text:
Dan Haggerty
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the actor, not to be confused with the actor with a similar name, Don Haggerty.
Dan Haggerty
Haggerty in 1978
Born
Daniel Francis Haggerty
(1941-11-19)November 19, 1941
Los Angeles, California, U.S.
Died
January 15, 2016(2016-01-15) (aged 74)
Burbank, California, U.S.
Cause of death
Spinal cancer
Occupation
Actor
Years active
1959–2016
Spouse(s)
Diane Rooker (m. 1959; div. 1984)
Samantha Haggerty (m. 1984; d. 2008)
Children
6
Daniel Francis "Dan" Haggerty (November 19, 1941 – January 15, 2016) was an American actor, best known for playing the title role in The Life and Times of Grizzly Adams.[1][2]
Contents
[hide]
1 Early life
2 Acting career
3 Personal life
3.1 Death
4 Selected filmography
5 Awards
6 References
7 External links
Early life[edit]
Haggerty's birthplace is alternately given by some sources as Pound, Wisconsin, or as Los Angeles, California, by others.[2][3][4][5] His parents separated when he was 3.[2] Haggerty grew up in a family that owned and operated a small wild animal attraction where he helped raise wild animals, including a black bear that performed tricks. After high school, he pursued an acting career.
Acting career[edit]
Haggerty was cast in a small non-speaking role as a bodybuilder in the 1964 film Muscle Beach Party and also as a bodybuilder in Girl Happy. These were followed by appearances in various biker and wildlife films such as Easy Rider, Angels Die Hard, The Adventures of Frontier Fremont, and Terror Out of the Sky.
His experience with animals also brought him work as an animal trainer and handler in films produced by Walt Disney Studios. Additionally, Haggerty also worked as a stuntman on the television series Tarzan, and as set builder on various other projects. He directed white tigers, wolverines, eagles and wild boar in When the North Wind Blows and worked with bears, foxes and hawks in the 1997 film Grizzly Mountain.
Haggerty is best known for portraying the character Grizzly Adams[6] in the title role of the 1974 Sunn Classic Pictures feature, The Life and Times of Grizzly Adams. From this feature film evolved the NBC television series of the same name which ran from 1977 to 1978, and Haggerty became known to movie-goers for his portrayal of nature-loving James Capen "Grizzly" Adams.
Haggerty appeared briefly in David Carradine's film Americana and provided a fighting dog for the production. In the film, he not only played the role of the dog's trainer but also assisted in set design and the restoration of a broken down carousel, which figured prominently in the film.[7] He assisted in building the motorcycles featured in the film Easy Rider,[8] and had a bit part as a hippie in that film, as well as stunt work and supporting roles in numerous low-budget biker films of the era. He also starred in the 1989 film Spirit of the Eagle.
Haggerty continued to work as both an actor and infomercial spokesman. One of his endorsements was for the Pap-Ion Magnetic Inductor (PAP-IMI), a device alleged to have health benefits. He had only been hired as a spokesperson and was found not to be part of the fraud that later embroiled the manufacturer.[9]
Haggerty played lead roles in the films Repo Jake (1990), Elves (1990), Grizzly Mountain (1995),[10] and Escape to Grizzly Mountain (2000). He was also featured as a character in Al Franken's novel, Why Not Me?.
Haggerty starred in the TV miniseries Condominium (1980), which also starred Barbara Eden, Ralph Bellamy and Stuart Whitman. Haggerty played a hydraulics expert trying to warn residents that their Florida condos were about to be demolished in a forthcoming hurricane. He was also on "Charlie's Angels", season 5 episode 5 called " Waikiki Angels" as 'Bo Thompson' that aired January 4 1981. He guest starred on The Love Boat in 1983 ("World's Greatest Kisser"). He cameoed as an attorney in Terror Night (1987) with John Ireland and Cameron Mitchell, starred in Night Wars (1988) as a Vietnam veteran who is a psychologist dealing with nightmares of his fellow veterans, and appeared in horror films such as Elves and the Linda Blair film The Chilling in 1989. In Big Stan (2007), he played Tubby, and appeared as a lumberjack foreman in Axe Giant: The Wrath of Paul Bunyan (2013). Haggerty has also done several voice-overs and can also be seen in music videos by Hank Williams, Jr. and Rogues of the Empire.
Prior to his death, Haggerty was last seen as himself on the U.S. television show American Pickers in its episode "California Kustom", which aired February 25, 2013.
Also played a roll in Dead In 5 Heartbeats, which is on Amazon. Circa 2013. Imdb 7/10.
Personal life[edit]
Haggerty was married twice. He married Diane Rooker in 1959. They were 17 and had a wedding chapel in Las Vegas called Silver Slipper Hotel. Haggerty and Diane had two daughters, Tracey and Tammy, and one son, Don. They divorced in 1984, after which Haggerty married Samantha Hilton.[11] Haggerty and Samantha had two sons named Dylan and Cody and one daughter named Megan. They were married until Samantha's death following a motorcycle accident on August 10, 2008.[11][12]
Haggerty lived on a small ranch in Malibu Canyon with an assortment of wild animals that he had tamed at birth or rescued from injury.[2] In 1977, his beard caught fire from a careless patron carrying a flaming cocktail.[2] Trying to put the flames out, Haggerty received third-degree burns on his arms.[2] In 1991, Haggerty was again hospitalized after a motorcycle accident left him in a coma, recovering with no side effects.[11]
