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O   # Lecture 2 (Classification of the English Vocabulary)),(!!English Vocabulary.Colloquial layer Neutral layer Literary layer /.$.""Colloquial layer%$Common Colloquial Words@ N  The essential part of common colloquial words constitutes common neutral vocabulary which is in every day usage and is the part of Standard English. They may be divided into several groups. In the first group we have words which change their phonetic form. Eg. a) word combinations are shortened. E.g. s'long (so long), lemme (let me), gimme (give me), gonna (going to); b) certain sounds may be omitted: 'im (him), 'cos (because), 'ud (would), 'ave (have), 'eaven (heaven), yeh (yes). Here we meet the speech of an uneducated person. Instead of  can one uses  kin , you (yuh), get (git), your (yer), to (tuh). The violation of grammar rules is also observed: yuh gotta lawyers? (have you got a lawyer?), hain't yuh? (haven't you?), there hain't no rules (there aren't any rules). While we speak about the peculiarities of oral speech special attention should be paid to the children s speech in which we have a lot of contracted forms of words. E.g. Doc (doctor), telly (television), fridge (refrigerator); words with diminutive suffixes: beastie (beast), milkie (milk), kissy (cat), titter (sister). In the second group we have words which change their form and meaning. New words (neologisms) may be formed with the help of suffixes which have negative meaning: noddy - a stupid person, wordling - a person who talks much, giglet - a girl who laughs in a silly manner. Nouns may be formed with the help of suffixes which have positive meaning: dolly - an attractive, fashionably dressed girl or a young woman, nestling - a bird too young to leave the nest. The following words constitute the third group of colloquial vocabulary, where words change their meaning in certain contexts. E.g. He was getting along in years - (he was growing old), I like his get up - (I like his way and manner), Let me know have you come out (let me know the results).PBPB 0B B B B B B B B /B B B B B B B B B B B B DB B B B B B B B B B 9B B B B B B B B B B B B 1B B B B B B B B B B B B B B sB B ;B B B B $B B ,B B B P                      &%Slang  By slang we mean non-literary words which are used to create fresh names for some things. Slang used in colloquial speech has a great expressive force. It is mostly ironical words. For the most part slang words sound somewhat vulgar. Slang is nothing but a deviation from the established norm of the language. No one has yet given a more or less satisfactory definition of the term. J. B. Gre- enough and C. L. Kitteridge define slang in these words:  Slang...is a peculiar kind of vagabond language, always hanging on the outskirts of the speech but continually forcing its way into the most respectable company [1]. Whenever the notation  si. appears in a dictionary it may serve as an indication that the unit presented is non- literary. Besides general (standard) slang we distinguish teenager slang, university (student s) slang, public school slang, prison slang, war slang, lawyer s slang etc. There are the following slang words for money - beans, lolly, brass, dibs, daughs (compare: in Uzbek for for head - attic, brainpen, hat, nut, upper storey, for drunk - boozy, cock-eyed, high. Instead of  good , excellent J.Galsworthy used ripping, topping corking, swell, A - 1. Slang used in colloquial speech has a great expressive force. For example,  drag used as a slang denotes everything that is dull, uninteresting, slow and difficult to do.  it s a long drag means a dull and long journey. The function of slang in the written texts may be the following: to characterize the speech of the person, to produce a special impression and humorous effect. Here are some more examples of slang which have this effect: bread-basket (the stomach); cradle-snatcher (an old man who marries a much younger woman); a big head (a booster); go crackers (go mad); I ll send you an old-bob (I ll send you a shilling). The following stylistic layers of words are generally marked as slang. hPB "B B (B B B B  :                                     0jm'&Words which may be classed as thieves cant, like dirt (money), dotty (mad), a barker (a gun), to dance (to hang). Words derived by means of conversion, one of the most productive means of word-building in present-day English, are also sometimes classed as slang, for example, the noun  agent is considered neutral because it has no stylistic notation, whereas the verb  to agent is included in one of the American dictionaries as slang. It is the same with such pairs as  alter -  to alter , ancient (a) - ancient (n). Abbreviations as rep (reputation), cig (cigarette), ad (advertisement), sis (sister), ma (mamma) also fall into the category of slang. Set expressions which are generally used in colloquial speech and which are clearly colloquial, are also marked with the notation slang, e.g.  to go in for ,  in a way and others. Improprieties of a morphological and syntactical character, e.g.  How come ,  I says , double negatives as  I don t know nothing etc. Any new coinage that has not gained recognition and therefore has not yet been received into Standard English is qualified as slang. Many words formerly qualified as slang have now become legitimate units of Standard English. Thus the word  kid (child), which was considered slang in the nineteenth century, is now a legitimate colloquial unit of the English literary language. Slang is nothing but a deviation from the established norm of the vocabulary of the language. V. V. Vinogradov writes that one of the tasks set before the branch of linguistic science that is now called stylistics, is a thorough study of all changes in vocabulary, set phrases, grammatical constructions, their functions, an evaluation of any breaking away from the established norm, and classification of mistakes and failures in word coinage.1 So broad is the term slang that, according to Eric Partridge, there are many kinds of slang, e.g., Cockney, pub- lic-house, commercial, society, military, theatrical, parliamentary and others. There is a general tendency in England and to some extent in the USA to over-estimate the significance of slang by attaching to it more significance than it deserves. Slang is regarded as the main point of colloquial speech and therefore stands above all the laws of grammar. It is highly praised nowadays as  vivid ,  more flexible ,  more picturesque ,  richer in vocabulary and so on.lW P2B B B B B B B B B B gB B B B B B B B B B B B B B B B kB $                                                        )( Jargonisms  In the