OOW
2026
2026
Showing posts with label English Literature Studies. Show all posts
Showing posts with label English Literature Studies. Show all posts
Monday, 4 May 2026
Sunday, 3 May 2026
Monday, 9 March 2026
Poem: “At the Theatre: To the Lady Behind Me” WORKSHEET
The image above is of a theatre, with actors on stage and an audience watching the play (performance) unfold.Poem: "At the Theatre: To the Lady Behind Me" by the poet: A. P. Herbert
Dear Madam, you have seen this play;
I never saw it till today.
You know the details of the plot,
But, let me tell you, I do not.
The author seeks to keep from me
The murderer's identity,
And you are not a friend of his
If you keep shouting who it is.
The actors in their funny way
Have several funny things to say,
But they do not amuse me more
If you have said them just before;
The merit of the drama lies,
I understand, in some surprise;
But the surprise must now be small
Since you have just foretold it all.
The lady you have brought with you
Is, I infer, a half-wit too,
But I can understand the piece
Without assistance from your niece.
In short, foul woman, it would suit
Me just as well if you were mute;
In fact, to make my meaning plain,
I trust you will not speak again.
And—may I add one human touch?—
Don't breathe upon my neck so much.
OOW2026
Wednesday, 4 March 2026
Wednesday, 18 October 2023
Friday, 3 February 2023
CSEC English B Poem: “A Lesson for This Sunday” by Derek Walcott
Analysis of poem
An adult is sitting in a hammock in his garden enjoying a peaceful Sunday morning when his repose (relaxation) is shattered by the appearance of two boisterous children, a little girl and boy – whose chief recreation seems to reside in tormenting the harmless creatures of Nature. Their cruel game sickens the speaker, and his Sunday rest is spoilt as he reflects on the concept of original sin. He also wonders, in the light of the incongruity (strangeness) he has just witnessed, at what point the individual begins to make conscious choices to do good and evil.
The persona in the poem prompted by a disturbing demonstration of cruelty on the part of young children, ponders upon the oddness of it all, when from birth, as it were, children practise an instinctive brutality.
The fact that it is Sunday, traditionally a religious day and a day of rest, emphasizes the unseemliness of the children’s violent behaviour. The persona’s day begins typically as a peaceful, leisurely morning with only a hymn-singing maid softly interrupting the silence. The sudden cries of the children come as an unwelcome intrusion upon his serenity. First, he hears their screams of excitement, and then he sees them in action as in their innocent, but ruthless curiosity, they interact with Nature. Unfeelingly they pierce the eyes of the butterfly then try to “eviscerate the abdomen” until the maid stops their rough game, the angelic little girl screaming in angry protest. The speaker finds it paradoxical that such an innocent little child can be capable of such savagery.
The persona notes the similarity between the frailty of the girl and the airy yellow butterfly, both vulnerable creatures and even though he believes she is safe for the moment, shudders at the thought of her being violated in the same way in the future by some similarly cruel hands.
His mind further recoils in fear because of the thought of man’s ancestral nature (heredity of cruelty) – all individuals have the potential for inhumanity unless they choose to do good. The speaker wonders when choices would begin to be exerted to influence behaviour. The transitory nature of Man’s existence also forms part of his final thoughts as he reflects on our centuries-old history of violence, our ensuing moral development over the years and finally, our mortality. The lesson learnt on that Sunday is profound: it would seem that Man’s entire life is subject to an external design, and he is born with a sinful nature, lives a frail and precarious (uncertain/dangerous) existence and may be cut down like summer grass at any time.
Themes:
·
Original/Ancestral Sin and Free Will
·
Growing Up
·
Cruelty to Nature
·
Man’s Inhumanity to Man
·
Religion and Sin
· Mortality
______________________________________________
Adapted from: https://www.academia.edu/32470811/A_Lesson_for_This_Sunday
Alternative Analyses of Walcott's poem: "A Lesson for This Sunday"
OOW
2023
Monday, 23 August 2021
English B Prose (Short Story): "Drunkard of the River" with Critical Analysis
"Drunkard of the River"
Michael Anthony (Trinidad)
_______________________________________
“Where you’ father?”
The boy did not answer. He paddled his boat carefully between the shallows, and then he ran the boat alongside the bank, putting his paddle in front to stop it. Then he threw the rope round the picket and helped himself on to the bank. His mother stood in front the door still staring at him.
