Fudhail Bercerita episode 3

Hi, Welcome again to this blog!
I am the host of 'Fudhail Bercerita.' I'd like to tell  about episode 3 of this project. It tells about another extraordinary profession. It is about teacher. It is not easy to be a teacher but some people let themselves to do that. 

Here, Fudhail 'the host' interviewed one of the young teachers who is still studying at Faculty of English Teaching Department from  Christian University of Indonesia. She is not only a young and nice English teacher but she is also a good actress, she can play her role well. Just look at her performance there.

So, don't wait for nothing, just watch this episode and give a comment and press 'like.' Thanks

Poetry Meter

Poetry meter - so what?

Meter is a way of measuring a line of poetry based on the rhythm of the words. But why should you care?

• As a reader, knowing about meter helps you understand how a poem is put together. You can see what rules the poet was following and how he or she used or went outside those rules. This lets you guess what was going through the poet's mind.
• If you want to write poetry, knowing about meter will make you a better poet. First, it helps you understand what poets have done in the past, so that you can learn from them. It allows you to use traditional forms such as sonnets. Even if you prefer to write in free verse, you should learn about traditional forms. Being aware of traditions gives you more flexibility to use aspects of them when you want to, or to "break the rules" in a more interesting way.

Poetry meter - stressed syllables and the iambic foot

Meter measures lines of poetry based on stressed and unstressed syllables. I'll explain. When we speak, we put the stress on a certain part of each word. For example, take the words "apple" and "fantastic."

• When we say the word "apple," we stress the first syllable, the "ap" part. We say "AP-ple," how not "ap-PLE."
• When we say the word "fantastic," we stress the second syllable. We say, "fan-TAS-tic," not "FAN-tas-tic" or "fan-tas-TIC."

In poetry, a unit of stressed and unstressed syllables is called a foot. For example, look at this line from Shakespeare: "No longer mourn for me when I am dead." The rhythm is, "bah-BAH bah-BAH bah-BAH bah-BAH bah-BAH. We read it like this: "no LON-ger MOURN for ME when I am DEAD." The type of foot Shakespeare used here is called an iamb. An iamb or an iambic foot has the rhythm bah-BAH. An unstressed syllable, then a stressed one. The iamb is the most common kind of foot in English poetry.

Here are three examples of words that have an iambic rhythm (bah-BAH).

• above (we say, "a-BOVE")
• support (we say, "sup-PORT")
• hurray (we say, "hur-RAY").

Here's a sentence written in iambic meter: "His noisy snoring woke the neighbors' dog." Bah-BAH bah-BAH bah-BAH bah-BAH bah-BAH.

Poetry meter - stressed syllables and the iambic foot

• The trochee or trochaic foot. This is the opposite of an iamb -- the rhythm is BAH-bah, like the words "apple," and "father."
• The anapest or anapestic foot. This sounds like bah-bah-BAH, like the words "underneath" and "seventeen."
• The dactyl or dactylic foot. This is the opposite of an anapest -- the rhythm is BAH-bah-bah," like the the words "elephant" and "stepmother."

Poetry meter - counting the feet

When we think about the meter of poem, in addition to looking at the kind of foot, we count the number of feet in each line.

• If there's one foot per line, it's monometer. Poetry written in monometer is very rare.
• If there are are two feet per line, it's called dimeter. Here's a sentence in trochaic dimeter: "Eat your dinner." BAH-bah (1) BAH-bah (2).
• Three feet per line = trimeter. Here's a sentence in iambic trimeter: "I eat the bread and cheese." Bah-BAH (1) bah-BAH (2) bah-BAH (3).
• Four feet per line = tetrameter. Here's a sentence in trochaic tetrameter: "Father ordered extra pizza." BAH-bah (1) BAh-bah (2) BAH-bah (3) BAh-bah (4).
• Five feet per line = pentameter. Here's a sentence in iambic pentameter: "I'll toast the bread and melt a piece of cheese." Bah-BAH (1) bah-BAH (2) bah-BAH (3) bah-BAH (4) bah-BAH (5).
• Six feet per line = hexameter or Alexandrine. A sentence in iambic hexameter: "I'll toast the bread and melt a piece of cheese, okay?" Bah-BAH (1) bah-BAH (2) bah-BAH (3) bah-BAH (4) bah-BAH (5) bah-BAH (6).
• Seven feet per line = heptameter. You get the idea...

Poetry meter - meter and rhythm

When you read metered poetry, such as a sonnet in iambic pentameter, you may notice that the meter is sometimes sounds uneven or is hard to hear. Meter is just a form of measurement. The real rhythm of a poem is more complicated than that:

• None of us talk like robots. We give certain words and sounds more emphasis than others in a sentence, depending on a number of factors including the meaning of the words and our own personal speaking style. So not all of the stressed syllables have the same amount of stress, etc.
• We pause at the ends of ideas or the ends of sentences, even if these occur partway through a poetic line. So this creates a rhythmically variation. When the sentence ends or has a natural pause in the middle of a line of poetry, that's called a caesura.
• Poets vary meter or make exceptions in order to create desired rhythmic effects.

http://www.creative-writing-now.com/poetry-meter.html

Rhyme Schemes

Rhyme schemes and sound effects

Rhyme is an important tool in the poet's toolbox. Traditional poetry forms such as sonnets often use rhyme in specific patterns. But even if you are writing free verse, you can use rhyme to when it helps you create desired effects.

