{"id":683,"date":"2017-06-19T19:35:41","date_gmt":"2017-06-19T18:35:41","guid":{"rendered":"https:\/\/licor.hivolda.no\/?page_id=683"},"modified":"2017-08-20T11:02:43","modified_gmt":"2017-08-20T10:02:43","slug":"basic-strategies-of-analysis-poetry-exercise","status":"publish","type":"page","link":"https:\/\/licor.hivolda.no\/?page_id=683","title":{"rendered":"Analysing poetry: a preliminary exercise"},"content":{"rendered":"<script>\n                            if (window.qmn_quiz_data === undefined) {\n                                    window.qmn_quiz_data = new Object();\n                            }\n                    <\/script><script>window.qmn_quiz_data[\"1\"] = {\"quiz_id\":\"1\",\"quiz_name\":\"preliminary exercise on analysing poetry\",\"disable_answer\":\"0\",\"ajax_show_correct\":\"0\",\"progress_bar\":0,\"contact_info_location\":\"0\",\"qpages\":[],\"skip_validation_time_expire\":1,\"timer_limit_val\":0,\"disable_scroll_next_previous_click\":0,\"disable_first_page\":0,\"enable_result_after_timer_end\":0,\"enable_quick_result_mc\":0,\"end_quiz_if_wrong\":0,\"form_disable_autofill\":0,\"disable_mathjax\":0,\"enable_quick_correct_answer_info\":0,\"quick_result_correct_answer_text\":\"Correct! You have selected correct answer.\",\"quick_result_wrong_answer_text\":\"Wrong! You have selected wrong answer.\",\"quiz_processing_message\":\"\",\"quiz_limit_choice\":\"Limit of choice is reached.\",\"not_allow_after_expired_time\":0,\"scheduled_time_end\":false,\"error_messages\":{\"email_error_text\":\"Not a valid e-mail address!\",\"number_error_text\":\"This field must be a number!\",\"incorrect_error_text\":\"The entered text is not correct!\",\"empty_error_text\":\"Please complete all required fields!\",\"url_error_text\":\"The entered URL is not valid!\",\"minlength_error_text\":\"Required atleast %minlength% characters.\",\"maxlength_error_text\":\"Maximum %maxlength% characters allowed.\",\"recaptcha_error_text\":\"ReCaptcha is missing\"},\"question_list\":{\"1\":{\"question_id\":\"1\",\"quiz_id\":\"1\",\"question_name\":\"1. Read the poem &quot;Comparisons&quot; by the Welsh poet R. S. Thomas and produce a short paraphrase of the poem that identifies its purpose and message. (You will be able to compare your paraphrase with one I have suggested afterwards. Remember, though, that there is not just one correct way of paraphrasing this poem, despite what the phrase &quot;correct answer&quot; which will appear when you submit your answers might lead you to assume - this formula is built into this programme and cannot be removed, much as I would like it to be):&lt;br \\\/&gt; &lt;br \\\/&gt; &lt;span style=&quot;text-decoration: underline&quot;&gt;&lt;strong&gt;Comparisons&lt;\\\/strong&gt;&lt;\\\/span&gt;&lt;br \\\/&gt; &lt;br \\\/&gt; To all light things&lt;br \\\/&gt; &lt;br \\\/&gt; I compared her; to&lt;br \\\/&gt; &lt;br \\\/&gt; a snowflake, a feather.&lt;br \\\/&gt; &lt;br \\\/&gt; &lt;br \\\/&gt; &lt;br \\\/&gt; I remember she rested&lt;br \\\/&gt; &lt;br \\\/&gt; at the dance on my&lt;br \\\/&gt; &lt;br \\\/&gt; arm, as a bird&lt;br \\\/&gt; &lt;br \\\/&gt; &lt;br \\\/&gt; &lt;br \\\/&gt; on its nest lest&lt;br \\\/&gt; &lt;br \\\/&gt; the eggs break, lest&lt;br \\\/&gt; &lt;br \\\/&gt; she lean too heavily&lt;br \\\/&gt; &lt;br \\\/&gt; &lt;br \\\/&gt; &lt;br \\\/&gt; on our love. Snow&lt;br \\\/&gt; &lt;br \\\/&gt; melts, feathers&lt;br \\\/&gt; &lt;br \\\/&gt; are blown away;&lt;br \\\/&gt; &lt;br \\\/&gt; &lt;br \\\/&gt; &lt;br \\\/&gt; I have let&lt;br \\\/&gt; &lt;br \\\/&gt; her ashes down&lt;br \\\/&gt; &lt;br \\\/&gt; in me like an anchor.\",\"answer_array\":\"a:1:{i:0;a:3:{i:0;s:536:\\\"The speaker of the poem &quot;Comparisons&quot; is seeking to find an image that is light enough to describe a woman he loves but who has since deceased.  