“Where you’ father?”
The boy disguised his irritation. He looked at his mother and said calmly, “You know Pa. You know where he is.”
“And ah did tell you not to come back without ‘im?”
“I could bring Pa back?” The boy cried. His bitterness was getting the better of him. “When Pa want to drink I could bring him back?”
It was always the same. The boy’s mother stood in front of the door staring up the river. Every Saturday night it was like this. Every Saturday night Mano went out to the village and drank himself helpless and lay on the floor of the shop, cursing and vomiting until the Chinaman was ready to close up. Then they rolled him outside and heaven knows, maybe they even spat on him.
The boy’s mother stared up the river, her face twisted with anger and distress. She couldn’t go up the river now. It would be hell and fire if she went. But Mano had to be brought home. She turned to see what the boy was doing. He had packed away the things from the shopping bag and he was now reclining on the settee.
“You have to go for you’ father, you know,” she said.
“Who?”
“You!”
“Not me!”
“Who de hell you tellin’ not me,” she shouted. She was furious now. “Dammit, you have to go for you’ father!”
Sona had risen from the settee on the alert. His mother hardly ever hit him now but he could never tell. It had been a long time since she had looked so angry and had stamped her feet.
He rose slowly and reluctantly and as he glanced at her he couldn’t understand what was wrong with her.
He couldn’t see why she bothered about his father at all. For his father was stupid and worthless and made their life miserable. If he could have had his way Mano would have been out of the house a long time now. His bed would have been the dirty meat-table in front of Assing’s shop. That was what he deserved.
The rascal! The boy spat through the window. The very thought of his father sickened him.
Yet with Sona’s mother it was different. The man she had married and who had turned out badly was still the pillar of her life. Although he had piled up grief after grief, tear after tear, she felt lost and drifting without him. To her he was as mighty as the very Ortoire that flowed outside. She remembered that in his young days there was nothing any living man could do that he could not.
In her eyes he was still young. He did not grow old. It was she who had aged. He had only turned out badly. She hated him for the way he drank rum and squandered the little money he worked for. But she did not mind the money so much. It was seeing him drunk. She knew when he arrived back staggering how she would shake with rage and curse him, but even so, how inside she would shake with the joy of having him safe and home.
She wondered what was going on at the shop now. She wondered if he was already drunk and helpless and making a fool of himself.
With Sona, the drunkard’s son, this was what stung more than ever. The way Mano, his father, cursed everybody and made a fool of himself. Sometimes he had listened to his father and he had felt to kick him, so ashamed he was. Often in silence he had shaken his fist and said, “One day, ah’ll – ah’ll…”
He had watched his mother put up with hell and sweat and starvation. She was getting skinnier every day, and she looked more like fifty-six than the thirty-six she was. Already her hair was greying. Sometimes he had looked at her and thinking of his father, he had ground his teeth and had said, “Beast!” several times to himself. He was in the frame of mind now. Bitter and reluctant, he went to untie the boat.
“If I can’t bring ‘im, I’ll leave ‘im,” he said angrily.
“Get somebody to help you!”
He turned to her. “Nobody wouldn’t help me. He does insult everybody. Last week Bolai kick him.”
“Bolai kick ‘im? An’ what you do?”
His mother was stung with rage and shock. Her eyes were large and red and watery.
The boy casually unwound the rope from the picket. “What I do? He said. “That is he and Bolai business.”
His mother burst out crying.
“What ah must do?” the boy said. “All the time ah say, ‘Pa, come home, come home, Pa!’ You know what he tell me? He say, ‘Go to hell, yuh little bitch!!’”
His mother turned to him. Beads of tears were still streaming down the sides of her face.
“Sona, go for you’ father. Go now. You stand up dey and watch Bolai kick you’ father and you ent do nothing? He mind you, you know,” she sobbed. “He is you’ father, you ungrateful---” And choking with anger and grief she burst out crying again.
When she raised her head, Sona was paddling towards mid-stream, scowling, avoiding the shallows of the river.
True enough there was havoc in Assing’s shop. Mano’s routine was well under way. He staggered about the bar dribbling and cursing and yet again the Chinaman spoke to him about his words, not that he cared about Mano’s behavior. The rum Mano consumed made quite a difference to Assing’s account. It safe-guarded Mano’s free speech in the shop.
