Poetry Packet Ms. Tucker

“Poetry is above all a concentration of the power of language, which is the power of our ultimate relationship to everything in the universe.” – Adrienne Rich

Name: ___________________________ Class Period: ____ (Please return to room 101)

"1

Part 1: Important Terms for Discussing Poetry EXPLICATION/EXPLICATE:

1.Parts of Poem

Line - A line is a subdivision of a poem, specifically a group of words arranged into a row that ends for a reason other than the right-hand margin.

Stanza - a group of lines equal in number forming the basic recurring unit in a poem.

Strophe- a group of lines varying in number forming the basic recurring unit in a poem.

2.Types of Prosody PROS·O·DY/noun 1.

2.

All prosody is either:Quantitative:

Normative:

Spatial: arrangement by______________ Syllabic: Arrangement by ______________ EX: EX:

"2

Verbal: Arrangment by _________________

EX:

Acctentual-Syllabic: Arrangement by _____________________ AND _____________________

EX:

"3

Accentual: Arrangement by ____________________

EX:

3.Meter

me·ter/noun 1. The measured arrangement of words in poetry, as by accentual rhythm, 

syllabic quantity, or the number of syllables in a line 2. The rhythmic pattern of a stanza, determined by the kind and number of lines.

Foot:  the most basic unit of a poem's meter. A foot is a combination of stressed and unstressed syllables.

Unstressed syllable: the syllable within the metric foot given little or no emphasis when spoken out loud.

• Parts of Speech which are ALWAYS unstressed:_______________________________________

______________________________________________________________________________

• Parts of speech which are usually unstressed: _________________________________________

______________________________________________________________________________

Stressed syllable: the syllable within the metric foot given heavy emphasis when spoken out loud.

• ___________________________ are ALWAYS stressed!

Iambic Pentameter: An arrangement of poetry in to 10syllable lines (five 2syllable feet) consisting of primarily iambs. The most common meter used in the English language.

Ex. Shall I compare thee to a summer’s day? Thou art more lovely and more temperate

Common feet in iambic pentameter

Iamb: ____________________________________________________________________________

Symbol: __________

Trochee: ___________________________________________________________________________

Symbol: __________

Occasional feet in iambic pentameter

Spondee: ___________________________________________________________________________

Symbol: __________

"4

Phyric: _____________________________________________________________________________

Symbol: __________

Uncommon feet in iambic pentameter

Anapest: ___________________________________________________________________________

Symbol: __________

Dactyl: ____________________________________________________________________________

Symbol: __________

Ellision: the omission of a sound or syllable to accommodate a certain number of syllables in a line of

verse, the usual mark for elision is ' Ex. o'erwhelmed

Scansion: The metrical analysis of verse. The usual marks for scansion are ˘ for a short or lightly

stressed syllable,   for a long or heavily stressed syllable, |for a foot division, and  // for a caesura.

4.Meter (Continued)

Common Meter

______meter: a line of verse consisting of _________ metrical feet.

Ex. When I |was one-|and-twenty  I heard |a wise |man say, 

'Give crowns| and pounds| and guineas  But not| your heart| away;

-E. Housman

______meter: a line of verse consisting of _________ metrical feet. Ex. I wand|ered, lone|ly as| a cloud 

That floats| on high| o’er dales| and hills  When, all| at once, | I saw| a crowd  A host |of gold|en daff|odils. 

-Wordsworth

______meter: a line of verse consisting of _________ metrical feet. Ex. Where are |the songs |of Spring? |Ay, where| are they? 

Think not |of them, |thou hast |thy mus|ic too, -John Keats

"5

______meter: a line of verse consisting of _________ metrical feet. Ex. The moon| rains out| her beams, | and Heav|en is |overflow'd.

-Percy Shelley               

Naming Meter:

Meter is named according to its primary foot and foot count. The above meter is all iambic, so it would be named iambic trimeter, iambic tetrameter, iambic pentameter and iambic hexameter. Below are a couple examples of the same meters with different primary feet:

Dactylic Hexameter (Heroic verse)

Ex. This is the| forest pri|meval. The| murmuring |pines and the| hemlocks,

-Wadsworth

Anapestic Trimeter

Ex. I am lord |of the fowl |and the brute.