The comparisons with snow and feathers he tries out are inadequate both because they are too heavy and because they are too transitory to represent her. By the end of the poem, though, the speaker realises that this woman is no longer for him like something weightless in the external world, but she has become more like an anchor fastened right in the depth of his internal being.\\\";i:1;d:0;i:2;i:0;}}\",\"answer_one\":\"\",\"answer_one_points\":\"0\",\"answer_two\":\"\",\"answer_two_points\":\"0\",\"answer_three\":\"\",\"answer_three_points\":\"0\",\"answer_four\":\"\",\"answer_four_points\":\"0\",\"answer_five\":\"\",\"answer_five_points\":\"0\",\"answer_six\":\"\",\"answer_six_points\":\"0\",\"correct_answer\":\"0\",\"question_answer_info\":\"\",\"comments\":\"1\",\"hints\":\"\",\"question_order\":\"1\",\"question_type\":\"0\",\"question_type_new\":\"5\",\"question_settings\":\"a:1:{s:8:\\\"required\\\";i:0;}\",\"category\":\"\",\"deleted\":\"0\",\"deleted_question_bank\":\"0\",\"answers\":[[\"The speaker of the poem &quot;Comparisons&quot; is seeking to find an image that is light enough to describe a woman he loves but who has since deceased.  The comparisons with snow and feathers he tries out are inadequate both because they are too heavy and because they are too transitory to represent her. By the end of the poem, though, the speaker realises that this woman is no longer for him like something weightless in the external world, but she has become more like an anchor fastened right in the depth of his internal being.\",0,0]]},\"2\":{\"question_id\":\"2\",\"quiz_id\":\"1\",\"question_name\":\"&amp;nbsp;&lt;br \\\/&gt; &lt;br \\\/&gt; 2. Compare your paraphrase of Thomas\\u2019s &quot;Comparisons&quot; with the original poem. Which qualities and elements of the poem does your paraphrase fail to capture and to what extent are these qualities generated by the formal properties of the poem which the paraphrase lacks? Identify which of these missing qualities are generated by which of the poem&#039;s formal properties.\",\"answer_array\":\"a:1:{i:0;a:3:{i:0;s:1873:\\\"The paraphrase I have suggested fails to capture several important aspects of the poem. These include: a) the sense of the woman and their relationship as someone light and fragile which the attempted comparison of her with snow and feathers manages to convey, despite the fact these images are ultimately rejected as suitable comparisons; b) our awareness of the emotional state of the speaker, whose tenderness is illustrated by the gentleness of the images with which he seeks to characterise his beloved (snow and feathers), and whose tentativeness and care in doing this is reflected by the short lines of one- and two syllable words, which proceed in short, hesitant steps and attempt to settle on their subject as delicately as the bird sits on its eggs. c) our impression that we, the speaker and the poem are all falling slowly but surely from a great height as we read the poem. Thus, we might imagine snow and a feather falling through the air in the first stanza before they seek to settle as appropriate images on the speaker&#039;s beloved in stanzas 2 and 3 (and the first three words of 4), just as a bird sits on its egg or just as the beloved herself once sought to rest on the speaker&#039;s arm during a dance. With these two images melting upon contact or blowing away shortly afterwards, however, we and the speaker continue to fall through the walls of the world of substances until we are inside the speaker where we find his beloved sunk deep and fixed fast in the ground of his being like an anchor. This sense of falling from a great height to a great depth is generated by two of the poem&#039;s formal devices: its short lines piled one on top of the other like a narrow tower or funnel; and its frequent use of enjambment, in which the meaning settle comes to a close at the end of a line or stanza, but continues to tumble over into the next.