Poetic Scansion

This is a reading strategy I somehow came up with, following my last stroke; by last, I mean my final stroke I had before my A.V.M. was removed.

If I do have another stroke, it will almost definitely kill me and, even if it doesn’t, I figure I won’t be able to record many thoughts I have after its damage has been dealt.

Anyway, it’s kind of amazing that I actually was able to come up with this Poetic Scansion method, at all.

What’s even more amazing is the fact that, nearly, if not, over twenty years after I first thought I was taught it, I was let know by the person whom I thought communicated it to me that he or she had never seen nor heard of it before…

There is no one else who could have let me know about it; therefore, it had to have been me who concocted it, alone; only, I forgot about the fact that I pro-duced it, even though it still remained intact.

Obviously, the reason for me to slap the method together was to be re-enabled to rejoin the poetic world, fully: as a writer and reader of poetry, not just as an admirer.

The strange thing that I realized is that, post-injury, much of my consciousness is comprised of weird mosaics of experiences, conversations, receptions of monologues and monologic internal musings that, I figure, must have come from somewhere or someone else.

Even as an undergraduate student, at several different schools, I know that I helped my dorm mates decipher poems that the meanings of, what, to me, seemed overtly obvious.

I have come to the realization that, once again, like the act of writing (post-magnanimous stroke, life threatening bout with Viral Spinal Meningitis and string of neurosurgeries) I must have arrived at my poetic scansion process, as a means to fashion and jerry-rig a springboard for me to comprehend writing more effectively.

This was at a time when my brain was amazingly inflamed and in need of alternative means for me to re-acquire receptive, communicative competence.

A.      Start off by typesetting the poem  that  you  need  to  analyze on a piece of paper.

B.      Number each line.

C.      Begin by making notes,  according to each line  number, different examples of figurative language.

These include: metaphor, simile, allu-sion, hyperbole, apostrophe, et. al. This can, if you ask me, be thought of as being correlative to the act of perfor-ming  an archeological dig or restoring an oil painting.

The way my mind came to this way of thinking is in that, during high school, I took Archeology and, in that class, we conducted an actual excavation, in which we were very methodical and created a semantic map of our dig site, prior to actually touching shovel to earth.

In reality, I think made the connection between Poetic Scansion and oil painting restoration or an archeological dig separately, yet, maybe, simultaneously, as well. (Weirdo Stratigraphically-hidden things can be ‘unearthed’ from the depths of many poems)

It’s my belief that, if you do good research into defining what you might find or unearth or create, before you locate it, dig it up or make it, what it winds up being will be more easily impressed upon you as being meaningful and you will be more attentive to how you accomplish what you did and will have an easier time when you try to repeat it.

The great thing is that, when you get to point that you are able to decipher metaphor, simile, allusion, et. al., really easily, and can comprehend how it works in poetic format, to communicate, you will have an amazingly easier time reading denotatively-written, factually-worded information.

In doing that, we were able to use the map for reference, before we excavated, to know where we thought we ought to dig, during the excavations we did, each time the class took place, and directly after we finished a dig, to record where we unearthed what and to allow us to know where did not need to dig, again, the next time we were on the site.

For a Learning Disabled student, going back to what he or she was writing about or reading and having things not be askew is sometimes truly difficult.

The Poetic Scansion process lets learning disabled students make progress, while producing a map in case they get lost and, coolest of all; it primes their comp-rehension abilities to dissect “the best words, in their best order”, and enables them to supercharge their potential comprehension skills, not for when they are merely reading prose fiction but, for when they are reading denotative, reality-contingent prose, as well.

The method of using a numbered system for taking notes on what exists, where, in the poem, I like to think of as a pro-cess of systematically un-painting what the artist: the poet, has word-painted on the page/canvas.

It can be thought of as a process that takes place as you are first looking at and considering a poem, while you are deciphering the poem, while you are recording your observations about it and when you are making your determinat-ions as to what your findings could mean.

