Time to Uncover the Truth: Ending the Practice of Notebook Covering

 

Dear Stakeholders,
As educators, administrators, parents, and policymakers, we constantly strive to make decisions that benefit our students and environment. Today, I want to address a practice that has become outdated and detrimental: notebook covering.
In the past, covering notebooks was a necessity born out of the poor quality of paper and the need for protection. Back then, eco-friendly materials like old newspapers and brown paper were often used. The materials were cheap, easily available, and biodegradable. However, times have changed, and so have our resources.
The notebooks our students use today boast high-quality paper and durable, laminated covers. These modern marvels are built to withstand the rigors of student life without the need for additional protection. Yet, despite these advancements, the archaic practice of covering notebooks persists, with detrimental consequences.
First and foremost, notebook covers obscure the branding and identity of our schools. The pride we take in our institutions is diminished when their logos and names are hidden beneath layers of plastic. These covers also mar the aesthetic appeal of our beautifully designed, school-branded notebooks, rendering them unrecognizable and generic.
Furthermore, the environmental impact of notebook covering cannot be ignored. With each plastic film and PVC sheet added, we contribute to the growing mountain of plastic waste that plagues our planet. This unnecessary usage of plastic not only harms our environment but also sets a poor example for our students, who are the future stewards of our planet.
In addition to the environmental concerns, the financial burden placed on parents cannot be overlooked. The cost of purchasing these covers adds up over the course of a school year, placing strain on families already facing financial challenges. By eliminating the need for notebook covering, we alleviate this financial burden and promote equity within our school communities.

Moreover, the method of attaching these covers, often with staple pins, damages the integrity of the notebooks themselves, shortening their lifespan and necessitating frequent replacements. This not only wastes resources but also undermines the durability of the very products we invest in.
It is time for us, as stakeholders in education, to reevaluate the necessity of notebook covering. As school owners, administrators, parents, and policymakers, we can enact change for the betterment of our students and our environment. Let us embrace modernity, sustainability, and fiscal responsibility by putting an end to the outdated practice of notebook covering.
Let's uncover the truth and pave the way for a brighter, greener future together.
Sincerely,
PrasadVSSN

Games People Play - Eric Berne

 Games People Play

 

Title: Games People Play by Eric Berne: A Guide to Understanding Human Interactions.

Introduction:

Games People Play, written by psychiatrist Eric Berne, is a ground-breaking book that explores the dynamics of human interactions through the lens of transactional analysis. First published in 1964, this influential work delves into the hidden patterns of behavior, or "games," that people engage in unconsciously to achieve certain psychological payoffs. Berne's book provides valuable insights into understanding the complex and often manipulative ways people communicate and interact with one another.

Overview of Transactional Analysis:

Berne introduces the concept of transactional analysis as a framework for examining social interactions. Transactional analysis focuses on the analysis of transactions—exchanges of verbal and non-verbal cues between individuals. By understanding these transactions, individuals can gain insight into the underlying motives and patterns of behavior that drive human interactions.

Types of Games:

Berne identifies various "games" that people play, each characterized by a specific set of rules and psychological motivations. These games serve as social strategies for individuals to fulfill their needs, whether it be attention, validation, control, or other psychological rewards. Some commonly recognized games discussed in the book include "Why Don't You—Yes, But," "Ain't It Awful," "Now I've Got You, You Son of a Bitch," and "See What You Made Me Do."

 

Psychological Roles:

Berne describes different psychological roles that individuals adopt within these games. These roles, often portrayed in a dramatic fashion, include the victim, persecutor, and rescuer. Understanding these roles helps shed light on the underlying dynamics and power struggles within social interactions.

Transactional Analysis in Practice:

The book provides practical guidance on how to apply transactional analysis to everyday life. Berne emphasizes the importance of recognizing the games people play and developing self-awareness to break free from unhealthy patterns. By understanding the motives behind these games, individuals can make conscious choices and foster healthier relationships.

Impact and Legacy:

Games People Play became an instant bestseller and has remained an influential work in psychology and self-help. Berne's insights into human behavior and communication have influenced numerous fields, including psychotherapy, counseling, and organizational psychology. The book's enduring popularity speaks to its relevance in understanding the complexities of human interactions.

Conclusion:

Games People Play by Eric Berne offers a comprehensive and accessible exploration of human behavior and social interactions. Through transactional analysis, Berne provides readers with a powerful tool to decipher the underlying motivations and patterns of behavior that shape our relationships. By recognizing the games people play and gaining self-awareness, individuals can navigate their interactions with greater understanding and authenticity. This timeless work continues to provide valuable insights into the intricacies of human communication and offers guidance for healthier and more fulfilling relationships.