\\\";i:1;d:0;i:2;i:0;}}\",\"answer_one\":\"\",\"answer_one_points\":\"0\",\"answer_two\":\"\",\"answer_two_points\":\"0\",\"answer_three\":\"\",\"answer_three_points\":\"0\",\"answer_four\":\"\",\"answer_four_points\":\"0\",\"answer_five\":\"\",\"answer_five_points\":\"0\",\"answer_six\":\"\",\"answer_six_points\":\"0\",\"correct_answer\":\"0\",\"question_answer_info\":\"\",\"comments\":\"1\",\"hints\":\"\",\"question_order\":\"2\",\"question_type\":\"0\",\"question_type_new\":\"5\",\"question_settings\":\"a:1:{s:8:\\\"required\\\";i:0;}\",\"category\":\"\",\"deleted\":\"0\",\"deleted_question_bank\":\"0\",\"answers\":[[\"The paraphrase I have suggested fails to capture several important aspects of the poem. These include: a) the sense of the woman and their relationship as someone light and fragile which the attempted comparison of her with snow and feathers manages to convey, despite the fact these images are ultimately rejected as suitable comparisons; b) our awareness of the emotional state of the speaker, whose tenderness is illustrated by the gentleness of the images with which he seeks to characterise his beloved (snow and feathers), and whose tentativeness and care in doing this is reflected by the short lines of one- and two syllable words, which proceed in short, hesitant steps and attempt to settle on their subject as delicately as the bird sits on its eggs. c) our impression that we, the speaker and the poem are all falling slowly but surely from a great height as we read the poem. Thus, we might imagine snow and a feather falling through the air in the first stanza before they seek to settle as appropriate images on the speaker&#039;s beloved in stanzas 2 and 3 (and the first three words of 4), just as a bird sits on its egg or just as the beloved herself once sought to rest on the speaker&#039;s arm during a dance. With these two images melting upon contact or blowing away shortly afterwards, however, we and the speaker continue to fall through the walls of the world of substances until we are inside the speaker where we find his beloved sunk deep and fixed fast in the ground of his being like an anchor. This sense of falling from a great height to a great depth is generated by two of the poem&#039;s formal devices: its short lines piled one on top of the other like a narrow tower or funnel; and its frequent use of enjambment, in which the meaning settle comes to a close at the end of a line or stanza, but continues to tumble over into the next.\",0,0]]},\"3\":{\"question_id\":\"3\",\"quiz_id\":\"1\",\"question_name\":\"&amp;nbsp;&lt;br \\\/&gt; &lt;br \\\/&gt; 3. What difference would it have made if Thomas had written the same words but printed them as if they were regular prose (as in the example below)? What is different about this prose version (i.e. what does it convey that the poem does not and what has been lost in this new arrangement)?&lt;br \\\/&gt; &lt;br \\\/&gt; &lt;span style=&quot;text-decoration: underline&quot;&gt;&lt;strong&gt;Prose version&lt;\\\/strong&gt;&lt;\\\/span&gt;&lt;br \\\/&gt; &lt;br \\\/&gt; To all light things I compared her; to a snowflake, a feather. I remember she rested at the dance on my arm, as a bird on its nest lest the eggs break, lest she lean too heavily on our love. Snow melts, feathers are blown away; I have let her ashes down in me like an anchor.