The Bells by Edgar Allan Poe

Hear the sledges with the bells-
Silver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle; tinkle,
In the icy air of night!
While the stars that over sprinkle
All the heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells-
From the jingling and the tinkling of the bells.







Hear the mellow wedding bells,
Golden bells!
What a world of happiness their harmony foretells!
Through the balmy air of night
how they ring out their delight!
From the molten-golden notes,
And an in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells,
what a gush of euphony voluminously wells!
How it swells!
How it dwells
On the Future! How it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells, bells,
Bells, bells, bells-
To the rhyming and the chiming of the bells!






Hear the loud alarum bells-
Brazen bells!
What a tale of terror, now, their turbulency tells!
In the startled ear of night
how they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tune,
In a clamorous appealing to the mercy of the fire,
In a mad expostulation with the deaf and frantic fire,
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor,
Now- now to sit or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their terror tells
Of Despair!
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear it fully knows,
By the twanging,
And the clanging,
How the danger ebbs and flows:
Yet the ear distinctly tells,
In the jangling,
And the wrangling,
How the danger sinks and swells,
By the sinking or the swelling in the anger of the bells-
Of the bells-
Of the bells, bells, bells, bells,
Bells, bells, bells-
In the clamor and the clangor of the bells!






Hear the tolling of the bells-
Iron Bells!
What a world of solemn thought their monody compels!
In the silence of the night,
How we shiver with affright
At the melancholy menace of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
And the people- ah, the people-
They that dwell up in the steeple,
All Alone
And who, tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
On the human heart a stone-
They are neither man nor woman-
They are neither brute nor human-
They are Ghouls:
And their king it is who tolls;
And he rolls, rolls, rolls,
Rolls
A paean from the bells!
And his merry bosom swells
With the paean of the bells!
And he dances, and he yells;
Keeping time, time, time,
In a sort of Runic rhyme,
To the paean of the bells-
Of the bells:
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells-
Of the bells, bells, bells-
To the sobbing of the bells;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells-
Of the bells, bells, bells:
To the tolling of the bells,
Of the bells, bells, bells, bells-
Bells, bells, bells-
To the moaning and the groaning of the bells.

This poem can be interpreted in many different ways, the most basic of which is simply a reflection of the sounds that bells can make, and the emotions evoked from that sound. For example, "From the bells bells bells bells/Bells bells bells!" brings to mind the clamoring of myriad church bells. Several deeper interpretations exist as well. One is that the poem is a representation of life from the nimbleness of youth to the pain of age. Growing despair is emphasized alongside the growing frenzy in the tone of the poem. Another is the passing of the seasons, from spring to winter. The passing of the seasons is often used as a metaphor for life itself. The poem also suggests a Poe theme of mourning over a lost wife, courted in sledge, married and then killed in a fire as the husband looks on. The tolling of the iron bells reflects the final madness of the grief-stricken husband.
The sounds of the verses, specifically the repetitive "bells, bells, bells, bells, bells, bells, bells," lie on a narrow line between sense and nonsense, causing a feeling of instability. The series of "bells" echo the imagined sounds of the various bells, from the silver bells following the klip-klop of the horses, to the "dong, ding-dong" of the swinging golden and iron bells, to screeching "whee-aaah" of the brazen bells.


THINGS TO REMEMBER

A. Students must observe the following.
a. Pitch
b. Loudness
c. Flexibility
d. Emphasis
e. Pronunciation
f. Posture
g. Gesture
h. Rate
i. Enunciation
j. Delivery


B. Make sure that you look up the meanings of unfamiliar words contained in the poem.


C. Employ actions in your poem. See to it that they suit to the meaning or interpretation of the poem.

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Pag-Ibig ni Consolacion P. Sauco

Pag – Ibig
(Consolacion P. Sauco)

Nais kong abutin ang iyong pangarap,
Ihandog ko ito sa ‘yong mga yapak,
Ang ninanasa mo ay aking matupad,
Ng kaligayaha’y sumaiyong palad.

Ibig kong masunod pasabi mo sa akin,
Na matupad sana ang ‘yong mga hiling,
Anumang panganib aking susuungin,
Ang isasagawa ko’y bukal sa damdamin.

Sinong di iibig sa taglay mong ganda?
Mukhang nakangiti at lagging alaala,
Umula’t umaraw ikaw ang ligaya,
Bathaluman ka nga ng aking pagsinta.

Ang limutin kita’y aking kamatayan,
Sa laot ng buhay ikaw ang aking gabay,
Kasasabi mo lang na ako ay ay mahal,
Patunayan ito, o irog kong hirang.