Death[edit]
Haggerty was diagnosed with spinal cancer after undergoing back surgery, when a tumor on his spine was discovered in August 2015.[13][14] He died of spinal cancer on January 15, 2016, in Burbank, California.[15][16]
Selected filmography[edit]
Muscle Beach Party (1964)
Easy Rider (1969)
Angels Die Hard (1970)
The Tender Warrior (1971)
Chrome and Hot Leather (1971)
Bury Me an Angel (1972)
Pink Angels (1972)
Hex (1973)
Superchick (1973)
When the North Wind Blows (1974)
The Life and Times of Grizzly Adams (1974)
The Adventures of Frontier Fremont (1976)
"Blood Brothers" (1977)
Grizzly Adam's: Once Upon a Starry Night (1978)
King of the Mountain (1981)
The Capture of Grizzly Adams (1982)
Americana (1983)
Abducted (1986) [17]
Terror Night (1987)
Bloody Movie (1987)
Nightwars (1988)
Elves (1989)
The Chilling (1989)
Spirit of the Eagle (1989)
Repo Jake (1990)
Chance (1990)
Inheritor (1990)
One Man War~ Macon County War (original title) (1990)
Soldier's Fortune (1992)
Cheyenne Warrior (1994)
Sign of the Otter (1995)
The Little Patriot (1995)
Abducted 2: The Reunion (1995)
Grizzly Mountain (1997)
Puss in Boots (1999)
Escape to Grizzly Mountain (2000)
An Ordinary Killer (2003)
Motocross Kids (2004)
Big Stan (2007)
The Book of Ruth: Journey of Faith (2009)
Casa de Mi Padre (2012)
Axe Giant: The Wrath of Paul Bunyan (2013)
40 Nights (2016)
Awards[edit]
Received a "Star" on Hollywood Boulevard in 1994.
Awarded the Dove Foundation's "Diamond Seal of Approval" for over 1 million family videos sold.
Awarded the Harley-Davidson "Humanitarian of the Year" Award in 1986.
Awarded "The People's Choice Award" for most popular actor in 1980.
Awarded the Paul Harris Fellowship from the Rotary Foundation of Rotary International
Awarded a "Star" in Kanab, Utah — "Hollywood of the West" in 2009
Los Angeles portal
California portal
Film portal
Television portal
References[edit]
Jump up ^ "Dan Haggerty". The New York Times. The New York Times Company. Retrieved January 17, 2016.
^ Jump up to: a b c d e f Grimes, William (January 15, 2016). "Dan Haggerty, Who Played Grizzly Adams, Dies at 73". The New York Times. The New York Times Company.
Jump up ^ Day, Patrick Kevin (Jan 16, 2016). "Dan Haggerty". Los Angeles Times. Retrieved 25 January 2016.
Jump up ^ "'Grizzly Adams' star Dan Haggerty dies at 74". WFXT (FOX). January 15, 2016. Retrieved 25 January 2016.
Jump up ^ Leovy, Jill (January 15, 2016). "Actor Dan Haggerty, TV's 'Grizzly Adams,' dies at 73". The Los Angeles Times. Retrieved January 17, 2016.
Jump up ^ (via Google Books) Barris, George; Fetherston, David (December 16, 2008). Barris Cars of the Stars. MotorBooks International. pp. 78–. ISBN 9780760332221. Retrieved June 1, 2012.
Jump up ^ Carradine, David. Endless Highway. (1995) Journey Publishing.
Jump up ^ "Hollywood Star Walk: Dan Haggerty". Los Angeles Times. June 9, 2010.
Jump up ^ "Miracle Machines: The 21st-Century Snake Oil". The Seattle Times. December 26, 2008. Archived from the original on 2012-08-16.
Jump up ^ Van Gelder, Lawrence (1997-10-31). "Grizzly Mountain (1997) FILM REVIEW; Time Out to Stop the Bad Guys From Paving a Mountain Paradise". The New York Times. Retrieved 2016-01-15.
^ Jump up to: a b c L.A. Gil (January 15, 2016). "Samantha Haggerty Grizzly Adams’ Dan Haggerty’s wife". Daily Entertainment News. Retrieved January 15, 2016.
Jump up ^ "Grizzly Adams Star's Wife Dies After Motorbike Tragedy". IMDb. August 21, 2008.
Jump up ^ Access Hollywood Staff (January 15, 2016). "'Grizzly Adams' Star Dan Haggerty Dies At 74". Access Hollywood. NBCUniversal Television Distribution. Retrieved January 17, 2016.
Jump up ^ "‘Grizzly Adams’ Actor Dan Haggerty Dead At 74 After Cancer Fight". Los Angeles, CBS Local. January 15, 2016. Retrieved January 17, 2016.
Jump up ^ Lustig, Jonah; Wilkins, Vanessa (January 15, 2016). "Actor Dan Haggerty Has Died At 74". ABC News. ABC. Retrieved January 15, 2016.
Jump up ^ Leopold, Todd (January 15, 2016). "Dan Haggerty, 'Grizzly Adams' star, dies at 74". CNN. Turner Broadcasting System (Time Warner). Retrieved January 15, 2016.
Jump up ^ Abducted (1986) on IMDb
External links[edit]
Dan Haggerty on IMDb
Dan Haggerty at AllMovie
Dan Haggerty at Find a Grave
Authority control
WorldCat Identities
VIAF: 59294318
LCCN: no2002045972
ISNI: 0000 0000 5938 5073
GND: 1043513388
BNF: cb14184697c (data)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Dan_Haggerty&oldid=801528343"
Categories:
1941 births
2016 deaths
American male television actors
American male film actors
Animal trainers
Deaths from cancer in California
Deaths from spinal cancer
Male actors from California
Actors from Los Angeles County, California
American stunt performers
Entertainers from California
People from Marinette County, Wisconsin
Hidden categories:
Articles with hCards
Find a Grave template with ID same as Wikidata
Wikipedia articles with VIAF identifiers
Wikipedia articles with LCCN identifiers
Wikipedia articles with ISNI identifiers
Wikipedia articles with GND identifiers
Wikipedia articles with BNF identifiers
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
In other projects
Wikimedia Commons
Languages
العربية
Bosanski
Deutsch
Nederlands
Norsk
Polski
Simple English
Srpskohrvatski / српскохрватски
Suomi
Türkçe
Edit links
This page was last edited on 20 September 2017, at 06:11.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