non-literary vocabulary of the English language there is a group of words that are called jargonisms. Traditionally jargon is defined as the language difficulty to understand, because it has a bad form and spoken badly. The vocabulary of jargon are the words existing in the language but having new meanings. Jargonisms are of social character. They are not regional.]ln England and in the USA almost any social group of people has its own jargon, There are jargon of thieves and vagabonds, generally known as can; the, jargon of the army, known as military slang; the jargon of sportsmen, the jargon of students, etc. people who are far from that profession may not understand this jargon. Here are some examples from students jargon: exam (examination), math (mathematics), trig (trigonometry), ec (economics), a big gun (an important person), an egg (an inexperienced pilot). Almost any calling has its own jargon. Jargonisms are a special group within the non-literary layer of words. Jargonisms easily classified according to the social divisions of the given period. There is common jargon and special professional i argons .Common jargonisms have gradually lost their special quality. They belong to all social groups and there- ~ fore easily understood by everybody. That is why it is difficult to draw a line between slang and jargon. Slang, contrary to jargon, need no translation. It must be noted that both slang and the various jargons of Great Britain differ from those of the United States and Canada. Jargonisms, like slang and other group of non-literary layer, do not always refer to the speech of a given social group, they do not always remain on the outskirts of the literary language. There are hundreds of words, once jargonisms or slang, which have become the members of the English literary language. Thus, the words  kid ,  fun ,  queer , bluff ,  humbug , formerly slang words or jargonisms, are now considered common colloquial. They may be said to be dejargonized. Here are some further examples of jargon: such words as  soup and  flannel meaning  bread and  cheese are scarcely understood by the language community. Therefore they can be classed as jargonisms. Many of jargon words are based on the use of the transferred meanings of words: I ll brain you (I ll break your head); to put on a bag (to kill); don t be such a drip (don t be such a dull person).Nm PmB B QB B B &                                                ('Professionalisms B(  Professional words are such words, which are used in .certain spheres of human activity. They are used in a definite trade, profession or calling by people connected by common interests both at work and at home. Professionalisms are correlated to terms. Terms are coined to nominate new concepts that appear in the process of technical progress and the development of science. Professional words name a new already-existing concepts, tools and instruments. Professionalisms are special words in the non-literary layer of the English vocabulary, whereas terms are a specialized group belonging to the literary layer of words. Terms, if they are connected with a field or branch of science or technique well-known to ordinary people, are easily decoded, Professionalisms generally remain in the circulation within a definite community. The function of professionalisms may be different: to characterize the speech of a person, to make the description more precise and realistic. Like terms professionalisms do not allow any polysemy, they are monosemantic. Here are some professionalisms used in different trades: tin-fish (submarine), block-buster (a bomb especially designed to destroy blocks of big buildings), piper (a specialist who decorates pastry with the use of a cream- pipe). Some professionalisms, however, like certain terms, become popular and gradually lose their professional character. Professionalisms should not be mixed up with jargonisms. Like slang words, professionalisms do not aim at secrecy. They fulfil a socially useful function in communication. Different fields of human activity gave a great number of professional words. Here are some illustrations of professional words from medicine: a heart man (a cardiologist), red ink (blood), ten bones (fingers), med school (medical college). In the story by O Henry called  The Duel we get acquainted with two characters who came from the West to conquer New York. The vocabulary of the boxing (right-hander, uppercut), as well as other professional terms found in the story, like  ring ,  to counter ,  to clinch etc help to maintain the atmosphere of fight, which the story requires. Professionalisms are used in emotive prose to direct the natural speech of a character. The skillful use of professional words will show the education, breeding, environment and psychology of a character. That is why they are abundantly used to create the speech characterization in emotive prose. Some professional words become popular and gradually lose their professional character. PbB B B B BB B B B B B B B B B B F%                                                             *)Dialectal words B( 4 4 Dialectal words are such non-literary English words, which are connected with a certain area of region. They are not the property of the literary English. There is sometimes a difficulty in distinguishing dialectal words from colloquial words. Some dialectal words have become so familiar that they are accepted as recognized units of the standard colloquial English. To these words belong: a lass (a girl or a beloved girl), a lad (a boy or a young man). These words belong to Scottish dialect. Many of the words fixed in dictionaries as dialectal are of Scottish origin. Among other dialects used for stylistic purposes in literature is the southern dialect. This dialect has a phonetic peculiarity that distinguishes it from other dialects. For example:  volk (folk),  vound (found),  zee (see), linking (sinking). From Irish came the following dialectal words: hurley (hockey), colleen (a girl). From the northern dialectal came words:  to coom (to come),  sun (son). Still these words have not lost their dialectal associations and therefore are used in literary English with stylistic function of characterization. Of quite a different nature are dialectal words which are easily recognized as corruptions of Standard English words. The following words may serve as examples:  hinny from  honey ;  tittie apparently from sister, being a childish corruption of the words. It s quite natural that dialectal words are commonly used in oral speech and emotive prose and always perform the function of characterizing a person, his breading and education through his speech. Over-abunaance or words and phrases of non-literary English not only makes the reading difficult, but actually contaminates the generally accepted norms of the English language. Writers use dialect^ words which they think will enrich the standard English vocabulary. Among words which are easily understood by the average Englishman are  maister ,  well ,  enough ,  neathing and the like, characteristic of Scottish. Dialects words, unlike professionalism, are confined in their use to a definite locality and most of the words deal with the everyday life of the country. A few words should be said about Cockney, which is a special dialect of the working class of London. Cockney dialect is made up of a collection of slang words. For example:  cows is half a note,  poppy is a slang for money. 