To me, it makes sense to parallel Poetic Scansion, as it is used to lessen a learning disabled student’s difficulty that is experienced when he or she is attempting to decipher poetry, with the use of the Quadratic Formula in the place of having to multiply a zillion variables and their coefficients.

A definition of any of figurative language devices should be provided:

*alliteration: the repetition of the initial                            consonant sound, in a line

*consonance: the repetition of conson-                               ants’ sounds in the lines

*assonance: the repetition of vowels’                                sounds in the of the lines

*simile: a comparison that uses “like” or                  “as”

*metaphor: a comparison, stating an                                 object is another object, etc.

There are several other figurative devices; when the individual, using poetic scansion, has the poem, typeset, parallel to where he or she is to note the location in the poem where different instances of figurative language appear, the ability to reckon how poetry is not the overly-difficult, fleeting mass of sounds that, previously, had mesmerized him or her.

The communicative, “high brow, canon” of literature might even be able to viewed more as a lamb and less as a lion, by learning disabled individuals.

01Buffalo Bill’s                    01(allit.)(cons.)

02defunct                                           02(dict.)

03who used to                               03(asson.)

04ride a watersmooth-silver 04(enjam.)

05stallion                         05(spillover con.)

06onetwothreefourfivepigeonsjustlikethat                                      06(triple entendre)

07Jesus                               07(allus.)(apost.)

08he was a handsome man 08(cons)(ass)

09and what i want to know is   09(nar.v.)

10how do you like your blueeyed boy 10

11Mister Death                    11(allus.)(pers.)

The reason for doing this is the fact that, when you are able to read a poem silent-ly, read a  poem out loud  or hear a poem read out loud by someone else, there are subtle differences  in the  way you think, react and remember the wording.

Also, being able to look at and consider “the mighty poem” when it has been reduced to the sum of it parts, if you ask me, should allow you to realize that the poem, in reality, is just another bunch of words that have been assembled on a piece of paper.

This is going to act as a map for you to use when you are going back and think-ing, responding and writing about what you’ve uncovered (or discovered) about the poem.

If you are someone who has a short-term memory deficit, and I assume the same can be said to be true for people who have attention deficits, producing a breadcrumb trail for yourself that you can use to hold your place and to which you can refer back, quickly, makes it a lot less annoying and difficult.

I think it could be true to say that, through the use of this particular method for poetic scansion, an individual could be easily enabled to do the same, when he or she is reading prose fiction for comprehension’s sake.

Finally, I contend that an LD individual could use the same method for accessing the conveyance of denotative printed /on -screen communication.

D. Next, Perform a syntactic, line by line, analysis of each line, going through the entire poem, determining the meaning of each line, communicating every instance of double meanings and enigmatic suggested meanings and messages.

For example, in Buffalo Bill’s/ defunct, there exists a (TRIPLE-ENTENDRE’) in line 6, wherein ee cummings’ use of the word, “pigeons”.

Pigeons: “real birds”,

Pigeons: “clay skeet birds”,

Pigeons: colloquial, “suckers, who are                         taken advantage of”

As you complete your syntactic overview, you make note of where in the poem you notice things; don’t worry if you start to forget what you’ve determined to be there.

The archeological dig method of mapping where in the poem what was unearthed is what you’ll use to write your response; the important thing is not to leave any stanza, line, word, foot or syllable unexplored and unconsidered.

For individuals who are LD, an amazingly beneficial acquisition is hardwired tactics and strategies in their learning and communicative receptive processes, before they get into the real (Dickens reference) muck and mire of higher education.

This at is why this Poetic Scansion process can be determined to be utterly beneficial. The fact that it uses poetry as a medium and not prose might shake some people.

As well, the fact that I, an individual who has been negatively affected by a short-term-memory deficit, arrived at it and have used it, as a student and as an educator/tutor proves that it is, at least, of some worth.