Pulling Your Own Strings

 

"Pulling Your Own Strings": Empowering Individuals to Take Control of Their Lives by Wayne Dyer.

 

Introduction:

Wayne Dyer, a renowned self-help author and motivational speaker, published the book "Pulling Your Own Strings" in 1978. This influential work has empowered countless individuals to take charge of their lives by breaking free from external control and learning to assert their personal power. Dyer's insightful and practical advice provides readers with valuable tools to navigate relationships, assert boundaries, and cultivate a sense of self-reliance. In this note, we will explore the key themes and lessons from "Pulling Your Own Strings" and highlight its significance in helping individuals achieve personal growth and empowerment.

 

Theme 1: Recognizing External Control:

Dyer emphasizes the importance of recognizing external influences that can undermine personal autonomy. He encourages readers to identify the ways in which they may be manipulated or coerced by others, whether it be through guilt, fear, or social expectations. By understanding these external control mechanisms, individuals can begin to reclaim their power and assert their own desires and needs.

 

Theme 2: Assertiveness and Setting Boundaries:

One of the central ideas in "Pulling Your Own Strings" is the concept of assertiveness. Dyer guides readers on how to communicate their needs effectively, set boundaries, and say "no" when necessary. He encourages individuals to trust their own judgments and not allow others to dictate their choices or manipulate them. Through practical exercises and real-life examples, Dyer empowers readers to develop assertiveness skills, fostering healthier and more fulfilling relationships.

 

Theme 3: Self-Reliance and Personal Responsibility:

Dyer emphasizes the importance of self-reliance, urging readers to take responsibility for their own happiness and success. He argues that true empowerment comes from within and that relying on others for validation or fulfillment often leads to disappointment. By encouraging individuals to cultivate their own inner resources and tap into their innate potential, Dyer inspires readers to take control of their lives and pursue their dreams with confidence.

 

Theme 4: Letting Go of Past Conditioning:

Another key aspect of "Pulling Your Own Strings" is the recognition that many of our behaviors and beliefs are shaped by conditioning from our past experiences. Dyer encourages readers to challenge and let go of limiting beliefs and self-defeating patterns that no longer serve them. By embracing a growth mind-set and adopting new perspectives, individuals can break free from the constraints of their past and create positive change in their lives.

 

Conclusion:

Wayne Dyer's "Pulling Your Own Strings" serves as a guiding light for individuals seeking personal growth and empowerment. Through its profound insights and practical advice, the book offers a roadmap for breaking free from external control, developing assertiveness, and cultivating self-reliance. By encouraging readers to take responsibility for their own lives and let go of past conditioning, Dyer empowers individuals to become the architects of their own destinies. "Pulling Your Own Strings" continues to be a timeless resource, inspiring readers to live authentically and create a life of their choosing.

How to Win Friends and Influence People

The essence of ‘How to Win Friends and Influence People’ written by Dale Carnegie:

·         The book is based on Carnegie’s lectures on business and personal relations and contains four parts: techniques in handling people; ways to make people like you; how to win people over to your way of thinking; and how to change people’s behavior without causing resentment.

 The main idea of the book is that people want to be appreciated and feel important and that by praising them and encouraging them to do their best, we can improve their behaviors and attitudes and our effectiveness with others.

Some of the key principles in the book are:

o    Don’t criticize, condemn or complain about others, as it only puts them on the defensive and makes them resentful.

o    Give honest and sincere appreciation to others, as it feeds their desire for importance and motivates them to do better.

o    Become genuinely interested in other people and show them your attention and respect.

o    Remember and use people’s names, as it is the sweetest sound to them.

o    Be a good listener and encourage others to talk about themselves and their interests.

o    Avoid arguments and never tell people they are wrong, as it only makes them more stubborn and hostile.

o    Admit your mistakes quickly and emphatically, as it shows your humility and sincerity.

o    Begin in a friendly way and show respect for the other person’s opinions.

o    Try honestly to see things from the other person’s point of view, as it helps you understand their needs and feelings.

o    Appeal to the nobler motives of others, as it inspires them to act in a positive way.

o    Praise every improvement that others make, no matter how small, as it reinforces their confidence and progress.

o    Give the other person a fine reputation to live up to, as it challenges them to improve themselves.