Scansion Practice: Write the scansion out for the following lines of verse, then, name the meter. Note whether the verse is normative or quantitative first! Example: “Hope” is |the thing |with feathers – That perch|es in| the soul – And sings| the tune| without| the words – And nev|er stops| - at all

____Quantatative_____________ Iambic Trimeter with one line of Tetrameter

Practice 1:

He moves in darkness as it seems to me,

Not of woods only and the shade of trees.

___________________________ ___________________________________________________

"6

Feminine ending:  in prosody, a line of

verse having an unstressed and usually

extrametrical (additional to the length of

the typical line in the particular poem)

syllable at its end.

Practice 2:

It melted, and I let it fall and break.

But I was well

Upon my way to sleep before it fell,

And I could tell ___________________________ ___________________________________________________

Practice 3:

I ’M nobody! Who are you?

Are you nobody, too?

Then there ’s a pair of us—don’t tell!

They ’d banish us, you know ___________________________ ___________________________________________________

Write your own line of Iambic Pentameter below (remember to mark your feet!):

_______________________________________________________________________________________

Write your own line of Anapestic Trimeter below (remember to mark your feet!):

_______________________________________________________________________________________

Write your own line of Dactylic Hexameter below (remember to mark your feet!):

_______________________________________________________________________________________"7

Continued Scansion Practice:

SONNET 130 BY WILLIAM SHAKESPEARE

Shall I |compare|thee to| a summ| er’s day; Thou art|more love|ly and|more tem|per ate;

Rough winds do shake the darling buds of May,

And summer’s lease hath all too short a date;

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm'd;

And every fair from fair sometime declines,

By chance or nature’s changing course untrimm'd;

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow’st;

Nor shall death brag thou wander’st in his shade,

When in eternal lines to time thou grow’st:

   So long as men can breathe or eyes can see,

   So long lives this, and this gives life to thee.

"8

Referencing the section on meter, continuing writing out the scansion for Sonnet 130.

Tips:

Begin by marking the feet

Mark the article, prefixes and suffixes as unstressed after you mark the feet

Remember an IAMB is the most common foot

The Sonnet

Intent In "Remember," Rossetti anticipates her own death, and clearly conveys a wistful yet romantic tone as she starts writing:

Remember me when I am gone away, Gone far away into the silent land; When you can no more hold me by the hand, Nor I half turn to go, yet turning stay.

Her syllable count is impeccable – 10 syllables per line as she twists the rhyme scheme into abbaabba-cddc-gg. Yet, it’s easy to lose count as she sweeps us into the poem.

To follow the logic of Rossetti’s sonnet, view the first quatrain as establishing a problem or motive for the poem. Here, Rossetti wants her reader to remember her while also demonstrating the difficulty of letting go. This has the mark of a good sonnet, in that it takes a course dictated by logic and emotion.

Further your motive Rossetti plants pauses – catches of breath – in the next quatrain, while increasing the level of romance and allure.

Remember me when no more, day by day, You tell me of our future that you planned: Only remember me; you understand It will be too late to counsel then or pray.

Is she talking about her own demise? Or about a love not allowed to blossom? Another step in writing a sonnet – constant forward movement – ripples through her work.

Turn the core Rossetti provides the classic sonnet closing, while keeping the poem deeply personal for all 14 lines – a vital ingredient in the sonneteer’s recipe.

Yet if you should forget me for a while And afterwards remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad.

In the beginning of the sestet, Rossetti twists the core of the poem – that of remembrance – to forgetting. She turns us toward the finish by again displaying the immediate emotion of the grieving heart, but the more detached, longer vision of a life worth remembering. While the opening octave of the sonnet is dedicated towards encouraging an immediate remembering, the sestet provides a twist to the original intent, and remembering is considered in a fresh, altered light.

As you begin writing your own sonnet, remember to use your octet to express your motive for the poem, with the closing sestet providing a reconsideration and resolution of that intent. Many sonneteers use this initial octave to display a problem, and then they use the closing sestet to resolve this issue. Whether you choose to write about love, religion, politics, or philosophy, the logical form of the sonnet will help fuel your emotional meditation.