\",\"answer_array\":\"a:2:{i:0;a:3:{i:0;s:1517:\\\"I would argue that when it is set out as prose Thomas&#039;s &quot;Comparisons&quot; loses at least three of the poem&#039;s most important qualities. These are a) the sensation of falling I described in response to the previous question. This is because the words are no longer arranged vertically (as in the poem) but horizontally. b) the sense of the speaker&#039;s hesitancy in treating the delicate images he handles as cautiously as possible. With the sentences no longer broken up into short, halting lines, they flow on continuously and seamlessly from start to finish. c) Connected with that last point, we also lose some of the ambiguity of some of the speaker&#039;s pronouncements, the sense of him groping cautiously for an image or idea, but then having to change direction or look elsewhere even while that pronouncement is still underway. A good example of this comes in the final stanza. Having read the words &quot;I have let \\\/ her ashes down,&quot; we might pause and expect the speaker to be admitting that he feels he has in some way betrayed his beloved&#039;s memory. In the event, he ends up saying something else - that he has let her ashes down inside himself like an anchor - but we only discover this incrementally and this allows both meanings to hover simultaneously in the air. Because it rushes straight through from the beginning to the end of the sentence, by contrast, the prose version gives this alternative meaning less time in which to draw breath and inhabit our consciousness.\\\";i:1;d:0;i:2;i:0;}i:1;a:3:{i:0;s:1061:\\\"Interestingly - and perhaps surprisingly - enough, there is actually one respect in which the prose version emphasises the presence of rhyme whereas the poem suppresses it. If you re-read the first sentence of the prose version, you will no doubt hear and see the rhyme of &quot;her&quot; and &quot;feather&quot; quite clearly (try it for yourself). The poem, though, suppresses it by keeping the word &quot;her&quot; away from a place of prominence at the end of the second line and placing &quot;to&quot; there instead, which could easily have been pushed forward to the start of the next line. This suppression of rhyme is important because it reflects the theme of the poem: the difficulty of comparing (or finding a close rhyme between) one thing and another. A &quot;feather&quot; gives a good approximation of &quot;her&quot; but it is not ultimately close enough. In the refusal to end-rhyme &quot;her&quot; and &quot;feather,&quot; that is, the poem signals the utility but ultimate inadequacy of a feather as an analogue of the speaker&#039;s beloved.\\\";i:1;d:0;i:2;i:0;}}\",\"answer_one\":\"\",\"answer_one_points\":\"0\",\"answer_two\":\"\",\"answer_two_points\":\"0\",\"answer_three\":\"\",\"answer_three_points\":\"0\",\"answer_four\":\"\",\"answer_four_points\":\"0\",\"answer_five\":\"\",\"answer_five_points\":\"0\",\"answer_six\":\"\",\"answer_six_points\":\"0\",\"correct_answer\":\"0\",\"question_answer_info\":\"\",\"comments\":\"1\",\"hints\":\"\",\"question_order\":\"3\",\"question_type\":\"0\",\"question_type_new\":\"5\",\"question_settings\":\"a:1:{s:8:\\\"required\\\";i:0;}\",\"category\":\"\",\"deleted\":\"0\",\"deleted_question_bank\":\"0\",\"answers\":[[\"I would argue that when it is set out as prose Thomas&#039;s &quot;Comparisons&quot; loses at least three of the poem&#039;s most important qualities. These are a) the sensation of falling I described in response to the previous question. This is because the words are no longer arranged vertically (as in the poem) but horizontally. b) the sense of the speaker&#039;s hesitancy in treating the delicate images he handles as cautiously as possible. With the sentences no longer broken up into short, halting lines, they flow on continuously