 

The book has been widely acclaimed as one of the best self-help books ever written and has influenced millions of people around the world. It teaches valuable lessons on how to deal with people effectively and positively, and how to achieve personal and professional success.

Beehive Poetic Devices

POETIC DEVICES

Literary devices in poetry refer to specific techniques that poets use to convey their message, add meaning, and evoke emotions. Some of the most common literary devices used in poetry include:

Rhyme: The repetition of similar or identical sounds at the end of two or more words in a line of poetry.

Alliteration: Repetition of the same initial sound in successive words

Assonance: Repetition of vowel sounds in nearby words

Repetition: The repetition of a word or phrase for emphasis or to create a sense of unity in a poem.

Imagery: The use of descriptive language to create vivid mental images in the reader’s mind.

Personification: Giving human qualities to non-human objects

Simile: A comparison of two unlike things using the words “like” or “as.”

Metaphor: A comparison between two, unlike things to suggest a similarity without using the words “like” or “as.”

Onomatopoeia: Words that imitate sounds

Hyperbole: Extreme exaggeration

Irony: The use of words to express something different from and often opposite to their literal meaning

Symbolism: The use of symbols to represent ideas or qualities.

These are just a few examples of the many literary devices that can be found in poetry.

The Road Not Taken - Literary Devices

1. Rhyme Scheme: abaab

2. Symbolism: two roads that represent two or more choices in our life

3. Anaphora: ‘and’ repeated at the beginning of lines 2, 3 and 4

4. Alliteration: Wanted Wear ‘w’ sound is repeating

‘first for’ – ‘f’ sound is repeating

‘though, that’- ‘th’ sound is repeating

5. Repetition: ‘Ages’ is repeated. ‘Two roads diverged in a wood’- this sentence is repeated in stanzas 1 and 4.

 

Wind – Poetic Devices

 

Metaphor: It is a figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable. In the poem, Wind is a metaphor as it symbolizes challenges that humans face in their lives.

Personification: It is the attribution of human characteristics to animals and non-living things. In the poem, the poet calls Wind by the pronoun “He” which is usually used for humans. He also calls wind as Wind God.

Repetition: it is the repetition of certain words or phrases for poetic effect. In the poem, “crumbling” has been repeated several times.

Alliteration: It is the occurrence of the same letter or sound at the beginning of adjacent or closely connected words. e.g. “crumbling houses, crumbling doors, crumbling rafters, crumbling wood, crumbling bodies, crumbling lives, crumbling hearts”, “the wind god winnows”, and “He won’t do what you tell him.”

Enjambment: It is the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza. e.g. “Frail crumbling houses, crumbling doors, crumbling rafters, crumbling wood, crumbling bodies, crumbling lives, crumbling hearts”.

Symbolism: It is the use of symbols to represent ideas or qualities. e.g. wind symbolises challenges and problems, weak fires symbolise people with weak will power and strong fires symbolise people with strong will power and firm determination.

 

Rain on the Rood – Poetic Devices

Alliteration: It is the occurrence of the same letter or sound at the beginning of adjacent or closely connected words. e.g. “lie listening”, “starry spheres”, “humid hover”, “press pillow”, “darling dreamers” “rain roof” etc.

Personification: It is the attribution of human characteristics to non-human things. In the poem, melancholy darkness weeps in rainy tears. Melancholy and tears are specific to humans but are attributed to the darkness. Again, in stanza 2, thousand recollections weave air-threads. The weaving is also a characteristic feature of humans but attributed to dreams.

Onomatopoeia: It is the formation of a word from a sound associated with what is named. e.g. patter, tinkle.

Metaphor: It is a figure of speech that is used to make a comparison between two things that aren’t alike but do have something in common. e.g. shadows refer to clouds.

Transferred Epithet: When an adjective usually used to describe one thing is transferred to another. e.g. “melancholy darkness”, “dreamy fancies”, “darling dreamers”.

The Lake Isle of Innisfree – Poetic Devices

Metaphor: A metaphor shows direct comparison between two things which the use of as or like. e.g. “veils of the morning “, “deep heart’s core”. Here night is referred to as veils of morning. Similarly poet’s desires are referred to as deep heart’s core.

Alliteration: It is the occurrence of the same letter or sound at the beginning of adjacent or closely connected words. e.g. “a hive for the honey-bee”, “live alone in the bee-loud glade”, “a glimmer, and noon a purple glow”, “lake water lapping with low sounds”.