value: mw-page-base noprint

value: mw-head-base noprint

value: firstHeading firstHeading en

value: siteSub noprint

value: jump-to-nav mw-jump

value:
note
hatnote navigation-not-searchable

attr: colspan style

attr: alt src width height data-file-width data-file-height

value: Dan Haggerty at F.I.S.T premier 1978 cropped.jpg

value:
/wiki/James_%22Grizzly%22_Adams
mw-redirect
James "Grizzly" Adams

value:
/wiki/Hank_Williams,_Jr.
mw-redirect
Hank Williams, Jr.

value:
/wiki/Malibu_Canyon
mw-redirect
Malibu Canyon

value: Pink Angels (film) (page does not exist)

value: When the North Wind Blows (page does not exist)

value: Grizzly Adam's: Once Upon a Starry Night (page does not exist)

value: The Capture of Grizzly Adams (page does not exist)

value: Abducted (1986 film) (page does not exist)

value:
/wiki/Spirit_of_the_Eagle
mw-redirect
Spirit of the Eagle

value: Chance (1990 film) (page does not exist)

value: The Inheritor (1990 film) (page does not exist)

value: One Man War~ Macon County War (original title) (page does not exist)

value: The Little Patriot (page does not exist)

value: Abducted 2: The Reunion (page does not exist)

value:
/wiki/Grizzly_Mountain_(film)
mw-redirect
Grizzly Mountain (film)

value:
/wiki/Escape_to_Grizzly_Mountain
mw-redirect
Escape to Grizzly Mountain

value:
/wiki/An_Ordinary_Killer
mw-redirect
An Ordinary Killer

value: Axe Giant: The Wrath of Paul Bunyan (page does not exist)

value:
/wiki/Portal:Los_Angeles
mw-redirect
Portal:Los Angeles

value:
noprint metadata navbox
navigation
Portals
font-weight:bold;padding:0.4em 2em

value:
nofollow
http://www.imdb.com/title/tt0090578/
external text

value: -moz-column-width: 30em; -webkit-column-width: 30em; column-width: 30em; list-style-type: decimal;

value:
nofollow
http://www.imdb.com/name/nm0353624/
external text

value:
nofollow
external text
https://www.allmovie.com/artist/p206641

value:
nofollow
external text
https://viaf.org/viaf/59294318

value:
nofollow
external text
http://isni.org/isni/0000000059385073

value:
nofollow
external text
http://d-nb.info/gnd/1043513388

value: Category:American male television actors

value: Category:Deaths from cancer in California

value: Category:Actors from Los Angeles County, California

value: Category:People from Marinette County, Wisconsin

value: Category:Find a Grave template with ID same as Wikidata

value: Category:Wikipedia articles with VIAF identifiers

value: Category:Wikipedia articles with LCCN identifiers

value: Category:Wikipedia articles with ISNI identifiers

value: Category:Wikipedia articles with GND identifiers

value: Category:Wikipedia articles with BNF identifiers

value: Discussion about edits from this IP address [ctrl-alt-n]

value: A list of edits made from this IP address [ctrl-alt-y]

value: You are encouraged to create an account and log in; however, it is not mandatory

value: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

value:
/wiki/Dan_Haggerty
View the content page [ctrl-alt-c]
c

value: Discussion about the content page [ctrl-alt-t]

value: p-namespaces navigation vectorTabs p-namespaces-label

value:
p-variants
navigation
vectorMenu emptyPortlet
p-variants-label

value: Past revisions of this page [ctrl-alt-h]

value: p-views navigation vectorTabs p-views-label

value:
p-cactions
navigation
vectorMenu emptyPortlet
p-cactions-label

value:
mw-wiki-logo
/wiki/Main_Page
Visit the main page

value:
/wiki/Main_Page
Visit the main page [ctrl-alt-z]
z

value: Featured content – the best of Wikipedia

value: Find background information on current events

value:
/wiki/Special:Random
Load a random article [ctrl-alt-x]
x

value: portal navigation p-wikibase-otherprojects p-wikibase-otherprojects-label

value:
uls-settings-trigger
Language settings
0
button
true

value: دان هاجرتي – Arabic

value: /static/images/wikimedia-button-1.5x.png 1.5x, /static/images/wikimedia-button-2x.png 2x

value: /static/images/poweredby_mediawiki_132x47.png 1.5x, /static/images/poweredby_mediawiki_176x62.png 2x

value: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Dan_Haggerty rootpage-Dan_Haggerty vector-experimental-print-styles vector-nav-directionality skin-vector action-view