8 PB B B B GB B B B B B B B <B B B B B B B B 2B B "B $                                              +* Vulgar words B(  4F Vulgar words are non-standard English words, which are marked by a coarseness of speech or expressions, which are offensive, indecent. They have noting to do with words in common use nor can they be classed as colloquialism. There are different degrees of vulgar words. Some of them should not even be fixed in common dictionaries. They are euphemistically called  four-letter words. A lesser degree of vulgarity is presented by words like damn, bloody, son of a bitch; to hell, a right old bag (an old woman), a nigger (a black person), and others. These vulgarisms sometimes appear in euphemistic spelling - only the initial letter is printed: d - damn, b - bloody. The function of vulgarisms is almost the same as that of interjectuions, that is to express .strong emotions, mainly annoyance, anger. They are not to be found in any style of speech except emotive prose, and here only in the direct speech of the characters. They are mostly swear-words and expressions. Not every coarse expression should be regarded as a vulgarism. Coarseness of expression may be in the result of grammatical mistake, non-standard pronunciation, of misuse of certain literary words and expressions, from deliberate distortion of words. All these improprieties of speech cannot be regarded as vulgarisms.N$PB6BBBB                             # Literary layer ,+Common literary wordssCommon literary words are chiefly used in writing and polished speech. Literary units stand in opposition to colloquial units. The following synonyms illustrate the relations that exist between the neutral, literary and colloquial words in the English language. Colloquial Neutral Literary Kid Child Infant Daddy Father Parent Chap Fellow Associate Teenager Boy (girl) Youth (maiden) These synonyms are not only stylistic but ideographic as well, i.e. there is slight semantic difference between the words. There are very few absolute synonyms in any language. The main distinction between synonyms remains stylistic. Colloquial words are always more emotionally coloured than literary ones. The neutral words have no degree of emotiveness. The lines of demarcation between common colloquial and the neutral on the one hand, and common literary and neutral, on the other, are blurred. The neutral vocabulary may be viewed as the invariant of the Standard English vocabulary. Synonyms of neutral words, both colloquial and literary, have a great degree of concreteness. 4tPB !B MB P                          -,Terms B( fTerms are words denoting notions of special fields of knowledge. A term is generally very easily coined and easily accepted; new coinages easily replace out-dated ones. Terms are generally associated with a definite branch or science. Here are some examples: microlinguistics, phoneme, vocahsm, amplitude, charge, antibiotic, periicil- With the increase of science and technique to satisfy the growing needs of mankind many words that were once terms have gradually lost their qualities as terms and have passed into the common literary vocabulary. This process may be called  determinization . Such words as radio , television have long been in common use and their terminological character is no longer evident. Generally, terms are used in the language of science but with certain stylistic purpose they may be used in the language of emotive prose. For example, Cronin used a lot ot medical terms in some of his books. It is done to make the narration vivid, bright and close to life. A term has a stylistic function when it is used to characterize a person through his calling. It is a well-known fact that terms are monosemantic and have not any contextual meaning. In most cases they have a denotational free meaning. But in some situations a term may have a figurative or emotionally coloured meaning. When it is used in other styles but scientific it may cease to be a term and becomes an ordinary word. It happens to the word  atomic (atomic energy, atomic bomb, atomic weight) which lost its property of a term and acquired a metaphorical meaning in the phrases  atomic age , atomic music . Compare the above given word combinations with the following word combinations which are used as scientific terms: atomic energy (energy obtained aSu u Fesu,t of nucIear fission), atomic bomb (bomb of which the distructive power comes from the release of atomic energy in the shortest possible time). Here is the extract from the novel by Cronin  The Citadel : He sat in his surgery one evening towards the end of April. It was nearly nine o clock when a young woman entered. She gazed at him uncertainty... She puffed off her hands.  It s my hands... He looked at her hands, the palms of which were covered by reddish dermatitis, rather like psoriasis. But it was not psoriasis.  This is rather an uncommon skin condition, Miss Gramb. It s no good treating it locally. It s due to a blood condition and the only way to get rid of it by dieting.  No medicine*! No one ever told me that before.  I m telling you now. He laughed and, taking his pad, drew out a diet for her, adding also a list of food which she must absolutely avoid. In this extract the author uses the following medical terms as dermatitis (skin disease), psoriasis (a chronic skin disease) and common literary words which acquire the status of terms in the text: blood condition, treating, locally, dieting^ Sometimes terms are used with a satirical function. Here is an interesting example:  What a fool Rawdon Crawley has been , Clump replied,  to go and marry a governess! There was something about the girl too.  