{"id":118,"date":"2020-03-24T04:47:05","date_gmt":"2020-03-24T04:47:05","guid":{"rendered":"https:\/\/pressbooks.hccfl.edu\/creativewriting\/chapter\/lesson-12-figures-of-speech-in-poetry\/"},"modified":"2023-07-26T17:34:01","modified_gmt":"2023-07-26T17:34:01","slug":"lesson-12-figures-of-speech-in-poetry","status":"publish","type":"chapter","link":"https:\/\/pressbooks.hccfl.edu\/creativewriting\/chapter\/lesson-12-figures-of-speech-in-poetry\/","title":{"raw":"Lesson 12: Figures of Speech in Poetry","rendered":"Lesson 12: Figures of Speech in Poetry"},"content":{"raw":"Definition<\/strong>\n\nThe meaning of language can be literal or figurative. Literal language states exactly what something is. On the other hand, figurative language creates meaning by comparing one thing to another thing. Poets use figures of speech in their poems. Several types of figures of speech exist for them to choose from. Five common ones are simile, metaphor, personification, hypberbole, and understatement.\n\nSimile <\/strong>\n\nA simile compares one thing to another by using the words like<\/em> or as. <\/em>Read Shakespeare's poem \"Sonnet 130.\"\n

Sonnet 130\n<\/strong>Author<\/strong>: William Shakespeare\n\u00a9 1598<\/p>\n

My mistress' eyes are nothing like the sun;\nCoral is far more red, than her lips red:\nIf snow be white, why then her breasts are dun;\nIf hairs be wires, black wires grow on her head.\nI have seen roses damask'd, red and white,\nBut no such roses see I in her cheeks;\nAnd in some perfumes is there more delight\nThan in the breath that from my mistress reeks.\nI love to hear her speak, yet well I know\nThat music hath a far more pleasing sound:\nI grant I never saw a goddess go,\u2014\nMy mistress, when she walks, treads on the ground:<\/p>\n

And yet by heaven, I think my love as rare,\nas any she belied with false compare.<\/p>\nIn this sonnet, Shakespeare's simile in the first line is a contrast where one thing is not like<\/em> or as<\/em> something else. He wrote, \"My mistress' eyes are nothing like the sun.\"\n\nMetaphor<\/strong>\n\nA metaphor compares one to another by saying one thing is <\/em>another. Read Emily Dickinson's poem \"Hope Is the Thing with Feathers.\"\n

Hope Is the Thing with Feathers\n<\/strong>Author<\/strong>: Emily Dickinson<\/p>\n

\"Hope\" is the thing with feathers\nThat perches in the soul\nAnd sings the tune without the words\nAnd never stops at all<\/p>\n

And sweetest in the Gale is heard\nAnd sore must be the storm \u2014\nThat could abash the little Bird\nThat kept so many warm \u2014<\/p>\n

I've heard it in the chillest land \u2014\nAnd on the strangest Sea \u2014\nYet, never, in Extremity,\nIt asked a crumb \u2014 of Me.<\/p>\nNotice that Emily Dickinson compared hope to a bird\u2013the thing with feathers. Because there are bird images throughout the poem, it is called an extended metaphor poem.\n\nPersonification<\/strong>\n\nA personification involves giving a non-human, inanimate object the qualities of a person. Robert Frost did that in his poem \"Storm Fear.\"\n

Storm Fear\nAuthor<\/strong>: Robert Frost\n\u00a91913<\/p>\n\n

\n
\n\nWhen the wind works against us in the dark,\nAnd pelts with snow\nThe lower chamber window on the east,\nAnd whispers with a sort of stifled bark,\nThe beast,\n'Come out! Come out!\u2014\nIt costs no inward struggle not to go,\nAh, no!\nI count our strength,\nTwo and a child,\nThose of us not asleep subdued to mark\nHow the cold creeps as the fire dies at length,\u2014\nHow drifts are piled,\nDooryard and road ungraded,\nTill even the comforting barn grows far away\nAnd my heart owns a doubt\nWhether 'tis in us to arise with day\nAnd save ourselves unaided.\n\n<\/div>\n<\/div>\nLook specifically at the strong action verbs to find the human traits that are attributed to the wind and storm.\n\nHyperbole<\/strong>\n\nA hyperbole is an exaggeration of the truth in order to create an effect. Sometimes that's done in a single statement. Other times it can happen with repetition like in Robert Frost's famous poem \"Stopping by Woods on a Snowy Evening.\" Read the poem aloud. Notice the effect of the last two lines. The reader feels the tiredness of the weary traveler.\n

Stopping by Woods on a Snowy Evening\n<\/strong>Author<\/strong>: Robert Frost\n\u00a91923<\/p>\n

Whose woods these are I think I know.\nHis house is in the village though;\nHe will not see me stopping here\nTo watch his woods fill up with snow.<\/p>\n

My little horse must think it queer\nTo stop without a farmhouse near\nBetween the woods and frozen lake\nThe darkest evening of the year.<\/p>\n

He gives his harness bells a shake\nTo ask if there is some mistake.\nThe only other sound\u2019s the sweep\nOf easy wind and downy flake.<\/p>\n

