVE A BEAT.
THAT'S THE STUFF OF LIFE.
AND POETRY DEPENDS HEAVILY
ON THAT, REALLY.
NOT ALL POEMS HAVE THAT.
SOMETIMES THEY'RE WRITTEN
WITHOUT A BEAT,
WITHOUT A METER.
THAT MEANS THE SAME THING.
SAME IDEA.
IN POETRY,
POETS TRY SOMETIMES
TO CREATE THAT BEAT,
THAT SOUND,
ALMOST LIKE THE MOVEMENT
OF WHAT IS HAPPENING.
SOMETIMES, A POEM CAN BE
ABOUT RIDING A HORSE,
AND THE BEAT WOULD BE
MUCH FASTER.
"RIDING, RIDING, RIDING.
THE MAN CAME RIDING..."
"UP TO THE INN DOOR."
WE'LL READ
THAT ONE LATER--
"THE HIGHWAYMAN."
BUT FOR NOW,
WE'RE LOOKING AT WAVES
AND THE KICK OF THE SEA
AND THE WIND
AND THE WHITE SAIL
ON THE MAST.
AND WHEN YOU READ A POEM,
IT TRIES TO--
SPEAK THE WORDS TO YOURSELF.
TRY TO SAY IT OUT LOUD.
YOU WILL APPRECIATE
WHAT FEEDBACK YOU GET
OR THE FEELING.
SO YOU GET FEEDBACK
THROUGH FEELING.
WHETHER IT'S THROUGH
YOUR THROAT, YOUR CHEST,
YOU FEEL REALLY GOOD.
IT'S A BEAUTIFUL FEELING.
WE ALSO BEGIN TO SEE THAT
POETRY CAN APPEAL TO US
IN OTHER WAYS.
IN OTHER WORDS,
WHEN IT COMES TO
THE SEA AND THE SKY,
WHAT DOES THAT TELL YOU?
SEA, SKY.
INTERESTING.
IT'S LONG VOWELS.
THAT POEM HAS MANY
SIMPLE VOWELS
THAT STRESS LONG VOWELS.
LONG "A"s, LONG "E"s,
LONG "I"s, LONG "O"s,
LONG "U"s.
POETRY IS LIKE THAT.
THAT'S WHY YOU HAVE RHYME.
RHYME'S THE LAST WORD. THEY
MUST, YOU KNOW, SOUND LIKE...
SEA..."OF THE LONELIEST
OR LONELY SEA
"AND THE SKY.
"AND ALL I ASK IS FOR
A TALL SHIP AND A STAR
TO DRIVE BY."
THAT'S WHAT'S INTERESTING
ABOUT THAT.
OK, THERE'S, AGAIN,
THE SENSE OF SOUND.
WHAT ELSE? WHAT ELSE
ABOUT THE VISUAL IMAGES?
WHAT THINGS...
TOUCH OR...WHAT THINGS
INFLUENCE YOUR SENSE OF SIGHT?
YOU VISUALIZE A PICTURE.
WHAT ELSE IS THERE?
ANYONE?
SAID "THE STAR."
WHAT ELSE?
"THE GREY DAWN WITH
THE SUN COMING UP
AND THE BRIGHTENING
OF THE SKY."
BEAUTIFUL.
SIGN LANGUAGE. WOW.
"SEE THE SUN COMING UP
ON THE HORIZON.
MAKES ITS WAY UP INTO THE SKY
AND BRIGHTENS THE DAY."
MARVELOUS!
IF WE ONLY HAD COLOR,
IT'D BE A PERFECT PICTURE,
A PERFECT IMAGE OF WHAT
YOU SEE, RIGHT? WHAT ELSE?
WHAT ELSE?
YOU SEE...
DAWN BREAKING,
THE GREY DAWN BREAKING;
THE TALL MAST;
THE SAIL;
BUT WHAT ELSE IS CONTAINED
WITH THIS IN THE POEM?
WHAT EXACT WORDS DO YOU SEE?
WE TALKED ABOUT
THE GREY DAWN BREAKING...
I WANT THE EXACT WORDS.
WHEN YOU READ POETRY,
YOU WANT TO BE CAREFUL
THAT YOU SEE THE POEM
UNDER A MICROSCOPE...
WHEN YOU READ...
