# data[].attributes.body
Name: Haifa Mar'atul Hasanah

NIM: 409240004

There ara 2 Stanza

Rhyme : In this poutry, this poem is a free poem or does not have the same rhyme

Repetition word: serves-serves, look-looks.

Figur of language:

Simile : "Love means to look at yourself The way one looks at distant things"

Metafora: "So that they stand in the glow of ripeness."

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Name: Sufi Kalista

NIM: 409240003

Course: Reading For Literary Appreciation

Poem analysis of "Saint Francis and the Sow" by Galway Kinnell

The poem "Saint Francis and the Sow" by Galway Kinnell is written in free verse, which means it doesn't follow a consistent rhyme or meter scheme. The poem explores the themes of innocence, beauty, and redemption through the dual imagery of a flower bud and a simple sow.

1. Rhyme

_No Formal Rhyme Scheme:_ The poem is free verse, so there is no regular or clear rhyme scheme (like AABB, ABAB, etc.). Kinnell focuses on the natural rhythm of speech and the sound quality of individual words and phrases rather than end rhymes.

2. Repitition of words

Repetition is used effectively to reinforce the poem's central theme of inner beauty and blessing:

- "flower(s)" / "flowering": Repeated in lines 3, 4, 7, and 10, linking the natural process of blooming with the deeper internal process of "self-blessing" and self-realization.

- "self-blessing": Repeated in lines 4 and 10, emphasizing that true beauty or potential comes "from within."

- "loveliness": Repeated in lines 5 and 18 ("perfect loveliness of sow"), marking the transformation from something overlooked to something remembered and affirmed.

- "words and in touch": Repeated in lines 8 and 14, highlighting the dual nature of communication and blessing—both verbal affirmationand physical presence/tenderness are needed to teach beauty back to something.

- "sow": The central narrative subject is repeated (lines 13, 14, 15, 18) to connect the abstract discussion of the bud and self-blessing with this specific, humble, and redeemed creature.

3. Figures of Language

The poem uses several figures of speech, including symbolism, metaphor, and vivid sensory imagery:

- _Symbolism/Metaphor:_

- _The Bud:_ Central metaphor and symbol. It "stands for all things," representing potential, latent beauty, and the internal capacity for "flowering... from within."

- _The Sow:_ Symbolizes the earthy, ordinary, or seemingly unbeautiful aspects of existence (things that "don't flower"), which, through tenderness, can be reminded and express their own "perfect loveliness."

- _Imagery:_ Kinnell uses rich, tactile, and visceral imagery, especially in describing the transformation of the sow, connecting the spiritual with the physical:

- Visual and Tactile: "creased forehead," "thick length," "hard spininess," "earthen snout."

- Kinesthetic: "spiritual curl of the tail," suggesting a spiritual dimension in the physical animal.

- Sensory (Touch/Taste/Visual): "blue milken dreaminess spurting and shuddering" (describing the sow's milk nursing her pigs), a striking combination of raw physicality and tender suggestion.

- _Allusion/Apostrophe:_

- _Saint Francis:_ An allusion to the Catholic saint known for his love of all creatures, and his action of speaking to the sow acts as a kind of apostrophe that conveys the poem's central message of blessing and affirmation.

4. Repetition of Key Phrases

The poem uses parallel phrasing to create a sense of cyclical fulfillment and wholeness, especially in the description of the sow's redemption:

- "from within, of self-blessing": This phrase is key to the poem's thesis and is repeated (lines 4 and 10) to define the source of true flowering.

- "in words and in touch": Repeated (lines 8 and 14) to specify the method of teaching beauty back.

- "from the earthen snout all the way / through the fodder and slops to the spiritual curl of the tail, / from the hard spininess spiked out from the spine / down through the great broken heart..." (lines 16-19): The repetition of "from... through... to..." and "from... down through... to..." creates an extensive cataloging, underscoring that the blessing and remembrance of beauty is complete, moving from one end of the sow's body to the other, incorporating both the dirty exterior ("fodder and slops") and the wounded interior ("great broken heart").

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Name: Siti Nadiah

NIM: 409240002

Course: Reading for Literary Appreciation

Poem Analysis: Grow Old Together With Me! The Best is Yet to Come

1. Stanzas

The poem consists of three stanzas with varying numbers of lines.

- Stanza 1 (5 lines):

My friend,

Do not ponder on the ticking clock

But do what you enjoy

Do not worry about your weakness

Instead be proud of your network and experience

- Stanza 2 (8 lines):

Your shiny silver hair

Your wrinkled soothing smile

Your profound wise judgment

Are all heavenly treasure

Yes, maybe we walk a little slower now

But we become more meaningful and impactful

Do not lament for what age takes away

Instead be grateful for what it leaves behind

- Stanza 3 (5 lines):

Come my friend!

Sit and have a cup of coffee

And let's lay out a plan of happy ageing

For ageing is not lost of youth

But a new stage of opportunity and strength

Believe me, old age is quite a pleasant thing

2. Rhyme

This poem is a free verse poem, as it doesn't follow a regular rhyme scheme.

3. Repetition of Words

The poem repeats several words, including:

- "Do not" (repeated twice in Stanza 1)

- "Your" (repeated three times in Stanza 2)

- "Ageing" (repeated twice in Stanza 3)

4. Figurative Language

The poem employs several figurative language devices, including:

1. Metaphor: "Your shiny silver hair" (comparing gray hair to shining silver, symbolizing the beauty and dignity of old age)

2. Personification: "the ticking clock" (giving human-like qualities to time, emphasizing its relentless passage)

3. Imagery: "Your wrinkled soothing smile" (creating a vivid image of a warm and comforting smile, despite the presence of wrinkles)

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Name: Farida Nursolehah

NIM: 409240008

Course: Reading for Literary Appreciation

IDENTIFICATION OF POETRY "The Third Body"

1. Rhyme

This poem is written in free verse. Therefore, there is no regular or consistent rhyme scheme. It relies on prosaic rhythm and emphasizes imagery and meaning rather than formal rhyme structure.