"9

Whoso List to Hunt, I Know where is an Hind BY SIR THOMAS WYATT Whoso list to hunta, I know where is an hind, But as for me, hélas, I may no more. The vain travail hath wearied me so sore, I am of them that farthest cometh behind. Yet may I by no means my wearied mind Draw from the deer, but as she fleeth afore Fainting I follow. I leave off therefore, Sithens in a net I seek to hold the wind. Who list her hunt, I put him out of doubt, As well as I may spend his time in vain. And graven with diamonds in letters plain There is written, her fair neck round about: Noli me tangere, for Caesar's I am, And wild for to hold, though I seem tame.

“Time does not bring relief…” BY EDNA ST. VINCENT MILLAY Time does not bring relief; you all have lied    Who told me time would ease me of my pain!    I miss him in the weeping of the rain;    I want him at the shrinking of the tide; The old snows melt from every mountain-side,    And last year’s leaves are smoke in every lane;    But last year’s bitter loving must remain Heaped on my heart, and my old thoughts abide.    There are a hundred places where I fear    To go,—so with his memory they brim.    Quatrain And entering with relief some quiet place    Where never fell his foot or shone his face    I say, “There is no memory of him here!”    And so stand stricken, so remembering him. Couplet

"10

Sonnets are typically composed of 3 quatrains and 1 couplet and written in iambic pentameter.

A quatrain is four lines of a poem linked together by rhyme scheme and thought.

A couplet is two rhyming lines. When it appears at the end of a sonnet, a couplet usually draws a conclusion or completes an argument.

Rhyme Scheme all sonnets follow a pattern of rhymes. There are several variations on the sonnet rhyme schemes. The most popular are:

Elizabethan sonnet:ABAB CDCD EFEF GG

Italian sonnet:ABBA ABBA CDCD CD – The last 6 lines of an Italian sonnet can vary significant in rhyme schemes. Alternates include:CDCDCD CDDCDCCDECDECDECED CDCEDC

On the sonnets to the left identify the quatrains, couplet and rhyme scheme.

O benefit of ill! now I find true E That better is by evil still made better; F And ruin'd love, when it is built anew, E Grows fairer than at first, more strong, far greater. F    So I return rebuk'd to my content,  G     And gain by ills thrice more than I have spent.  G

Elizabethan Sonnet Worksheet

___________________________________ A ___________________________________ B ___________________________________ A ___________________________________ B

___________________________________ C ___________________________________ D ___________________________________ C ___________________________________ D

___________________________________ E ___________________________________ F ___________________________________ E ___________________________________ F

___________________________________ G ___________________________________ G

"11

Italian Sonnet Worksheet

___________________________________ A ___________________________________ B ___________________________________ B ___________________________________ A

___________________________________ A ___________________________________ B ___________________________________ B ___________________________________ A

___________________________________ C ___________________________________ D ___________________________________ C ___________________________________ D

___________________________________ E ___________________________________ E

"12

The Villanelle Elements of style While the villanelle’s repeating lines and constant rhyme scheme requires deftness in choosing an end-of-line word with a multiple rhyming syllable, its construction falls right into the lap of storytelling. Like stories, villanelles tend to have a beginning element (first tercet), development (second through fourth tercets) and resolution/conclusion (final quatrain). Thus, they feel rhythmic and musical to the spoken voice, and they build in momentum, intensity, and impact.

When beginning to compose your villanelle, spend extra time brainstorming and revising the two refrains. Because they’ll repeat several times throughout the poem, these lines will be your reader’s focus. The other content should work to alter the meaning of the refrains as they repeat throughout the piece. This will heighten your reader’s experience of the language – the material will remain, but the message will twist and change as the poem progresses.

Attention to detail A recent villanelle by New Formalist adherent Harvey Stanbrough (from his National Book Award-nominated collection, Beyond the Masks) illustrates the process of writing the form. Stanbrough’s poem, "Roses?", draws from his skill as an astute observer. When he teaches observation workshops, Stanbrough often sends students into a grove of trees. He instructs them to look at the bark and write about the shades, textures, and striations they see. If they write material like, "The bark is brown," he sends them back into the grove because he, the poet, sees countless shades of brown, as well as other colors.

This process of returning is similar to a reader’s experience with the villanelle. As the reader rediscovers the refrains as they repeat through the poem, he or she will learn something new about the poem and themselves. Pay special attention to how your refrains contort and change in this verse form.