and seamlessly from start to finish. c) Connected with that last point, we also lose some of the ambiguity of some of the speaker&#039;s pronouncements, the sense of him groping cautiously for an image or idea, but then having to change direction or look elsewhere even while that pronouncement is still underway. A good example of this comes in the final stanza. Having read the words &quot;I have let \\\/ her ashes down,&quot; we might pause and expect the speaker to be admitting that he feels he has in some way betrayed his beloved&#039;s memory. In the event, he ends up saying something else - that he has let her ashes down inside himself like an anchor - but we only discover this incrementally and this allows both meanings to hover simultaneously in the air. Because it rushes straight through from the beginning to the end of the sentence, by contrast, the prose version gives this alternative meaning less time in which to draw breath and inhabit our consciousness.\",0,0],[\"Interestingly - and perhaps surprisingly - enough, there is actually one respect in which the prose version emphasises the presence of rhyme whereas the poem suppresses it. If you re-read the first sentence of the prose version, you will no doubt hear and see the rhyme of &quot;her&quot; and &quot;feather&quot; quite clearly (try it for yourself). The poem, though, suppresses it by keeping the word &quot;her&quot; away from a place of prominence at the end of the second line and placing &quot;to&quot; there instead, which could easily have been pushed forward to the start of the next line. This suppression of rhyme is important because it reflects the theme of the poem: the difficulty of comparing (or finding a close rhyme between) one thing and another. A &quot;feather&quot; gives a good approximation of &quot;her&quot; but it is not ultimately close enough. In the refusal to end-rhyme &quot;her&quot; and &quot;feather,&quot; that is, the poem signals the utility but ultimate inadequacy of a feather as an analogue of the speaker&#039;s beloved.\",0,0]]},\"4\":{\"question_id\":\"4\",\"quiz_id\":\"1\",\"question_name\":\"&amp;nbsp;&lt;br \\\/&gt; &lt;br \\\/&gt; 4. In summary, what have we learnt about the contribution the poem\\u2019s formal properties make to its effect and meaning through this comparison with the paraphrase and the presentation of the poem in prose form? What appears, in short, to be the relationship between &lt;em&gt;how the poem is made&lt;\\\/em&gt; and &lt;em&gt;what it makes happen&lt;\\\/em&gt;?\",\"answer_array\":\"a:1:{i:0;a:3:{i:0;s:631:\\\"I would argue that whereas the paraphrase focuses on the speaker&#039;s conclusion and merely outlines the stages by which it was reached, the poem allows us to participate in the speaker&#039;s search for an adequate comparison for his beloved, with all its hesitancies and missteps. The prose version does much the same thing by smoothing out the journey of discovery the speaker takes and divesting it of much of its sense of light objects falling and failing to settle, until our and the speaker&#039;s understanding fastens to the solid ground provided by the recognition that his beloved now rests inside him like an anchor. \\\";i:1;d:0;i:2;i:0;}}\",\"answer_one\":\"\",\"answer_one_points\":\"0\",\"answer_two\":\"\",\"answer_two_points\":\"0\",\"answer_three\":\"\",\"answer_three_points\":\"0\",\"answer_four\":\"\",\"answer_four_points\":\"0\",\"answer_five\":\"\",\"answer_five_points\":\"0\",\"answer_six\":\"\",\"answer_six_points\":\"0\",\"correct_answer\":\"0\",\"question_answer_info\":\"\",\"comments\":\"1\",\"hints\":\"\",\"question_order\":\"4\",\"question_type\":\"0\",\"question_type_new\":\"5\",\"question_settings\":\"a:1:{s:8:\\\"required\\\";i:0;}\",\"category\":\"\",\"deleted\":\"0\",\"deleted_question_bank\":\"0\",\"answers\":[[\"I