HERE'S SOME USEFUL INFORMATION ABOUT READING POETRY.
DON'T SKIP IT! TAKE THE TROUBLE TO STUDY IT BEFORE YOU READ "THE RAVEN"
How to Read a Poem
LISTEN TO THE POEM "THE RAVEN'':
DON'T SKIP IT! TAKE THE TROUBLE TO STUDY IT BEFORE YOU READ "THE RAVEN"
How to Read a Poem
There’s really only one reason that poetry has gotten a reputation for being so darned “difficult”: it demands your full attention and won’t settle for less. Unlike a novel, where you can drift in and out and still follow the plot, poems are generally shorter and more intense, with less of a conventional story to follow. If you don’t make room for the experience, you probably won’t have one.
But the rewards can be high. To make an analogy with rock and roll, it’s the difference between a two and a half minute pop song with a hook that you get sick of after the third listen, and a slow-building tour de force that sounds fresh and different every time you hear it. Once you’ve gotten a taste of the really rich stuff, you just want to listen to it over and over again and figure out: how’d they do that?
Aside from its demands on your attention, there’s nothing too tricky about reading a poem. Like anything, it’s a matter of practice. But in case you haven’t read much (or any) poetry before, we’ve put together a short list of tips that will make it a whole lot more enjoyable.
But the rewards can be high. To make an analogy with rock and roll, it’s the difference between a two and a half minute pop song with a hook that you get sick of after the third listen, and a slow-building tour de force that sounds fresh and different every time you hear it. Once you’ve gotten a taste of the really rich stuff, you just want to listen to it over and over again and figure out: how’d they do that?
Aside from its demands on your attention, there’s nothing too tricky about reading a poem. Like anything, it’s a matter of practice. But in case you haven’t read much (or any) poetry before, we’ve put together a short list of tips that will make it a whole lot more enjoyable.
- Follow Your Ears. It’s okay to ask, “What does it mean?” when reading a poem. But it’s even better to ask, “How does it sound?” If all else fails, treat it like a song. Even if you can’t understand a single thing about a poem’s “subject” or “theme,” you can always say something – anything – about the sound of the words. Does the poem move fast or slow? Does it sound awkward in sections or does it have an even flow? Do certain words stick out more than others? Trust your inner ear: if the poem sounds strange, it doesn’t mean you’re reading it wrong. In fact, you probably just discovered one of the poem’s secret tricks!
- Read It Aloud. OK, we’re not saying you have to shout it from the rooftops. If you’re embarrassed and want to lock yourself in the attic and read the poem in the faintest whisper possible, go ahead. Do whatever it takes, because reading even part of poem aloud can totally change your perspective on how it works.
- Become an Archaeologist. When you’ve drunk in the poem enough times, experiencing the sound and images found there, it is sometimes fun to switch gears and to become an archaeologist (you know -- someone who digs up the past and uncovers layers of history). Treat the poem like a room you have just entered. Perhaps it’s a strange room that you’ve never seen before, filled with objects or people that you don’t really recognize. Maybe you feel a bit like
- Don’t Skim. Unlike the newspaper or a textbook, the point of poetry isn’t to cram information into your brain. We can’t repeat it enough: poetry is an experience. If you don’t have the patience to get through a long poem, no worries, just start with a really short poem. Understanding poetry is like getting a suntan: you have to let it sink in.
- Memorize! “Memorize” is such a scary word, isn’t it? It reminds us of multiplication tables. Maybe we should have said: “Tuck the poem into your snuggly memory-space.” Or maybe not. At any rate, don’t tax yourself: if you memorize one or two lines of a poem, or even just a single cool-sounding phrase, it will start to work on you in ways you didn’t know possible. You’ll be walking through the mall one day, and all of a sudden, you’ll shout, “I get it!” Just not too loud, or you’ll get mall security on your case.
- Be Patient. You can’t really understand a poem that you’ve only read once. You just can’t. So if you don’t get it, set the poem aside and come back to it later. And by “later” we mean days, months, or even years. Don’t rush it. It’s a much bigger accomplishment to actually enjoy a poem than it is to be able to explain every line of it. Treat the first reading as an investment – your effort might not pay off until well into the future, but when it does, it will totally be worth it. Trust us.