But the customers were disgusted. All sorts of things had happened on Saturday nights through Mano’s drunkenness. There was no such thing as buying in peace once Mano was there.
So now with trouble looming, the coming of Sona was sweet relief. As Sona walked in, someone pointed out his father between the sugar bags.
“Pa!”
Mano looked up. “What you come for?” he drawled. “Who send you?”
“Ma say to come home,” Sona said. He told himself that he mustn’t lose control in front of strangers.
“Well!”
“Ma send me for you.”
“You! You’ mother send you for me! So you is me father now, eh-eh?” In his drunken rage the old man staggered towards his son.
Sona didn’t walk back. He never did anything that would make him feel stupid in front of a crowd. But before he realized what was happening his father lunged forward and struck him on his left temple.
“So you is me father, eh? You is me father, now!” He kicked the boy.
Two or three people bore down on Mano and held him off the boy. Sona put his hands to his belly where his father had just kicked him. Tears came to his eyes. The drunkenness was gripping Mano more and more. He could hardly stand on his own now. He was struggling to set himself free. The men held on to him. Sona kept out of the way.
“It’s a damn’ shame!” somebody said.
“Shame?” Mano drawled. “An’ he is me father now, ‘e modder send him for me. Let me go,” he cried, struggling more than ever, “I’ll kill ‘im. So help me God, I’ll kill ‘im!”
They hadn’t much to do to control Mano at this stage. His body was supple and weak now, as if his bones were turning to water. The person who cried, “It’s a damn’ shame!” spoke again.
“Why you don’t carry ‘im home boy? You can’t see ‘e only making botheration?”
“You’ll help me put ‘’im in the boat?” Sona asked. He looked unruffled now. He seemed only concerned with getting his father out of the shop, and out of all this confusion. Nobody could tell what went on below the calmness of his face. Nobody could guess the hate that was blazing in his mind.
Four men and Sona lifted Mano and carted him into the boat. The old man was snoring, in a state of drunkenness. It was the state of drunkenness when things were at rest.
The four men pushed the boat off. Sona looked at his father. After a while he looked back at the bridge.
Everything behind was swallowed by the darkness. “Pa,” the boy said. His father groaned. “Pa, yuh going home,” Sona said.
The wilderness of mangroves and river spread out before the boat. They were alone. Sona was alone with Mano, and the river and the mangroves and the night, and the swarms of alligator below. He looked at his father again. “Pa, so you kick me up then, eh?”
Far into the night Sona’s mother waited. She slept a little on one side, then she turned on the other side, and at every sound she woke up, straining her ears. There was no sound of the paddle on water. Surely the shops must have closed by now, she thought.
Everything must have closed by this time. She lay there anxious and listened until her eyes shut again in an uneasy sleep.
She was awakened by the creaking of the bedroom floor. Sona jumped back when she spoke.
“Who that – Mano?”
“Is me, Ma,” Sona said.
His bones too, seemed to be turning liquid. Not from drunkenness, but from fear. The lion in him had changed into a lamb. As he spoke his voice trembled.
His mother didn’t notice. “All you now, come?” she said.
“Where Mano?”
The boy didn’t’ answer. In the darkness he took down his things from the nails.
“Where Mano? His mother cried out.
“He out there sleeping. He drunk.”
“The bitch!” his mother said, getting up and feeling for the matches.
Sona quickly slipped outside. Fear dazed him now and he felt dizzy. He looked at the river and he looked back at the house and there was only one word that kept hitting against his mind: Police!
“Mano!” he heard his mother call to the emptiness of the house. “Mano!”
Panic-stricken, Sona fled into the mangroves and into the night.
__________________________________________
Analysis (at a glance)
The Author: MICHAEL ANTHONY
a Brief (a concise review)
___________________________________________
A critical review (analysis) of the story: "Drunkard of the River"
By O. O. Worrell
A play on words. What's in a name?
At a cursory glance, the Manifest Level of Signification (on the surface reading / reading at a glance) of the title suggest Mano is the proverbial village drunk who lives by the Ortoire River. However, the author appears to be implying much more. On closer interpellation, we (as readers and literary critics), encounter Michael Anthony's Latent Level of Signification (core or subtextual reading / reading for insight) into the deeper meaning of this title and narrative. Mano, the infamous alcoholic, whose complete surrender to the destructive disease of alcoholism, has caused his family great distress, socioeconomic disenfranchisement and, perhaps most painfully, his own diminished self-worth in the eyes of his son, Sona; "the drunkard's son".
