Ayu Mayasari F21108036

Pengertian Puisi Puisi (dari bahasa Yunani kuno: / (poio/poi) = I create) adalah seni tertulis di mana bahasa digunakan untuk kualitas estetiknya untuk tambahan, atau selain arti semantiknya.

Penekanan pada segi estetik suatu bahasa dan penggunaan sengaja pengulangan, meter dan rima adalah yang membedakan puisi dari prosa. Namun perbedaan ini masih diperdebatkan. Beberapa ahli modern memiliki pendekatan dengan mendefinisikan puisi tidak sebagai jenis literatur tapi sebagai perwujudan imajinasi manusia, yang menjadi sumber segala kreativitas. Selain itu puisi juga merupakan curahan isi hati seseorang yang membawaa oraang lain kedaalam keaadaan hatinya.

Baris-baris pada puisi dapat berbentuk apa saja (melingkar, zigzag dan lain-lain). Hal tersebut merupakan salah satu cara penulis untuk menunjukkan pemikirannnya. Puisi kadang-kadang juga hanya berisi satu kata/suku kata yang terus diulang-ulang. Bagi pembaca hal tersebut mungkin membuat puisi tersebut menjadi tidak dimengerti. Tapi penulis selalu memiliki alasan untuk segala 'keanehan' yang diciptakannya. Tak ada yang membatasi keinginan penulis dalam menciptakan sebuah puisi Sumber : http://id.wikipedia.org/wiki/Puisi

Puisi Adalah bentuk ekspresi pengalaman empirik atau batin seseorang yang diwujudkan dengan bahasa-bahasa indah, perumpamaan dan kiasan. Puisi juga merupakan cara penyampaian tak langsung dari seseorang terhadap sesuatu hal yang dirasa menggelitik naluri estetika, emosi dan perasaan jiwa yang dialami seseorang.

Cara tak langsung itu dilakukan melalui aneka bentuk perumpamaan yang terangkai dalam sajian kata-kata yang indah, singkat, multitafsir dan cerdas. Puisi sebagai salah satu bentuk karya sastra

memiliki dua fungsi yakni sebagai karya sastra itu sendiri dan juga sebagai cara atau alat bagi siapa yang memegang puisi tersebut.

Puisi sebagai nilai karya sastra mutlak mengikuti kaidah estetika dan unsur-unsur yang mewajibkan keindahan pada sebentuk karya sastra. Sedangkan puisi sebagai alat dimaksudkan ke arah pengertian ideologi sastra itu sendiri. Puisi bisa dijadikan alat untuk melakukan apa saja oleh si penulisnya.

Bagi seorang aktivis dakwah, puisi menjadi bagian dari upaya ia menyebarkan nilai-nilai kebaikan dari apa yang ia pahami. Maka muatan puisinya merupakan pesan dari apa yang menjadi prinsip utama yang dipegang oleh si penulis.

Seorang aktivis mahasiswa akan menjadikan puisi sebagai sarana ia menyuarakan ekspresi kritikan terhadap kebijakan pemerintah. Puisi dijadikan sebagai alat kedua aksinya selain mungkin turun ke jalan. Di sini sastra berfungsi sebagai nilai kritik sosial.

Penyair-penyair yang lantang dengan puisi-puisi heroik seperti sastrawan kenamaan nasional Taufik Ismail. Di setiap sajak-sajak yang Taufik hadirkan tak lepas merupakan nafas idealisme sosok Taufik terhadap bentuk perkembangan kehidupan bernegara.

Taufik Ismail mencintai negerinya melalui goresan sajak-sajak heroik yang menginspirasi kalangan muda untuk terus berpegang pada idealisme dan semangat melakukan perubahan ke arah yang lebih baik di tanah air. Bagi Taufik Ismail, puisi adalah cara yang dipilihnya untuk menyuarakan terhadap sesuatu yang menjadi hal yang ia perjuangkan.

Lantas bagaimana dengan seorang yang sedang dilanda jatuh cinta? Bagi orang yang sedang dimabuk asmara, puisi tentu saja menjadi alat yang ia gunakan untuk memperindah nuansa asmara yang sedang dijalaninya.

Tak jarang kita temui seorang yang merayu orang lain menggunakan kata-kata indah sebuah puisi. Pasangan kekasih yang sedang dimabuk cinta biasanya merupakan orang-orang yang sangat sensitif dengan nilai-nilai keindahan sebuah puisi. Jadi sangat jelas bahwa disamping memiliki fungsi sebagai karya sastra itu sendiri, puisi adalah juga sebuah cara atau alat yang diciptakan seseorang dalam meraih sebuah tujuan yang ia inginkan. Sumber : http://www.anneahira.com/puisi-adalah.htm

Pada tahun 1953, sastrawan Indonesia H.B. Jassin pernah melontarkan pendapat bahwa untuk mendefinisikan puisi, maka puisi itu harus dikaitkan dengan definisi prosa. Menurut sastrawan yang dijuluki Paus Sastra Indonesia tersebut, prosa merupakan pengucapan dengan pikiran, sedangkan puisi merupakan pengucapan dengan perasaan.