Green eyes, fair skin, pretty figure, famous frontal development , Squills remarked. (Thackeray) The words  frontal and  development , in addition to their ordinary meaning, have a terminological aspect, i.e. they belong both to the common literary stock and to a special group of literary vocabulary, to the science of anatomy. But here they lose their common aspect and become purely terminological. PB LB nB B 4B B B B B B B B B B FB B B B B B &B B B B B B B B cB ,B hB *8                                                     .- Archaic Words@  4The word stock of a language is in an increasing state of change. New words spring up and replace the old ones. Some words stay in the language a very long time, others live a short time: they disappear leaving no trace of their existence. Thus, words, which are no longer recognizable in Modern English and which have either dropped out of the language or have changed in their appearance and they have become unrecognizable are called archaic words. So archaic words are those which are not used now except for special purpose: thee (you), thy (you), thou (you), hath (has), makest (make), thine (your), methinks (it seems to me). In the development of a literary language words undergo changes in their meaning or usage. Sometimes this process causes the disappearance of the unit from the language. We shall distinguish three stages of aging process of words. The beginning of the aging process when the word becomes rarely used. Such words are called obsolescent. In the English language these are the pronouns thou and its forms thee, thy and thine etc. Among the obsolescent elements of the English vocabulary we find the following forms: aforesaid, hereby, therewith, hereinafternamed\ To the category of obsolescent words belong many French borrowings: a palfrey (a small horse), garniture (furniture). The second group of archaic words are those that have already gone completely out of use but are still recognized by the English speaking community: methinks (it seems to me), nay (no). These words are called obsolete. The third group, which may be called archaic proper, are words which are no longer recognizable in Modern English, words that were in use in Old English which have either dropped out of the language or have changed in their appearance so much that have become unrecognizable: troth (faith); a losel (a worthless, lazy fellow). We can find a number of archaic words in the style of official documents: aforesaid, hereby, therewith. These words are used here as terms and express the exact notion of certain phenomena. Archaic words stand very close to historical words - names of ancient weapons, types of tools, carriages, and musical instruments, agricultural implements, which are no longer in use. E.g. blunderbuss (an old type of gun), brougham (a closed carriage having one seat). Words of this type never disappear from the language. They are historical terms and remain as terms referring to the definite stages in the development of society, though the things and the phenomena to which they refer have long passed into oblivion. Historical words have no synonyms, whereas archaic words have been replaced by modern synonyms. Archaic words are mostly used in the creation of realistic background to historical novels. The heroes of historical novels speak the language of the period the writer and the reader live in, and the skill of the writer is required to colour the language with such archaic elements. Walter Scott was a master in creation of a historical atmosphere. He used the stylistic means that create this atmosphere with such skill that the heroes of his novels speak his language. In accordance with these principles Walter Scott never photographs the language of earlier periods; he introduces a few words and expressions more or less obsolescent in character and this is enough to convey the desired effect. Besides, archaic words and phrases have other functions. They are, first of all, frequently to be found in the style of official documents. In business letters, in legal language, in diplomatic documents and in all kinds of legal document one can find archaic words. They are employed in the poetic style as special terms. The function of archaic words and constructions in official documents is terminological in character. They are used here because they help to maintain that exactness of expression so necessary in tnis style. Archaic words are sometimes used for satirical purposes. The low predictability of an archaism, when it appears in ordinary speech produces the necessary P              X  0          ] /       &           Z?                                                                        /.Barbarisms and Foreign Words ( h VIn the vocabulary of the English language there is a considerable layer of words called barbarisms. Barbarisms are words which came into the English vocabulary from other languages and have retained their spelling and pronunciation. They have not been assimilated into the English language bearing the appearance of a borrowing. The role foreign borrowings played in the development of the English literary language is well-known, and the great majority of these borrowed words form part of the English vocabulary. They have already become facts of*" the English language, though they remain on the outskirts of the literary vocabulary. In many cases they have English synonyms. E.g.  chic (stylish),  bon mot (a clever witty saying),  adieu (good-bye),  au revoir ,  pardon . These words are included into the English word stock. There is another group of barbarisms -foreign words which does not belong to the.English vocabulary. They are not registered by English dictionaries, though they are used for certain stylistic purposes. It is very easy to recognize them in the text. In printed works foreign words and phrases are generally italicized. E.g. en bien (well), allez (come on), mon-sieur (sir), tres bien (very good), udarnik, kolkhoz. f Many foreign words in English vocabulary fulfil a terminological function: Therefore, though they still retain their foreign appearance, they should not be regarded as barbarisms. E.g. acidum, allegro, solo, tenor. Unlike barbarisms they have no synonyms. }  The stylistic function of barbarisms and foreign words is to create local colour. Both foreign words and barbarisms are widely used in various styles of language with various aims. One of these functions is to supply local colour. In  Vanity Fair Thackeray takes the reader to a small German town where a boy with a remarkable appetite attracts attention. The author gives a description of the peculiarities of the German menu. E.g.  