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The two poems I have chosen to look at are the extract of Summer: The second pastoral, or Alexis by Alexander Pope and the extract from Kubla Khan by Samuel Taylor Coleridge.

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2. (a) Choose any two poems from the WJEC Poetry Anthology that you would recommend to a friend. Using literary and linguistic concepts and approaches, look closely at the content, style and structure of each poem in order to justify your selection. The two poems I have chosen to look at are the extract of Summer: The second pastoral, or Alexis by Alexander Pope and the extract from Kubla Khan by Samuel Taylor Coleridge. I enjoy Pope's sense of humour in this piece. It is a piece of satire, and the mockery of conventional love poetry and pastoral lyrics, to me, make a humourous and entertaining piece. Pope opens with an imperative sentence, a command for the reader and the subject of the poem, the lover, to see the scene he is about to set. He uses an exclamation mark, which is the first of five. This abundance of imperatives and exclamations emphasises the poem's exaggerated and mocking tone. In this first line, Pope uses sibilance. The s sound within 'See what delights in sylvan scenes appear' creates a gentle tone, and adds to the idea of being tempted into the scene by the writer. Within this line, there is a sense of being slowly, eased into the scene, created both by the sibilance, and by the assonance created upon the strong, elongated e sound 'See what delights in sylvan scenes appear!'. He continues both these techniques into the next line with 'Descending' and 'Elysium here'. Pope mocks love poetry immediately. He suggests that the Gods have descended from the heavens to be in this forest, that because his love is here, has become an alternative Elysium. Of course, Elysium is an eternal spring, no rain, no snow, no storms, and to have this on earth is an exaggeration and sarcastic. Pope uses all the Latin spellings and names throughout the poem. The original Elysian fields is Greek, but by using the Latin, Pope is mocking the formality of romantic poetry, or using the formality to contrast to the poem's ultimate goal of amusing the reader. ...read more.


2. a ) Ddethol unrhyw 'n ddau canau chan 'r WJEC Awenyddiaeth Blodeugerdd a argymellech at chyfaill. Yn arfer 'n llengar a 'n ieithyddol concepts a ddyfodfeydd , chraffu ar 'r bodlona , arddull a adail chan pob un caniad er chyfiawnha 'ch ddetholiad. 'r 'n ddau canau Ddetholais at edrych ar ydy 'r dynnu chan Haf : 'r eilia 'n fugeiliol , ai Alexis at Alexander Bab a 'r dynnu chan Kubla Khan at Samuel Taylor Coleridge. Fedda bab s bwyll chan arabedd i mewn hon chlytia. Dydy bisyn chan ddychan , a 'r chroesanair chan 'n gonfensiynol cara awenyddiaeth a 'n fugeiliol ddyrifau , ata , gwna a 'n ddigrif a yn adlonni chlytia. Bab opens ag an imperative ddedfryda , gorchymyn achos 'r darllenwr a 'r darostwng chan 'r caniad , 'r cariad , at canfod 'r golygfa dydy am at chyflea. Arfer gwaedd farcia , sy 'r 'n flaen chan bum. Hon abledd chan imperatives a gwaeddau emphasises 'r caniad s chwyddedig a yn coegi donyddiaeth. I mewn hon 'n flaen bannod , Bab arferiadau sibilance. 'r s blymio mewn 'See beth fwynderau i mewn sylvan golygfeydd ledrithia creates a 'n addfwyn donyddiaeth , a adds at 'r ddrychfeddwl chan yn bod demtiedig i mewn i 'r golygfa at 'r hysgrifennwr. Mewn hon bannod , mae bwyll chan yn bod 'n anniben , esmwythaedig i mewn i 'r golygfa , creedig ill dau at 'r sibilance , a at 'r assonance creedig ar 'r 'n bybyr , estynedig e blymio 'See beth fwynderau i mewn sylvan golygfeydd ledrithia! '. Arhosa ill dau hyn techniques i mewn i 'r 'n gyfnesaf bannod ag 'Descending' a 'Elysium 'ma '. Bab mocks cara awenyddiaeth 'n ddi-oed. Awgryma a 'r Dduwiau wedi disgyn chan 'r nefoedd at bod i mewn hon choedwig , a achos eiddo cara ydy 'ma , wedi d an alternative Baradwys. ...read more.


Keats ewigod hon i mewn 'r bara 'n dri banodau chan 'r eilia ban. 'r adail chan 'r gramadeg a 'r odla gwthiau 'r darllenwr at chwimia ymprydia , 'na 'r bara 'n bedwar eiriau 'oozings horiau at horiau ' arferiadau ddyhea droopy lafariad seiniau at arafa 'r cerddediad emphasising 'r fodd , awyrgylch a yn golygu , cystal fel 'n daclus yn arlunio 'r ban ata casgliad. 'r 'n ddiwethaf ban ydy agos contradictory. Agora at yn deud a hyd yn oed er darddu ydy cerddedig , Hydref has 'i s da briodoleddau : 'thou hast 'th beroriaeth hefyd ,' a 'n ddiddig ceudod achos 'r anrhega. E 'na begins a lexical chyflea canoledig am addoed a adfeilia - 'soft - yn ' darfod 'mourn' 'dies' yn anrhegu lawer 'n llai 'n bendant balfalu ati. Dor fel ai iawn 'n hysbys hagen , a hon blasa a darddu ewyllysia d ail , fel chyfeiria at 'r 'full - brifiedig ', dydy emphasising 'r chylchau chan anian , a fel includes 'r brydiau. 'r 'n ddiwethaf 'n ddau banodau ymddangos at awgryma 'r iawn chlosia onset chan aeafa. Caiff 'n raddol d at chyflychwr , a canfydd 'r aeafa arriving , namyn mewn lawer hychwaneg yn boddhau donyddiaeth. At yn cynnwys 'r choch-gam 'n goch - gwynebu Keats gives a yn aswyno arwyddlun chan aeafa 'r 'n llawen ddrychfeddwl a 'r gwenoliaid ydy yn cerdded at bro ble dydy gostega haf , ad 'r darllenwr ag bwyll chan boddlonrwydd a 'r dangnefedd 'r awenydd wedi clywed throughout. Canfyddais hon at bod 'r typical 'n fugeiliol awenyddiaeth , a ultimately , gwna mo ddiddora 'm , ai atynna 'm. Hyd yn oed er pawb 'n dri canau a Ddetholais arwedd am anian , Fi 'n ddiau prefer bab s cynical golyga chan 'n gyfryw awenyddiaeth fel Keats' , a 'r yn diddori perspective a Coleridge takes , i mewn 'r hymyrraeth chan ddyn ar anian. Serch Keats ydy 'n gelfydd i mewn imagery , a all agos arlunia 'r golygfa i mewn 'r darllenwr s dendio , Ca 'r golygfa unexciting. ...read more.

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