Anaphora: It is the repetition of a word or expression at the beginning of successive phrases, clauses, sentences, or verses. e.g. “I will”, “go”.

Personification: It is the attribution of a personal nature or human characteristics to something non-human. e.g. “cricket sings”. Singing is the characteristic of humans and has been attributed to cricket (an insect).

Images: Images are representation of something which draw on the five senses. e.g. Visual Images (midnight’s all a glimmer, noon a purple glow), Auditory Images (the bee-loud glade, the cricket sings, I hear lake water lapping with low sounds by the shore) etc.

…………..

The Legend of the Northland – Poetic Devices

1. Rhyme Scheme: abcb

2. Alliteration: is the repetition of a consonant sound in two or more close words.

Stanza 1 – that, they, them through – ‘th’ sound is repeating

Stanza 2 – they, the – ‘th’ sound is repeating

look, like – ‘l’ sound is repeating

funny, furry – ‘f’ sound is repeating

Stanza 3 – they, them- ‘th’ sound is repeating

yet, you – ‘‘y sound is repeating’

learn, lesson – ‘l’ sound is repeating

tell, tale, to – ‘t’ sound is repeating

Stanza 5 – woman, was – ‘w’ sound is repeating

Them, the, hearth – ‘th’ sound is repeating

Stanza 6 – faint, fasting – ‘f’ sound is repeating

Stanza 8 – still, smaller – ‘s’ sound is repeating

Stanza 9 – took, tiny -‘t’ sound is repeating

Stanza 10 – seem, small – ‘s’ sound is repeating

Stanza 13 – build, birds – ‘b’ sound is repeating

by, boring, boring – ‘b’ sound is repeating

 

 

 

3. Repetition: any word or sentence is repeated to lay emphasis on it.

Stanza 1 – ‘away’ word is repeated

Stanza 9 – ‘rolled’ word is repeated

Stanza 13, 16 – ‘boring’ word is repeated

 4. Enjambment: running lines of poetry from one to the next without using any kind of punctuation to indicate a stop

Stanza 1 – line 3 and 4

Stanza 2 – Line 1 and 2; line 3 and 4

Stanza 3 – Line 3 and 4

Stanza 4 – Line 1 and 2; 3 and 4

Stanza 10 – Line 1, 2 and 3

Stanza 11 – Line 1 and 2

5. Simile: Comparison using ‘as’ or ‘like’

Stanza 2 – ‘the children look like bear’s cubs’. Children compared to bear’s cubs

Stanza 9 – ‘baked it thin as a wafer’. Cake is compared to a wafer.

Stanza 15 – ‘clothes were burned black as a coal’. The colour of the burned clothes is compared to that of coal.

No Men are Foreign - Poetic devices

Metaphor: It is a poetic device which is used to make a comparison between two things that aren’t alike but do have something in common. e.g. in the poem the poet compares the war with winter (stanza 2) and hell (stanza 5) because of its dread effects on humanity. Another example of metaphor in the poem is when the poet calls people living in foreign lands as brothers.

Alliteration: It is the occurrence of the same letter or sound at the beginning of adjacent or closely connected words. e.g. “a single body breathes”, “in which we all shall lie”, “war’s long winter”, “In every land is common life”, “whenever we are told”.

Polysyndeton: It is a literary technique in which conjunctions (e.g. and, but, or) are used repeatedly in quick succession. e.g. “aware of sun and air and water”.

Enjambment: It is the continuation of a sentence without a pause beyond the end of a line, couplet, or stanza. e.g. the last line of Stanza 4 continues to stanza 5.

The Duck and The Kangaroo – Poetic Devices

Alliteration: It is the use of the same sound at the beginning of words that are close together. e.g. “Good gracious! how you hop!”, “I would sit quite still, and say nothing”, “This requires some little reflection”, “But to balance”, “dear duck”.

Repetition: It is the repetition of words or phrases in the poem for poetic effect e.g. “Said the Duck to the Kangaroo“.

Enjambment: It is the continuation of a sentence or clause across a line break. e.g.

“My life is a bore in this nasty pond,

And I long to go out in the world beyond!

I wish I could hop like you!’

Said the Duck to the Kangaroo.”

This sentence continues to four lines.

On Killing A Tree – Poetic Devices

Metaphor: It is a literary device which is used to make a comparison between two things that aren’t alike but do have something in common. e.g. “Leprous hide” used to describe the bark of tree, “Bleeding bark” used to describe the cut stem of the plant.