text:
Poetry analysis
From Wikipedia, the free encyclopedia
Jump to: navigation, search
hideThis article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these template messages)
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (September 2008) (Learn how and when to remove this template message)
This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. See Wikipedia's guide to writing better articles for suggestions. (January 2012) (Learn how and when to remove this template message)
(Learn how and when to remove this template message)
Poetry analysis is the process of investigating a poem's form, content, structural semiotics and history in an informed way, with the aim of heightening one's own and others' understanding and appreciation of the work.
The words poem and poetry derive from the Greek poiēma (to make) and poieo (to create). That is, a poem is a made thing: a creation; an artifact. One might think of a poem as, in the words of William Carlos Williams,[full citation needed] a "machine made of words". Machines produce some effect, or do some work. They do whatever they are designed to do. The work done by this "machine made of words" is the effect it produces in the reader's mind. A reader analyzing a poem is akin to a mechanic taking apart a machine in order to figure out how it works.
Like poetry itself, poetry analysis can take many forms, and be undertaken for many different reasons. A teacher might analyze a poem in order to gain a more conscious understanding of how the poem achieves its effects, in order to communicate this to his or her students. A writer learning the craft of poetry might use the tools of poetry analysis to expand and strengthen his or her own mastery.[citation needed] A reader might use the tools and techniques of poetry analysis in order to discern all that the work has to offer, and thereby gain a fuller, more rewarding appreciation of the poem.[citation needed]
Contents
[hide]
1 Overview
1.1 "The Destruction of Sennacherib", by Lord Byron
2 Tools
2.1 Poetic forms
2.1.1 Closed forms
2.1.2 Open forms
2.2 Imagery and symbolism
2.3 Meter and rhythm
2.4 Sound, tone, diction, and connotation
2.5 Visual and concrete poetry
3 Approaches
3.1 Schools of poetry
3.2 Schools of criticism
3.3 Reading poetry aloud
4 Poetry in different cultures
5 References
6 Bibliography
7 Further reading
8 External links
Overview[edit]
"The Destruction of Sennacherib", by Lord Byron[edit]
Similarly, one can derive pleasure[1] from two of the most fundamental tools in the poet's toolbox—meter and rhyme—without necessarily knowing a lot of terminology, as in this, the first stanza of Byron's "The Destruction of Sennacherib":
The Assyrian came down like the wolf on the fold,
And his cohorts were gleaming in purple and gold;
And the sheen of their spears was like stars on the sea,
When the blue wave rolls nightly on deep Galilee.
Byron's use of meter and rhyme is especially evident and rewarding when one reads the lines out loud. The lines have a powerful, rolling, and very evident rhythm, and they rhyme in a way that is impossible to ignore. In other words, the physicality of the language—how it sounds and feels—accounts for a large measure of the poem's effect. The poem does not have a deep, hidden, symbolic meaning. Rather, it is simply pleasurable to read, say, and hear.
Critical terminology becomes useful when one attempts to account for why the language is pleasurable, and how Byron achieved this effect. The lines are not simply rhythmic: the rhythm is regular within a line, and is the same for each line. A poem having a regular rhythm (not all poems do) is said to follow a certain meter. In "The Destruction of Sennacherib", each line has the basic pattern of two unstressed syllables followed by a third stressed syllable, with this basic pattern being repeated four times in a line. Those basic patterns are called feet, and this particular pattern (weak weak STRONG) is called an anapest. A line with four feet is said to be in tetrameter (tetra-, from the Greek for four). This poem has a pleasurable and appropriate rhythm, and that rhythm has a name: this poem is written in anapestic tetrameter. (This process of analyzing a poem's rhythms is called scansion.) The poem also rhymes (not all poems do), and the rhymes follow a pattern (they do not have to). In this case, the rhymes come right next to each other, which emphasizes them, and therefore emphasizes the sound, the physical nature, of the language. The effect of the poem's language derives in part from Byron's choice of an appropriate pattern of rhyme (or rhyme scheme): these adjacent, rhyming lines are called couplets. The sound, the physical nature, of the language is also emphasized by alliteration, as in the repetition of s sounds in the third line: "And the sheen of their spears was like stars on the sea".
Tools[edit]
Poetic forms[edit]
Poems can have many forms. Some forms are strictly defined, with required line counts and rhyming patterns, such as the sonnet or limerick. Such poems exhibit closed form.[clarification needed] Others (which exhibit open form) have less structure or, indeed, almost no apparent structure at all. This appearance, though, is deceptive: successful open form poems are informed throughout by organic structure which may resist formal description but is nonetheless a crucial element of the poem's effect on the reading mind.[citation needed]
Closed forms[edit]
A poet writing in closed form follows a specific pattern, a specific design. Some designs have proven so durable and so suited to the English language that they survive for centuries and are renewed with each generation of poets (sonnets, sestinas, limericks, and so forth), while others come into being for the expression of one poem and are then set aside (Frost's "Stopping by Woods on a Snowy Evening" is a good example).[citation needed]
Of all closed forms in English prosody, none has demonstrated greater durability and range of expression than blank verse, which is verse that follows a regular meter but does not rhyme. In English, iambic pentameter is by far the most frequently employed meter. Among the many exemplary works of blank verse in English are Milton's Paradise Lost and most of the verse passages from Shakespeare's plays, such as this portion of a famous soliloquy from Hamlet:
To be, or not to be—that is the question.
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die, to sleep —
No more, and by a sleep to say we end
The heartache and the thousand natural shocks
That flesh is heir to. 'Tis a consummation
Devoutly to be wished. To die, to sleep,
To sleep—perchance to dream. Aye, there's the rub.
Note that Shakespeare does not rigidly follow a pattern of five iambs per line. Rather, most lines have five strong syllables, and most are preceded by a weak syllable. The meter provides a rhythm that informs the line: it is not an invariable formula.[citation needed]
Rhymed pairs of iambic pentameter lines form the heroic couplet. Two masters of the form are Alexander Pope and John Dryden. The form has proven especially suited to conveying wit and sardonic humor, as in the opening of Pope's An Essay on Criticism.
’Tis hard to say, if greater want of skill
Appear in writing or in judging ill;
But, of the two, less dang’rous is th’ offence,
To tire our patience, than mislead our sense.
Some few in that, but numbers err in this,
Ten censure wrong for one who writes amiss;
A fool might once himself alone expose,
Now one in verse makes many more in prose.
