Group IV| BSED Math 3

Narrative Poetry
o Narrative poetry tells stories through verse. Like a novel or a short story, it has plot, characters, and setting.
o The earliest poetry was not written but spoken, recited, chanted, or sung.
o Narrative poetry presents a series of events through action and dialogue.
o Most narrative poems feature a single speaker: the narrator.
o Traditional forms of narrative poetry include epics, ballads, and Arthurian romances.

I. Type of Narrative Poetry: Ballad

 The ballad is at the intersection of poetry and song, from traditional folk ballads crystallizing out of the mists of ancient oral
traditions to modern literary ballads in which poets use the old narrative forms to retell traditional legends or to tell stories of
their own. 
 love, heartbreak, and dramatic events

A. Literary Piece: Lord Randall

(By Anonymous)
  “Oh where ha’e ye been, Lord Randall my son? “What became of your bloodhounds, Lord Randall my son?
O where ha’e ye been, my handsome young man?” What became of your bloodhounds, my handsome young man?”
“I ha’e been to the wild wood: mother, make my bed soon, “O they swelled and they died: mother, make my bed soon,
For I’m weary wi’ hunting, and fain wald lie down.” for I’m weary wi’ hunting, and fain wald lie down.”
 
   “Where gat ye your dinner, Lord Randall my son?
“O I fear ye are poisoned, Lord Randall my son!
Where gat ye your dinner, my handsome young man?”
O I fear ye are poisoned, my handsome young man!”
“I dined wi’ my true love; mother, make my bed soon,
“O yes, I am poisoned: mother, make my bed soon,
For I’m weary wi’ hunting, and fain wald lie down.”
For I’m sick at the heart, and I fain wald lie down.”
 
“What gat ye to your dinner, Lord Randall my son?
What gat ye to your dinner, my handsome young man?”
“I gat eels boiled in broo: mother, make my bed soon,
For I’m weary wi’ hunting, and fain wald lie down.”
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'Lord Randall' (Background)

 Published earlier by Sir Walter Scott in 1803.
 Called one of the Child Ballads. These are a group of folk songs collected in five volumes and published between 1882 and 1898
by Francis J. Child
Literary Device: repetition, anaphora, epistrophe, and caesura
 Repetition, occurs whenever the poet repeats something.  Epistrophe, occurs at the end of lines when words or
This might be a word, phrase, image, structure, or phrases are repeated there
another piece of the poem.  Caesurae, pauses in the middle of the lines. These are
 Anaphora, words repeated at the beginning of lines. created through either the use of punctuation or meter.

And the June sun warm

B. Literary Piece: Telling the Bees Tangles his wings of fire in the trees,
John Greenleaf Whittier (1807–1892). Setting, as then, over Fernside farm.

HERE is the place; right over the hill I mind me how with a lover’s care
Runs the path I took; From my Sunday coat
You can see the gap in the old wall still, I brushed off the burrs, and smoothed my hair,
And the stepping-stones in the shallow brook. And cooled at the brookside my brow and throat.

There is the house, with the gate red-barred, Since we parted, a month had passed,—
And the poplars tall; To love, a year;
And the barn’s brown length, and the cattle-yard, Down through the beeches I looked at last
And the white horns tossing above the wall. On the little red gate and the well-sweep near.

There are the beehives ranged in the sun; I can see it all now,—the slantwise rain
And down by the brink Of light through the leaves,
Of the brook are her poor flowers, weed-o’errun, The sundown’s blaze on her window-pane,
Pansy and daffodil, rose and pink. The bloom of her roses under the eaves.

A year has gone, as the tortoise goes, Just the same as a month before,—
Heavy and slow; The house and the trees,
And the same rose blows, and the same sun The barn’s brown gable, the vine by the door,—
glows, Nothing changed but the hives of bees.
And the same brook sings of a year ago.
Before them, under the garden wall,
There ’s the same sweet clover-smell in the Forward and back,
breeze; Went drearily singing the chore-girl small,
Group IV| BSED Math 3
Draping each hive with a shred of black.
But her dog whined low; on the doorway sill,
Trembling, I listened: the summer sun With his cane to his chin,
Had the chill of snow; The old man sat; and the chore-girl still
For I knew she was telling the bees of one Sung to the bees stealing out and in.
Gone on the journey we all must go!
And the song she was singing ever since
Then I said to myself, “My Mary weeps In my ear sounds on:—
For the dead to-day: “Stay at home, pretty bees, fly not hence!
Haply her blind old grandsire sleeps Mistress Mary is dead and gone
The fret and the pain of his age away.”
‘Telling the Bees (Background)
 John Greenleaf Whittier (1807–1892)
 Literary Device: Structured rhyme scheme
 The writing has a narrator and in a first-person point of view describing the action.
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Dramatic Poetry
o Dramatic poetry, also known as dramatic verse or verse drama, is a written work that both tells a story and connects the reader
to an audience through emotions or behavior.
o Normally, it uses a set rhyming or meter pattern, setting it apart from prose.

