3. Activity::
Write a short prayer using the elements of
poetry. You can choose either a free-verse
poem or a rhyming poem.
4. Hint:: A type of horse-drawn carriage or a traditional Filipino
horse-drawn vehicle.. It is commonly used as a mode of
transportation in rural areas and small towns
in the Philippines.. 10 letters..
6. Guide Questions::
1. Based on the images shown, how
would you describe a tartanilla?
2. What are your thoughts
on tartanilla as a vehicle? How does
it of
compare to other modes
transportation?
7. Guide Questions::
3. Do you think tartanillas are still
commonly used today? If so, where
can they be found?
4. What significanc
e
does th
e
tartanilla hold in Filipino
culture?
9. BASIC ELEMENTS OF POETRY
1. FORM - Refers to how the poem is
put together, like its structure and
design. This includes things like how it
rhymes, the rhythm of the words, how
the lines are grouped into stanzas, and
how it looks on the page
17. BASIC ELEMENTS OF POETRY
3. Imagery – Descriptive language that
appeals to the senses, creating vivid
mental pictures and sensory experiences
for the reader. This means the writer
chooses words that help you imagine how
things look, sound, feel, smell, or taste.
18. TYPES OF IMAGERY
VISUAL IMAGERY In this form of poetic
imagery, the poet appeals to the reader’s
sense of sight by describing something
the speaker or narrator of the poem sees.
It may include and
colors, brightness
,
shapes, sizes,
patterns.
19. VISUAL IMAGERY
I wandered lonely as a cloud That
floats on high o’er vales and hills,
When all at once I saw a crowd, A
host of golden daffodils; Beside the
lake, beneath the trees, Fluttering
and dancing in the breeze.
20. VISUAL IMAGERY
On broken blinds and chimney-pots,
And at the corner of the street A
lonely cab-horse steams and stamps.
And then the lighting of the lamps
21. VISUAL IMAGERY
Whose woods these are I think I
know. His house is in the village
though; He will not see me
stopping here To watch his woods
fill up with snow. My little horse
must think it queer To stop without
a farmhouse near Between the
woods and frozen lake The darkest
22. AUDITORY
IMAGERY
Auditory imagery. This form of poetic
imagery appeals to the reader’s sense of
hearing or sound. It may include music
and other pleasant sounds, harsh noises,
or silence.
23. AUDITORY
IMAGERY
He gives his harness bells a
shake To ask if there is some
mistake. The only other sound’s
the sweep Of easy wind and
My little horse must think it
queer To stop without a
farmhouse near Between the
woods and frozen lake The
darkest evening of the year.
24. AUDITORY
IMAGERY
PORTER: “Here’s a knocking indeed! If a man were
porter of hell-gate, he should have old turning the
key. Knock Knock, knock, knock, knock! Who’s
there, i’ the name of Belzebub? Here’s a farmer that
hanged himself on th’ expectation of plenty.
Come in time! Have napkins enow about you; here
you’ll sweat for’t. Knock Knock, knock! Who’s there,
in th’ other devil’s name?”
25. GUSTATORY IMAGERY
Gustatory imagery. In this form of poetic
imagery, the poet appeals to the reader’s
sense of taste by describing something
the speaker or narrator of the poem
tastes. It may include sweetness,
sourness, saltiness, savoriness, or
spiciness.
26. GUSTATORY IMAGERY
O how can it be that the ground itself does not sicken? How can
you be alive you growths of spring? How can you furnish health
you blood of herbs, roots, orchards, grain? Are they not
continually putting distemper’d corpses within you? Is not every
continent work’d over and over with sour dead?
27. GUSTATORY IMAGERY
I have eaten the
plums that were
in the icebox and
which you were
probably saving
for breakfast
Forgive me they
were delicious so
sweet and so cold
28. GUSTATORY IMAGERY
Gently blow and stir the fire,
Lay the mutton down to
roast, Dress it nicely I desire,
In the dripping put a toast,
That I hunger may remove:
Mutton is the meat I love.
29. TACTILE IMAGERY
Tactile imagery. In this form of poetic
imagery, the poet appeals to the reader’s
sense of touch by describing something
the speaker of the poem feels on their
body. It may include the feel of
temperatures, textures, and other
physical sensations.
30. TACTILE IMAGERY
When glided in Porphyria; straight She
shut the cold out and the storm, And
kneeled and made the cheerless grate
Blaze up, and all the cottage warm
31. TACTILE IMAGERY
They were both in white, and their
dresses were rippling and fluttering as
if they had just been blown back in after
a short flight around the house.