Setting the tone To begin, Stanbrough sets up the poem by creating a fine rhyming couplet (the baseline couplet) that will become the alternating refrain lines. He then splits the couplet with a movement line, completing the opening tercet:

When pink and red entwine, their dreams to share and climb as one, combining strength and grace, then will the scents of roses fill the air.

He’s already characterized the two roses and their life mission: to grow as one. This metaphor for sacred relationship also shows the vital role of the first tercet in setting the tone for the villanelle. The sounds Stanbrough chose to serve as his two root rhymes (-air/-are and –ace) feed countless rhyming words, which is the villanelle writer’s goal. He has already made his job easier.

Every word counts Stanbrough begins his development phase by focusing on the pink rose, but then brings us back to the core theme by closing with each half of the baseline couplet. He provides succinct descriptions of the rose’s feminine attributes in just two lines and 20 syllables per stanza, then "sings" the refrain. Every word counts in villanelle.

The pink, its petals soft, its scent a rare and gentle one, will take its rightful place when pink and red entwine, their dreams to share.

Notice how Stanbrough adds to the sensation of this pink-red combination. Not only do we understand how the colors will work together, but we have this sense of smell that could heighten the experience. You almost have to

"13

wonder about the refrain, as well. Can we think of the dreams of these roses as their scents? Here’s the next stanza:

No longer will the wind easily pare the strengthened petals from the coral face; then will the scents of roses fill the air.

At this point in the villanelle writing process, poets should start to gain a realization of how well their refrains will repeat and work throughout the piece. Although you’ve already give your refrains a lot of thought prior to even beginning your poem, here’s an optimum place to pause and revise.

Building momentum Stanbrough proceeds to describe how the masculinity of the red rose will be softened and humbled by joining with the pink rose. The opening two lines of each stanza fuse so tightly with the bottom refrain line that each tercet could stand alone as a mini-poem. In addition, the poem builds through its rethinking and reconfiguration of the refrains:

The red, upon a stem that’s long and fair, will learn humility and grow in grace when red and pink entwine, their dreams to share.

No longer will pride outweigh the care that ‘neath the sun, all have an equal place; then will the scents of roses fill the air,

Graceful closing

Then the conclusion: how red and pink will grow as one, having fused their strengths and either shorn away or transformed their weaknesses. The final line is nothing less than the reward of a deep love as it touches those around the two roses.

and each of them, with petals strong and fair, will give and take with ease and grow in pace when red and pink entwine, their dreams to share, Then will the scents of roses fill the air.

Stanbrough closes the poem with complete smoothness and grace, not only showing sensitivity to his subject but also good craftsmanship. While being kept distant throughout the entirety of the poem, the two refrains come together (much like the two roses do). Just as the petals "will give and take with ease and grow and pace," these two refrains fuel the blooming of this villanelle.

So as you begin to construct your own villanelle, think about how you’re going to take advantage of this unique form. Stanbrough focuses his poem on two distinct roses coming together, and this reads as a perfect match for the eventual coming together of the two refrains of the villanelle. How are you going to match the content to the movement of the form?

"14

One Art by Elizabeth Bishop The art of losing isn’t hard to master; so many things seem filled with the intent to be lost that their loss is no disaster.

Lose something every day. Accept the fluster of lost door keys, the hour badly spent. The art of losing isn’t hard to master.

Then practice losing farther, losing faster: places, and names, and where it was you meant to travel. None of these will bring disaster.

I lost my mother’s watch. And look! my last, or next-to-last, of three loved houses went. The art of losing isn’t hard to master.

I lost two cities, lovely ones. And, vaster, some realms I owned, two rivers, a continent. I miss them, but it wasn’t a disaster.

—Even losing you (the joking voice, a gesture I love) I shan’t have lied. It’s evident the art of losing’s not too hard to master though it may look like (Write it!) like disaster.

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 they Do not go gentle into that good night.

Good men, the last wave by, crying how bright Their 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 sight Blind 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.