- Read in Crazy Places. Just like music, the experience of poetry changes depending on your mood and the environment. Read in as many different places as possible: at the beach, on a mountain, in the subway. Sometimes all it takes is a change of scenery for a poem to really come alive.
- Think Like a Poet. Here’s a fun exercise. Go through the poem one line at a time, covering up the next line with your hand so you can’t see it. Put yourself in the poet’s shoes: If I had to write a line to come after this line, what would I put? If you start to think like this, you’ll be able to appreciate all the different choices that go into making a poem. It can also be pretty humbling – at least we think so.
- “Look Who’s Talking.” Ask the most basic questions possible of the poem. Two of the most important are: “Who’s talking?” and “Who are they talking to?” If it’s a Shakespeare sonnet, don’t just assume that the speaker is Shakespeare. The speaker of every poem is kind of fictional creation, and so is the audience. Ask yourself: what would it be like to meet this person? What would they look like? What’s their “deal,” anyway?
- And, most importantly, Never Be Intimidated. Regardless of what your experience with poetry in the classroom has been, no poet wants to make his or her audience feel stupid. It’s just not good business, if you know what we mean. Sure, there might be tricky parts, but it’s not like you’re trying to unlock the secrets of the universe. Heck, if you want to ignore the “meaning” entirely, then go ahead. Why not?
Poetry is about freedom and exposing yourself to new things. In fact, if you find yourself stuck in a poem, just remember that the poet, 9 times out of 10, was a bit of a rebel and was trying to make his friends look at life in a completely different way. Find your inner rebel too. There isn’t a single poem out there that’s “too difficult” to try out – right now, today. So hop to it. As you’ll discover here at Shmoop, there’s plenty to choose from.
Sources:http://allpoetry.com/column/2339540
http://academic.reed.edu/writing/paper_help/figurative_language.html
http://web.uvic.ca/wguide/Pages/LiteraryTermsTOC.html#RhetLang
http://www.tnellen.com/cybereng/lit_terms/allegory.html
Sources:http://allpoetry.com/column/2339540
http://academic.reed.edu/writing/paper_help/figurative_language.html
http://web.uvic.ca/wguide/Pages/LiteraryTermsTOC.html#RhetLang
http://www.tnellen.com/cybereng/lit_terms/allegory.html
Edgar Allan Poe (1809 —1849)
"Edgar Allan Poe is dead," read the obituary. "This announcement will startle many, but few will be grieved by it. The poet was known, personally or by reputation, in all this country; he had readers in England, and in several of the states of Continental Europe; but he had few or no friends; and the regrets for his death will be suggested principally by the consideration that in him literary art has lost one of its most brilliant but erratic stars."
That incredibly nasty appraisal ran six days after Poe was found, disheveled and unconscious, in the gutter of a Baltimore street. Poe lived, barely, for four more delirious days before dying of causes still unknown. The obituary was written by his greatest literary rival, a man named Rufus Grismold. Griswold, not content with his handiwork in the obituary, also published a libelous Poe biography full of lies shortly after the poet's untimely death. Add all that to the tall tales that Poe told about himself during his lifetime, and you might begin to understand how Edgar Allan Poe has become, in death, one of the best-loved but least understood writers in American literature.
Poe was a master of the short story and narrative poem. He had a gift for suspense and delightfully twisted plots. But his real gift was his ability to understand that part of our psyche that craves the macabre. He could see into the darkest corners of the human mind. As a man who lived and died in poverty—and as a man whose loved ones perished one by one of consumption (a.k.a.tuberculousis)—it's possible that Poe knew those dark places so well because he had so often been there himself.
Not that Poe was all serious. He described his stories as "half banter, half satire." He wrote spooky stories in part because he knew they would sell. He sometimes veered into sensationalism for the sake of being sensational, and did so with a winking acknowledgement to readers that he was writing schmaltz on purpose. Though he professed to be in the writing business just for the money, Poe nonetheless changed American literature forever. You don't need to look much farther than today's bestseller lists to see that America still loves a good suspense story. According to Steven King, who knows a thing or two about telling a scary story, he and his colleagues are all "the children of Poe."