The woods are lovely, dark and deep,\nBut I have promises to keep,\nAnd miles to go before I sleep,\nAnd miles to go before I sleep.<\/p>\nUnderstatement<\/strong>\n\nUnderstatement is the exact opposite of a hyperbole. The writer deliberately chooses to downplay the significance or seriousness of a situation or an event. This is evident in Mary Howitt's Poem \" The Spider and the Fly.\"\n

The Spider and the Fly\n<\/strong>Author<\/strong>: Mary Howitt\n\u00a91853<\/p>\n

Will you walk into my parlour, said a Spider to a Fly;\n'Tis the prettiest little parlour that ever you did spy.\nThe way into my parlour is up a winding stair,\nAnd I have many pretty things to shew when you get there.\nOh, no, no! said the little Fly; to ask me is in vain:\nFor who goes up that winding stair shall ne'er come down again.<\/p>\n

Said the cunning Spider to the Fly, Dear friend, what can I do\nTo prove the warm affection I have ever felt tor you?\n<\/span>I have within my parlour great store of all that's nice:\nI'm sure you're very welcome; will you please to take a slice!\nOh, no, no! said the little Fly; kind sir, that cannot be;\nFor I know what's in your pantry, and I do not wish to see.<\/p>\n

Sweet creature, said the Spider, you're witty and you're wise;\nHow handsome are your gaudy wings, how brilliant are your eyes!\nI have a little looking-glass upon my parlour-shelf;\nIf you'll step in one moment, dear, you shall behold yourself.\nOh, thank you, gentle sir, she said, for what you're pleased to say;\nAnd wishing you good morning now, I'll call another day.<\/p>\n

The Spider turn'd him round again, and went into his den,\nFor well he knew that silly Fly would soon come back again.\nAnd then he wore a tiny web, in a little corner sly,\nAnd set his table ready for to dine upon the Fly;\nAnd went out to his door again, and merrily did sing,\nCome hither, pretty little Fly, with the gold and silver wing.<\/p>\n

<\/span>Alas, alas! how very soon this silly little Fly,\nHearing his wily flattering words, came slowly fluttering by.\nWith humming wings she hung aloft, then nearer and nearer drew.\nThinking only of her crested head and gold and purple hue:\nThinking only of her brilliant wings, poor silly thing! at last,\nUp jump'd the cruel Spider, and firmly held her fast!<\/p>\n

He dragg'd her up his winding stair, into his dismal den,\nWithin his little parlour; but she ne'er came down again.\nAnd now, my pretty maidens, who may this story hear,\nTo silly, idle, flattering words, I pray you ne'er give ear;\nUnto an evil counsellor close heart, and ear, and eye,\nAnd learn a lesson from this tale of the Spider and the Fly.<\/p>\n ","rendered":"

Definition<\/strong><\/p>\n

The meaning of language can be literal or figurative. Literal language states exactly what something is. On the other hand, figurative language creates meaning by comparing one thing to another thing. Poets use figures of speech in their poems. Several types of figures of speech exist for them to choose from. Five common ones are simile, metaphor, personification, hypberbole, and understatement.<\/p>\n

Simile <\/strong><\/p>\n

A simile compares one thing to another by using the words like<\/em> or as. <\/em>Read Shakespeare’s poem “Sonnet 130.”<\/p>\n

Sonnet 130
\n<\/strong>Author<\/strong>: William Shakespeare
\n\u00a9 1598<\/p>\n

My mistress’ eyes are nothing like the sun;
\nCoral is far more red, than her lips red:
\nIf snow be white, why then her breasts are dun;
\nIf hairs be wires, black wires grow on her head.
\nI have seen roses damask’d, red and white,
\nBut no such roses see I in her cheeks;
\nAnd in some perfumes is there more delight
\nThan in the breath that from my mistress reeks.
\nI love to hear her speak, yet well I know
\nThat music hath a far more pleasing sound:
\nI grant I never saw a goddess go,\u2014
\nMy mistress, when she walks, treads on the ground:<\/p>\n

And yet by heaven, I think my love as rare,
\nas any she belied with false compare.<\/p>\n

In this sonnet, Shakespeare’s simile in the first line is a contrast where one thing is not like<\/em> or as<\/em> something else. He wrote, “My mistress’ eyes are nothing like the sun.”<\/p>\n

Metaphor<\/strong><\/p>\n

A metaphor compares one to another by saying one thing is <\/em>another. Read Emily Dickinson’s poem “Hope Is the Thing with Feathers.”<\/p>\n

Hope Is the Thing with Feathers
\n<\/strong>Author<\/strong>: Emily Dickinson<\/p>\n

“Hope” is the thing with feathers
\nThat perches in the soul
\nAnd sings the tune without the words
\nAnd never stops at all<\/p>\n

And sweetest in the Gale is heard
\nAnd sore must be the storm \u2014
\nThat could abash the little Bird
\nThat kept so many warm \u2014<\/p>\n

I’ve heard it in the chillest land \u2014
\nAnd on the strangest Sea \u2014
\nYet, never, in Extremity,
\nIt asked a crumb \u2014 of Me.<\/p>\n