"15

Villanelle Worksheet

_____________________________________________ A1 _____________________________________________ b _____________________________________________ A2

_____________________________________________ a _____________________________________________ b _____________________________________________ A1

_____________________________________________ a _____________________________________________ b _____________________________________________ A2

_____________________________________________ a _____________________________________________ b _____________________________________________ A1

_____________________________________________ a _____________________________________________ b _____________________________________________ A2

_____________________________________________ a _____________________________________________ b _____________________________________________ A1 _____________________________________________ A2

"16

The Sestina History Historically, the Sestina is a French form. It appeared in France in the twelfth century, initially in the work of Arnaut Daniel. He was one of the troubadours or court poets and singers in the service of French nobles.

Troubadours were lyric poets. They began in Provence in the eleventh century. For the next two centuries, they flourished in South France, East Spain, and North Italy, creating many songs of romantic flirtation and desire. Their name is from the French trobar, to "invent or make verse".

The Sestina was one of several forms in the complex, elaborate, and difficult closed style called trobar clus (as opposed to the easier more open trobar leu).

Theme Courtly love often was the theme of the troubadours, and this emphasis continued as the sestina migrated to Italy, where Dante and Petrarch practiced the form with great reverence for Daniel, who, as Petrarch said, was “the first among all others, great master of love.”

The sestina follows a strict pattern of the repetition of the initial six end-words of the first stanza through the remaining five six-line stanzas, culminating in a three-line envoi. The lines may be of any length, though in its initial incarnation, the sestina followed a syllabic restriction. The form is as follows, where each numeral indicates the stanza position and the letters represent end-words:

1. ABCDEF 2. FAEBDC 3. CFDABE 4. ECBFAD 5. DEACFB 6. BDFECA 7. (envoi) ECA or ACE

The envoi, sometimes known as the tornada, must also include the remaining three end-words, BDF, in the course of the three lines so that all six recurring words appear in the final three lines. In place of a rhyme scheme, the sestina relies on end-word repetition to effect a sort of rhyme.

"17

Sestina by Elizabeth Bishop September rain falls on the house. In the failing light, the old grandmother sits in the kitchen with the child beside the Little Marvel Stove, reading the jokes from the almanac, laughing and talking to hide her tears.

She thinks that her equinoctial tears and the rain that beats on the roof of the house were both foretold by the almanac, but only known to a grandmother. The iron kettle sings on the stove. She cuts some bread and says to the child,

It's time for tea now; but the child is watching the teakettle's small hard tears dance like mad on the hot black stove, the way the rain must dance on the house. Tidying up, the old grandmother hangs up the clever almanac

on its string. Birdlike, the almanac hovers half open above the child, hovers above the old grandmother and her teacup full of dark brown tears. She shivers and says she thinks the house feels chilly, and puts more wood in the stove.

It was to be, says the Marvel Stove. I know what I know, says the almanac. With crayons the child draws a rigid house and a winding pathway. Then the child puts in a man with buttons like tears and shows it proudly to the grandmother.

But secretly, while the grandmother busies herself about the stove, the little moons fall down like tears from between the pages of the almanac into the flower bed the child has carefully placed in the front of the house.

Time to plant tears, says the almanac. The grandmother sings to the marvelous stove and the child draws another inscrutable house.

"18

Paysage Moralisé W. H. Auden

Hearing of harvests rotting in the valleys, Seeing at end of street the barren mountains, Round corners coming suddenly on water, Knowing them shipwrecked who were launched for islands, We honour founders of these starving cities Whose honour is the image of our sorrow,

Which cannot see its likeness in their sorrow That brought them desperate to the brink of valleys; Dreaming of evening walks through learned cities They reined their violent horses on the mountains, Those fields like ships to castaways on islands, Visions of green to them who craved for water.

They built by rivers and at night the water Running past windows comforted their sorrow; Each in his little bed conceived of islands Where every day was dancing in the valleys And all the green trees blossomed on the mountains, Where love was innocent, being far from cities.

But dawn came back and they were still in cities; No marvellous creature rose up from the water; There was still gold and silver in the mountains But hunger was a more immediate sorrow, Although to moping villagers in valleys Some waving pilgrims were describing islands …

‘The gods,’ they promised, 'visit us from islands, Are stalking, head-up, lovely, through our cities; Now is the time to leave your wretched valleys And sail with them across the lime-green water, Sitting at their white sides, forget your sorrow, The shadow cast across your lives by mountains.’