Alliteration: It is the use of the same sound at the beginning of words that are close together. e.g. “takes much time to kill a tree”, “bleeding bark”, “white and wet”.

Personification: It is the attribution of human characteristics to animals, plants and other non-human things. e.g. the tree has been personified here because we do not use the word “kill” for cutting a tree, “bleeding bark” – the word bleeding is used for humans.

Repetition: It involves the repetition of a word or phrase(s) for poetic effect. e.g. “pulled out”.

Enjambment: It is the continuation of a sentence or clause across a line break. e.g. “It takes much time to kill a tree, Not a simple jab of the knife Will do it”.

The Snake Trying - Literary devices

Rhyme scheme - There is no rhyming scheme in ‘The Snake Trying.’ The poem is written in free verse.

Alliteration - The poem has a repetition of a consonant sound in 2 or more consecutive words in one sentence. For example, in ‘he is harmless even to children’ – ‘h’.

Transferred epithet - In the poem, the adjective is used with a noun which refers to the noun other than the one with which it is used. For example, in the phrase ‘Pursuing stick,’ pursuing here means the person who is holding the stick and not the stick itself.

Imagery - The author has used words or phrases in the poem that appeals to the reader’s senses to create a “mental image” for the reader. For example, this paragraph in the poem creates visual imagery.

A Slumber did My Spirits Seal – Poetic Devices

1. Rhyme scheme – abab cdcd

2. Alliteration – The repetition of a consonant sound at the start of two or more consecutive words is called alliteration. The instances of alliteration are as follows –

‘Spirit sealed’, ‘rolled round’

 3. Enjambment – when a sentence continues into two or more lines ending without any punctuation marks, it is called Enjambment. The instances of enjambment are as follows –

“She seemed a thing that could not feel

The touch of earthly years.”

“Rolled round in earth’s diurnal course

With rocks and stones and trees.”

Literary Devices / Poetic Devices

 

Dust of Snow

 1. Rhyme Scheme- abab cdcd

2. Alliteration- the occurrence of the same letter or sound at the beginning of adjacent or closely connected words.

The instances of alliteration are as follows-

1. Has given my heart

2. And saved some part

3. inversion – when the structure of a sentence is changed by the poet to create rhyme, this poetic license is called inversion. In stanza 1, inversion can be seen.

4. assonance – the prominence of a vowel sound throughout a line is called assonance. In stanza 1, line 2 –  “Shook down on me” – ‘o’ sound is prominent.

5. enjambment – when the same sentence continues to the next line without the use of any punctuation marks, it is called enjambment. It has been used thorughout the poem.

Fire and Ice

1. Rhyming scheme- aba / abc / bcb

2. Assonance- it is repetition of vowel sounds in same line. The repetition is at different places in different words.

Example- The long sound of “o” in “I hold with those who favour fire”

3. Alliteration- alliteration is the repetition of a consonant sound at the start of two or more closely placed words.

Example- The sound of “f” in “favour fire”, “w” in “world will”

4. Imagery- Imagery is used to make readers perceive things involving their five senses.

Example- “Some say the world will end in fire”

“To say that for destruction ice Is also great”

5. Anaphora- the repetition of a word or expression at the start of two or more consecutive lines.

Example – “Some say” is repeated at the start of lines 1 and 2.

6. Personification- Personification is to give human qualities to inanimate objects. In this poem, “fire” and “ice” are capable of destruction. Thus, the poet personifies fire and ice by giving them mind and power to destroy anything.

7. Enjambment- it is defined as the thought or clause that does not come to an end at a line break, rather it moves over to the next line.

Example- “From what I’ve tasted of desire

I hold with those who favor fire”

 

The Tiger in the Zoo

 

Stanza 1: Rhyme scheme: abcb (cage-rage)

Personification: The tiger is personified because the poet refers him as ‘he’.

Metaphor: Tiger’s paws are compared with velvet (pads of velvet)

Enjambment: Sentence is continuing to next line without any punctuation mark.

Imagery: poet tries to create an image about the tiger (He stalks in his vivid stripes The few steps of his cage)

Consonance: use of ‘s’ sound (stalks, his, stripes)

Assonance: use of vowel sound ‘I’ (in his vivid stripes)

Oxymoron: use of adjectives opposite in meaning (quiet rage)

 

Stanza 2: Rhyme: rhyme scheme is abcb (grass-pass)

Enjambment: Line continues to next line without punctuation marks. (Sliding through….deer pass)

Alliteration: use of sound ‘p’ at the start of two words (plump pass)

Imagery: The poet has tries to create an image of tiger’s activities (lurking in shadow).