Fourteen lines of iambic pentameter arranged in a more elaborate rhyme scheme form a sonnet. There are two major variants. The form originated in Italy, and the word derives from "sonetto", which is Italian for "little song". The Italian sonnet or Petrarchan sonnet follows a rhyme scheme of ABBA ABBA CDE CDE, ABBA ABBA CD CD CD, ABBA ABBA CCE DDE, or ABBA ABBA CDD CEE. In each of these, a group of eight lines (the octave) is followed by a group of six (the sextet). Typically, the octave introduces a situation, idea, or problem to which the sestet provides a response or resolution. For example, consider Henry Wadsworth Longfellow's "The Sound of the Sea":
The sea awoke at midnight from its sleep,
And round the pebbly beaches far and wide
I heard the first wave of the rising tide
Rush onward with uninterrupted sweep;
A voice out of the silence of the deep,
A sound mysteriously multiplied
As of a cataract from the mountain's side,
Or roar of winds upon a wooded steep.
So comes to us at times, from the unknown
And inaccessible solitudes of being,
The rushing of the sea-tides of the soul;
And inspirations, that we deem our own,
Are some divine foreshadowing and foreseeing
Of things beyond our reason or control.
The octave presents the speaker's experience of the sound of the sea, coming to him from some distance. In the sestet, this experience mutates into a meditation on the nature of inspiration and man's connection to creation and his experience of the numinous.
English has (proportionally) far fewer rhyming words than Italian.[citation needed] Recognizing this, Shakespeare adapted the sonnet form to English by creating an alternate rhyme scheme: ABAB CDCD EFEF GG. The poet using this, the English sonnet or Shakespearean sonnet form, may use the fourteen lines as single unit of thought (as in "The Silken Tent" above), or treat the groups of four rhyming lines (the quatrains) as organizational units, as in Shakespeare's Sonnet 73:
That time of year thou mayst in me behold
When yellow leaves, or none, or few do hang
Upon those boughs which shake against the cold
Bare ruined choirs where late the sweet birds sang.
In me thou seest the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth steal away,
Death's second self, which seals up all in rest.
In me thou seest the glowing of such fire
That on the ashes of his youth doth lie,
As the deathbed whereon it must expire,
Consumed with that which it was nourished by.
This thou perceiv'st, which makes thy love more strong,
To love that well which thou must leave ere long.
In lines 1–4, the speaker compares his time of life to autumn. In lines 5–8, the comparison is to twilight; in lines 9–12, the comparison is to the last moments of a dying fire. Each quatrain presents a shorter unit of time, creating a sense of time accelerating toward an inevitable end, the death implied in the final couplet.[citation needed]
At the "high end" of closed forms are the sestina and villanelle. At the "low end" are forms such as the limerick, which follows a metrical pattern of two lines of anapestic trimeter (three anapests per line), followed by two lines of anapestic dimeter (two anapests per line), followed by one line of anapestic trimeter. (The beginning of the metrical foot does not have to coincide with the beginning of the line.) Any poem following this metrical pattern would generally be considered a limerick, however most also follow an AABBA rhyme scheme. Most limericks are humorous, and many are ribald, or outright obscene (possible rhymes that could follow an opening like "There once was a man from Nantucket" are left as an exercise for the reader). Nonetheless, the form is capable of sophisticated and playful expression:
Titian was mixing rose madder.
His model posed nude on a ladder.
Her position to Titian
Suggested coition
So he nipped up the ladder and had her.
Open forms[edit]
In contrast, a poet using free verse (sometimes called "open form")[citation needed] seeks to find fresh and uniquely appropriate forms for each poem, letting the structure grow out of the poem's subject matter or inspiration. A common perception is that open form is easier and less rigorous than closed form (Frost likened it to "playing tennis with the net down"[2] , but such is not necessarily the case (skeptics should try playing tennis without a net): success with the open form requires great sensitivity to language and a particular type of adaptable understanding. In the best open form poems, the poet achieves something that is inaccessible through closed form. As X. J. Kennedy has said, "Should the poet succeed, then the discovered arrangement will seem exactly right for what the poem is saying" (582). The metre of ‘classical’ poetry is replaced in open verse by cadence in rhythm, line indentation, with pauses implied by the syntax, thus the limiting factor of one human breath was naturally incorporated in the poetry, essential to an oral art form, composed to be read aloud.[3]
Walt Whitman was an important innovator of open form, and he demonstrates its merits in "A Noiseless Patient Spider".
A noiseless patient spider,
I marked where on a little promontory it stood isolated,
Marked how to explore the vacant vast surrounding,
It launched forth filament, filament, filament, out of itself,
Ever unreeling them, ever tirelessly speeding them.
And you O my soul where you stand,
Surrounded, detached, in measureless oceans of space,
Ceaselessly musing, venturing, throwing, seeking the spheres to connect them,
Till the bridge you will need to be formed, till the ductile anchor hold,
Till the gossamer thread you fling catch somewhere, O my soul.
The long, rolling lines—unified, held together like strong cords, by alliteration and assonance—partake of the same nature as the spider's filaments and the soul's threads. Two balanced stanzas, one describing a spider, the other the speaker's soul, perfectly frame the implicit comparison, with neither being privileged over the other. Just as the spider and the soul quest outward for significance, the two stanzas throw links to each other with subtly paired words: isolated/detached, launched/fling, tirelessly/ceaselessly, surrounding/surrounded.
In this poem, Whitman uses synonyms and antonyms to give structural integrity to a poem comprising two yoked stanzas, much like (but not exactly like) the way poets working within closed forms use meter and rhyme to give structural integrity to their poems. The form works quite well, but there is no established term that describes it. Rather, Whitman created this form so that he could write this poem. Conceivably, other poets could adopt the form, and repeated examples would give literary analysts the material they would need to specify its defining characteristics and give it a name. But, that hasn't happened. Instead, we have one poem that deploys a structure very well suited to its subject. The poem has form, but the form was not imposed by previous conventions. It has open form.[original research?]
Imagery and symbolism[edit]
Most poetry can be read on several levels. The surface is not necessarily the essence of the poem although in some cases (notably, the works of William McGonagall) there is little beyond the immediate. Allegory, connotation and metaphor are some of the subtler ways in which a poet communicates with the reader.