3 tahun kemudian, pada tahun 1956 Slamet Mulyana mengatakan bahwa ada perbedaan pokok antara prosa dan puisi. Pertama, kesatuan prosa yang pokok adalah kesatuan sintaksis, sedangkan kesatuan puisi adalah kesatuan akustis. Kedua puisi terdiri dari kesatuan-kesatuan yang disebut baris sajak, sedangkan dalam prosa kesatuannya disebut paragraf. Ketiga di dalam baris sajak ada periodisitas dari mula sampai akhir.

Seolah mempertegas pendapat Slamet Mulyana, 10 tahun kemudian, tepatnya di tahun 1986, Rahmanto dan Dick Hartoko berpendapat bahwa puisi merupakan lawan prosa. Alasan yang dikemukakan Rahmanto dan Dick Hartoko terletak pada ungkapan bahasa prosa dan puisi. Menurut mereka ungkapan bahasa puisi adalah ungkapan bahasa yang terikat, sedangkan prosa tidak. Maka atas dasar inilah Rahmanto dan Dick Hartoko menyatakan bahwa puisi berbeda dengan prosa.

Lebih lanjut, Rahmanto dan Dick Hartoko merinci bahwa puisi adalah karya sastra yang terikat oleh paralelisme, metrum, rima, pola bunyi, dan sebagainya. (meski pada sastra modern perbedaan puisi dan prosa sangat kabur).

Setahun kemudian, muncul Rachmad Djoko Pradopo dengan pendapatnya tentang prosa dan puisi. Menurutnya, dewasa ini (pada era 87-an) orang mengalami kesulitan dalam membedakan

puisi dan prosa. Apalagi jika perbedaan tersebut hanya ditinjau dari bentuk visualnya (tampilannya) sebagai sebuah karya tulis. Sedemikian sulitnya membedakan prosa dan puisi, sampai-sampai Rachmad Djoko Pradopo menyatakan bahwa niat pembacalah yang menjadi ciri sastra utama.

Pada tahun yang sama, Rachmad Djoko Pradopo juga mengutip pendapat Alterbern yang menyatakan bahwa puisi adalah pendramaan pengalaman yang bersifat penafsiran dalam bahasa berirama.

Dalam pandangan Alterbern ada tiga unsur pokok dalam puisi yang mesti diperhatikan dengan seksama yaitu pemikiran/ide/emosi, bentuk, dan kesan. Jadi, menurutnya puisi adalah karya sastra yang mengekspresikan pemikiran, membangkitkan perasaan, merangsang imajinasi panca indra dalam susunan bahasa yang berirama.

Ada pula yang mendasarkan perbedaan puisi dengan prosa berdasarkan kepada derajat kepadatan cerita atau pesan yang terkandung di dalam prosa dan puisi. Pendapat ini sewarna dengan definisi puisi yang dicetuskan oleh Ralph Waldo Emerson yang menyatakan bahwa puisi mengajarkan sebanyak mungkin dengan kata-kata sesedikit mungkin. Sehingga secara sederhana bisa dikatakan bahwa puisi lebih padat jika dibandingkan dengan prosa. Pendapat yang mendasarkan perbedaan puisi dengan prosa kepada derajat kepadatan cerita atau pesan ini disampaikan oleh Djoko Pradopo. Sumber : http://ketanduren.blog.com/2009/01/20/serba-sedikit-tentang-puisi/ sesungguhnya tidak ada definisi puisi yang baku, tidak bisa berpatok pada definisi seorang saja dan bahwasannya setiap orang sah dan dapat mendefinisikan puisi sesuai dengan pikirannya sendiri, namun di bawah ini merupakan penyair juga ahli sastra yang telah lebih dahulu memberikan definisi puisi

Lynn Altenbernd : Pendramaan pengalaman yang bersifat penafsiran dalam bahasa bermetrum*

S.T. Coleridge : Kata-kata terindah dalam susunan terindah

Thomas Carlyle : Pemikiran yang bersifat musikal

Wordsworth : Pernyataan perasaan yang imajinatif atau yang direka

W.H. Auden : Pernyataan perasaan yang campur baur

Dunton : Pemikiran manusia secara konkret dan artistik dalam bahasa emosional serta berirama

Shelley : Rekaman detik-detik yang paling indah dalam hidup kita Sumber : http://mediasauna.multiply.com/reviews/item/51?&show_interstitial=1&u=%2Freviews%2Fitem

