Anne Bradstreet 1612-1672

1. Anne Bradstreet 1612-1672 First accomplished American poet of either gender.

2. Education • Had 800 books in her home in America

3. Why did her father make the decision to come to America?

4. What were Bradstreet’s reactions to the New World. Did she cope? Why? • tenacity

5. What cultural bias most affected Bradstreet? • How did this bias determine the way critics responded to her work? • How did Bradstreet react to this criticism?

6. What Puritan ideal does her poem, “To My Dear and Loving Husband” seem to go against?

7. What is the title of her first work? • Why was the subtitle added?

8. What is a muse?

9. Goddesses and daughters of Zeus and Mnemosyne (goddess of memory) • Muses presided over the arts and sciences and inspired all artists, especially poets, philosophers, and musicians

10. What do you think was Bradstreet’s most poignant inner conflict in her life?

11. Vocabulary Quiz Friday, 9-16 • Piteous—adj. Arousing or deserving of pity. • Bereft--v. to deprive of happiness by loss or death. • Chide—v. To scold or blame

12. Repine—v. To complain or fret; to feel discontent • Recount—v. To narrate, tell or describe in detail • Vanity—n. A thing or act that is worthless or futile. • Succor—n. Assistance, aid

13. Pelf—n. Ill-gotten goods; things acquired by reprehensible means • store—n. Accumulated goods • Adieu—n. Goodbye; farewell

14. Abide—v. remain, continue, stay, put up with, tolerate • Dunghill n.—pile of manure • Mouldering (archaic)—adj. Smoldering

15. Do you have an interest in • Advertising • Marketing • Song Writing • Rapping • Creative Writing • Writing • Journalism…

16. All of these fields of interest use literary devices to make an impact on their audiences

17. Poetic Devices Rhyming couplets Pairs of rhyming lines End rhyme pattern for rhyming couplets: AA, BB, CC, DD, etc.

18. Marking end rhyme pattern Once upon a midnight drearyA While I pondered weak and wearyA Over many a quaint and curious volume of forgotten lore B While I nodded nearly nappingC Suddenly there came a tappingC As of someone gently rapping, rapping at my chamber door B

19. Slant Rhyme (forced rhyme) • Locate examples in the poem • Lines 3,4 noise/voice • Lines 35, 36 lie/vanity • Lines 45, 46 furnished/fled

20. Inversion • Switching the normal syntax (sentence arrangement) • In silent night when rest I took • When I took a rest one silent night

21. Meter • The pattern of stressed and unstressed syllables—rhythm ͜ ∕ ͜ ∕ ͜ ∕ ͜ ∕ • In silent night when rest I took ͜ ∕ = iambic • tetrameter

22. Fixed Form • Poetry that adheres to a specific pattern • Ex.: meter, rhyme, stanzas

23. Metaphor • The comparison of two seemingly dissimilar things without using the terms like or as. • The road is a ribbon wrapped around the mountainside.

24. Implied metaphor • The ribbon wrapped around the mountainside. • Two parts of a metaphor: • TENOR—the actual item, person, idea being discussed • VEHICLE—the item, person, idea used to deliver the imagery

25. When the tenor is missing, an implied metaphor is created. (Rebecca Nurse is a saint…) (Metaphor) • Remove the tenor, Rebecca, and only the vehicle remains This saint refused to confess to a lie. Implied metaphor is created.

26. Locate the implied (implicit) metaphor in the poem. • I have a house on high erect l.43 • Bradstreet means to say that heaven is her house on high erect, but she omits the mention of heaven and leaves the word house. • She has removed heaven, or the real item that she is describing • Remove the tenor--heaven

27. How many parallels does Bradstreet make between heaven and a real house? • It is erected • It has an architect • It is furnished • It is permanent • It is purchased and paid for

28. Extended Metaphor • A metaphor that continues to draw parallels and make comparisons between the tenor and the vehicle

29. Epic Simile • Same as extended metaphor but uses the words like or as • Heaven is like a house • All of the same parallels are drawn between the house and heaven

30. Parallelism or parallel structure • Words or phrases that are similarly constructed and in close proximity to one another. Lines 30-34 • Nor at thy table eat a bit • No pleasant tale shall e’er be told • Nor things recounted done of old • No candle… • Nor bridegroom’s…

31. Parallel structure at the beginning of lines • Anaphora Nor at thy table eat a bit No pleasant tale shall e’er be told Nor things recounted done of old No candle… Nor bridegroom’s…

32. Parallel structure at the end of lines • Epistrophe -- repetition of a word or phrase at the end of consecutive phrases or lines • Lines 7, 8 • …light did spy • …heart did cry

33. Another example of Epistrophe Line 25 Here stood that trunk, and there that chest.

34. Alliteration • Repetition of initial consonant sounds in words that are in close proximity to one another • That fearful sound of “Fire!” and “Fire!” • Locate other examples in the poem

35. Consonance • The repetition of consonant sounds within and at the ends of words. Line 52 • Farewell, my pelf, farewell my store Line 12 • The flame consume my dwelling place

36. Assonance • The repetition of vowel sounds in closely positioned words—at the beginning, end, or within the words Line 1 • In silent night when rest I took Line 42 • That dunghill mists away may fly.

37. Rhetorical Question • A question asked without expecting an answer but for the sake of emphasis or effect. (The answer is already known.) Lines 38, 39, 40 • “And did thy wealth on earth abide?” • (NO)

38. Rhetorical Fragment • A sentence fragment used deliberately for a persuasive purpose or to create a desired effect: • “Something to consider.” • “Nice job.” • It moved forward a step. Then another step.

39. Oxymoron • A rhetorical device in which two seemingly contradictory or incongruous terms are combined for effect: • Deafening silence • Sweet sorrow • Female Puritan poet • Oxy—sharp, acute, keen (Greek) • Moron—stupid, foolish (Greek)

40. Personification • A figure of speech in which inanimate objects or abstractions are endowed with human qualities or are represented as possessing human form Line 8 And to my God my heart did cry Line 42 That dunghill mists away may fly.

41. Onomatopoeia • The formation or use of words such as buzz or murmur that imitate the sounds associated with the objects or actions they refer to.Line 4 • And piteous shrieks of “Fire…”

42. onoma (onomatos) "word, name" • poiein "compose, make“ (poet)

43. Synechdoche  A figure of speech in which a part is used for the whole (as hand for sailor) OR the whole for a part (as the law for police officer) • Keep an eye out for the mailman • I bought a new set of wheels

44. Synecdoche --A part refers to the whole • Blue hair = elderly person • Mouths to feed = hungry people • Threads = clothes

45. Synecdoche--Whole refers to a part • Use your head = brain • Pennsylvania passed a bill= the gov’t of PA • Kleenex brand = tissue Coke = soda

46. Synecdoche • Line 40 • “The arm of flesh didst make thy trust?” • Refers to an arm of flesh represents the entire man or person or mankind

47. Metonymy • A figure of speech in which an attribute of a thing or something closely related to it is substituted for the thing itself. • Sweat = hard work • Dish = meal • Hollywood = entertainment industry

48. Zeugma • The use of a verb that has two different meanings with objects that complement both meanings: • He lost his keys and his dignity • She gained a husband and self-respect

49. Zeugma • "He carried a strobe light and the responsibility for the lives of his men."(Tim O'Brien, The Things They Carried) • "You held your breath and the door for me."(Alanis Morissette, "Head over Feet")

50. Chiasmus • A sentence strategy in which the arrangement of ideas in the second clause is a reversal of the first. • “Ask not what your country can do for you; ask what you can do for your country.”