Before getting seduced into explorations of subtle nuance, however, the reader should establish the theme of the poem. What is the 'story' that is being told? Not the literal story but the heart of the poem. For example: "Another" tells of a buried child; "The Destruction of Sennacherib" tells of the annihilation of an Assyrian army by divine intervention; "The Silken Tent" compares a woman to a tent. Part of this involves recognising the voice of the poem (who is speaking), and the rest of Kipling's "six honest serving men": the events in the poem; when these occur; where is the 'speaker' and where do the events occur; why does the speaker speak? William Harmon[full citation needed] has suggested that starting an analysis with: "This poem dramatizes the conflict between ..." is a key technique.
George Herbert in his poem Jordan (I)[4] asks if poetry must be about the imaginary. The poem opens:
Who sayes that fictions onely and false hair
Become a verse? Is there in truth no beautie?
Is all good structure in a winding stair?
May no lines passe, except they do their dutie
Not to a true, but painted chair?
He was railing against the prevalent enthusiasm for pastoral poetry above all other forms (as becomes apparent in subsequent verses). Curiously, this verse uses metaphors to challenge the use of indirect approaches to their subject. False hair and a painted chair are decorations of the mundane. The winding stair is obstructive concealment of meaning. Herbert is criticising the overuse of allegory, symbolism or elaborate language.
For most poets—even the plain-speaking Herbert—metaphor is the fundamental means of communicating complexity succinctly. Some metaphors become so widely used that they are widely recognised symbols and these can be identified by using a specialist dictionary.
Allegorical verse uses an extended metaphor to provide the framework for the whole work. It was particularly prevalent in seventeenth century English but a more recent example is Charles Williams' The Masque of the Manuscript, in which the process of publishing is a metaphor for the search for truth.[5] Allegories are usually readily apparent because of the heavy use of metaphor within them.
The symbolism used in a poem may not always be as overt as metaphor. Often the poet communicates emotionally by selecting words with particular connotations. For example, the word "sheen" in The Destruction of Sennacherib has stronger connotations of polishing, of human industry, than does the similar "shine". The Assyrians did not simply choose shiny metal; they worked to make it so. The word hints at a military machine.
Other tropes that may be used to increase the level of allusion include irony, litotes, simile, and metonymy (particularly synecdoche).
Meter and rhythm[edit]
English language poetic meter depends on stress, rather than the number of syllables.[citation needed] It thus stands in contrast to poetry in other languages, such as French, where syllabic stress is not present or recognized and syllable count is paramount. This often makes scansion (the analysis of metrical patterns) seem unduly arcane and arbitrary to students of the craft.[clarification needed]
In the final analysis, the terms of scansion are blunt instruments, clumsy ways of describing the infinitely nuanced rhythms of language. Nonetheless, they provide a tool for discerning and describing the underlying structure of poems (especially those employing closed form).[citation needed]
The terms fall into two groups: the names of the different feet, and the names of the varying line lengths.
The most common feet in poetry written in English are the iamb (weak STRONG), the anapest (weak weak STRONG), the trochee (STRONG weak), and the dactyl (STRONG weak weak). The iamb and anapest are known as rising meters (they move "up" from weak to strong syllables); the trochee and dactyl are falling meters (they move "down" from strong to weak). Less common, but frequently important for the variety and energy they bring to a line, are the monosyllabic foot (weak) and the spondee (STRONG STRONG).
The terms for line length follow a regular pattern: a Greek prefix denoting the number of feet and the root "meter" (for "measure"): monometer, dimeter, trimeter, tetrameter, pentameter, hexameter, heptameter, and octameter (lines having more than eight feet are possible but quite rare).
Another useful term is caesura, for a natural pause within a line.
Meter and line length are not formulas for successful lines of poetry. They are rough forms of notation for the many satisfying and variable rhythms of language. Slavish adherence to meter produces doggerel. Skillful poets structure their poems around a meter and line length, and then depart from it and play against it as needed in order to create effect, as Robert Browning does in the first line of "My Last Duchess":
That's my last Duchess painted on the wall.
The opening spondees, which throw the iambic line out of pattern, gives the Duke's words a certain virulent energy: he's spitting the words out.
Gerard Manley Hopkins took this idea of poetric energy through departure from meter to its extreme, with his theory and practice of sprung rhythm, an approach to poetry in which the language constantly frustrates the reading mind's expectation of a regular meter.
Sound, tone, diction, and connotation[edit]
Analyzing diction and connotation—the meanings of words as well as the feelings and associations they carry—is a good place to start for any poem.[citation needed] The use of specific words in the poem serve to create a tone—an attitude taken towards the subject. For example, consider the words "slither" and "sneak." When used in a poem, the words conjure up images of a snake. The sibilant s sound reinforces the image. The connotations of the words suggest something surreptitious and undercover. From the tone, one can infer that the author is suspicious or fearful of the subject.
A detached tone, or an opposite tone than the reader would expect, are sometimes purposely employed to elicit more of a response. In the opening lines of "The Love Song of J. Alfred Prufrock", T. S. Eliot quickly sets a certain tone, and then creates effect by juxtaposing it with a very different tone:
Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table
Visual and concrete poetry[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2016) (Learn how and when to remove this template message)
Poets such as E. E. Cummings experiment with punctuation and the words' layout on a page. In doing so, they venture into a realm of poetry that really cannot be read aloud: it can only be experienced through the eye.
l(a
le
af
fa
ll
s)
one
l
iness
Cummings has fractured language into its most atomic elements. To analyze the poem, the reader must first reassemble these into meaningful units: a brief, evocative image—"a leaf falls"—appearing, like an unbidden thought, in the middle of a word, "loneliness". A single falling leaf is by itself a fine image for the feeling of loneliness, but in order to fully experience the poem, the reader must then put the elements of language back into the visual form in which Cummings arranged them: a vertical line (like a leaf falling to the ground), followed by a horizontal series of letters (like a leaf laying flat on the ground). The vertical line is dominated by the word "one" (an absolutely appropriate expression of loneliness) and by the letter "l" (which, on the page, looks like the numeral 1... it looks like "one").
Numerous other poets, including George Herbert, Lewis Carroll, William Blake, Wyndham Lewis, and John Hollander have used the layout of words, letters, and images on the page to create effect in their poems. An analytic reader of poetry must attend to the eye as well as the ear and the mind.
Approaches[edit]