Di Mo Kaya Ang Mag-isa

Di Mo Kaya Ang Mag-isa

Sa palagay mo ba buhay mo’y sasaya
Kung sa sarili mo ika’y nag – iisa
Hindi bat nararapat humanap ka ng kasama
Kaibiga’ng aagapay sa tuwi- tuwina

Kapag ika’y nalulungkot , kanino ka lumalapit
Kapag nais mong magsumbong sino ang siyang nakikinig
Hindi ba t’ ang kaibigan na lagi mong kapanalig
Sa buhay mo’y tumutulong kapag ika’y nagigipit

Kapag ika’y masaya punong - puno ka ng ligaya
Kaibiga’y naririyan kasabay mong tumatawa
Halakhak niya’y nagsasabing siya ri’y maligaya
Kaisa mong natutuwa dahil ika’y masaya

Kapag ika’y lumalakad, sino ang siyang sumasama
Hindi ba’t ang kaibigan na laging handa sa twina
Kung hindi man niya kayanin ang masamahan ka
Agad siyang nagsasabing, mag-ingat ka sana

Kapag ika’y may problema, malaki man o maliit
Kaibiga’y naririyan at sayo’y lumalapit
Kamay mo’y pinipisil, luha mo’y pinapahid
Sabay sabing nariyan siya, di ka dapat maligalig

Kapag ika’y nililito sino ang siyang nangangaral?
Sinong nagtutuwid ng mali mong gawi’t asal
Hindi ba’t ang kaibigan na sayo’y gumagabay
Sa paglalakbay mo’y siyang umaakay

Ngayo’y sabihin mo kung kaya mong mag-isa
Kung kaya mong mabuhay ng wala siya
Di’bat hindi katoto ko, hindi mo ito kaya
Sapagkat itong kaibigan kaagapay mo sa tuwina.

Poem Analysis ( Do not Go gentle into that goodnight)

I. Background of the author:
Dylan Thomas

Dylan Thomas was born in Wales in 1914. He was a neurotic, sickly child who shied away from school and preferred reading on his own; he read all of D. H. Lawrence's poetry, impressed by Lawrence's descriptions of a vivid natural world. Fascinated by language, he excelled in English and reading, but neglected other subjects and dropped out of school at sixteen. His first book, Eighteen Poems, was published to great acclaim when he was twenty. Thomas did not sympathize with T. S. Eliot and W. H. Auden's thematic concerns with social and intellectual issues, and his writing, with its intense lyricism and highly charged emotion, has more in common with the Romantic tradition. Thomas first visited America in January 1950, at the age of thirty-five. His reading tours of the United States, which did much to popularize the poetry reading as new medium for the art, are famous and notorious, for Thomas was the archetypal Romantic poet of the popular American imagination: he was flamboyantly theatrical, a heavy drinker, engaged in roaring disputes in public, and read his work aloud with tremendous depth of feeling. He became a legendary figure, both for his work and the boisterousness of his life. Tragically, he died from alcoholism at the age of 39 after a particularly long drinking bout in New York City in 1953.
Do not go gentle into that good night, a villanelle composed in 1951, is considered to be among the finest works by Welsh poet Dylan Thomas (1914–1953). Originally published in 1952, as part of the collection "In Country Sleep", it is one of his most-quoted works. It was written for his dying father. Another Welshman, John Cale, set the poem to music in 1989 and performed it at a concert held to celebrate the opening of the National Assembly for Wales.
Elliot del Borgo wrote a piece in 1979 by the same name for full orchestra, using hemiola and hymns in polyrhythms to portray the struggle of the poem in musical form.
Igor Stravinsky also wrote a musical work in 1954 that included this poem to commemorate the deceased poet.
A paraphrase of the first line of the poem was made memorable to an unwitting popular audience in the 1996 blockbuster action movie Independence Day during a critical speech by the President Whitmore character (played by Bill Pullman), demonstrating the poem's highy affective rhetorical value. The final line was also borrowed for the title of the 2001 film, Against the Dying of the Light, which commemorated the work of the National Screen and Sound Archive of Wales. The archive houses several rare recordings of Dylan Thomas himself, including his own reading of this very poem. This same line, "Rage, rage against the dying of the light" was also used by the English black metal band Anaal Nathrakh as the title for the last track on their 2004 album Domine Non Es Dignus.
When Rodney Dangerfield is asked what the poem means to him in the film Back to School his response is, “It means... I don't take shit from no one”.