Rhyme schemes - why rhyme

There are many reasons why you might choose to use rhyme:

• To give pleasure. Rhyme, done well, is pleasing to the ear. It adds a musical element to the poem, and creates a feeling of "rightness," of pieces fitting together. It also makes a poem easier to memorize, since the rhyme echoes in the reader's mind afterward, like a melody.
• To deepen meaning. Rhyming two or more words draws attention to them and connects them in the reader's mind.
• To strengthen form. In many traditional forms, a regular pattern of rhymes are at the ends of the lines. This means that even if the poem is being read out loud, listeners can easily hear where the lines end, can hear the shape of the poem.

Rhyme schemes - internal rhymes and end rhymes

When the last word in a line of poetry rhymes with the last word in another line, this is called an end rhyme. Many traditional poetry forms use end rhymes.

When words in the middle of a line of poetry rhyme with each other, this is called an internal rhyme. Below is part of a poem by Samuel Taylor Coleridge. Can you find the internal rhymes and end rhymes?

The fair breeze blew, the white foam flew,
The furrow followed free;
We were the first that ever burst
Into that silent sea.

In this example, "blew"-"flew," and "first"-"burst" are internal rhymes. "Free" and "sea" are end rhymes.

Rhyme schemes - true rhymes and off-rhymes

"Smart" and "art"; "fellow" and "yellow"; "surgery" and perjury" -- these are all examples of true rhymes, or exact rhymes because the final vowel and consonant sounds (or the final syllables in the longer words) are exact matches to the ear.

"Fate" and "saint"; "work" and "spark"; are examples of off-rhymes, or slant-rhymes. In each case, part of the sound matches exactly, but part of it doesn't. Off-rhymes use assonance and consonance:

• Assonance is a similarity between vowel sounds (the sounds made by your breath, written with the letters a,e,i,o,u,and sometimes y) "Sing,"lean", and "beet" are an example of assonance because they all have a similar "e" sound. Another example is "boat,"bone", and "mole," which all have a similiar "o" sound.
• Consonance is a similarity between consonant sounds (consonants are the letters that you pronounce with your lips or tongue, not with your breath: b,c,d,f,g,h,j,k,l,m,n,p,q,r,s,t,v,w,x,z and sometimes y). "Lake,"book", and "back" are an example of consonance because they all have the same "K" sounds, even though the vowel sounds in these words are different. When the same consonants are used at the beginning of the word (for example, the words "sing" and "sell"), that is called alliteration.

You might choose to use off-rhymes instead of true rhymes, or in addition to them, to create a subtler effect.

Using off-rhymes also gives you more choices of words to rhyme. This often makes it possible to create more original or surprising rhymes. How many pop songs can you think of that rhyme "heart" with "apart?" And when you hear the words "heaven above" in a song, you can bet that the word "love" is lurking nearby. There are only a few words that rhyme with "love," so they are used over and over again. Off-rhymes can help to remove some of that predictability so that you can come up with more interesting rhyme.

Rhyme schemes

The pattern of rhymes in a poem is written with the letters a, b, c, d, etc. The first set of lines that rhyme at the end are marked with a. The second set are marked with b. So, in a poem with the rhyme scheme abab, the first line rhymes with the third line, and the second line rhymes with the fourth line. In a poem with the rhyme scheme abcb, the second line rhymes with the fourth line, but the first and third lines don't rhyme with each other.

Here's an example of an abab rhyme scheme from a poem by Robert Herrick:

GATHER ye rosebuds while ye may,
Old Time is still a-flying:
And this same flower that smiles to-day
To-morrow will be dying.

Here's an example of an abcb rhyme scheme.

The itsy bitsy spider (a)
Went up the water spout (b)
Down came the rain (c)
And washed the spider out (b)

This one's aabccb:

Little Miss Muffet
Sat on a tuffet
Eating her curds and whey.
Along came a spider
And sat down beside her
And frightened Miss Muffett away.

Here's a sonnet by Shakespeare. The rhyme scheme is abab cdcd efef gg.

My mistress' eyes are nothing like the sun; (a)
Coral is far more red than her lips' red; (b)
If snow be white, why then her breasts are dun;(a)
If hairs be wires, black wires grow on her head.(b)
I have seen roses damask'd, red and white,(c)
But no such roses see I in her cheeks;(d)
And in some perfumes is there more delight(c)
Than in the breath that from my mistress reeks.(d)
I love to hear her speak, yet well I know (e)
That music hath a far more pleasing sound; (f)
I grant I never saw a goddess go; (e)
My mistress, when she walks, treads on the ground: (f)
And yet, by heaven, I think my love as rare (g)
As any she belied with false compare. (g)

Can you figure out the rhyme scheme in this limerick by Edward Lear (1812-1888)? (Answer below):

There was an old man of the coast
Who placidly sat on a post
But when it was cold
He relinquished his hold
And called for some hot buttered toast.

(Answer: aabba)

http://www.creative-writing-now.com/rhyme-schemes.html