The little boy had a famous appetite, and consumed schitiken, and braten, and kartoffeln, that did honour to his nation. The context leads the reader to understand the italisi- zed words denoting some kind of food, but exactly what kind he will learn when he travels in Germany. Barbarisms and foreign words are mostly used in the style of belles-lettres and publicistic style. In belles-lettres style the author, putting foreign words into the mouth of his personage, gives the vivid characterization of his hero: She had said  Au revior! not  good-bye! (Galsworthy) Foreign words always arrest the attention of the reader and therefore have a definite stylistic function. Sometimes the skilful use of one or two foreign words will be sufficient to create the impression of a foreign language. For example:  Deutsche Soldaten - a little while ago, you received a sample of American strength. (S.Heym) The two words  Deutsche Soldaten are sufficient to create the impression that the speech was made in German and not in English L P        {            +         ,                                                      _0/ Neologisms  B(   !Neologisms appear when there is the need to express new ideas and notions. If a word is fixed in a dictionary, it ceases to be a neologism. If a new meaning is recognized as an element in the semantic structure of a lexical unit, it ceases to be new and becomes part and parcel of the general vocabulary. Every period in the development of language produces an enormous number of new words or new meanings of established words. Most of them do not live long. The given word or meaning holds only in the given context. The coining of new words generally arises first of all with the need to designate new concepts resulting from the development of science and also with the need to express them. When artificial satellite was first launched into the space by scientists new names appeared in English vocabulary: baby-moon, man-mode moon, artificial satellite, sputnik. The first type of newly coined words, i.e. those which designate new-born concepts, may be named terminological coinages or terminological neologisms. The second type, i.e. words coined because their creators seek expressive utterance may be named stylistic coinages or stylistic neologisms. Neologisms are produced in accordance with the existing productive wora-building models of the English language, mainly by means of affixation and word compounding etc. For example, missileer - a person skilled in missilery or in the launching and control of missiles. Among new creations those with the suffix -ize seem to be the most frequent. The suffix -ize gives a shade of bookishness to new words. For example, villagize, moisturize. The prefix anti- has given us a number of new words, which are gradually becoming recognizable as facts of the English vocabulary, e.g. anti-novelist, anti-hero, antiemotion. There is another means of word-building, that is the bending of two words into one by curtailing the end of the first components or the beginning of the second. Examples are numerous: musicomedy (music+comedy), cinemactress (cinema+actress); avigation (aviation+navigation); smog (smoke+fog). Such newly coined words are called blends. Another type of neologism is the nonce-word, i.e. a word coined to suit one particular occasion. Nonce-words remain on the outskirts of the literary language. They rarely pass into the language as legitimate units of the vocabulary. Here are some of these neologisms which have the right to be called so because they will always remain neologisms, i.e. will never lose their novelty. Eg.: I am wived in Texas, and mother-in-lawed, and uncled, and aunted, and cousined. The past participles mother-in-lawed, uncled, aunted and cousined are coined for the occasion on the analogy of wived and can hardly be expected to be registered by English dictionaries as ordinary English words. Another example: On the basis  do it yourself a new word-combination  Do-it-yourself book was created. Many new coinages disappeared from the language, leaving no mark of their existence. When they are used in the written text they produce special stylistic effect. Their function may be different: to produce a humorous effect, to make distinct the additional meaning. Eg.: Some were naked,...others half-naked, jacketed or jerseyed. Here the verbs  jacketed and  jerseyed are coined due to conversation, which is a productive way of enriching of English vocabulary. In Modern English new words are also coined by a means which is very productive in technical literature and therefore is mostly found in scientific style - by contractions and abbreviations. E.g. LASER (light amplification by stimulated emission of radiation); UNESCO (United Nations Educational, Scientific and Cultural Organizations). Among new coinages of a literary-bookish type we see a considerable number of words appearing in the publicistic style, mainly in newspaper articles and magazines, mostly in newspaper headlines. To these belongs the word Blimp - a name of a well-known English cartoonist. The name was coined to designate an English colonel famous for his brutality, ultra-conservatism. Semantic word-building, that is giving an old word a new meaning, is rare employed by writers who coin new words for journalistic purpose.<P_B B B B <B B *B B \B B xB 'B B B B B B B B B 0B B "B B _B B B B B B B B B B B B B B /B B B B B ?                                                                                                           $ Poetic Words   4 Poetic words are used mainly in poetry. They stand between terms and archaic words. They are close to terms because they are monosemantic and they are close to archaic words because they are out of use. For ex: steed (horse), woe (sorrow), to behold (to see). Poetic words claim to be of higher rank. Not all English poetry makes use of  poeticisms . In the history of English literature there were periods, which were characterized by protests against the use such conventional symbols. The periods of classicism and romanticism were rich in fresh poetic terms. Poetic words and expressions were called upon to create the special elevated atmosphere of poetry. When used in the text poetic words call on a certain type of mood. Sometimes they are used to produce a satirical effect. They are said to have emotive meanings. They colour the utterance with loftiness, but they fail to produce a genuine feeling of delight, as they are too hackneyed. The use of poetic words does not create the atmosphere of poetry in the true sense. This is probably due to their very low degree of predictability. Poetic words are not freely built. There is however one means of creating new poetic words recognized as productive in present-day English, that is the use of a contracted form of a word instead of the full one, e.g., drear instead of dreary, scant - scanty. Sometimes the reverse process leads to the birth of a poetism, e.g., vasty - vast.  