AS IF YOU'RE READING IT
UNDER A MICROSCOPE,
SEEKING CLARIFICATION.
SO, WE ALSO TALK ABOUT
"I SEE AIR.
I SEE A CLOUD."
WELL, WAIT A MINUTE.
A TALL SHIP,
A STAR.
YOU GET THE EXACT IMAGE,
THE EXACT IDEA. WHAT ELSE?
A WHITE SAIL, YES.
WHAT ELSE?
LET'S READ
THE SECOND STANZA,
SECOND 4 LINES NOW,
THE SECOND 4 LINES.
IT SENDS CHILLS
UP MY SIDE,
AND IT GIVES ME GOOSEBUMPS
WHEN I READ THIS POEM. REALLY!
WHAT OTHER IMAGES
DO YOU SEE?
LET'S IDENTIFY SOME MORE
BASED ON THE WORDS.
TIDE?
"THE RUNNING TIDE."
YES. RIGHT. WHAT ELSE?
SEAGULLS.
GREAT.
SEE THE IMAGES?
THE WHITE CLOUDS.
OK. NOW LET'S TALK ABOUT...
IMAGES THAT INFLUENCE
YOUR SENSE OF TASTE.
WHAT'S LISTED HERE?
"FLUNG SPRAY"?
"THE BLOWN SPRAY"?
WHAT IS "FLUNG SPRAY"?
SPRAY OF THE WATER
IS JUST LITTLE DROPLETS
FLOATING ABOVE THE WATER AND
HITTING YOU IN THE FACE
AND ON YOUR BODY
AND ON YOUR ARMS,
AND IT FEELS SO COOL.
"AND THE BLOWN SPUME."
WHAT IS SPUME?
WINDY? WINDY WHAT?
BLOWN SPUME.
INTERESTING. WHY DID THE POET
DECIDE TO USE THE WORD "BLOWN"
WITH THE WORD "SPUME"?
WHAT DO YOU THINK SPUME--
SALT? WELL...
EXACTLY WHAT IS IT?
A SPLASH?
IT DEALS WITH THAT,
BUT OF WHAT?
SPRAY?
AND ALSO...
AND THE WATER--YOU HAD
THE WATER CRASHING UP
AGAINST THE BOAT,
THE BOAT GOING
THROUGH THE WATER,
WITH THE RUDDER DRIFTING
THE BOAT ALONG.
WHAT HAPPENS WITH--
AS THE WATER MAKES ITS--
OR THE BOAT MAKES ITS WAY
THROUGH THE WATER?
YOU SEE THIS WHITE FOAM
IN YOUR TRAIL, IN YOUR WAKE.
WHY DO I GO LIKE THIS
WITH PUFFED CHEEKS? WHY?
RIGHT. FOR--INDICATE SPUME,
THE FOAM.
RIGHT? SORT OF LIKE FOAMY.
VERY INTERESTING ABOUT THE POET
CHOSE THAT WORD--"BLOWN."
HE COULD HAVE SAID
"FLOATING," BUT NO.
WHEN IT COMES TO FOAM,
HE CHOSE THE WORD "BLOWN SPUME."
BLOWN SPUME.
THAT'S THE BLOWN SPUME.
AWESOME.
YOU CAN ALMOST TASTE IT,
THE FOAM.
AND THAT'S THE IDEA.
I CAN DO IT IN SIGN LANGUAGE,
JUST AS YOU CAN,
BUT WHEN IT'S WRITTEN THROUGH
WORDS, THAT WILL LIVE FOREVER.
IT'S FANTASTIC WHAT
POEMS ATTEMPT TO DO.
LET'S READ THE THIRD VERSE NOW.
NOW, LISTEN,
YOU STRIKE THE LEAR--
THE LYRE
WITH THE 5 STRINGS.
EACH ONE IS LINKED WITH
A SENSE OF THE MAN--
NOT THE 5 SENSES,
BUT THE 5 SENSES
HERE ON YOUR HAND,
PLUCKING THE STRINGS
AND HEARING IT
AND TASTING IT
AND SEEING IT,
SOMETHING LIKE THAT.
NOW, WHICH DOES THIS APPEAL
AS FAR AS THE SENSE OF SOUND
WHEN YOU READ?
READ THE THIRD VERSE
AND TELL ME.