Schools of poetry[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2016) (Learn how and when to remove this template message)
Main article: List of poetry groups and movements
There are many different 'schools' of poetry: oral, classical, romantic, modernist, etc. and they each vary in their use of the elements described above.
Schools of poetry may be self-identified by the poets that form them (such as Imagism), or defined by critics who see unifying characteristics of a body of work by more than one poet (for example The Movement). To be a 'school' a group of poets must share a common style or a common ethos. A commonality of form is not in itself sufficient to define a school; for example, Edward Lear, George du Maurier and Ogden Nash do not form a school simply because they all wrote limericks.[citation needed]
Schools of criticism[edit]
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2016) (Learn how and when to remove this template message)
Poetry analysis is almost as old as poetry itself, with distinguished practitioners going back to figures such as Plato. At various times and places, groups of like-minded readers and scholars have developed, shared, and promoted specific approaches to poetry analysis.
The New Criticism dominated English and American literary criticism from the 1920s to the early 1960s. The New Critical approach insists on the value of close reading and rejects extra-textual sources. The New Critics also rejected the idea that the work of a critic or analyst is to determine an author's intended meaning (a view formalized by W.K. Wimsatt and Monroe Beardsley as the intentional fallacy). The New Critics prized ambiguity, and tended to favor works that lend themselves to multiple interpretations.
Reader Response developed in Germany and the United States as a reaction to New Criticism. It emphasises the reader's role in the development of meaning.
Reception aesthetics is a development of Reader Response that considers the public response to a literary work and suggests that this can inform analysis of cultural ideology at the time of the response.
Reading poetry aloud[edit]
All poetry was originally oral, it was sung or chanted; poetic form as we know it is an abstraction therefrom when writing replaced memory as a way of preserving poetic utterances, but the ghost of oral poetry never vanishes.[6] Poems may be read silently to oneself, or may be read aloud solo or to other people. Although reading aloud to oneself raises eyebrows in many circles, few people find it surprising in the case of poetry.
In fact, many poems reveal themselves fully only when they are read aloud. The characteristics of such poems include (but are not limited to) a strong narrative, regular poetic meter, simple content and simple form. At the same time, many poems that read well aloud have none of the characteristics exhibited by T. S. Eliot's "Journey of the Magi", for example. Poems that read aloud well include:
"The Frog", by Jean Dao
"One Art", by Elizabeth Bishop
"The Tyger", by William Blake
"Meeting at Night", by Robert Browning
"She Walks in Beauty", by Byron
"The Song of the Western Men", by Robert Stephen Hawker
"November in England", by Thomas Hood
"Dream Variations", by Langston Hughes
"The Jackdaw of Rheims", by Thomas Ingoldsby
"To put one brick upon another", by Philip Larkin
"Paul Revere's Ride", by Henry Wadsworth Longfellow
"Adventures of Isabel", by Ogden Nash
"Nothing but Death", by Pablo Neruda translated by Robert Bly
"A Small Elegy", by Jirí Orten translated by Lynn Coffin
"Ozymandias", by Percy Bysshe Shelley
"The Cat in the Hat", by Dr. Seuss
"Sea Surface Full of Clouds", by Wallace Stevens
"Silver", by Walter de la Mare
"How to Tell a Story", by Robert Penn Warren
"On Westminster Bridge", by William Wordsworth
Poetry in different cultures[edit]
This article is focused on poetry written in English and reflects anglophone culture. Other cultures have other poetic forms and differ in their attitudes towards poetry.[citation needed]
References[edit]
Jump up ^ Louise Bogan, 'The Pleasures of Formal Poetry', in Reginald Gibbons (ed.), The Poet’s Work: 29 Poets On The Origins And Practice Of Their Art (Chicago and London: University of Chicago Press, 1979) ISBN 978-0-395-27616-7
Jump up ^ Address at Milton Academy, Massachusetts (17 May 1935)[full citation needed]
Jump up ^ Sounds Aloud http://soundsaloud.blogspot.co.uk
Jump up ^ Herbert pp. 68-69.
Jump up ^ Ingraham
Jump up ^ Hollander, John Rymes Reason - A Gude to English Verse, Yale University Press, New Haven 1981 ISBN 978-0-300-04307-5
Bibliography[edit]
Auden, W.H. and Norman Holmes (Eds.) Restoration and Augustan Poets: Milton to Goldsmith. (New York: Viking Press, 1950) ISBN 0-14-015039-0
Cummings, E. E. Complete Poems: 1913–1962. (New York: Harcouth Brace Jovanovich, 1968). ISBN 0-15-121060-8
Harrison, G. B. (Ed.). Shakespeare: The Complete Works. (New York: Harcourt Brace Jovanovich, 1968) ISBN 0-15-580530-4
Hirsch, Edward. How to Read a Poem and Fall in Love with Poetry. (New York: Harcourt Brace, 1999) ISBN 0-15-100419-6
Kennedy, X. J. Literature: An Introduction to Fiction, Drama, and Poetry. (4th ed.) (Boston: Little, Brown, & Co. 1987) ISBN 0-673-39225-2
Roberts, Edgar V. & Henry Jacobs (Eds.). Literature: An Introduction to Reading and Writing 6th edition. (Upper Saddle Creek, NJ: Prentice Hall, 2000) ISBN 0-13-018401-2
Wallace, Robert. Writing Poems. (Boston: Little, Brown, & Co., 1982) ISBN 0-316-91996-9
Further reading[edit]
Olderr, Steven. Symbolism: A Comprehensive Dictionary (Jefferson NC: McFarland, 1986) ISBN 0-7864-2127-4
Olderr, Steven. Reverse Symbolism Dictionary: Symbols Listed by Subject (Jefferson NC: McFarland, 1992) ISBN 0-7864-2125-8
Strand, Brian. Sounds Aloud Open form poetic verse (Kindle ebook ASIN B008QVUDK2) 2012
Bowen, Neil. How to Analyse Poetry - Art of Poetry: Volumes Ones and Two (pushmepress.com) ISBN 9781909618855
External links[edit]
Glossary of Poetry Terms
The Close Reading of Poetry: A Practical Introduction and Guide to Explication
Online Poem Analyzer
Retrieved from "https://en.wikipedia.org/w/index.php?title=Poetry_analysis&oldid=791828724"
Categories:
Poetics
Literary criticism
Hidden categories:
Articles needing more detailed references
Articles needing additional references from September 2008
All articles needing additional references
Wikipedia articles needing style editing from January 2012
All articles needing style editing
Articles with multiple maintenance issues
All articles with unsourced statements
Articles with unsourced statements from April 2016
Wikipedia articles needing clarification from April 2016
All articles that may contain original research
Articles that may contain original research from April 2016
Articles needing additional references from April 2016
Navigation menu
Personal tools
Not logged in
Talk
Contributions
Create account
Log in
Namespaces
Article
Talk
Variants
Views
Read
Edit
View history
More
Search
Navigation
Main page
Contents
Featured content
Current events
Random article
Donate to Wikipedia
Wikipedia store
Interaction
Help
About Wikipedia
Community portal
Recent changes
Contact page
Tools
What links here
Related changes
Upload file
Special pages
Permanent link
Page information
Wikidata item
Cite this page
Print/export
Create a book
Download as PDF
Printable version
Languages
Deutsch
Latviešu
Edit links
This page was last edited on 22 July 2017, at 18:57.
Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
Privacy policy
About Wikipedia
Disclaimers
Contact Wikipedia
Developers
Cookie statement
Mobile view
Enable previews