The vasty deep , i.e. the ocean;  paly - pale. 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Haiku - 3-line verse form. First & 3rd lines have five syllables; 2nd has 7. Topic is always nature Limerick  a rhymed nonsense poem of five lines.  $ $$$K"$$$$ " $ * $ " $ * $" " $$$*$H  0޽h ? ̙33y___PPT10Y+D=' = @B +"  0N0  y  (     x&\0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!x4ZAdrs/shapexml.xmlTn8/@ZU'vEb cAQ"$>(Z͐3|>tuV|S"u6t1yj&= G?/\V.7zoP5vC GNjԱVRҬm~mI[|QX#$/]ac ɰIQ/R&[D` w|U!Ր4ҷ^ fYv}9\LxXf樂anWD ze+ȝ }6e1L?(eLt} +D^HJ-Y&Qz2"5,b-չERHS{KIRzSw* c:ˬ!Aw@A[fDt`sߨ& #є Jdu~X]Ų! z.)0>'$5qTq~ۯV {q6ݷ %K M4G< ηљwPK! Ǟdrs/downrev.xmlDN1E&CHIGT# D]sifNm\ޜXEݳ#9p;ɀT{p&j'Sұ KsІ0%~b2[1.\|e3Q@:hϯݮq]4 E^B\ X.æF_R~ lvqJ9/&S_PK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!x4ZA*drs/shapexml.xmlPK-! 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Symbolism  anything that stands for or represents something else Allusion  reference to literature, history or the bible   "$C"$$ "$5"$c$  " $( " $"$$H ( 0޽h ? ̙33y___PPT10Y+D=' = @B +"  0N0   p,v (  , ,  x)e0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!W>drs/shapexml.xmlTMo8/HmN@v0#JcAQ"$}$ah}g4CΛ77${a]UA'ǔuݪMA<_)qIDAϋ?13MAޛ|4r|+:>j#lPfdpByl<uUtԾ4k$_[f@XF 0XisԖ=#ßpHezE4qk~ VqG+V4@[/CAj]_7^xKŤY~hl7,MCj~9cA/l~Y.pgY6 8yffr1ܮҤ:5iBɳe 3 ? <_OS@Q^2(R[T-EcՂro)ICy0R5dcOD7tG4o:MLmL ]Ŵ!FŠ`'qH D{/~&#%%u`Y1IMe(g7)ltx-8^?WjV{q6 %K Me -H d48!Dg?PK!Edrs/downrev.xmlDN0EH5HC( uCP*%!&QM,ѹ:`Sw .Grםko.n@DFxG a1?=a b Z>2-Y#ߓKbhxHpk8ˮΥ{oUVq1sX~[U\uٰ4Z\'d}:~NtIPK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!W>*drs/shapexml.xmlPK-!Edrs/downrev.xmlPKp@  e B Poetry Terms  X ,  x-e0e0e?Rectangle 3 e Tone - writer s attitude toward his or her audience and subject matter. Mood  (Atmosphere) feeling created in the reader by the literary work Diction  word choice (including vocabulary used, appropriateness of words & vividness of language.)  "$@"$c$"$?"$$ " $] " $H , 0޽h ? ̙33y___PPT10Y+D=' = @B +" 0N0  0(  0 0  Be0e0e?Rectangle 1026"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!cdrs/shapexml.xmlTMo8/Hm+H dw#0=E٪)RKR_GRv&ey̼73_${alUFGuYMF>?\)IDF/?mS\V6m3uM˷anҦaGFXsA2N ])۵ܯ ˌ&דɘ}Il a2o1|g|ɧ4E Q/jF[w藭`?# xJW![K%"QW;)( 8dt܌of_hV uP/nY t>1WI2F,G8,{b4_#b3Pj)?Sd,V٦pˣC:+%/A;o (Hv3Q d`.=ťGuRˠ?Sf;CI<,Ξ2ݴ̭Trմƺ7fZM~"~e.wGI Bf eAU(S0Z`2\zfEsv/Jݛ]݅K^-ջqŏs)c Yٖ#{Bߞ;q/0߼w\-4χ@lgeXXf)xZ^x*X?`v5uԑTTQX`} "VtUw5Jd' Q=KX֯p|گ[`-`T@, bKo~ `%їHQU_ӝ&ߖ/ybeFВs>`YԘ&s2 56NKnz:_@o b|j~\IK!XtpwL-9<*|[|߶"L.~PK!X\drs/downrev.xmlDJ@0\MJ초"4>m6?fę1M.~2ֲ<A\YrAL .ab >EMC*2v :!FWKᦗ$H-LJzi<|or=ݱEU*u{3=?4qgW^jq/G} Eh rPK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!c*drs/shapexml.xmlPK-!X\drs/downrev.xmlPKp@  e IFigurative Language  0  ~`Ee0e0e?Rectangle 10270P e Simile  comparison using like or as Metaphor  figure of speech in which one thing is compared to something else (no like or as) Personification  giving human characteristics to a nonhuman subject Oxymoron  contradictory terms are combined, as in a deafening silence    " " c " Q" c " 2"   "  ( "   "   "  z 0 NXe?Rectangle 1030   z(Figures of Speech)  not meant to be interpreted literally P=(  <ccCH 0 0޽h ? ̙33y___PPT10Y+D=' = @B +" 0N0   4o (  4 4  x]e0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!N$yOW>drs/shapexml.xmlTn8/@ZU'vEb 豠(VM\r|}IqsX,Z͐3|>tuV|S"u6t1yj&= G?/\V.7zoP5vC GNjԱVRҬm~mI[t>Ap:}Il  ~ C+wnHdj˞QOy(ezE4qk~ VqG1\R -G,}률Piv=eחފuhn!}5A䱠Y6Y.pgY6 8yR&̔Np?I:5}2l')RQ^2(R[T-1jA$e顇:ug_1Wf ":2#ۯF5ΗMP";ƲP* 1 rCj``#VhXU }l.ho㥊&Y f\ Z#@XCV5dShS{܉o[o`Ol՗/'eYf9x\ہ0,O]mT/%V$C*\*Զ;,(QßB{ kS/eoM]RNSp*}J H_m>FŠ@'8GK=E`pM^r[?JXspII݆9)l8&ɼ:ގS~P ދ;a|_H?,9 X2p]0l/ȷ#/Py0|[YPK!mmpdrs/downrev.xmlDN0EH5HS@ uCP*%!&QlӦψ,Gwt=`Sw ƣ 5 71h#G0JW q1GmJ}.e[G'HpkeH{oUVq1sX~[U(_Bay "ѐ/gz2ۧWt1QP~l˦ ?PK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!N$yOW>*drs/shapexml.xmlPK-!mmpdrs/downrev.xmlPKp@  e B Poetry Terms  X 4  xqe0e0e?Rectangle 3p  e Apostrophe  form of personification in which absent or dead are spoken to as if present and the inanimate as if animate. Hyperbole  deliberate exaggeration or overstatement Paradox  statement that seems contradictory, but may be true   " l" c " (" c " 3" c  4 He?Rectangle 4P  xMore Figurative Language.( CCH 4 0޽h ? ̙33y___PPT10Y+D=' = @B +" 0N0   8 (  8 8  xe0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!X>drs/shapexml.xmlTMo6 x-BEb m#0,z,(H;xsX,v}g4C{3sIֵZtiLP\׭ %3U3(Q8yo&wr){FoE'mѶc݌N(<ur4Gk])/?זuA//g:}Il S:ͦYpLqLb)5ývP(ykiJɋe3 8'Y|T=TwK-#iLqZP-%IYzNW4 RvmwR\` 3yD{ a,!+g{g)4۩=E7-w]7X~)![I|@'+-xV%Y4v >7dw}vk@EK зh% ! B2JaОڔ+oنmkue,*J?Re[It0isO4غ%\ӽ/}b5 nLt8&ɼ:oގM~P ދ;a}~XrAd`@{D_ÏĿ`@O}Btf?PK!mdrs/downrev.xmlDN0DHHܨE@Cݪp$lӦћkĎ|+8e k;nn@8& 0M1n%؈ᐣ6>2-Y #nŘoOpkE]I{oVVq6sX~]U(_Bӓaq "oV0_O.Al_%H^AKPK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!X>*drs/shapexml.xmlPK-!mdrs/downrev.xmlPK@  e B Poetry Terms   8  ~te0e0e?Rectangle 4PP e .\Alliteration: Repetition of initial consonant sounds. Assonance  repetition of vowel sounds followed by different consonants in two or more stressed syllables. ( weak & weary ) Onomatopoeia  words in which sounds seem to resemble their meaning. use of words that imitate sounds (whirr, buzz, sizzle) /  ' a  ^   a 5 6 "   c  H 8 0޽h ? ̙33y___PPT10Y+D=' = @B +"  0N0   < (  < <  ~e0e0e?Rectangle 1026"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!X@drs/shapexml.xmlTMo8/HQNEb Q"$}$ah}g4C{3s(Fg|qș”dgΓ.I-3~^M;w-emƷ޷l}4԰U6͠I#Pp:h|>o6Ha.3>\\SR l4OwMع>?QO0mffE@ykyJ*]kن\-+Q!z:__7^xźi~l/nhn!j.MvȀy6'.0M> %Ls31.r2̓!c_8{ݿYрz4 54=5K"g^͸𖳤,=PiZ+"jZ+ٖoс+QM@G?-<2,0Ԑ]Ų!bUꉊ>퓿oe r-̲͸@ \+³=lv;{ط ߬ZtKeآ_N=8)XjSئ9x\۞04OuMݘug\/9$C"\k;;m(q_B{S/Uo1U]JR|'t8J/Ψ #naIK !isOYUػ%\36ߖϬP}2㟮%ge`Ƴ1KMU(g7)ltxvv+ݳՅz9^\ ~|AR2 \0l/طc/Py0dz!vPK!edrs/downrev.xmlDN0EH5HCţUA!h‚O~Diӿg;:|F(; 5 g1h#0M1~JU q1GmJ}.e[G'Hppk8ˮqC=ݷTooq6sX^-TuɰhHo/g`|qy7OcؖMA~PK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!X@*drs/shapexml.xmlPK-!edrs/downrev.xmlPK  e B Poetry Terms  i <  ~бe0e0e?Rectangle 1027 p e 7Verbal Pun (play on words) Sarcasm Situational DramaticD       <  ~e0e0e?Rectangle 1029  e BTypes of IRONY $H < 0޽h ? ̙33"  0N0   @ (  @ @  xe0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!d]W<drs/shapexml.xmlTMo6 x-yp[(DZSJR_GRq9ŮP3y3w_NdGalUG UV}^8TIR+_څm+hSw] ؋' _MC[FX9$j 'jŗJvkU<e?c5$ `I> .BKi~)A%#ԫ={c^Pig|oPz,ힹs vRp?|4c4nxՆiqLwUŐz2 97I2vZc40F "Pf.Ag:?8xjiً!nȀ6x h.lƷsɯ=kVZH53aMKn𡾚X|L˼ ΣԊ@Ǎu^ذDKu;Q$)AfajCYP! ex <"PL;{3kϽxA`J+wdZhdջq :j۩ "Qٶ+vyn-w}#JS 6׋F#&ZqGi67-f]S7[IE)k nAD؊!]RjY8;_'姦_a5ZW[IAS**/V˺of(|>a@0QU şѝ&ۗ/,yy!9+k; -FY|aNnYCCo}ۨ^Σ)5n'}p~pDݒ~ ?Q;VgiӶPK!wdrs/downrev.xmlDMO0DHkQ uBAI%&Qud&X8b8c rZf|q"Ddcp 3.PZ$ 541jb8u;-}-!m'[N P/jk^ƼxrHcՠ/hVw7 v//ߚC$!