Additionally, the title resonates with Mano's probable, yet untimely "committal" to a watery grave at the hands of his own son, Sona. Indeed, the "son of man" (Son-a, son of Man-o) appears to have drowned his father in the river by casting him overboard as he transported him home in the row boat. It was the son of man who exacted revenge against his father, by committing Patricide for the humiliating physical abuse the latter inflicted upon the former. Thereby, reversing the biblical account/allusion which states: "Yet it pleased the Lord [the Father] to bruise him [the Son]; he hath put him to grief" (Isaiah 53:10). Here, as a twist[ed] / [of] Fate would have it: "It pleased the Son-a to bruise the father, Man-o" and flee the scene of the crime, the Ortoire River: a socially, spiritually, economically, and morally bankrupt "Garden of Eden." In this "Fallen Eden", absent of the spiritual light of life (symbolised by its famous natural bioluminescence) the father is unceremoniously forced to 'eternally drink' himself into a perpetual stupor [a victim of drowning in the river] as punishment for his sins while the son becomes a perpetual fugitive, like the biblical Cain; forever cursed and banished from his homeland.
Setting (geographical place/space of the story):
The Ortoire River is a river in Trinidad and Tobago. It forms the boundary between Nariva County and Mayaro County in east Trinidad. The river is famous for giving off light which usually appears blue in color every ten years, this is due to the bioluminescence of living organisms residing in the water.
Note: There is an expectancy (from the reader's gaze) that this setting will be teeming with life, vibrancy, and the ecological harmony of Mother Nature's flora and fauna. However, this is far from reality. Instead, readers encounter a foreboding description of haunting drudgery and menacing misery for Mano, his family (both wife and son) and the village; all "swallowed by the darkness" of this river setting. In this "wilderness of mangroves" with its "swarms of alligator below", the mangrove setting (mossy covert / river culvert) of the Ortoire River is just as treacherous to this already doomed family as their beleaguered socioeconomic living conditions. In the author's own words, this setting (both natural and social) can be aptly described as "the state of drunkenness".
The Literary Craft and the Element of Suspense:
Additionally, the suspenseful ending lends itself to much speculation concerning the whereabouts of Mano, although one might easily assume he was "murdered" by his son, Sona. Who, by some twisted fate of poetic justice, unceremoniously ushered his father into his eternal rest with the foreboding, yet priestly pronouncement, “Pa, yuh going home,” as if by premeditation. It also highlights the thematic and systemic reality of domestic abuse, poverty, ethnic and racial divisions, notions surrounding masculinity and patriarchy, the role of women and children in relation to men in the home and community, and the destructive effects of alcoholism as a societal ill and threat to the stability of family and community life. Thus, the role of the man, as father, husband, breadwinner/provider, protector and leader comes under sharp focus and scrutiny.
Themes:
- The dysfunctional family/family life
- Alcoholism ("Drunkenness") and the drunkenness of abuse, violence, dysfunctional family life, and hate.
- Abuse: domestic, physical and verbal abuse
- The entrapment of alcoholism and abuse
- Poverty (economic disenfranchisement)
- Isolation (socioeconomic isolation)
- Relationships: spousal, father & son
- Masculinity and patriarchy
- The role of men, women and children
- The role of the man: as father, husband, breadwinner/provider, protector and leader
- Home and community life
- Racial and ethic disparity/divide/fragmentation
- Violence (physical): a systemic social ill
- Despair and hopelessness
Discussion questions
- What relevance does such a story have for families in the Caribbean today?
- What lessons can be learnt and reinforced in teaching such a story, especially to young males in our schools, some of whom may readily relate to such events?
- What would you have done in Sona's place, after suffering such humiliatingly vicious, physical and verbal abuse from your abuser (who happens to be your parent) and is now in your care?
- Consider a role reversal scenario. You are either Mano, Sona, Ma (Mano's wife and Sona's mother), or Assing (the shop owner). What would you do differently to bring about a positive change or outcome to the events in this story?
- Who is the "real" antagonist (an adversary) in this story, Mano or Alcoholism?
- Is Sona a victim or villain (of circumstance)?
- Is it a fair assessment to describe this story as "the author holding a mirror up to society—the sometimes (un)paradisiacal reality of West Indian family and community life?"