Notice that Emily Dickinson compared hope to a bird\u2013the thing with feathers. Because there are bird images throughout the poem, it is called an extended metaphor poem.<\/p>\n

Personification<\/strong><\/p>\n

A personification involves giving a non-human, inanimate object the qualities of a person. Robert Frost did that in his poem “Storm Fear.”<\/p>\n

Storm Fear
\nAuthor<\/strong>: Robert Frost
\n\u00a91913<\/p>\n

\n
\n

When the wind works against us in the dark,
\nAnd pelts with snow
\nThe lower chamber window on the east,
\nAnd whispers with a sort of stifled bark,
\nThe beast,
\n‘Come out! Come out!\u2014
\nIt costs no inward struggle not to go,
\nAh, no!
\nI count our strength,
\nTwo and a child,
\nThose of us not asleep subdued to mark
\nHow the cold creeps as the fire dies at length,\u2014
\nHow drifts are piled,
\nDooryard and road ungraded,
\nTill even the comforting barn grows far away
\nAnd my heart owns a doubt
\nWhether ’tis in us to arise with day
\nAnd save ourselves unaided.<\/p>\n<\/div>\n<\/div>\n

Look specifically at the strong action verbs to find the human traits that are attributed to the wind and storm.<\/p>\n

Hyperbole<\/strong><\/p>\n

A hyperbole is an exaggeration of the truth in order to create an effect. Sometimes that’s done in a single statement. Other times it can happen with repetition like in Robert Frost’s famous poem “Stopping by Woods on a Snowy Evening.” Read the poem aloud. Notice the effect of the last two lines. The reader feels the tiredness of the weary traveler.<\/p>\n

Stopping by Woods on a Snowy Evening
\n<\/strong>Author<\/strong>: Robert Frost
\n\u00a91923<\/p>\n

Whose woods these are I think I know.
\nHis house is in the village though;
\nHe will not see me stopping here
\nTo watch his woods fill up with snow.<\/p>\n

My little horse must think it queer
\nTo stop without a farmhouse near
\nBetween the woods and frozen lake
\nThe darkest evening of the year.<\/p>\n

He gives his harness bells a shake
\nTo ask if there is some mistake.
\nThe only other sound\u2019s the sweep
\nOf easy wind and downy flake.<\/p>\n

The woods are lovely, dark and deep,
\nBut I have promises to keep,
\nAnd miles to go before I sleep,
\nAnd miles to go before I sleep.<\/p>\n

Understatement<\/strong><\/p>\n

Understatement is the exact opposite of a hyperbole. The writer deliberately chooses to downplay the significance or seriousness of a situation or an event. This is evident in Mary Howitt’s Poem ” The Spider and the Fly.”<\/p>\n

The Spider and the Fly
\n<\/strong>Author<\/strong>: Mary Howitt
\n\u00a91853<\/p>\n

Will you walk into my parlour, said a Spider to a Fly;
\n‘Tis the prettiest little parlour that ever you did spy.
\nThe way into my parlour is up a winding stair,
\nAnd I have many pretty things to shew when you get there.
\nOh, no, no! said the little Fly; to ask me is in vain:
\nFor who goes up that winding stair shall ne’er come down again.<\/p>\n

Said the cunning Spider to the Fly, Dear friend, what can I do
\nTo prove the warm affection I have ever felt tor you?
\n<\/span>I have within my parlour great store of all that’s nice:
\nI’m sure you’re very welcome; will you please to take a slice!
\nOh, no, no! said the little Fly; kind sir, that cannot be;
\nFor I know what’s in your pantry, and I do not wish to see.<\/p>\n

Sweet creature, said the Spider, you’re witty and you’re wise;
\nHow handsome are your gaudy wings, how brilliant are your eyes!
\nI have a little looking-glass upon my parlour-shelf;
\nIf you’ll step in one moment, dear, you shall behold yourself.
\nOh, thank you, gentle sir, she said, for what you’re pleased to say;
\nAnd wishing you good morning now, I’ll call another day.<\/p>\n

The Spider turn’d him round again, and went into his den,
\nFor well he knew that silly Fly would soon come back again.
\nAnd then he wore a tiny web, in a little corner sly,
\nAnd set his table ready for to dine upon the Fly;
\nAnd went out to his door again, and merrily did sing,
\nCome hither, pretty little Fly, with the gold and silver wing.<\/p>\n

<\/span>Alas, alas! how very soon this silly little Fly,
\nHearing his wily flattering words, came slowly fluttering by.
\nWith humming wings she hung aloft, then nearer and nearer drew.
\nThinking only of her crested head and gold and purple hue:
\nThinking only of her brilliant wings, poor silly thing! at last,
\nUp jump’d the cruel Spider, and firmly held her fast!<\/p>\n

He dragg’d her up his winding stair, into his dismal den,
\nWithin his little parlour; but she ne’er came down again.
\nAnd now, my pretty maidens, who may this story hear,
\nTo silly, idle, flattering words, I pray you ne’er give ear;
\nUnto an evil counsellor close heart, and ear, and eye,
\nAnd learn a lesson from this tale of the Spider and the Fly.<\/p>\n

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