32. TACTILE IMAGERY
cells, the sky is wrong again. Hope
clings to me like damp sheets, lies to
my skin. As if I were a coat wearing
my bare body out on loan,
It’s winter in my body all year long, I wake
up with music pouring from my skin,
morning burning behind closed blinds.
Dead light, dead warmth on dead skin
33. OLFACTORY IMAGERY
Olfactory imagery. In this form of
poetic imagery, the poet appeals to
the reader’s sense of smell by
describing something the speaker of
the poem inhales. It may include
pleasant fragrances or off-putting
odors.
34. OLFACTORY IMAGERY
They silently inhale the clover-scented
gale, And the vapors that arise From
the well-watered and smoking soil
35. OLFACTORY IMAGERY
“There were strange, rare odors abroad
—a tangle of the sea smell and of
weeds and damp, new-plowed earth,
mingled with the heavy perfume of a
field of white blossoms somewhere
near.”
36. OLFACTORY IMAGERY
My captor, whoever he was, seemed
not much taller than I…. I smelled a
faint flowery scent, as of lavender
water, and something more spicy,
mingled with the sharper reek of
male perspiration.”
37. BASIC ELEMENTS OF POETRY
4. Sound Devices – Techniques such as
rhyme, rhythm, alliteration, assonance,
consonance, and onomatopoeia that
create auditory effects and enhance the
musicality of a poem.
39. Rhyme
A rhyme is a repetition of similar sounds
in two or more words. Rhyming is
particularly common in many types of
poetry, especially at the ends of lines,
and is a requirement in formal verse.
40. Rhythm
Rhythm is the use of stressed and
unstressed syllables, which creates what
you experience as a pattern of beats in
the sound of the words.
41. Assonance
Assonance is the repetition of vowel
sounds in words that are close together
in a sentence or verse. Assonance is used
to create rhythm in writing.
42. Assonance Example::
"What a world of solemn thought their monody
compels! In the silence of the night, How we
shiver with affright At the melancholy menace of
their tone! For every sound that floats From the
rust within their throats Is a groan."
43. Assonance Example::
Water falls across the autumn rocks. The
green field gleams in the warm sunbeams.
“Row more slowly,” bellowed the old, bony
crone. A dismayed baby wailed nearly all day.
45. Consonanc
e
Consonance sounds. Consonance fits well
with poetry because its musical nature
matches the rhymes and rhythm of a
poem. Specifically, consonance helps with
slant rhymes, which are words that almost
rhyme, like soul and all.
47. Consonanc
e
There once was a teacher named
Bill Who placed his teapot on the
sill: The students took aim With
their pens, without shame, Crying,
"Bill! It's your pot you must fill!"
48. Consonanc
e
—“Let It Be” by The
And in my hour of darkness She is
standing right in front of me
Speaking words of wisdom Let it be
[…] Whisper words of wisdom Let it
be
49. Consonanc
e
Be back soon, Barry! Bye-
bye!
Did Dan get a medallion? He
was doing his duty! Oh well,
conduct him to the stage.
50. Onomato
poeia
Onomatopoeia is a figure of speech
that uses words to describe the
sounds made by all living things
including people, animals, birds and
all inanimate objects.
51. Onomatopoei
a
Ding, ding, ding went the bell Zing, zing, zing
went my heart strings From the moment I saw
him I fell Chug, chug, chug went the motor
Bump, bump, bump went the brake Thump,
thump, thump went my heart strings When he
smiled I could feel the car shake” (‘The Trolley
Song’ by Judy Garland)
52. Onomatopoei
a
While I nodded, nearly napping, suddenly there came a
tapping, As of some one gently rapping, rapping at my
chamber door— “‘Tis some visitor,” I muttered, “tapping at
my chamber door— Only this and nothing more.” This I
whispered, and an echo murmured back the word,
“Lenore!”—
53. Onomatopoei
a
Crack an Egg
Crack an egg.
Stir the butter.
Break the
yolk. Make it
flutter. Stoke
the heat. Hear
it sizzle. Shake
the salt, just a
55. Onomatopoei
a
“Ain’t got nobody in all this world, Ain’t got
nobody but ma self. I’s gwine to quit ma
frownin’ And put ma troubles on the shelf.”
Thump, thump, thump, went his foot on the
floor. He played a few chords then he sang
some more —
56. FIGURATIVE LANGUAGE
- Figurative language adds depth, nuance, and
emotion to poetry by going beyond literal
meanings and inviting readers to interpret and
experience the text in different ways through
the use of metaphors, similes, personification,
hyperbole, etc. It allows poets to convey
complex ideas, emotions, and experiences
through imaginative and creative language.