- Are Caribbean societies (islands) "states of drunkenness"? Are their citizens living in a "state of drunkenness?"
OOW
2021
Monday, 11 January 2021
Thursday, 6 February 2020
All About Poetry
Types
of Poetic Forms
From
sonnets and epics to haikus and villanelles, learn more about literature’s most
enduring types of poems.
1.
Blank verse. Blank verse is poetry
written with a precise meter—almost always iambic pentameter—that does not
rhyme.
2.
Rhymed poetry. In contrast to blank
verse, rhymed poems rhyme by definition, although their scheme varies.
3.
Free verse. Free verse poetry is
poetry that lacks a consistent rhyme scheme, metrical pattern, or musical form.
A Free Verse Poem does not follow any rules. There is no right or wrong way to
create a Free Verse poem.
4.
Epics. An epic poem is a lengthy,
narrative work of poetry. These long poems typically detail extraordinary feats
and adventures of characters from a distant past.
THE 20 GREATEST EPIC POEMS OF
ALL TIME:
1. The Epic of Gilgamesh (~2000 BCE)
2. The Homeric Poems – The Iliad (~800
BCE)
3. The Homeric Poems – The Odyssey (~800
BCE)
4. The Mahabharata (350 BCE)
5. Virgil – The Aeneid (19 BCE)
6. Ovid – Metamorphoses (8 AD)
7. Firdawsi – The Shahnameh (11th
century)
8. Beowulf (~8th-11th century CE)
9. The Nibelungenlied (13th century)
10. The Song of Roland (11th-12th century)
11. The Saga of Grettir the Strong (The Icelandic
Sagas) – (13th-14th
century)
12. Ludovico Ariosto – Orlando Furioso (1532)
13. Dante – The Divine Comedy (1308-1321)
14. Luis de Camoëns – The Lusiads (1572)
15. Edmund Spenser – The Faerie Queen (1590)
16. John Milton – Paradise Lost (1667)
17. Alexander Pope – The Rape of the Lock (1714)
18. Epic of Manas (Published in 1792 – Actual Date Unknown)
19. Lord Byron – Don Juan (1819)
20. Ezra Pound – The Cantos (1915-1962)
5. Narrative
poetry. Similar to an epic, a narrative poem tells the story of an
event in the form of a poem. There is a strong sense of narration, characters,
and plot. It may be dramatic, with objective and diverse characters. Narrative
poetry may be short or long, and the story it relates to may be simple or
complex. Henry Wadsworth Longfellow’s “The
Midnight Ride of Paul Revere” and Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner”
exemplify this form.
SEE https://www.familyfriendpoems.com/collection/narrative-poems/
SEE https://www.familyfriendpoems.com/collection/narrative-poems/
6. Haiku. A haiku is a three-line
poetic form originating in Japan. The first line has five syllables, the second
line has seven syllables, and the third line again has five syllables.
SEE https://www.familyfriendpoems.com/poem/article-how-to-write-a-haiku
SEE https://www.familyfriendpoems.com/poem/article-how-to-write-a-haiku
7.
Pastoral
poetry. A pastoral poem is one that concerns the natural world,
rural life, and landscapes in a peaceful, romanticized way. These poems have
persevered from Ancient Greece (in the poetry of Hesiod) to Ancient Rome
(Virgil) to the present day (Gary Snyder). One famous example of pastoral
poetry is Christopher Marlowe's poem, The Passionate Shepherd to His
Love.
8.
Sonnet. A sonnet is a 14-line
poem, typically (but not exclusively) concerning the topic of love. Sonnets
contain internal rhymes within their 14 lines; the exact rhyme scheme depends
on the style of a sonnet.
English (Shakespearean) Sonnet
- 14-line poem
- 3 quatrains (4 line stanzas)
followed by 1 couplet (2-line stanza)
- Rhyming scheme of ABAB CDCD EFEF GG
Spenserian
Sonnet
- 14-line poem
- 3 quatrains followed by 1
couplet
- Rhyming scheme of ABAB BCBC CDCD EE
Italian (Petrarchan) Sonnet
- 14-line poem
- 1 octave (8-line stanza)
followed by 1 sestet (6-line stanza)
- Rhyming scheme of ABBAABBA CDCCDC (or CDECDE)
9.