I feel that the student who is able to consider shorter poems, of 3 to 20 or so lines, and uses poetic scansion successfully to unlock, comprehensively, the whole meaning that exists in the lines, and  becomes able to report what is contained in the poem has a high likelihood to succeed in many other communicative endeavors, as well.

E. Perform a Syllabic/Metric Analysis,          next, of the poem’s                                          implied pronunciation.

01 Buffalo Bill’s

02 defunct
03 who used to
04 ride a watersmooth-silver
05 stallion
06 and break onetwothreefourfive         07 pigeonsjustlikethat
08 Jesus
09 he was a handsome man
10 and what i want to know is
11 how do you like your blueeyed boy

12 Mister Death?

The reason for doing this is two-fold; it allows you to learn to appreciate the enhanced sound of the wording and phrasing of the writing and it allows you to think, more in depth, about the way specific words, in conjunction with other specific words, act to enhance the comm -unication of a phrase/utterance.

Simultaneously, the fact that you are focusing on a written product that is creatively written to result in “the best words, in their best order”, makes it that much easier for you to compose words in communicatively appropriate order. (Prose fiction, can be noted, to be merely words, in their best order)

Unstressed=”u”, Stressed=”0

01 Buffalo Bill’s                           01 (u,u,u,/)
02 defunct                                     02 (/,u)
03 who used to                             03 (u,/,/)
04 ride a watersmooth-silver 04 (/,u,u,u,/,/,u)
05 stallion                                      05 (/,u)
06 &breakonetwothreefourfive pigeonsjustlikethat  06 (u, /,u,/,/ etc.)
07 Jesus                                          07 (/,/)         08 he was a handsome man08(/,u,u,/,u,/) 09 and what i want to know 09 (/,u, etc.) 10 is how do you like your blueeyed boy                                        10 (/,u,u,/,u,…)             11 Mister Death                             11 (/, u, u)

One considers the pronounced meter of the wording of a poem to have a more comprehensive way to compare and contrast existent feet and existent lines of a poem.

The knowledge of poetic forms can allow you to amass more information about which to write when you are responding to a passage or prompt that is poetry-based.

For learning disabled individuals, the act of using the poetic scansion process, before they go about reading reality-based communication and making notes about what has been read, necessarily, makes the reality-based act much easier, due to its “REAL” nature, that is not up for debate, as the essence of research that one will conduct, write about and synthesize, is brand new and not necessary to be compared and contrasted to what other researchers have been able to deduce, after one reaches the latest study to have been conducted.

You perform this action; as, after you have completed the fleshing out of the literary devices that you did, above, you can use the syllabification of the poem’s wording to determine the existence of an inherent pattern.

This is another reason for reading poetry; in that, if an LD individual is successful at reading, speaking, comprehending and interpreting the best words, in their best order, he or she will, again, (almost definitely) have an easier time while reading denotative, factual written information.

First, Number the lines of the poem, to allow you to refer to them, specifically, as an index, to which you can refer, when you are writing your written, analysis of the poem.

01Buffalo Bills                      01(alliteration)

02 defunct                             02(diction)
03 who used to                     03(assonance)
04 ride a watersmooth-silver 04(enj.)(cons.)
05 stallion                             05(spillover con.)                                         06 and break onetwothreefourfive pigeonsjustlikethat  06(enja.)(d.entendre)                                               07 Jesus                          07(allus.) (apost.) 08 he was a handsome man 08(con)(ass) 09 and what i want to know is 09(nar. v)   10 how do you like your blueeyed boy                                           10(narr. voice)(asson) 11 Mister Death              11(person.)(apost)

When responding to the prompt or assignment that you need to, instead of willy-nillying it, the planning stages of a written response/analysis can be carried out methodically.

Consideration of this enhances one’s reading comprehension skills; as, when an individual focuses upon these types of aspects of written communication, he or she is preparing to comprehend the written word prose.

This is especially due to the fact that, when you are you are reading denotative prose for comprehension’s sake, outside the classroom, in an applied setting, you will have a more ready ability to comprehend an intended message of the text, immediately.