tag: div

attr: id class

value: mw-page-base noprint

key: html

type: local

value: mw-head-base noprint

tag: a

attr: id class lang

value: firstHeading firstHeading en

value: siteSub noprint

value: jump-to-nav mw-jump

tag: img

attr: alt src width height srcset data-file-width data-file-height

tag: td

tag: span

attr: class role tabindex

tag: b

attr: class href

attr: href title

tag: i

tag: small

attr: href class

value: Help:Introduction to referencing with Wiki Markup/1

value: plainlinks metadata ambox ambox-content ambox-Refimprove

value: plainlinks metadata ambox ambox-style ambox-Tone

value:
mw-collapsible
width:95%; margin: 0.2em 0;

value: plainlinks metadata ambox ambox-content ambox-multiple_issues compact-ambox

value: A more detailed citation is required. (April 2016)

value: This claim needs references to reliable sources. (April 2016)

value:
noprint Inline-Template Template-Fact
white-space:nowrap;

value: Edit section: "The Destruction of Sennacherib", by Lord Byron

value:
/wiki/Meter_(poetry)
mw-redirect
Meter (poetry)

value: The text near this tag may need clarification or removal of jargon. (April 2016)

value:
noprint Inline-Template
margin-left:0.1em; white-space:nowrap;

value:
/wiki/Italian_sonnet
mw-redirect
Italian sonnet

value:
/wiki/English_sonnet
mw-redirect
English sonnet

value:
/wiki/Shakespearean_sonnet
mw-redirect
Shakespearean sonnet

value: The material near this tag possibly contains original research. (April 2016)

value:
/wiki/Charles_Williams_(UK_writer)
mw-redirect
Charles Williams (UK writer)

value:
/wiki/Trope_(linguistics)
mw-redirect
Trope (linguistics)

value:
/wiki/Lexical_stress
mw-redirect
Lexical stress

value:
/wiki/Iamb_(foot)
mw-redirect
Iamb (foot)

value: Edit section: Sound, tone, diction, and connotation

value:
/wiki/Tone_(literary)
mw-redirect
Tone (literary)

value: Edit section: Visual and concrete poetry

value: plainlinks metadata ambox ambox-content ambox-Unreferenced

value:
/wiki/Movement_(literature)
mw-redirect
Movement (literature)

value:
/wiki/New_criticism
mw-redirect
New criticism

value:
/wiki/W.K._Wimsatt
mw-redirect
W.K. Wimsatt

value:
/wiki/Intentional_fallacy
mw-redirect
Intentional fallacy

value:
/wiki/Reader_Response
mw-redirect
Reader Response

value: Reception aesthetics (page does not exist)

value:
/wiki/Thomas_Ingoldsby
mw-redirect
Thomas Ingoldsby

value: Edit section: Poetry in different cultures

value:
nofollow
external free
http://soundsaloud.blogspot.co.uk

value:
reflist mw-references-wrap
list-style-type: decimal;

value:
nofollow
https://keytopoetry.com/poem-analyzer/
external text

value: Category:Articles needing more detailed references

value: Category:Articles needing additional references from September 2008

value: Category:All articles needing additional references

value: Category:Wikipedia articles needing style editing from January 2012

value: Category:All articles needing style editing

value: Category:Articles with multiple maintenance issues

value: Category:All articles with unsourced statements

value: Category:Articles with unsourced statements from April 2016

value: Category:Wikipedia articles needing clarification from April 2016

value: Category:All articles that may contain original research

value: Category:Articles that may contain original research from April 2016

value: Category:Articles needing additional references from April 2016

value: Discussion about edits from this IP address [ctrl-alt-n]

value: A list of edits made from this IP address [ctrl-alt-y]

value: You are encouraged to create an account and log in; however, it is not mandatory

value: You're encouraged to log in; however, it's not mandatory. [ctrl-alt-o]

value:
/wiki/Poetry_analysis
View the content page [ctrl-alt-c]
c

value: portal navigation p-navigation p-navigation-label

value: Guidance on how to use and edit Wikipedia

value: About the project, what you can do, where to find things

value: A list of recent changes in the wiki [ctrl-alt-r]

value: portal navigation p-interaction p-interaction-label

value: List of all English Wikipedia pages containing links to this page [ctrl-alt-j]

value: Recent changes in pages linked from this page [ctrl-alt-k]

value:
/wiki/Wikipedia:File_Upload_Wizard
Upload files [ctrl-alt-u]
u

value: A list of all special pages [ctrl-alt-q]

value: Permanent link to this revision of the page

value: Link to connected data repository item [ctrl-alt-g]

value: Printable version of this page [ctrl-alt-p]

value:
suggestions
display: none; font-size: 13px;

value: mediawiki ltr sitedir-ltr mw-hide-empty-elt ns-0 ns-subject page-Poetry_analysis rootpage-Poetry_analysis skin-vector action-view