59. SIMILE
busy as a bee
clean as a whistle
brave as a lion
stand out like a sore thumb
they fought like cats and dogs
like watching grass grow
60. SIMILE
“O my Luve is like a red, red rose That’s newly
sprung in June; O my Luve is like the melody
That’s sweetly played in”
61. SIMILE
"Your teeth are like stars;
They come out at night.
They come back at dawn
When they're ready to bite."
62. SIMILE
"Jerry's mind wandered during class
Like a balloon floating up in the air.
While he daydreamed about eating
lunch
His stomach growled loud like a
bear.
His classmates laughed like hyenas,
Which made him feel like a fool.
From now on he'd listen to his mom
63. METAPHOR
A metaphor is a comparison between
two things that states one thing is
another in order to help explain an
idea or show hidden similarities.
64. METAPHOR
“She's all states, and all princes, I,
Nothing else is.
Princes do but play us; compared to
this,
All honor's mimic, all wealth alchemy.”
65. METAPHOR
"Hope” is the thing with feathers -
That perches in the soul -
And sings the tune without the words -
And never stops - at all -"
66. METAPHOR
1.The classroom is a sanctuary where the
magic of learning happens.
2.A great teacher is a gardener tending to the
blossoms of young minds
67. METAPHOR
1. Schools are the greenhouses of growing
minds.
2. A school is the fertile ground where seeds of
potential sprout.
3.A school is the canvas where colors of culture
and character blend.
68. PERSONIFICATION
It gives human qualities to things that don’t
usually have them. This technique is part of
figurative language, which helps readers feel a
connection with ordinary objects or ideas.
69. PERSONIFICATION
1.The stars danced playfully in the moonlit sky.
2.The sun greeted me this morning.
3.The ocean waves kissed the sandy shore.
4.The old tree moaned in the gusty wind.
5.Time flies when you’re having fun.
70. PERSONIFICATION
1. The secrets of the forest whispered tales of
ancient epochs.
2. Time, the relentless thief, steals our moments.
3. The city’s heartbeat pulses through its bustling
streets.
4. The history, woven into the tapestry of the old
manor, speaks volumes.
5. The shadows of the past loom over the present.
71. PERSONIFICATION
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
72. PERSONIFICATION
And the plane to the pine-tree is
whispering some tale of love
Till it rustles with laughter and tosses
its mantle of green,
73. HYPERBOLE
- Hyperbole is extreme exaggeration
used to emphasize a point.
- exaggerated statements or claims not
meant to be taken literally.” In
practice, hyperbole is language that
loads up on the drama.
74. HYPERBOLE
I’m so confused my head is
spinning.
I have mountains of paperwork to
finish!
I haven’t eaten since lunch. I’m
about to die of hunger.
75. HYPERBOLE
And the plane to the pine-tree is
whispering some tale of love
Till it rustles with laughter and tosses
its mantle of green,
76. HYPERBOLE
I’ve told you a million times!
That care cost her an arm and a
leg.
You have enough food to feed an
army!
77. HYPERBOLE
As I Walked Out One Evening (by
W. H. Auden)
'I’ll love you, dear, I’ll love you
Till China and Africa meet,
And the river jumps over the mountain
And the salmon sing in the street,
I’ll love you till the ocean
Is folded and hung up to dry.'
78. Irony
Irony is a rhetorical device that is
used to express an intended
meaning by using language that
conveys the opposite meaning
when taken literally.
79. IRONY
Husband saying to the same wife,
“The middle of the hurricane
season was a great time for a
vacation out here.”
82. ALLITERATION
Alliteration is a literary device that
uses similar phonetic sounds in
continuity to make an effect. This
device is usually used to decorate
the words with a musical, lyrical or
emotional effect.
83. ALLITERATION
the use of the same letter or sound
at the beginning of words that are
close together
85. ALLITERATION
“Those hours, that with gentle work
did frame
The lovely gaze
where every eye doth dwell,”
“Sap checked with frost,
and lusty leaves quite gone,”
“their substance still lives sweet”
86. ALLITERATION
“The day to cheer and
night’s dank dew to dry,”
“When griping grief the heart doth
wound,
And doleful dumps the mind
oppress,”
![Consonanc
e
—“Let It Be” by The
And in my hour of darkness She is
standing right in front of me
Speaking words of wisdom Let it be
[…] Whisper words of wisdom Let it
be](https://image.slidesharecdn.com/week2english71-250702080517-a4a5d920/85/Week-2-English-7-Powerpoint-Presentation-48-320.jpg)