Typesetting your notes you take concerning the poem when using this method can be much more specific as to the content of the work of writing you are considering than would be possible, if you were attempting to analyze a work of prose fiction.

Too, in most college courses you encounter that have you read and think about poetry, you will definitely be required to write about what you have read.

I know of one instance that made me aware of a curriculum that only required students to read poems for the sake of being tested upon them and, not ever for the sake of writing or communicating about them, at all, other than to take quizzes and tests and, to tell you the truth, I question the validity of this.

If you are going to read poetry for comprehension’s sake, I think you ought to be enabled to connect this act to another pertinent act, like reading prose fiction and communicative, denotative prose, for comprehension’s sake.

The acquisition of the comprehension of poetry makes the comprehension of prose fiction be child’s play.

In reality, if one becomes enabled, through the use of Poetic Scansion, to read and comprehend poetry, successfully, there is nothing else for him or her to do, concerning written communication, either factual or fictional, in my book. (I wrongfully paraphrase Karl Marx: prose fiction is the opiate of the masses.)

The reality is, once again, that if a person becomes enabled to read, comprehend and write about poetry, he or she is set, based on the fact that the individual will be immediately enabled to report on denotatively-communicated prose, without having to worry about figurative language or unorthodox typesetting that much poetry contains.

Also, and more importantly, he or she will not have to worry about failing to memorize vast amounts of fictional, non-poetic literature, like the prose writings of James Joyce, Jonathan Swift, et cetera.

Moving on, here is a syllabic represent-ation of the poem’s stressed and un-stressed wording and pronunciation.

Especially for literary formalists who delve, deeply, into rhyme, consonance and meter, and for victims of head trauma, who might require more cues to prevent them from losing track of where they were, in the process of analyzing a particular poem, and they, as well, might appreciate being able to break the wording down to its nears essence.

Through repetition, they could have either greater ease in recalling what they did in being able to arrive at a meaningful conclusion or they could, possibly, have been able to firmly imprint the entire process into their crystal memories and the act of going off the beaten path could cause them anxiety, based on the fact that they might, potentially, not be able to find their way back onto the path again.

Essentially, this is true, even if the segue that is being suggested is, in reality, an amazingly effective short-cut.

Unstressed=”u”, Stressed=”/”
01 Buffalo Bill’s                           01 (u,u,u,/)
02 defunct                                     02 (/,u)
03 who used to                             03 (u,/,/)
04 ride a watersmooth-silver                                                   04 (/,u,u,u,/,/,u)
05 stallion                                     05 (/,u)
06and break onetwothreefourfive pigeonsjustlikethat  06 (u, /,/,/,/,/,/,/,/,u,u,/)
07 Jesus                                        07 (/,/)
08 he was a handsome man  08 (/,u, u, /,u,/)
09 and what i want to know is 09 (/, u, /, /etc.)
10 how do you like your blueeyed boy 10 (/, u, u,/, etc.)
11 Mister Death                               11 (/, u, u)

The reason for considering the pronounced meter of the wording of a poem is to have a more comprehensive way to compare and contrast existent feet and existent lines of a poem.

This is absolutely not pertinent to prose fiction and adds another means for learning disabled individuals to hone in on a poem’s content, if fixed meter exists in a poem, and allows LD individuals to expand their potential for analyzing poetic text, while making the act of comprehending denotative, factual communication, due to the fact that, when reading to comprehend the factual content of written communica-tion, one is reading factual wording that is communicated concisely, not the best words in their best order, wrapped in enigma and dipped in figurative language.

The fact that cummings wrote sonnets that masqueraded as non-sonnets and that Buffalo Bills defunct is not a perfect sonnet can be mentioned as cummings’ plausible criticism of Cody, as well.

As well, the knowledge of poetic forms can allow you to amass more information about which to write when you are responding to a passage or prompt that is poetry-based.