Elegies. An elegy is a poem that reflects upon
death or loss. Traditionally, it contains themes of mourning, loss, and
reflection. However, it can also explore themes of redemption and consolation.
10.
Ode. Much like an elegy, an ode
is a tribute to its subject, although the subject need not be dead—or even sentient,
as in John Keats’ “Ode on a Grecian Urn”.
11.
Limerick. A limerick is a five-line
witty poem with a distinctive rhythm. The first, second and fifth lines, the
longer lines, rhyme. The third and fourth shorter lines rhyme, with an AABBA rhyme scheme.
12. Lyric poetry. Lyric poetry refers to the broad category of poetry
that concerns feelings and emotion. Lyric poetry is made of two main
types: elegy and ode. This distinguishes it from two other poetic categories:
epic and dramatic.
13.
Ballad. A ballad (or ballade) is a
form of narrative verse that can be either poetic or musical. It typically
follows a pattern of rhymed quatrains. From John Keats to Samuel Taylor
Coleridge to Bob Dylan, it represents a melodious form of storytelling.
14.
Soliloquy. A soliloquy is a monologue
in which a character speaks to him or herself, expressing inner thoughts that
an audience might not otherwise know. Soliloquies are not definitionally poems,
although they often can be—most famously in the plays of William
Shakespeare. ‘To be or not to be, that is the question’ is the
most famous soliloquy in the works of Shakespeare – quite possibly the most
famous soliloquy in literature.
15.
Villanelle. A nineteen-line poem
consisting of five tercets and a quatrain, with a highly specified internal
rhyme scheme. Originally a variation on a pastoral, the villanelle has evolved
to describe obsessions and other intense subject matters, as exemplified by
Dylan Thomas, author of villanelles like “Do Not Go Gentle into That Good
Night.”
16.
Acrostic.
An acrostic poem is a fun poetry form that can be written about any topic. It's
a poem where letters within the lines of that poem (at the beginning, middle,
or end) spell out a specific word. That word is reflective of the topic or
theme of the poem.
17.
Bio
poem.
A bio poem gives information about a person to form a short biography of that
person’s traits and life.
18.
Cinquain.
A cinquain poem is a five-line poem using nouns, verbs, and adjectives to
describe a topic. It ends with a phrase about the topic and a synonym for the
topic. Line 1 has one word (the title). Line 2 has two words that describe the
title. Line 3 has three words that tell the action. Line 4 has four words that
express the feeling, and line 5 has one word which recalls the title.
19.
Diamante.
A diamante poem is a seven-line poem that uses nouns, verbs, and adjectives to
contrast two topics. Lines 1 and 7 have just one word. Lines 2 and 6 have two
words. Lines 3 and 5 have three words. Line 4 has four words. Lines 1, 4, and 7
have nouns. Lines 2 and 6 have adjectives. Lines 3 and 5 have verbs. The text
forms the shape of a lozenge or diamond.
20. Concrete. A concrete poem, also known as "size
poetry" or "shape poetry," uses typographical arrangements to
display an element of the poem. This can either be through re-arrangement of
letters of a word or by arranging the words as a shape.
Basic Poetic Techniques
Stanzas - Examples of
Couplets, Tercets and Quatrains
Stanzas
give poems structure and organization. They break apart different parts of the
poem based on rhyming scheme or thoughts. Stanzas of 2 lines are called Couplet,
Stanzas of 3 lines are called Tercet and Stanzas of 4
lines are called Quatrain.
Just like other forms of writing, poetry needs to be
organized. Stanzas provide a structure for that organization. Each stanza is
made up of a varying number of lines, just like paragraphs are made up of
sentences. Each line can be a phrase or complete sentence, depending on the
format of the poem. When put together in a stanza, these lines convey a larger
idea.
Many poets use one of these common formats to create
stanzas. Certain types of poems also use a combination of them.
Quatrain
A quatrain is a set of four lines that may
or may not rhyme.
With
a symphony of colors
Spread
on her wings,
She
strolls in the garden
With
a light footprint.
Tercet
A tercet is a set of three lines that may or may not rhyme.
Everyone, young or old,
Needs someone to listen
As their stories are told.
Couplet
A couplet is a set of two lines that usually rhyme.
When the sunny skies turn from blue to gray,
I can't help but wonder just what you would say?
Lines
A line of a poem is one row of text.
OOW
2020
Subscribe to:
Posts (Atom)