That incredibly nasty appraisal ran six days after Poe was found, disheveled and unconscious, in the gutter of a Baltimore street. Poe lived, barely, for four more delirious days before dying of causes still unknown. The obituary was written by his greatest literary rival, a man named Rufus Grismold. Griswold, not content with his handiwork in the obituary, also published a libelous Poe biography full of lies shortly after the poet's untimely death. Add all that to the tall tales that Poe told about himself during his lifetime, and you might begin to understand how Edgar Allan Poe has become, in death, one of the best-loved but least understood writers in American literature.
Poe was a master of the short story and narrative poem. He had a gift for suspense and delightfully twisted plots. But his real gift was his ability to understand that part of our psyche that craves the macabre. He could see into the darkest corners of the human mind. As a man who lived and died in poverty—and as a man whose loved ones perished one by one of consumption (a.k.a.tuberculousis)—it's possible that Poe knew those dark places so well because he had so often been there himself.
Not that Poe was all serious. He described his stories as "half banter, half satire." He wrote spooky stories in part because he knew they would sell. He sometimes veered into sensationalism for the sake of being sensational, and did so with a winking acknowledgement to readers that he was writing schmaltz on purpose. Though he professed to be in the writing business just for the money, Poe nonetheless changed American literature forever. You don't need to look much farther than today's bestseller lists to see that America still loves a good suspense story. According to Steven King, who knows a thing or two about telling a scary story, he and his colleagues are all "the children of Poe."
BEFORE YOU START STUDYING THE POEM "THE RAVEN" READ POE'S ESSAY "THE PHILOSOPHY OF COMPOSITION" AND USE THE STUDY GUIDE.
THE RAVEN
LISTEN TO THE POEM "THE RAVEN'':
Read the poem "The Raven" (pink booklet pp.76-82) and get ready to discuss it in class.
The first links to consider Study Guide The Raven & Explaining the Raven
Also read:
The first links to consider Study Guide The Raven & Explaining the Raven
Also read:
THE RAVEN(1)
THE RAVEN(2)
WIKI
THE RAVEN(2)
WIKI
DISCUSSION QUESTIONS
“The Raven” Edgar Allan Poe -- Reading Comprehension
1. What is the gothic literary genre? What are its
characteristics?
2. What is the
setting of this poem? (Time of year and place)
3. Whom is the speaker mourning in this poem?
4. What is the speaker’s first reaction to the "tapping” at his door?
How does it change in the fourth stanza (line 19)?
5. What does the speaker discover when he first opens
the door?
What does he then discover outside his window lattice?
6. What word does the Raven continue to repeat? Why is this significant?
7. With what emotion does the speaker first greet the
Raven?
8. How does the speaker’s attitude toward the Raven
change throughout their encounter?
9. Reread lines 85-90. What does the speaker want the
Raven to tell him?
10. What does the speaker order the Raven to do in the
second to last stanza?
11. At the end of the poem, what does the speaker mean
when he says the Raven “still is sitting” above the door? (Literally and
figuratively)
12. What does the Raven finally come to represent?
13. How are the elements of gothic literature evident
in “The Raven”?
Literary Elements as applied to “The Raven”
SETTING
•
How did the poem begin?
•
Where was the speaker?
•
What types of images did the speaker draw for us?
•
What time of year was it?
•
What type of atmosphere did the speaker make us feel?
•
What type of character was the speaker?
•
What connection can we make between the setting and the speaker?
TIME
•
How long did the poem take place? A day, week, etc.?
•
What reference does the speaker make to the Raven?
•
What physical objects help to define the time period?
•
When was Poe's time?
PROTAGONIST
•
Who is the main character?
•
What do we know about him?
•
By the conclusion of the poem, is he a static or dynamic character?
ANTAGONIST
•
Who is the ‘bad’ character of the poem? Why?
•
What does it do to the speaker?
•
By the conclusion of the poem, is he a static or dynamic character?
CONFLICT
•
Man vs. Nature (symbolism of Raven)
•
Man vs. Self (power of the mind/imagination)
POINT OF VIEW
• Who tells the poem?
CLIMAX
•
Where does the speaker's imagination take control of his mind?
THEME
•
If someone is dead, are they dead in all ways?
•
How do you relate to the story?
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