HOW DOES IT APPEAL
TO THE SENSE OF SOUND?
WELL, READ THE WHOLE LINE.
WHAT IS LIKE
"A WHETTED KNIFE"? WHAT?
WHAT IS LIKE "A WHETTED
KNIFE"? WHAT?
THE WIND.
THE WIND, CORRECT.
EQUALS.
A SHARP KNIFE.
THE WIND FLAPPING THE SAILS
AND THE SHARP KNIFE.
SOMETIMES, THEY'RE
BOTH VERY COLD.
WHEN YOU'RE SAILING
AND THE SAIL'S UP,
YOU'RE BLOCKED FROM THE SUN.
AND THERE'S...NO SUN
BECAUSE YOU'RE UNDER THE SAIL.
THE SUN'S ON THE
OTHER SIDE OF THE SAIL,
SO YOU'RE BLOCKED
FROM THE SUN.
DO YOU STAY WARM?
NO, YOU'RE RATHER COLD.
HAVE YOU HAD THAT EXPERIENCE?
AND YOU START
FEELING THE WIND.
IT STRIKES YOU.
NOW, INTERESTING
TO HEAR THE WIND.
WHAT LETTERS OF THE A-B-C-D
TRY TO--ALLOW YOU TO HEAR
THE SOUND OF THE WIND?
CORRECT. THE "W."
COUNT HOW MANY "W"s
ARE IN THAT ONE LINE,
WHERE THE...
6.
6 "W" SOUNDS.
"TO THE WHALE'S WAYS
AND THE GULL'S WAY
WHERE THE WIND
AS A WHETTED KNIFE."
"THE WHALE'S WAY,
GULL'S WAY...
LIKE A WHETTED KNIFE."
THE "W" SOUND.
AGAIN, YOU GET A SENSE
OF THE WIND.
THE POET CHOOSES THOSE WORDS
VERY CAREFULLY
TO INFLUENCE YOUR
SENSE OF SOUND--
STRUMMING THE LYRE,
HEARING THE "W"
AGAIN AND AGAIN.
YOU GET THE IDEA?
ALLITERATION.
IT'S AN IMPORTANT WORD
THAT WE LEARN.
IN MATHEMATICS, YOU HAVE TO
LEARN CERTAIN WORDS--
WHAT IS MEANT BY,
FOR EXAMPLE, PARALLEL LINES?
YOU HAVE TO LEARN WHAT WE MEAN
BY CONCENTRIC CIRCLES.
YOU HAVE TO LEARN THOSE
SPECIAL TERMS IN MATH, RIGHT?
IN ENGINEERING,
AND MEDICINE, RIGHT?
AND THE SAME THING WITH
THE STUDY OF LIT,
THE STUDY OF POETRY.
THERE ARE CERTAIN WORDS
THAT ARE USED OFTEN.
"ALLITERATION" IS ONE OF THOSE.
SOMETIMES, I USE THE "G" SOUND,
THE "GGG" SOUND.
SOUNDS ROUGH.
OTHER TIMES, YOU USE THE "L"
SOUND, THE "LA LA LA LA."
IT'S A BEAUTIFUL SOUND.
WHY, THE MOTHER CARRIES
THE CHILD AND SINGS
��LA LA LA LA �
IT'S A LULLABY.
LULLABY, WITH THE "L" SOUND.
AND IT HAS A SPECIAL SOUND,
AND IF YOU REPEAT THAT SOUND
OVER AND OVER AGAIN...
IT HAS A STRONG EFFECT
ON THE HEARING, ON THE SOUND.
SO, WATCH FOR EXAMPLES OF THAT,
OF WHEN POETRY TRIES
TO USE ALLITERATION...
TO SEE WHY THEY CHOSE
THAT SPECIAL SOUND. WHY?
TIME IS UP.
SO, ON WEDNESDAY, WE WILL
CONTINUE THE STUDY OF LYRIC,
AND I'LL ASK YOU
MANY MORE QUESTIONS...
WHEN IT COMES TO THE
DISCUSSION OF IMAGERY.
|
Notes:
|
"This project is supported by a Digitizing Hidden Collections grant from the Council on Library and Information Resources (CLIR). The grant program is made possible by funding from the Andrew W. Mellon Foundation."
|