%$ rPK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!d]W<*drs/shapexml.xmlPK-!wdrs/downrev.xmlPKp@  e DReading A Poem f @  xde0e0e?Rectangle 3P e ,First Reading: Read the poem all the way through. Get an overall first impression of the poem. Write a sentence or two response stating your immediate reaction to the poem. (These are your first thoughts and feelings)6  $H @ 0޽h ? ̙33"  0N0 c [ D (  D D Hde?Rectangle 50  Second Reading: Read the poem again  out loud. Read slowly, word by word, watching punctuation, spacing and special treatment of words and syllables. Notes the usage of sound devices- alliteration, rhyme, etc.. Attempt to guess what the poem is trying to say.T0 Z0  ZC C C$ D N e?Rectangle 4"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!gYdrs/shapexml.xmlUMo8/u#U$Xˆ(kH}NbQ ̛ǙOa;vCΔv]o/g! [ *Q>2la|c; ܨFUkAUP6D;Uɒ_wKtUh0V4$0b>ONnCE,{ f9ԽnQ #e@ |7Y*`]t(Jo.E⸺fϮg c6p:D&~ss3$ hr=$>ĿK q*T=HyKY\Jiaؾ pFFgF7`XM % m%ţKa%(WSo4U_ojasWA02s_GM2 ޅLzk[A5f JJ/\HGjzOoxOJgceJXvV"U+ʥl'Bǃ?ղ{4@Ėl.P+To2,JHb`v5qL**.WVPu+"E}3VdqU>]$BR@{VRpW7}&ʍNWn靫M|4J ԰<>OyĂ3JBu zyNI3~NcT{V? )3T*3fɢ!h}Vr896i'۟V6VBGhV(7 hN!ტƧV?{Dh~ZgVw1`$F;&%:)wPK!drs/downrev.xmlDN0EH5Hl*j!T X6IbmX;:Wg]/F zְZ*ĵ7[ oOWk1!=#Em6X?qIcZ! Х4Rƺ#q5>8L9VS^^+u+Z QU8 xžcbhN<z5nV*4/`M1QА/Y6PK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!gY*drs/shapexml.xmlPK-!drs/downrev.xmlPKp0@ `Reading A Poem" G,f H D 0޽h ? ̙33"  0N0  { H (  H H  xe0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!GW<drs/shapexml.xmlTMo6 x-yp[(DZSJR_GRq9ŮP3y3w_NdGalUG UV}^8TIR+_څm+hSw] ؋' _MC[FX9$j 'jŗJvkU<eoGI™YD ;)X}X&` P3-Ni~ROf!t<&IfN qr:&cP b4ƈADʌڅ;=O2QgOA"m^9{1?&Ty>ͅv`c=GuJ pY9}imT>WOi7yٞZ踱K~.sg<ʟ$%L?Lm( 5d6lOGPjUIrv\z<{|/h![iáW z7~AGm;U AXz=*±#y.:ATcû8޼[I| ]z1(yD !6-E\kF#8B|0!-[1KB ?@M}P: ga? }Ԕ#l=߲7F*ضq+)(qJW׵jYcrpŘ': (|& #3sd3OT BrV־w.[2œ d7m/w.mQTGᅁ[QR~kHO8(l_%;~0|ߣvPmPK!cdrs/downrev.xmlDN0DHHܨH Vm -6ۑ4cqhFotL>*Nd+[[+?=Vc,)Pjv-\r-"Ć 4}&e2&'9F_Kqp4IƇ{4To`ޞWyw%[+u{3@0?!9W~ //WlPK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!GW<*drs/shapexml.xmlPK-!cdrs/downrev.xmlPKp@  e DReading A Poem f H  xTf0e0e?Rectangle 3` e (Third Reading: Identify the type of poem. What is the literal sense of the poem? What is it about? What does the poem say about its subject? Look for figurative devices: metaphors, similes, personification, symbols, etc..  $H H 0޽h ? ̙33"  0N0   L! (  L L  xe0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!_W>drs/shapexml.xmlTn8/@Hm@v0#JEQj䒔cT7h}!{t$9Z :0D(Vm jALLj% z~Zۭɝ!8\n 䣑;1AknG 'g:9٨cK\`ƒI6QXOV 0Xkw#`j^P78Z2AN!V]+V2@[/cAf6n)7b,?6U[!H=[\/TЫ,[`;|>Ϧ!#b2~QBLL>!MY[HWJ^,Y&Vf2<^zK껕Q48n-(YyC3̯Uix f &;1#b;_m""\"/ I|6:fױlOѐPZUE̪u>S`kuoF+UjpHtԦW 2P97ܓ JᱝeĽhw p{ ު_I|V}z6PyC<,O;ik;M uĈ{x l )B2Z*drs/shapexml.xmlPK-!adrs/downrev.xmlPKp@  f BAnalyzing A Poem  L  xf0e0e?Rectangle 3`  f :Using the hand out given to you, ( How to Explicate a Poem ) answer the questions about the following two poems: 2s  s$H L 0޽h ? ̙33"  0N0 x p P (  P P  xDf0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!hBPSDdrs/shapexml.xmlTMo6 x-v$ȋ@F`D^$֚"Yr}C*ǡX@ 9CΛ77b{|kt?92u79?k9?J?f2\>9߆`W[ XkDmFI/u:5WNvH+X&hb$`Xj0GNDb˾x>yL&A)"+7$\dik;M"K}{XJ&}5\uB"JT'4M>˿V-Mߨ[9c(.,©4ܷJ҉70F3ZpJ6 F.8+w#J9mmi/KTl&6} 8[~L~cŁۈ };S^|R$E?(*?w)aξƏџ(HXQX-יwPK!>drs/downrev.xmlDN0@w$:$6ꐡnUPH!) 5:ic;M='|9^(; ۗ1{G .acUt,q@mJC!elZ'~ lc0R<2ϲ9@-5*=Wћ:{S*u{3A$_՛drs/downrev.xmlPK ` f GNothing Gold Can Stay  P  xd%f0e0e?Rectangle 3`  f Nature s first green is gold, Her hardest hue to hold. Her early leaf s a flower; But only so an hour. Then leaf subsides to leaf, So Eden sank to grief, So dawn goes down to day. Nothing gold can stay. -- Robert Frost   H P 0޽h ? ̙33" 0N0 T (  T T  x`2f0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!KV?drs/shapexml.xmlTn8}/@H@F`D)1(VM\r|}IŹ<,6@fs˾d'k*)%Bq]j]7'8TͤV?.M r){FoD'mѶcW+Py(;=:*:SjW ݭ,ifgӌ: R€c `-{DopZ2FL V?n]Ԁl?br1egc /ɺ4iBϦ`<| Y.ͲIsǓ8$,2/**$<*%o_,XhO&er6p5k껅fLqZP-%b9JDG?'XacjcZP2 . rCjL`\c#WhYU> }l6h寢S\Y jq@z q,3|=ٱP)4۱^[\sWE{U~( -xVjlܭP0,O]m"T%6$C߂*L* Զ[(QÞB{ [SO[evoԭM]RN)U8iL /N˶#oaC qbX'E^rS?J|:RRatL[6K%:9GM~J Ǿa|~H?,8N!XRpNߦ9yxx 8:>D88 Ηљ/PK!FDt}drs/downrev.xmlDMO0DHkQ*V8$oK{,p|9^(D㝂I\qDdt{H",gs,?5"A\,PA<RƦ#qr`S  n{gTZ4.=t8cG; fMo?U)W F7Ej4A^N_ #SPm2PK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!KV?*drs/shapexml.xmlPK-!FDt}drs/downrev.xmlPK`  f DWish You Were Here  T `9f?Rectangle 3}P`  rThey kissed goodbye at the terminal gate She said you re gonna be late if you don t go He held her tight, said I ll be alright I ll call you tonight to let you know He bought a postcard, on the front it just said heaven With a picture of the ocean and the beach And the simple words that he wrote her Said he loved her and they told her How he d hold her if his arms would reach Wish you were here, wish you could see this place Wish you were near, wish I could touch your face the weather s nice, its paradise It s summertime all year and there s some folks we know They say,  Hello, I miss you so, wish you were here. <spc" " :4 H T 0޽h ? ̙33"k 0N0  X(  X X  ~Pf0e0e?Rectangle 1026"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!FU[Bdrs/shapexml.xmlTn: }pA%$ mn";ǂċ,Jrw$yiևa+P4)gK*LՌV/(n[AwrB>vܱEvRppH8_Me1zzm4溪BOf!<d6i.0OdFaDB1v<9~AN$AF90 gφ#WF1RsA_N(ܒ[T, *j g8Au%RY[xW_Mk{ljkBhPK!Ѩ/drs/downrev.xmlDN0EH5HC"uC<It7؎M,չ:dqw gru OW "8xG Na8?cth b z汔2=Y3?KbxLp;< iѸH=*{xޯVU??RbZ݃`\~1/U+ȋ"/@^N`t)(H~6\PK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!FU[B*drs/shapexml.xmlPK-!Ѩ/drs/downrev.xmlPK`  f DWish You Were Here Z X  Sf0e0e?Rectangle 1028 f  She got a call that night, but it wasn t from him It didn t sink in right away, Ma am the plane went down Our crews searched the ground No survivors found she heard him say But somehow she got a postcard in the mail That just said heaven with a picture of the ocean and the beach And the simple words he wrote her Said he loves her and they told her How he d love her if his arms would reach Wish you were here, wish you could see this place Wish you were near, wish I could touch your face The weather s nice, its paradise It s summertime all year and there s some folks we know They say,  Hello, I miss you so, wish you were here. -- Mark Wills L0 Z0Zc"H X 0޽h ? ̙33"  0N0   0\ (  \ \  x4B0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK! vU=drs/shapexml.xmlTMo8/H%vEb 豠(VM\r>X>C͐=~:tuV|S"u6p1yj&= G?-V.7zoP5vck7#c3DMQZEJK%m ,2DidJGC\:€c `S[ Aˢ rĝe+XgE?