For learning disabled individuals, the act of using the poetic scansion process, before they go about reading reality-based communication and making notes about what has been read, necessarily, makes the reality-based act much easier, due to its “REAL” nature, that is not up for debate, as the essence of research that one will conduct, write about and synthesize, is brand new and not necessary to be compared and contrasted to what other researchers have been able to deduce, after one reaches the latest study to have been conducted.

This facilitates your, ability, after you have completed the fleshing out of the literary devices you did, above, to use the syllabification of the poem’s wording to determine the existence of an inherent pattern.

This is another reason for reading poetry; in that, if an LD individual is successful at reading, speaking, comprehending and interpreting the best words, in their best order, he or she will, again, (almost definitely) have an easier time while reading denotative, factual written information.

Yet, I, as someone who would not be able to pick things up, much less, deeply process them, if I would only hear or read them once or twice and feel that curricula, feel strongly that, for LD individuals, presenting students with the task of considering and deciphering poetry, first, and providing them with strategies and skills are present them comparable abilities that can be connected to reality-based writing, reading and research processes is much more beneficial.

This is due the fact that the ability to decipher enhanced communication (poetry him or her), along with having a blueprint or plan to allow students to work on composing an analysis of what has been written in the format of the best words, in their best order, is hypothesized to be superior to other writing education tasks that are it ministered and required to be learned by learning-disabled individuals, especially in consideration of the rhetorical curricula.

Specifically, as an undergraduate student, majoring in English, I was required to read vast amounts of fictional prose literature that I would be able to comprehend and respond to, usually, throughout the duration of the semester, (usually in 3- to 7- page papers); and, based on my short-term-memory deficit, I would only, very rarely, be able to score an A.

This, of course, was due the fact that the literature that was required to be read was fictional, conceptually outdated and, sometimes, even linguistically outdated.

In one class I took, the professor lectured in Modern English but only read from the book in Middle English, which, of course, the book was written in!

(Actually, the book had the Middle English, printed on the left and the Modern English translation on the opposite page. As I come to think of it, I am utterly surprised to have received a B in that class, based on the one-letter grade differential I seemed, always, to experience.)

Had I been asked to do the same thing, using poetry and not prose, things likely would have been different.

By focusing on the line, word and syllabic level of the poem’s phrasing, an individual becomes intensely in tuned to how the sound of language’s wording affects the overall impact of what is being communicated.

By this, a learning disabled writer is more likely to acquire better skills as a reader of the words of others and, simultaneously, acquires increased ability, as a self-regulator, when he or she is composing, is preparing to compose and is preparing to respond to oral communication, conversationally, too.

If, like I was, you or an individual you know has experienced head trauma that hampers the ability to retain information or to respond quickly, or both of these actions, a system, like this poetic scansion method, allows an individual to have a more successful reading experience, due to the inherent degree to which information is broken down, before he or she is called upon to analyze it.

But, focusing on this level of what writing communicates, syllabically, could be able to avail better skill to a learning disabled writer who, prior to engaging in poetic scansion, left off at the completion of the act of fleshing out his or her thoughts, in written form.

The reality is that, if a student is called upon to read a fictional text that is comprised of the best words, written in their best order, prior to being asked to “ingest” and “regurgitate” fact-based, denotative, written communication, he or she ought to be enabled to respond to information, either printed or delivered phonically, having mastered poetic scansion, first.

Lastly, while working on the university level, I assisted students who needed to comprehend verse that was much longer in length than e.e. cummings’, “Buffalo Bills”, and was able to have the students successfully complete the act of effective comprehension and response to works of poetry, by treating and analyzing sections of longer poems, broken down into 10 to 15 line segments of verse.

After gaining ability in full synthesis and comprehension of the denotative meaning of what a body of writing contains, using the poetic scansion process, a learning disabled individual can have the ability to go on, to consider the implied, potential connotations, as well. Then, when the individual is reading denotative, prose, for comprehension and synthesis, he or she will have an amazingly easier experience, necessarily.