would argue that whereas the paraphrase focuses on the speaker&#039;s conclusion and merely outlines the stages by which it was reached, the poem allows us to participate in the speaker&#039;s search for an adequate comparison for his beloved, with all its hesitancies and missteps. The prose version does much the same thing by smoothing out the journey of discovery the speaker takes and divesting it of much of its sense of light objects falling and failing to settle, until our and the speaker&#039;s understanding fastens to the solid ground provided by the recognition that his beloved now rests inside him like an anchor. \",0,0]]}},\"first_page\":true}\n                    <\/script><style type='text\/css' id='qmn_quiz_template-css'>.mlw_qmn_quiz label {\n\t\t\t\tdisplay: inline;\n\t\t\t}\n\t\t\t.ui-tooltip\n\t\t\t{\n\t\t\t\tmax-width: 500px !important;\n\t\t\t}\n\t\t\t.ui-tooltip-content\n\t\t\t{\n\t\t\t\tmax-width: 500px !important;\n\t\t\t}\n\t\t\t.qmn_error, .qmn_page_error_message\n\t\t\t{\n\t\t\t\tcolor: red;\n\t\t\t}\n\t\t\t.mlw_qmn_hint_link\n\t\t\t{\n\t\t\ttext-decoration:underline;\n\t\t\tcolor:rgb(0,0,255);\n\t\t\t}\n\t\t\t.mlw_qmn_quiz_link\n\t\t\t{\n\t\t\t\tdisplay: inline;\n\t\t\t\tvertical-align:top !important;\n\t\t\t\ttext-decoration: none;\n\t\t\t}\n\t\t\tdiv.mlw_qmn_quiz input[type=radio],\n\t\t\tdiv.mlw_qmn_quiz input[type=submit],\n\t\t\tdiv.mlw_qmn_quiz label {\n\t\t\t\tcursor: pointer;\n\t\t\t}\n\t\t\tdiv.mlw_qmn_quiz input:not([type=submit]):focus,\n\t\t\tdiv.mlw_qmn_quiz textarea:focus {\n\t\t\t\tbackground: #eaeaea;\n\t\t\t}\n\t\t\tdiv.mlw_qmn_quiz {\n\t\t\t\ttext-align: left;\n\t\t\t}\n\t\t\tdiv.quiz_section {\n\n\t\t\t}\n\t\t\t.mlw_horizontal_choice\n\t\t\t{\n\t\t\t\tmargin-right: 20px;\n\t\t\t}\n\t\t\tdiv.mlw_qmn_timer {\n\t\t\t\tposition:fixed;\n\t\t\t\ttop:200px;\n\t\t\t\tright:0px;\n\t\t\t\twidth:130px;\n\t\t\t\tcolor:#00CCFF;\n\t\t\t\tborder-radius: 15px;\n\t\t\t\tbackground:#000000;\n\t\t\t\ttext-align: center;\n\t\t\t\tpadding: 15px 15px 15px 15px\n\t\t\t}\n\t\t\tdiv.mlw_qmn_quiz input[type=submit],\n\t\t\ta.mlw_qmn_quiz_link\n\t\t\t{\n\t\t\t\tborder-radius: 4px;\n\t\t\t\tposition: relative;\n\t\t\t\tbackground-image: linear-gradient(#fff,#dedede);\n\t\t\t\tbackground-color: #eee;\n\t\t\t\tborder: #ccc solid 1px;\n\t\t\t\tcolor: #333;\n\t\t\t\ttext-shadow: 0 1px 0 rgba(255,255,255,.5);\n\t\t\t\tbox-sizing: border-box;\n\t\t\t\tdisplay: inline-block;\n\t\t\t\tpadding: 7px 7px 7px 7px;\n\t\t\t\tmargin: auto;\n\t\t\t\tfont-weight: bold;\n\t\t\t\tcursor: pointer;\n\t\t\t}\n\t\t\t.mlw_qmn_question, .mlw_qmn_question_number, .mlw_qmn_comment_section_text\n\t\t\t{\n\t\t\t\tfont-weight: bold;\n\t\t\t}\n\t\t\t.mlw_next\n\t\t\t{\n\t\t\t\tfloat: right;\n\t\t\t}\n\t\t\t.mlw_previous\n\t\t\t{\n\t\t\t\tfloat: left;\n\t\t\t}\n\t\t\t.mlw_qmn_question_comment, .mlw_answer_open_text, .qmn_comment_section {\n\t\t\t\twidth: 100%;\n\t\t\t\tborder-radius: 7px;\n\t\t\t\tpadding: 2px 10px;\n\t\t\t\t-webkit-box-shadow: inset 0 3px 3px rgba(0,0,0,.075);\n\t\t\t\tbox-shadow: inset 0 3px 3px rgba(0,0,0,.075);\n\t\t\t\tborder: 1px solid #ccc;\n\t\t\t}\n\t\t<\/style><div class='qsm-quiz-container qsm-quiz-container-1 qmn_quiz_container mlw_qmn_quiz  quiz_theme_default  '>\n\t\t\t\t\t<form name=\"quizForm1\" id=\"quizForm1\" action=\"\/index.php?rest_route=%2Fwp%2Fv2%2Fpages%2F683\" method=\"POST\" class=\"qsm-quiz-form qmn_quiz_form mlw_quiz_form\" novalidate enctype=\"multipart\/form-data\">\n\t\t\t\t<input type=\"hidden\" name=\"qsm_hidden_questions\" id=\"qsm_hidden_questions\" value=\"\">\n\t\t\t\t<input type=\"hidden\" name=\"qsm_nonce\" id=\"qsm_nonce_1\" value=\"27b93ec796\">\n\t\t\t\t<input