*@ X̖Jz)( Moj8q[.Cc߅enB z1f 6ŏ#b2.)b24ýtH$u<$@gxdɮfSl칧:[jEcւro)I +UBC5:|¬!v`Q[fD `AظMDK?Q&)QƲP* )rCj`4ܠ#WhYU}l.h⡊:Y n Z#AX*g{gA)"U_qsHI݆9mmYҗel&g7)Cũxvwl+5(] CBaww6IkdGX>VmtfPK!hdrs/downrev.xmlDN0EH5HPIVCIa7ēۑmZYā|Up=@m`}YRps펶C[rT8R#aF F>}+# oV-/t8CG6 |M*[](uy6 R)Us|6h^N_%H^q-SPK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-! vU=*drs/shapexml.xmlPK-!hdrs/downrev.xmlPKp  f APatterns/Sounds  \  xf0e0e?Rectangle 3| fXP___PPT92* \How many stanzas are in the poem? What is this grouping called? How many lines are in the poem? What is this grouping called? Does the poem rhyme or use free verse? If the poem uses rhyme, what is the rhyme scheme? What is the meter of the first two poem? 0 " ( H \ 0޽h ? ̙33"-  0N0   @`E (  ` `  xxf0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!n\T5drs/shapexml.xmlTn6?Yۊc;BEb m#0,z,(H;_GRxs(]fyg>;IºVN>)Uۂ~yyZP!MY[H7J^-Y&Tv2<^zK껕Q48n-(YyC3̯Uix /f &;O1#b;_m""\"/ 'I|6:fױlѐPZUEªm>S`k`F+UjpHtԦW 2P97ܓ Jᱝeăh>w p{Ul> #-xV%Y67v>7f}vkHEK nADJ!}AR j=e( C Qy cSo⏸ |6 Xhί`S*J H_m>Fˆ`'q/D`ₓpD^rWJ^@GJ6ynI_V甏ݱKۯՠTv|wq6ߺW}p}pp7Ib$_wc5Xߧ LgPK!4drs/downrev.xmlD1O0Fw$uHlԡ@ՆUA*CR#:Qsd&X 0}zh;q$Z '閍D;ǤD֫% \ұF$ 41nb8c:䶓,I-{zl>TV)~bQօRD1?WUmujMA_N_%H^AK\PK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!n\T5*drs/shapexml.xmlPK-!4drs/downrev.xmlPKp@  f 9Imagery 5 `  xf0e0e?Rectangle 3 f`X___PPT9:2 What sensory details does the poet provide? 2. Give examples of any sensory images used in the poem: sight, sound, touch, taste, smell. N, " ^ ,$$["$ H ` 0޽h ? ̙33"J 0N0   Pdb (  d d  x8f0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!X!T6drs/shapexml.xmlTn6?Yۊc;BEb m#0,z,(H;_GRxs(]fyg>;IºVN>)Uۂ~yyZP!MY[H7J^-Y&Tv2<^zK껕Q48n-(YyC3̯Uix /f &;O1#b;_m""\"/ 'I|6:fױlѐPZUEªm>S`k`F+UjpHtԦW 2P97ܓ Jᱝeăh>w p{Ul> #-xV%Y67v>7f}vkHEK nADJ!}AR j=e( C Qy cSo⏸ |6 Xhί`S*J H_m>Fˆ`'q/D`ₓpD^rWJ^@GJ6ynI_V甏ݱKۯՠTv|wq6ߺW}p}pp7Ib$_hxTc5X LgPK!]drs/downrev.xmlDN0HQ V ?吔 %&:M=z\j>b5N |kYl nV{YcgjyyL#4Q>CM}&2觶'loOWK妓7IJ-Dž{4Tk-C^URWq"8|m?SؒSӗku>Sbm PK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!X!T6*drs/shapexml.xmlPK-!]drs/downrev.xmlPKp@  f :Language  P d  xhf0e0e?Rectangle 3` f<4___PPT9 @Are there any  plays on words? (Writer uses words to make puns or riddles; Uses two different meanings for the same word.) Does the writer use any figures of speech: metaphors, personification, similes? Give examples of these. Are there any inferences in the poem? (Words or lines where the reader has to figure out what the writer is talking about without directly stating it.)} " }H d 0޽h ? ̙33"1  0N0   `hI (  h h  xf0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!}S6drs/shapexml.xmlTn8 x]U'vEb R(VM\r|}Iqs(zr޼ǙNժcJnզ/8TͤVG_nL arSЭ&ߊ_mn {=ZFј⸵[Jfu0R!4TcO/LhvteF_9$?DDD:_#MMm, u̮b0!7fw}vkHEs nADJ!}AR je( C Qy cS/߸ |6 [[h/`S*}J H_m>Fˆ`'qϣD`ₓpD^r[?J0mhݖ͒$=0/c39N)/Nųck_A>m'w_/{,9{no~AK+djA,PK!drs/downrev.xmlDN0 @HCdX:+˦1u4^[$U8~ֳb5VC㬂8Atn{}"D[gI L;ٜ"V%6K eMud7yO,7I[iƎ65(?>wYߊejX?4cfU/[90xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!=Ldrs/shapexml.xmlUMo8@H8nĀw aH-%)Tb-VyǛ7χV*79U6]}yRIDƏϓ=3 ޛ`Zk#tkm[8XAKR,l²B.[W"RHb#Aord$SYڣ‹<XrzZ#xVkA w|U!Ր?d/Gwd o:']'4. tm_8[BY,_jwC칦8רj!UkKo9KKs2ju~uaABu^рvsN? ʯzNС< aDQELUĪK}'{Asd޵V1^*ȅna^TƕJvѩ2r\(t:a;"'(ZF-%Dg&PK! drs/downrev.xmlDN0 @HCd$n,!e4v\k6I{,p7_{ N$AN{ӺZb"&t{H",'s̍?UK\QAҐKuC|x 4,ʲiu| mo?UQ*.:?W Um \OZSbLp2PK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!=L*drs/shapexml.xmlPK-! drs/downrev.xmlPKP  f NSUBJECT/MEANING "  e l  xf0e0e?Rectangle 3| fXP___PPT92* 9What is the subject of the poem? How do you know what the subject is? What are the themes of the poem? What is the poem trying to tell us? What is the setting or mood of the poem? Give an example that shows the mood. 6 " $"H l 0޽h ? ̙33"  0N0  ~ p (  p p  xxf0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!Ʉ9drs/shapexml.xmlUKo8/H8nĀw0rDY)KR~#NŢՁ d{a]Uo_s&TVm3eę*Zg`0'znآ_ig,Hզ)XSDt]ߵ&Pqƅc=-("ZIϸl*GeA+'TXN}G6-۰le#:?TTzJ:78-*\F"@'BoD]cD^ؼ]SO#gUF`w,5qg pG~J!}ZM%0y}>XtM ǞŁuG3YP!DMg,}a+(8uWtf PK!@drs/downrev.xmlDN0HHܨSP uTzHʅo6}{,p\j>b5^);I\u猂Ddt{H" ̵?$.樠er)cݒ8,r::)m/o^Z\Zhq}u ^~GE # 7ujͦw wt)(H}6QPK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!Ʉ9*drs/shapexml.xmlPK-!@drs/downrev.xmlPKP  f ;SPEAKER   p  xh0e0e?Rectangle 3| fXP___PPT92* Who is the speaker in the poem? Who is the speaker addressing? How can you tell who the speaker is addressing? Do we learn anything about the speaker? 0 " p' H p 0޽h ? ̙33"V  0N0   tn (  t t  x8h0e0e?Rectangle 2"PK!Zf[Content_Types].xmlMO &2WR=cJ`F0iK`#̼vLw 9uSq:w`G ^i ½KI)c/ $oVjTMRc|}042ҥCƔM̏P~*ka/8^DkHbL8e i"K\XN\6rco4y@_;oPK!1_a _rels/.relsj0 ѽqCNo^K [ILcX&m߾0XFo;>0xM e`|X}đ I`߽N4aG2$RKIZ)4(M9`ctB{m:f@`3n|O,ܗr޾jxR0T ,0@}WBLǬ5vPK!ؼ!drs/shapexml.xmlTO8_˯'+ HTn U=I:vvJء ~qqo)k2yX eJ[5fo7GR@"mrǧn;ϺLnBf/7%v@V[R֣)LGZjÔ1UVN4bNNP wDkXҖ[?CLCC*'ixSWǍ5b/ʱt:DDLNxz:j%AZr˘6H $TE*US?3!+Zkք ¼A'ܕUoJ8Hk]*W꘿yƵ뾨OUGoB}y4-GT Tj h,@v۷Mk7 TdIeXD@} VR3ikCcHIUC=qex9YY[7l嬭#۰ЊS>iNnMŗ7^ r}\[Hk5`Ol7գ(t_稣Uãs`0mT_,8Lޭ˛ pG~iJ@Ǿ[~?ҁL;$(;A.8Ã?zF^v!HPK!3 drs/downrev.xmlDMO0 @Hvc)h,6T>$Ж 7ӸZTIֳ6b$:g\/d+;((V BDw)n;`4,!EmC*eZ2n ˬv`7R{<&Izh:Ft,{9F1_L崿iXtU/[[~~>N"yǵLAnPK-!Zf[Content_Types].xmlPK-!1_a /_rels/.relsPK-!ؼ!*drs/shapexml.xmlPK-!3 ydrs/downrev.xmlPKP  h ? Your Response  t  x8#h0e0e?Rectangle 3| hXP___PPT92* _How does the poem make you feel? What is your opinion of the writers use of subject, words and imagery? What would you change about the poem? What is the most important image in the poem? Why? What is the post important word or phrase in the poem? Why? 6 " <"H t 0޽h ? ̙33"rş&o)&3[A&PG`o)ٕȣe,y< I@Uco=|Chy*3S` f  0 Oh+'0 `h   PowerPoint Presentation S. Titus infinity56Microsoft Office PowerPoint@P.@Ply@),ՄmGl g  & WMFC lx  EMF /8}U HF(GDICx!b $$==^t$0T ( B$% % V0xx x % % $$AA( " FGDICF(GDIC 6FGDICRp@BComic Sans MS_U!7TDMEM0@h0DMEuU0 00- 0uU0uK0(v 0- 0d8E0|`0Comic 8Ddv%    T9"g/ Br B9- L`Lecture 2 % ( F(GDIC8TFGDICRp@BComic Sans MSHH8T0 0dv@vPL@v(8v@v PLvkv  H 0|`0@BComic Sans MS((dv%    T"9F Br B"DLxClassification of the  % ( Rp@BComic Sans MS_U!7TDMEM0ph0DMEuU0 00- 0uU0uK0(v 0- 0d8E0|`0Comic \Ddv%    T&EzR Br B&PLpEnglish Vocabulary % (   x-B( B$--$xx--'@BComic Sans MS??-. 2 -9 Lecture 27."System????????????????-@BComic Sans MS??-. (2 D"Classification of the .-@BComic Sans MS??-. "2 P&English Vocabulary.-՜.+,D՜.+,D    FCBOEn-' 2Times New RomanArialComic Sans MSCalibriDefault Design Lecture 2English VocabularyColloquial layerCommon Colloquial WordsSlang  6 Jargonisms Professionalisms Dialectal words Vulgar words Literary layerCommon literary wordsTerms Archaic WordsBarbarisms and Foreign Words Neologisms Poetic Words 18Types of PoetryTypes of PoetryVerseRhyme Poetry Terms Poetry Terms Poetry Terms Poetry Terms Poetry TermsFigurative Language Poetry Terms Poetry Terms Poetry TermsReading A Poem 33Reading A PoemAnalyzing A PoemNothing Gold Can StayWish You Were HereWish You Were HerePatterns/SoundsImagery Language LanguageSUBJECT/MEANING SPEAKERYour Response    - 8@ _PID_HLINKSAD_ftn1Root EntrydO) iq*PicturesCurrent UserGSummaryInformation(%_m 4<8=8AB@0B>@  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~      !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~Root EntrydO)PicturesCurrent UserSummaryInformation(PowerPoint Document(DocumentSummaryInformation8