The use of colloquial, informal language, instead of refined, concrete language can present a reader with exhilaration when he or she is reading poetic “high art”.

Poets infuse this into their writings, as a means to ratchet up the inherent wit and irony; the use of this is exemplified by ee cumming’s use of paradox, as a creator of “the best words, in their best order”, to communicate his viewpoint on the essence of the man Buffalo Bill or William Cody. The fact is that the man has been able to be considered a hero and tall tale hero.

Yet, the man, in reality, when considered for his acts and the nature of his convictions, in conjunction with his acts he engaged in, following westward expansion, lends to anyone’s mind the fact that he was, both, ruthless to the Sioux and other indigenous people, ruthless to the unsuspecting species: Buffalo and, ruthless in his willingness to ignore his past acts, when he engaged in the vaudevillian shows.

Herein, he acted on the same stage with Sitting Bull: his former mortal enemy.
There is inherent paradox in cummings’ use of colloquial language/sentiment (but what i’d like to know) in a eulogy implies author’s true thoughts on subject of Buffalo Bill.

Yet, a eulogy is always celebrating the deceased; ee cummings infuses this paradox into this work when he suggests a different opinion of Buffalo Bill or culminates the poem with the assertion that the man may not have been all that he has been alleged as a hero, to be.

Typography, including line break, slant rhyme, abbreviation, enjambement etc., can be noted and commented upon; as, these can be identified as plausible uses, on the part of the poem’s author, of communicative irony; this is due to the fact that double meanings are expected to be inherent in creative writing’s message; a poet’s infusion of additional communicative dimension, through the assembly of the characters that are used to communicate the poem on the page causes the reader to stretch his or her mind and acclimate to the act of considering not just words’ meaning; but, where the words that may or may not have additional meaning appear on the page/screen, in relationship to other words in the poem.

01Buffalo Bill’s             01capitalization

02 defunct                      02diction, paradox
03 who used to              03assonance
04 ride a watersmooth-silver 04enj,cons
05 stallion                      05spillover cons.
06 and break onetwothreefourfive pigeonsjustlikethat 06enjamb. denoting ease of kill
07 Jesus                   07capital. apostrophe
08 he was a handsome man 08cons, asso
09 and what i want to know is  091st pers
10 how do you like your blueeyed boy         10absurdity, person., figure
11 Mister Death              11apostrophe

Once you have this type of informational “tool” constructed, you can use it to refer to, when you are making notes, in the prewriting stage, or, maybe, in your pre-pre-writing stage of your composing process; the fact is that, especially when I had the chance to tutor learning disabled individuals, in higher education, by the time they made it to college, most of them had already arrived at, long before, the hypothesis that they had not been cut out for writing, much less writing poetry or, perish the thought, writing their thoughts on what another person had written, poetically. They only needed to have had a tool to guide them.

The fact is that you will have a much easier time comprehending what a poem communicates by considering it in parts; using poetic scansion, you consider the poem in manageable pieces, making notes of where specific items are communicated and, then, after you complete the “surgical extraction” of the meaning, in manageable spurts, you can, like Dr. Frankenstein, suture together an overall synopsis for use in “crafting” your realization of what the poem contains, syntactically.

Line Breaks/Spill Over
The reality is that, unlike learning disabled individuals’ being required to read and respond to prose fiction, in which they might experience difficulty, by virtue of their inability to decode, focus or remember effectively enough, poetry lends them the ability to experience ease as they repeat the act of considering units of communication, recursively; by virtue of this, students are required to reckon the fact that the intended communication of a poet does not pause at the end of a line, unless the writer signified this to be correct, through the use of a period, semicolon, ellipsis or dash.

By virtue of this fact, the communication of a poem must be analyzed, taking into consideration that poems can contain visual communication that is achieved by the placement of a word at the end of a line, with another, immediately subsequent word, being placed on the next line. This can act to force the poem’s reader to have to reread the lines, before he or she can realize the extent of the lines total implied communication. These “things”, line breaks and communication that spills over from one line to another should be articulated in one’s analysis.