type=\"hidden\" name=\"qsm_unique_key\" id=\"qsm_unique_key_1\" value=\"6a0f679fbcdc3\">\n\t\t\t\t<div id=\"mlw_error_message\" class=\"qsm-error-message qmn_error_message_section\"><\/div>\n\t\t\t\t<span id=\"mlw_top_of_quiz\"><\/span>\n\t\t\t\t\t\t\t<div class=\"qsm-auto-page-row quiz_section quiz_begin \">\n\t\t\t\t\t\t\t\t<div class='mlw_qmn_message_before'>\n\t\t\t\t\t<p>Welcome to your preliminary exercise on analysing poetry<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"quiz_section qsm-question-wrapper question-type-5  question-section-id-1 slide1 \">\n\t\t\t\t\t<div class='mlw_qmn_question ' >\n\t\t<p>1. Read the poem \"Comparisons\" by the Welsh poet R. S. Thomas and produce a short paraphrase of the poem that identifies its purpose and message. (You will be able to compare your paraphrase with one I have suggested afterwards. Remember, though, that there is not just one correct way of paraphrasing this poem, despite what the phrase \"correct answer\" which will appear when you submit your answers might lead you to assume - this formula is built into this programme and cannot be removed, much as I would like it to be):<br \/> <br \/> <span style=\"text-decoration: underline\"><strong>Comparisons<\/strong><\/span><br \/> <br \/> To all light things<br \/> <br \/> I compared her; to<br \/> <br \/> a snowflake, a feather.<br \/> <br \/> <br \/> <br \/> I remember she rested<br \/> <br \/> at the dance on my<br \/> <br \/> arm, as a bird<br \/> <br \/> <br \/> <br \/> on its nest lest<br \/> <br \/> the eggs break, lest<br \/> <br \/> she lean too heavily<br \/> <br \/> <br \/> <br \/> on our love. Snow<br \/> <br \/> melts, feathers<br \/> <br \/> are blown away;<br \/> <br \/> <br \/> <br \/> I have let<br \/> <br \/> her ashes down<br \/> <br \/> in me like an anchor.<\/p>\n\t<\/div>\n\t\t<textarea class=\"mlw_answer_open_text mlwRequiredText\" cols=\"70\" rows=\"5\" name=\"question1\"  \/><\/textarea>\n\t\t\t\t<\/div><!-- .quiz_section -->\n\t\t\t\t\t\t<div class=\"quiz_section qsm-question-wrapper question-type-5  question-section-id-2 slide2 \">\n\t\t\t\t\t<div class='mlw_qmn_question ' >\n\t\t<p>&nbsp;<br \/> <br \/> 2. Compare your paraphrase of Thomas\u2019s \"Comparisons\" with the original poem. Which qualities and elements of the poem does your paraphrase fail to capture and to what extent are these qualities generated by the formal properties of the poem which the paraphrase lacks? Identify which of these missing qualities are generated by which of the poem's formal properties.<\/p>\n\t<\/div>\n\t\t<textarea class=\"mlw_answer_open_text mlwRequiredText\" cols=\"70\" rows=\"5\" name=\"question2\"  \/><\/textarea>\n\t\t\t\t<\/div><!-- .quiz_section -->\n\t\t\t\t\t\t<div class=\"quiz_section qsm-question-wrapper question-type-5  question-section-id-3 slide3 \">\n\t\t\t\t\t<div class='mlw_qmn_question ' >\n\t\t<p>&nbsp;<br \/> <br \/> 3. What difference would it have made if Thomas had written the same words but printed them as if they were regular prose (as in the example below)? What is different about this prose version (i.e. what does it convey that the poem does not and what has been lost in this new arrangement)?<br \/> <br \/> <span style=\"text-decoration: underline\"><strong>Prose version<\/strong><\/span><br \/> <br \/> To all light things I compared her; to a snowflake, a feather. I remember she rested at the dance on my arm, as a bird on its nest lest the eggs break, lest she lean too heavily on our love. Snow melts, feathers are blown away; I have let her ashes down in me like an anchor.<\/p>\n\t<\/div>\n\t\t<textarea class=\"mlw_answer_open_text mlwRequiredText\" cols=\"70\" rows=\"5\" name=\"question3\"  \/><\/textarea>\n\t\t\t\t<\/div><!