II. Meaning of each stanza:

Do Not Go Gentle Into That Good Night
BY: Dylan Thomas
Do not go gentle into that good night,Old age should burn and rave at close of day;Rage, rage against the dying of the light. Though wise men at their end know dark is right,Because their words had forked no lightning theyDo not go gentle into that good night. Good men, the last wave by, crying how brightTheir frail deeds might have danced in a green bay,Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight,And learn, too late, they grieved it on its way,Do not go gentle into that good night. Grave men, near death, who see with blinding sightBlind eyes could blaze like meteors and be gay,Rage, rage against the dying of the light. And you, my father, there on the sad height,Curse, bless, me now with your fierce tears, I pray.Do not go gentle into that good night.Rage, rage against the dying of the light.
Stanza 1: The first line is a command, “Do not go gentle into that good night.” Paraphrased, “Don’t give up easily.” The second line offers the speaker’s belief that even when old and infirm, the man should stay energetic and complain if necessary as long as he does not give in to death easily. Then line three again is a command, “Rage, rage against the dying of the light”: Fight, complain, rail against the oncoming of death.

Stanzas 2, 3, 4, and 5 each try to persuade the father to “rage against the dying of the light” by offering evidence of what wise, good, wild, and grave men have done. For example and to paraphrase stanza 2: Even though wise men know that they cannot keep death away forever and especially if they have not accomplished their goals in life, they don’t accept death easily; they “Do not go gentle into that goodnight” Similarly, in stanza 3, good men exclaim what might have been, their “frail deed” might have shone like the sun reflecting off the waters of a “green bay,” and they, therefore, “Rage, rage” against the oncoming of death. Likewise, in stanza 4, wild men whose antics seemed to shine as brightly as the sun and who thought they were so optimistic, but later realized they spent much of their life in grief, still they “Do not go gentle into that goodnight” And in stanza 5, grave men whose eyes are fading fast can still flash life’s happiness, as they “Rage, rage against the incoming of death ”

Stanza 6: The speaker addresses his father. Paraphrased, “And so my father you are nearing death—yell at me, scream at me, cry out; to see you do that would be a blessing for me and I beg you to show me that militant man you once were: “Do not go gentle into that goodnight ”



III. Analysis:

I. Theme of the poem: Encourages all poeple to fight death, not for their own sake, but to
give closure and hope to the relatives that are hoping for them.
It explains that every people must fight death. Don’t give up easily because you have a family, relatives and friend. The poem tells its reader to "rage" against dying, and it offers several examples of men who feel their lives unfulfilled, but it does not offer any reason why raging might be more appropriate than despair or peaceful acceptance of the absurdity of death. Anger is a heated, unreasoning emotion, and Thomas is too clever to try reasoning about it.

II. Style: The style of the writer is giving examples to encourage the people to fight death.
Thomas creates a morbid atmosphere that can be rivaled only by death. Also
descriptive. Because it describes the thins happen to the men that he example to
us.


III. Tone: The tone of the writer is descriptive because he describes the things that the
men do in their lives. He is afraid to die.


IV. Message: Don’t give up easily.
Fight for our life that God gave to us.
Do the best that you can do.
Discover your strength and live life to the fullest.


V. Figurative Speech:

The form on the poem is a villanelle, with a rhyme scheme alternating “night” and “day.” “Good night” is a metaphor and a pun. “Dying of the light” is a metaphor. “Old age should burn and rave” in line two is a combination of metonymy and personification. “Close of day” is a metaphor. “Burn” in that same line is used metaphorically, as is “dark” in line four. In line five “their words had forked no lightning” is metaphorical. Line eight “Their frail deeds might have danced in a green bay” employs personification and metaphor. Line ten “Wild men who sang the sun in flight” is exaggeration and metaphor. Line 11 “they grieved it on its way” is also exaggeration and metaphor. Line 13 “Grave” is a pun; “blinding sight” is an oxymoron. Line 14 “Blind eyes could blaze like meteors” is a simile. Line 17 “Curse, bless, me now with your fierce tears, I pray” is a paradox.

The Rainy Day

The Rainy Day

The day is cold, dark, and dreary
It rains and the wind is never weary
The vine still clings to the moldering wall
But at every gust the dead leaves fall
And the day is dark and dreary

My life is cold and dreary
It rains and the wind is never weary
My thought still clings to the moldering past
But the hope of youth fall thick in the blast
And the days are dark and dreary

Be still heart! and cease repining
Behind the clouds is the sun still shining
Thy fate is the common fate of all
Into each life some rain must fall
Some days must be dark and dreary