So many, doubtful, perished in the mountains, Climbing up crags to get a view of islands, So many, fearful, took with them their sorrow Which stayed them when they reached unhappy cities, So many, careless, dived and drowned in water, So many, wretched, would not leave their valleys.

It is our sorrow. Shall it melt? Then water Would gush, flush, green these mountains and these valleys, And we rebuild our cities, not dream of islands.

"19

Sestina Worksheet

_______________________________________________________________________________ A_______________________________________________________________________________ B_______________________________________________________________________________ C_______________________________________________________________________________ D_______________________________________________________________________________ E_______________________________________________________________________________ F

_______________________________________________________________________________ F_______________________________________________________________________________ A_______________________________________________________________________________ E_______________________________________________________________________________ B_______________________________________________________________________________ D_______________________________________________________________________________ C

_______________________________________________________________________________ C_______________________________________________________________________________ F_______________________________________________________________________________ D_______________________________________________________________________________ A_______________________________________________________________________________ B_______________________________________________________________________________ E

_______________________________________________________________________________ E_______________________________________________________________________________ C_______________________________________________________________________________ B_______________________________________________________________________________ F_______________________________________________________________________________ A_______________________________________________________________________________ D

_______________________________________________________________________________ D_______________________________________________________________________________ E_______________________________________________________________________________ A_______________________________________________________________________________ C_______________________________________________________________________________ F_______________________________________________________________________________ B

_______________________________________________________________________________ B_______________________________________________________________________________ D_______________________________________________________________________________ F_______________________________________________________________________________ E_______________________________________________________________________________ C_______________________________________________________________________________ A

_____________________________________________________________________________F/E_____________________________________________________________________________B/D _____________________________________________________________________________C/A

"20

Elizabethan Sonnet Worksheet

___________________________________ A ___________________________________ B ___________________________________ A ___________________________________ B

___________________________________ C ___________________________________ D ___________________________________ C ___________________________________ D

___________________________________ E ___________________________________ F ___________________________________ E ___________________________________ F

___________________________________ G ___________________________________ G

"21

Italian Sonnet Worksheet

___________________________________ A ___________________________________ B ___________________________________ B ___________________________________ A

___________________________________ A ___________________________________ B ___________________________________ B ___________________________________ A

___________________________________ C ___________________________________ D ___________________________________ C ___________________________________ D

___________________________________ E ___________________________________ E

"22

Villanelle Worksheet

_____________________________________________ A1 _____________________________________________ b _____________________________________________ A2

_____________________________________________ a _____________________________________________ b _____________________________________________ A1

_____________________________________________ a _____________________________________________ b _____________________________________________ A2

_____________________________________________ a _____________________________________________ b _____________________________________________ A1

_____________________________________________ a _____________________________________________ b _____________________________________________ A2

_____________________________________________ a _____________________________________________ b _____________________________________________ A1 _____________________________________________ A2

"23

Sestina Worksheet

_______________________________________________________________________________ A_______________________________________________________________________________ B_______________________________________________________________________________ C_______________________________________________________________________________ D_______________________________________________________________________________ E_______________________________________________________________________________ F

_______________________________________________________________________________ F_______________________________________________________________________________ A_______________________________________________________________________________ E_______________________________________________________________________________ B_______________________________________________________________________________ D_______________________________________________________________________________ C

_______________________________________________________________________________ C_______________________________________________________________________________ F_______________________________________________________________________________ D_______________________________________________________________________________ A_______________________________________________________________________________ B_______________________________________________________________________________ E

_______________________________________________________________________________ E_______________________________________________________________________________ C_______________________________________________________________________________ B_______________________________________________________________________________ F_______________________________________________________________________________ A_______________________________________________________________________________ D

_______________________________________________________________________________ D_______________________________________________________________________________ E_______________________________________________________________________________ A_______________________________________________________________________________ C_______________________________________________________________________________ F_______________________________________________________________________________ B

_______________________________________________________________________________ B_______________________________________________________________________________ D_______________________________________________________________________________ F_______________________________________________________________________________ E_______________________________________________________________________________ C_______________________________________________________________________________ A

_____________________________________________________________________________F/E_____________________________________________________________________________B/D _____________________________________________________________________________C/A

"24