-how speaking,/reading silently relate       and contrast,
-analysis of this
-communication of how the wording of      one’s writing can negatively affect a          reader’s ability, successfully, to comp-.    rehend one’s intended message.

This is the essence of why learning disabled individuals benefit from reading poetry and writing their analyses of poetic works, in prose that is communicated denotatively, in prose.

In the poem, it is narrative, 3rd person, present tense, even though the subject, buffalo bill, is dead/ therefore, what is conceived of as being implied is that Wm Cody, the man, is physically dead or that his heyday for which he gained the fame(or infamy) that morphed him, as a persona, into Buffalo Bill is over and there is no more need for his primary function as a marksman to kill Apaches et al. The Voice is either melancholy, stoic or bitterly revealing.

1. Based on the death of the man, Wm Cody
2. Based on the gristly nature of his acts in westward expansion,
3. Based on the status to which, he, as a man, was reduced when he was enabled to join the old west vaudevillian life, wherein he (recalcitrantly) took stage with Native Americans such as Sitting Bull, just to make a buck, mocking and denying his own gristly past acts’ nature.                                                                                                                      4. Based on his hypocrisy                                                                                                                     5. Based on the hypocrisy that American Society allows to continue in exalting a    potentially opportunistic individual who just happened to have good aim.

Final Analysis/Extrapolations
This is used to respond to writing prompts that have individuals relate poems to other types of information.
-to other poetic works (comparison/contract)
-to other non-poetic figurative written works
-to other non-figurative works of writing
-to other existent, worldly concepts

Then, what is of true value for Learning Disabled individuals is the real-word application of this process to research writing that is based on experiments that one has conducted, himself or herself, or that one, as a research writer, has compiled. He or she, in the research process, must take copious notes, from his or her observations that are made, and relate them to what has been recently learned and discovered, newly, or that which has been gleaned from synthesizing prior knowledge with what has been able to be revealed, through the research process.

Poetic Scansion allows LD persons to practice decoding written communication in a non-threatening, non-risk-contingent setting, and acquire, through repetition, the ability to master the act of systematically viewing and considering “the best words, in their best order”. Once they have acquired this ability, it is suggested that they will have an easier, more successful experience, when they are expected to read denotative, factual written information.

Finally, the LD individual who recursively engages in the poetic scansion process can likely become much more adept at reading, comprehending and analyzing denotative, non-figurative/non-fictional prose communication, as a result, and, after repeatedly engaging in poetic scansion, he or she can become much better at responding to written communication/inquiry, as well; this is especially true for ld/memory-impaired students. This is especially, due to the fact that, when you are you are reading factual, denotative prose for the sake of being enabled, successfully, to comprehend outside the classroom, in an applied setting, you will have the ability to comprehend intended message of the text, immediately.

Next, you can use the information you have successfully scanned to plan and respond to the poem. The fact that most poems are much less wording than prose communications are allows you not to have to read and process anywhere near as much, when completing the lead-up to your written response.

Finally, what you can do with the scanned information that you have rendered after you’ve gutted, butchered and cleaned the information that the poem contains is utilize an outlining system that will guide you through the act of communicating what you’ve recently “unearthed”, concerning the poem you need to consider. I will be posting that outlining system sometime soon…!

Contact me, via e-mail, at: mattramzzz@comcast.net or on Facebook, at:


.. . http://www.facebook.com/mattramzzz1971, to pose any questions you might have.


7 thoughts on “Poetic Scansion

  1. Pingback: Anonymous
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    1. mattramzzz says:

      Hey, thanks; to tell the truth, I’m not absolutely sure how what I’m posting and have posted looks. This is due to the fact that, when I’m blogging with my phone, the on-screen look doesn’t usually match what I see when I view it on my laptop.

      Please check out my word paletting essays, if you like poetic scansion.

      I have a new one that I’m posting, as soon as I get the wording perfected.

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