2. Rhythm

The poem's rhythm is organic, determined by the content and syntax of the lines themselves, rather than by the rules of meter. This supports the poem's themes of unspoken connections and unseen presences, allowing the poem to feel meditative and profound.

3. Figure of Language:

• Personification ("They obey a third body that they share in common." and "They have promised to love that body.")

• Metaphor ("Their breaths together feed someone whom we do not know.")

• Alliteration ("do not long" and "talking or not talking")

• Repetition ("...to be older, or younger, or born In any other nation, or any other time, or any other place." and "Age may come; parting may come; death will come!")

4. Repetition of Key Phrase:

"A man and a woman sit near each other" (stanza 1)

"Their breaths together feed someone whom we do not know." (stanza 2)

5. Repetition of Words:

• "know" / "know of" / "not know" /"never seen": There is a heavy emphasis on knowledge and lack thereof, highlighting the mystical and ungraspable nature of the "third body." The poem is about a connection that is felt and obeyed, but not understood in a rational sense.

• "sit" / "near each other": Reinforces the physical proximity and the simple, still nature of the shared moment.

• "body": Used in the title and the central metaphor, it emphasizes the physical reality of the individuals as well as the spiritual/energetic reality of the connection between them.

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Name: Farida Nursolehah

NIM: 409240008

Course: Reading for Literary Appreciation

RESULT IDENTIFICATION OF POETRY "The Third Body"

1. Rhyme

This poem is written in free verse. Therefore, there is no regular or consistent rhyme scheme. It relies on prosaic rhythm and emphasizes imagery and meaning rather than formal rhyme structure.

2. Rhythm

The poem's rhythm is organic, determined by the content and syntax of the lines themselves, rather than by the rules of meter. This supports the poem's themes of unspoken connections and unseen presences, allowing the poem to feel meditative and profound.

3. Figure of Language

• Personification ("They obey a third body that they share in common." and "They have promised to love that body").

• Metaphor ("Their breaths together feed someone whom we do not know.")

• Alliteration ("do not long" and "talking or not talking").

• Repetition ("...to be older, or younger, or born In any other nation, or any other time, or any other place." and "Age may come; parting may come; death will come!").

4. Repetition of Key Phrase:

"A man and a woman sit near each other." (stanza 1).

"Their breaths together feed someone whom we do not know." (stanza 2).

5. Repetition of Words:

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Nim : 409240001

Course : reading for literally appreciation

The title of poetry : "Outsourcing"

1. Stanza

- Stanza 1 (Lines 1-4): Introduces the core conflict or situation.

(Dear...

The bell is ringing Let's sit and have a cup of tea It's time to solve, no fight the problem)

- Stanza 2 (Lines 5-9): Offers a philosophical or guiding principle.

(This time be sensitive, dear For knowing the obvious is too late Preventing is better rather than coping Managing is better rather than getting out of control)

- Stanza 3 (Lines 10-13): Provides an analogy and a final piece of advice.

(Life in the fast lane Likens trip in the roller coaster You can easily up but also down Make sure you don't bring too much burden)

2. Rhyme

Stanza 1: The end words are ringing, tea, and problem. There is no clear end-of-line rhyme.

Stanza 2: The end words are dear, late, coping, and control. There is no end-of-line rhyme.

Stanza 3: The end words are lane, coaster, down, and burden. There is no end-of-line rhyme.

3. Simile

"Life in the fast lane Likens trip in the roller coaster"

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Name: Siti Haeriah

NIM: 409240007

Course: Reading for Literary Apreciation

RESULT IDENTIFICATION OF POETRY

"Bear with me, bear with me and love me more"

1. Rhyme

The poem has an irregular and generally free rhyme scheme, although some stanzas show end rhymes or half-rhymes.

Examples of End Rhyme:

Stanza 2: "acknowledged" and "first" do not rhyme. "Theirs, ours, or mine? / Mine, ours or theirs?" (A very loose rhyme or assonance/consonance).

Stanza 3: "demanding" and "difficult" do not rhyme. "more" and "more" (Repetition). "night" and "us" do not rhyme.

Stanza 4: "up" and "us" (Loose consonance) and "everything".

Overall, the poem focuses more on rhythm and meaning than on following a strict rhyme pattern like in traditional poetry

2. Figure of language

personification (For ratio is a complete stranger at night")

Metaphore ("Once you see the finish-line")

Hiperbole (Even to the border of selflessness)

3. Repetition of Key Phrases:

"Bear with us! Bear with us!" (Stanza 1).

"So bear with me, bear with me" (Stanza 3) - Repeated as the start of a line.

"Just bear with me and love me more" (Stanzas 3 and 4) - Repeated multiple times as the climax.

"For the time is almost up, almost up" (Stanzas 1 and 4) - Repeated to stress the urgency and the theme of remaining time.

4. Repetition of Words:

The phrases "bear with me" and "love me more" are the core of the poem and are constantly repeated.

The phrase "almost up" is repeated twice in one line ("Since the time is almost up, almost up") for emphasis.

The phrase "just for once, let me pamper myself" is repeated in the last stanza to reinforce the request.

The repetition serves to affirm the plea of the author to be accepted and loved in their later years, especially when they become "demanding" or "difficult," because their time in the world is nearly over.