Rhyme Scheme: abcb rhyme scheme is followed (edge, village)

Enjambment: Line continues to next line without punctuation marks (He should be snarling around houses At the jungle’s edge,)

Onomatopoeia: using words which denote sound (snarling)

Assonance: use of vowel sound ‘o’ and ‘I’ (should, around, houses), (Baring, his, white, his)

Consonance: use of consonant sound ‘s’ (his, fangs, his, claws)

 

Stanza 3: Rhyme Scheme: abcb rhyme scheme is followed (bars-visitors)

Personification: The tiger is personified because the poet refers him as ‘he’.

Assonance: use of vowel sound ‘e’ (he, locked, concrete, cell)

Consonance: use of consonant sound ‘s’ (his, strength, bars)

Alliteration: use of sound ‘b’ at the start of two words (behind bars)

 

Stanza 4: Rhyme Scheme: abcb rhyme scheme is followed (cars-stars)

Enjambment: Line three continues to line four without any punctuation mark. (And stares with his brilliant eyes At the brilliant stars.)

Alliteration: use of sound ‘h’ in the starting of two words (he hears)

Assonance: use of ‘I’ sound (with, his, brilliant)

Metonymy: This poetic device consisitts of the substitution of the name of an attribute or adjunct of that of the thing meant. In this poem the use of the metonymy in the 2^nd line of the 4^th stanza. The poet used the word strength to mean the body of the tiger, where the entire strength of this majestic creatue resides and which is locked up within a cage in the zoo.

 

How to tell Wild Animals

 

Stanza 1: Rhyme: Rhyme scheme ababcc is followed (chance-advance, east-beast, dyin-lion)

Enjambment: Continuation of a sentence to the next line (and if there…..tawny beast)

Inversion: Change in the format of a sentence (if there should to you advance)

Assonance: use of vowel sound ’o’ (you should go, should to you, roars,)

Allusion: Reference to a famous thing, place, species of animal, etc (Asian Lion)

 

Stanza 2: Rhyme: Rhyme scheme ababcc is followed (round-ground, you-you learn-discern)

Alliteration: repetition of consonant sound ‘r’ at start of two or more closely connected words (roaming round)

Inversion: Change in the format of a sentence (The Bengal Tiger to discern)

Allusion: Reference to a famous thing, place, species of animal, etc (Bengal Tiger)

Assonance: Use of vowel sound ’o’ (or if some time when roaming round)

 

Stanza 3: Rhyme: Rhyme scheme ababcc is followed (view- you, peppered- Leopard, pain-again)

Alliteration: use of consonant sound ‘h’ in the beginning of two words (he has)

Poetic license: A liberty to the poet to change the spellings in order to create rhyme or rhythm in a poem (use of lept instead of leapt)

Repetition: use of ‘lep’ word in the last line.

Assonance: use of vowel sound ‘o’ (strolling-forth-you, whose-spot, do no good to roar)

Consonance: use of ‘l’ sound (he’ll only lep lep)

 

Stanza 4: Rhyme: Rhyme scheme ababcc is followed (yard-hard, there- bear, guess-caress)

Enjambment: Continuation of a sentence to the next line (if you were walking….creature there)

Alliteration: use of ‘w’ sound (when-walking), use of ‘h’ sound (who- hugs), use of ‘b’ sound (be-bear)

Assonance: use of vowel ‘e’ (meet a creature there)

 

Stanza 5: Rhyme: Rhyme scheme ababcc is followed (prey-may, nonplus-thus, smiles-crocodiles)

Alliteration: use of consonant sound ‘n’ (novice-nonplus), use of ‘th’ sound (the-thus)

Enjambment: continuation of sentence to the next line (though to distinguish….might nonplus, The crocodile…..hyena thus)

 

Stanza 6: Rhyme: Rhyme scheme ababcc is followed (small-all, thing-wing, tree-see)

Alliteration: use of ‘h’ sound (he hasn’t)

Consonance: use of ‘g’ sound (single wing)

 

The Ball Poem

 

There is no Rhyme scheme in this poem. The poem is written in Free Verse.