I. Type of Dramatic Poetry: Soliloquy

 a dramatic literary device that is used when a character gives a speech that reveals something about their thought
process.
 an intimate communication of a character's innermost thoughts delivered as if he or she were thinking aloud.
A. Literary Piece: Hamlet
By: Shakespeare
Hamlet speaks in Act 3, Scene 1 of William Shakespeare’s tragedy, “Hamlet”.
To be, or not to be, that is the question: No traveller returns, puzzles the will,
Whether ’tis nobler in the mind to suffer And makes us rather bear those ills we have
The slings and arrows of outrageous fortune, Than fly to others that we know not of?z
Or to take arms against a sea of troubles Thus conscience doth make cowards of us all,
And by opposing end them. To die—to sleep, And thus the native hue of resolution
No more; and by a sleep to say we end Is sicklied o’er with the pale cast of thought,
The heart-ache and the thousand natural shocks And enterprises of great pith and moment
That flesh is heir to: ’tis a consummation With this regard their currents turn awry
Devoutly to be wish’d. To die, to sleep; And lose the name of action.—Soft you now,
To sleep, perchance to dream—ay, there’s the rub: The fair Ophelia!—Nymph, in thy orisons
For in that sleep of death what dreams may come, Be all my sins remembered.
When we have shuffled off this mortal coil,
Must give us pause—there’s the respect [From the Second Quarto of Hamlet (1604)]
That makes calamity of so long life.
For who would bear the whips and scorns of time,
Th’oppressor’s wrong, the proud man’s contumely,
The pangs of dispriz’d love, the law’s delay,
The insolence of office, and the spurns
That patient merit of th’unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovere’d country, from whose bourn
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‘Hamlet (Background)
 To be, or not to be” by William Shakespeare describes how Hamlet is torn between life and death. His mental struggle to end the
pangs of his life gets featured in this soliloquy.
 The overall soliloquy is in blank verse as the text does not have a rhyming scheme.
 Literary Device: Antithesis and aporia, Metaphor, personification.

II. Type of Dramatic Poetry: Monologue

 A dramatic monologue is used to vent a speaker’s thoughts. It gives the speaker a chance to get their own experience across
without the thoughts or words of someone else interfering. 
B. Literary Piece: My Last Duchess
By: ROBERT BROWNING
That’s my last Duchess painted on the wall, The bough of cherries some officious fool
Looking as if she were alive. I call Broke in the orchard for her, the white mule
That piece a wonder, now; Fra Pandolf’s hands She rode with round the terrace—all and each
Worked busily a day, and there she stands. Would draw from her alike the approving speech,
Will’t please you sit and look at her? I said Or blush, at least. She thanked men—good! but thanked
“Fra Pandolf” by design, for never read Somehow—I know not how—as if she ranked
Strangers like you that pictured countenance, My gift of a nine-hundred-years-old name
The depth and passion of its earnest glance, With anybody’s gift. Who’d stoop to blame
But to myself they turned (since none puts by This sort of trifling? Even had you skill
The curtain I have drawn for you, but I) In speech—which I have not—to make your will
And seemed as they would ask me, if they durst, Quite clear to such an one, and say, “Just this
How such a glance came there; so, not the first Or that in you disgusts me; here you miss,
Are you to turn and ask thus. Sir, ’twas not Or there exceed the mark”—and if she let
Her husband’s presence only, called that spot Herself be lessoned so, nor plainly set
Of joy into the Duchess’ cheek; perhaps Her wits to yours, forsooth, and made excuse—
Fra Pandolf chanced to say, “Her mantle laps E’en then would be some stooping; and I choose
Over my lady’s wrist too much,” or “Paint Never to stoop. Oh, sir, she smiled, no doubt,
Must never hope to reproduce the faint Whene’er I passed her; but who passed without
Half-flush that dies along her throat.” Such stuff Much the same smile? This grew; I gave commands;
Was courtesy, she thought, and cause enough Then all smiles stopped together. There she stands
For calling up that spot of joy. She had As if alive. Will’t please you rise? We’ll meet
A heart—how shall I say?— too soon made glad, The company below, then. I repeat,
Too easily impressed; she liked whate’er The Count your master’s known munificence
She looked on, and her looks went everywhere. Is ample warrant that no just pretense
Sir, ’twas all one! My favour at her breast, Of mine for dowry will be disallowed;
The dropping of the daylight in the West, Though his fair daughter’s self, as I avowed
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At starting, is my object. Nay, we’ll go Taming a sea-horse, thought a rarity,
Together down, sir. Notice Neptune, though, Which Claus of Innsbruck cast in bronze for me!
‘My Last Duchess (Background)
 ‘My Last Duchess’ by Robert Browning is a well-known dramatic monologue. It suggests that the speaker has killed his wife
and will soon do the same to the next.
 The poet’s inspiration for this poem came from the Duke and Duchess Ferarra. The Duchess died under very suspicious
circumstances. She was married at fourteen and dead by seventeen. Browning uses these suspicious circumstances as
inspiration for a poem that dives deep into the mind of a powerful Duke of Ferarra who wishes to control his wife in every
aspect of her life, including her feelings.
 Literary Devices
Browning makes use of several literary devices in 'My Last Duchess.' These include but are not limited to:
- Alliteration: occurs when the poet uses the same consonant sound at the beginning of words. For example, "look" and
"looked" in line twenty-four.
- Caesura: seen through pauses the poet uses in the middle of lines. For example: "Somehow-I know not how-as if she
ranked."
- Enjambment: seen through line breaks. For example, the transition between lines two and three as well as lines five and
six.

Prepared by:
Group IV
Joana Krizzia Bembo
Mark Warren Martillo
Keen Lagartos
Louie Jay Catangcatang
Dayan Maceda