-- .quiz_section -->\n\t\t\t\t\t\t<div class=\"quiz_section qsm-question-wrapper question-type-5  question-section-id-4 slide4 \">\n\t\t\t\t\t<div class='mlw_qmn_question ' >\n\t\t<p>&nbsp;<br \/> <br \/> 4. In summary, what have we learnt about the contribution the poem\u2019s formal properties make to its effect and meaning through this comparison with the paraphrase and the presentation of the poem in prose form? What appears, in short, to be the relationship between <em>how the poem is made<\/em> and <em>what it makes happen<\/em>?<\/p>\n\t<\/div>\n\t\t<textarea class=\"mlw_answer_open_text mlwRequiredText\" cols=\"70\" rows=\"5\" name=\"question4\"  \/><\/textarea>\n\t\t\t\t<\/div><!-- .quiz_section -->\n\t\t\t\t\t<input type=\"hidden\" name=\"qmn_question_list\" value=\"1Q2Q3Q4Q\" \/>\n\t\t\t\t\t<div class=\"qsm-auto-page-row quiz_section quiz_end empty_quiz_end \" >\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<div id=\"mlw_error_message_bottom\" class=\"qsm-error-message qmn_error_message_section\"><\/div>\n\t\t\t\t\t<input type=\"hidden\" name=\"qmn_all_questions_count\" id=\"qmn_all_questions_count\" value=\"4\" \/>\n\t\t\t\t\t<input type=\"hidden\" name=\"total_questions\" id=\"total_questions\" value=\"4\" \/>\n\t\t\t\t\t<input type=\"hidden\" name=\"timer\" id=\"timer\" value=\"0\" \/>\n\t\t\t\t\t<input type=\"hidden\" name=\"timer_ms\" id=\"timer_ms\" value=\"0\"\/>\n\t\t\t\t\t<input type=\"hidden\" class=\"qmn_quiz_id\" name=\"qmn_quiz_id\" id=\"qmn_quiz_id\" value=\"1\" \/>\n\t\t\t\t\t<input type='hidden' name='complete_quiz' value='confirmation' \/>\n\t\t\t\t\t\t\t\t\t<\/form>\n\t\t<\/div>\n\t\t<div style=\"display: none;\" class=\"qsm-popup qsm-popup-slide\" id=\"modal-4\" aria-hidden=\"false\"><div class=\"qsm-popup__overlay\" tabindex=\"-1\" data-micromodal-close=\"\"><div class=\"qsm-popup__container qmn_quiz_container\" role=\"dialog\" aria-modal=\"true\"><div class=\"qsm-popup__content\"><img decoding=\"async\" src=\"https:\/\/licor.hivolda.no\/wp-content\/plugins\/quiz-master-next\/assets\/clock.png\" alt=\"clock.png\"\/><p class=\"qsm-time-up-text\"> Time's up<\/p><\/div><footer class=\"qsm-popup__footer\"><button class=\"qsm-popup-secondary-button qmn_btn\" data-micromodal-close=\"\" aria-label=\"Close this dialog window\" onclick=\"location.reload();\">Cancel<\/button><\/footer><\/div><\/div><\/div>\n<p style=\"text-align: right;\">Next: <a href=\"https:\/\/licor.hivolda.no\/?page_id=687\">The power of poetry and the pleasure of interpretation<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Next: The power of poetry and the pleasure of interpretation<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":607,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-683","page","type-page","status-publish","czr-hentry"],"_links":{"self":[{"href":"https:\/\/licor.hivolda.no\/index.php?rest_route=\/wp\/v2\/pages\/683","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/licor.hivolda.no\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/licor.hivolda.no\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/licor.hivolda.no\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/licor.hivolda.no\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=683"}],"version-history":[{"count":6,"href":"https:\/\/licor.hivolda.no\/index.php?rest_route=\/wp\/v2\/pages\/683\/revisions"}],"predecessor-version":[{"id":1715,"href":"https:\/\/licor.hivolda.no\/index.php?rest_route=\/wp\/v2\/pages\/683\/revisions\/1715"}],"up":[{"embeddable":true,"href":"https:\/\/licor.hivolda.no\/index.php?rest_route=\/wp\/v2\/pages\/607"}],"wp:attachment":[{"href":"https:\/\/licor.hivolda.no\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=683"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}