 

Stanza 1: Anaphora: use of repeated words in two or more lines (What is the boy… what, what and merrily bouncing… merrily over)

Assonance: repeated use of vowel ‘o’ (boy, now, who, lost)

Imagery: when poet says merrily bouncing down the street

repetition: ‘what’ is repeated

 

Stanza 2: Repetition: use of the word ‘ball’

Asyndeton: no use of conjunction in a sentence (A dime, another ball, is worthless)

 

Stanza 3: Alliteration: use of sound ‘b’ at the start of two consecutive words (buys a ball back)

Assonance: use of vowel sound ‘e’ (He is learning, well behind his desperate eyes)

Repetition: ‘ball’ word is repeated

 

Amanda!

 

Stanza 1: Literary devices:

Anaphora: Repeated use of a word at start of two or more lines (don’t bite… don’t hunch)

Assonance: use of vowel sound ‘o’ (don’t hunch your shoulders)

Rhyme: aaba ccc (Amanda, Amanda, straight, Amanda, sea, me, blissfully)

Metaphor: use of word emerald sea for green colour of sea being similar to the colour of emrald

Repetition: use of word ‘Amanda’

Imagery: drifting blissfully

Alliteration: ‘Stop that slouching and sit up straight’ – ‘s’ sound is being repeated at the start of closely placed words.

Allusion: ‘mermaid’ is a well known imaginary creature.

 

Stanza 2: Literary devices:

Anaphora: Repeated use of a word at start of two or more lines (did you finish….did you tidy)

Rhyme: Rhyme scheme is aada eee (Amanda, Amanda, shoes, Amanda, street, feet, sweet)

Assonance: use of vowel sound ‘o’ (Thought, told, you, your, shoes)

Repetition: use of word ‘Amanda’

Metaphor: silence is golden – silence is said to be glorious like golden colour

freedom is sweet – freedom is said to be sweet in taste.

 

Stanza 3: Literary devices:

Allusion: use of famous fairy tale character Rapunzel

Rhyme: rhyme scheme aafa ggg (Amanda, Amanda, you, Amanda, care, rare, hair)

Assonance: use of vowel sound ‘e’ and ‘o’ (Will you please look at me when I’m speaking to you

Consonance: use of sound ‘r’ (I am Rapunzel; I have not a care …..Bright hair)

Repetition: use of word ‘Amanda’

 

Stanza 4: Literary Devices:

Alliteration: ‘Stop that sulking’ – ‘s’ sound is repeated at the start of closely placed words

Repetition: use of word ‘Amanda’

Rhyme scheme: aaha (Amanda, Amanda, you, Amanda)

 

Trees

 

Stanza 1: Literary Devices:

Personification: Sun bury its feet. Sun has been personified.

Enjambment: Continuation of a sentence to the next line (the forest that was…… trees by morning).

Anaphora: 2 lines begin with ‘no’

imagery: “The trees inside are moving out into the forest” – shows kinestatic imagery

 

Stanza 2: Enjambment: continuation of sentence to the next line (the leaves strain……. Half dazed)

Simile: trees compared to patients (like newly discharged patients)

personification: twigs and boughs have been personified.

 

Stanza 3: Alliteration: ‘long letters’ forest from’ ‘sky still’ ‘leaves and lichen’

Enjambment: continuation of sentence to the next line (doors open….the house)

Imagery: the poet has tried to create a scene in which she is observing all the things happening (the night is fresh……into the rooms)

 

Stanza 4: Literary devices:

Simile: The moon is compared to a mirror (Moon is broken like a mirror)

 

Fog

 

Rhyme Scheme: There is no rhyme scheme followed in the poem. It is in free verse.

Metaphor: Fog is comapred to a cat.

Personification: Fog is personified.

Enjambment: The two sentences used in the poem continue to the following line without any punctuation marks at the end of the lines.

 

The Tale of Custard the Dragon

Stanza 1: Literary Devices: Rhyme scheme: aabb (house-mouse, wagon-dragon)

Repetition: use of the word ‘little’

oxymoron: use of two words with opposite meanings “pet dragon”

Anaphora: repeated use of word at the start of two consecutive lines. (And a little ….And a realio)

Refrain: Repetition of a sentence again and again (And a realio, trulio,)

poetic license: realio, trulio for real, true. The spellings have been changed to create a musical effect.

 

Stanza 2 : Rhyme scheme: aabb (ink-blink, mustard-custard)

simile: dog compared to mustard “And the little yellow dog was sharp as Mustard”

Alliteration: “coward, and she called him Custard” - “c” sound

Anaphora: repeated use of word at the start of two consecutive lines (And the little grey…And the little yellow)

Repetition: use of word little

 

Stanza 3: Rhyme scheme: aabb (teeth-underneath, nose-toes)

Simile: Dragon’s mouth is compared with fireplace (mouth like a fireplace)

Refrain: Repetition of a sentence again and again (And a realio, trulio,)

Metaphor: “chimney for a nose”. The nose is like a chimney.

 

Stanza 4: Rhyme scheme: aabb (bears-stairs, rage-cage)

Alliteration: Belinda was as brave as a barrel full of bears “b” sound is repeated

Simile: Belinda’s bravery is compared to that of a barrel full of bears (as a barrel full of bears), Mustard’s bravery is compared to that of an angry tiger (Mustard was as brave as a tiger in a rage)

Assonance: use of vowel sound ‘a’ (Belinda was as brave as a barrel full of bears)

 

Stanza 5: Rhyme scheme: aabb (unmerciful-Percival, wagon-dragon)

Refrain: Repetition of a sentence again and again (And a realio, trulio,)

Repetition: use of the word ‘tickled him’

Allusion: reference to any person or place (Percival)

Personification: Ink, Blink and Mustard, they rudely called him Percival

 

Stanza 6: Rhyme scheme: aabb (house-mouse, rage-cage)

Onomatopoeia:  usage of sound words to create a dramatic effect (giggled, weeck)

Repetition: Custard cried for a nice safe cage (used in stanza 4)

 

Stanza 7: Rhyme scheme: aabb (sound-around, Belinda-winda)

Consonance: use of consonant sound ‘s’ (Suddenly, suddenly they heard a nasty sound)

Onomatopoeia:  usage of sound words to create a dramatic effect (Mustard growled, Meowch, cried ink)

Poetic license: window is written as ‘winda’ to create rhyme.

Repetition: suddenly

 

Stanza 8: Rhyme scheme: aabb (right- bright, wood- good)

Alliteration: beard was black “b”, he held his “h”

Imagery: An image is created about the appearance of the pirate.

 

Stanza 9: Rhyme scheme: aabb (help-yelp, household – mousehold)

transferred epithet: terrified yelp

Repetition: help help

Poetic license: use of the word mousehold to rhyme with household

 

Stanza 10: Rhyme scheme: aabb (engine-dungeon, squirm-worm)

Simile: sound of dragon is compared with sound of engine (snorting like an engine), Clashed his tail like irons in a dungeon, dragon’s attack on pirate is compared to robin bird (like a robin at a worm)

Onomatopoeia:  usage of sound words to create a dramatic effect (clatter, clank, jangling)

Imagery: The attack by the dragon is expressed in a way to make an image in our minds.

 

Stanza 11: Rhyme scheme: aabb (dragon-flagon, hit-bit)

alliteration: gulped some grog “g”

Imagery: They have shown the reaction and actions made by the pirate on seeing the dragon.

 

Stanza 12: Rhyme scheme: aabb (him-victim, gyrate-pirate)

alliteration: glee did gyrate “g”

Assonance: use of vowel sound ‘o’ (no one mourned for), use of vowel sound ‘I’ (ink and blink in glee did), use of vowel sound ‘a’ (that ate the pirate)

 

Stanza 13: Rhyme scheme: aabb (mustard-flustered, blink-ink, agree-me)

 

Stanza 14: Refrain: Repetition of a sentence again and again (And a realio, trulio)

Repetition: stanza has been repeated

 

For Anne Gregory

 

Rhyme Scheme: abcbdb

Apostrophe:  Apostrophe is a figure of speech in which the speaker addresses a dead or absent person. In the poem, the poet is seen talking to Anne Gregory, but the readers don't see her at any point in the poem.

Repetition: In this poem, the phrase 'yellow hair' is repeated.

The word 'despair' is repeated.

Synecdoche: Synecdoche refers to a literary device in which a part of something is substituted for the whole.

 

Stanza 1:

Metaphor - The poet has compared Anne's hair with ramparts of a fort.

Alliteration -  It is the repetition of a letter at the start of closely placed words. The repetition of the letter 'y' in "your yellow."

 

Stanza 2:

Alliteration -  It is the repetition of a letter at the start of closely placed words. The repetition of the letter 's' in "Set Such."

Metonymy - The poet has used carrot to show orange colour.

Poetic Devices:

Anaphora: It is the repetition of a word at the start of two or more consecutive lines - 

(That he had found a text to prove

That only God, my dear,).                     

Alliteration:  It is the repetition of a letter at the start of closely placed words. The repetition of the letter:

h in "he had"

y in "your yellow".