Puisi adalah karya tulis hasil perenungan seorang penyair atas suatu keadaan atau peristiwa yang diamati,dihayati,atau dialaminya. Cetusan ide yang berasal dari peristiwa atau keadaan itu dikemas oleh seorang penyair kedalam bahasa yang padat dan indah.Pembaca atau penikmatnya lalu merasakannya sebagai sebuah karya tulis yang mengandung keindahan dan pesan".Puisi dapat dinikmati melalui membaca atau mendengarkannya.Dalam bagianini kalian berlatih mendengarkan pembaca puisi,kemudian mengungkapkan tema dan pesan yang dikandungnya. Kalian diharapkan dapat: Menemukan daya tarik sebuah puisi Menemukan pesan yang terkandung dalam puisi Membuat ilustrasi(gambar)yang relevan dengan jiwa puisi

Menemukan daya tarik sebuah puisi Puisi akan menarik apabila sebuah puisi tersebut ditulis berdasarkan konsep atau peristiwa yang dialami oleh penulis atau orang yang ada disekitar penulis(dimasyarakat).Sebuah puisi akan tertulis berdasarkan pengalaman yang tak terlupakan dalam hidupnya Sumber : http://jomblos.blogspot.com/2009/02/pengertian-puisi-adalah.html

Mending Wall By Robert Frost

Something there is that doesn't love a wall, That sends the frozen-ground-swell under it, And spills the upper boulders in the sun; And makes gaps even two can pass abreast. The work of hunters is another thing: I have come after them and made repair Where they have left not one stone on a stone, But they would have the rabbit out of hiding, To please the yelping dogs. The gaps I mean, No one has seen them made or heard them made, But at spring mending-time we find them there. I let my neighbour know beyond the hill; And on a day we meet to walk the line And set the wall between us once again. We keep the wall between us as we go. To each the boulders that have fallen to each. And some are loaves and some so nearly balls We have to use a spell to make them balance: "Stay where you are until our backs are turned!" We wear our fingers rough with handling them. Oh, just another kind of out-door game, One on a side. It comes to little more: There where it is we do not need the wall: He is all pine and I am apple orchard. My apple trees will never get across And eat the cones under his pines, I tell him. He only says, "Good fences make good neighbours." Spring is the mischief in me, and I wonder

If I could put a notion in his head: "Why do they make good neighbours? Isn't it Where there are cows? But here there are no cows. Before I built a wall I'd ask to know What I was walling in or walling out, And to whom I was like to give offence. Something there is that doesn't love a wall, That wants it down." I could say "Elves" to him, But it's not elves exactly, and I'd rather He said it for himself. I see him there Bringing a stone grasped firmly by the top In each hand, like an old-stone savage armed. He moves in darkness as it seems to me, Not of woods only and the shade of trees. He will not go behind his father's saying, And he likes having thought of it so well He says again, "Good fences make good neighbours."

Imagery The opening lines evoke the coy posture of the shrewd imaginative man who understands the words of the farmer in 'The Mountain": "All the fun's in how you say a thing," It does not take more than one reading of the poem to understand that the speaker is not a country primitive who is easily spooked by the normal processes of nature. He knows very well what it is "that doesn't love a wall" (frost, of course). His fun lies in not naming it. And in not naming the scientific truth he is able to manipulate intransigent fact into the world of the mind where all things are pliable. The artful vagueness of the phrase "Something there is" is enchanting and magical, suggesting even the bushed tones of reverence before mystery in nature. And the speaker (who is not at all reverent toward nature) consciously works at deepening that sense of mystery: The play of the mature, imaginative man is grounded in ironic awareness--and must be. Even as he excludes verifiable realities from his fictive world the unmistakable tone of scorn for the

hunters comes seeping through. He may step into a fictive world but not before glancing back briefly at the brutality that attends upon the play of others. Having paid for his imaginaive excursions by establishing his complex awareness, he is free to close the magic circle cast out by his playful energies, and close out the world reported by the senses ("No one has seen them made or heard them made"). In knowing how to say a thing in and through adroit linguistic manipulation, the fiction of the "something" that doesn't love a wall is created; the imagined reality stands formed before him, ready to be entered. If the fact of a broken wall is excuse enough to make a fiction about why it got that way, then that same fact may be the occasion for two together to take a journey in the mind. For those still tempted to read "Mending Wall" as political allegory (the narrator standing for a broad-minded liberal internationalism, the thick-headed second speaker representing a selfish super-patriot) they must first face the line "I let my neighbor know beyond the hill." "Mending Wall" has nothing to do with one-world political ideals, with good or bad neighbor policies: on this point the title of the poem is helpful. It is a poem that celebrates a process, not the thing itself. It is a poem, furthermore, that distinguishes between two kinds of people: one who seizes the particular occasion of mending as fuel for the imagination and as a release from the dull ritual of work each spring an one who is trapped by work and by the New England past as it comes down to him in the form of his father's clich. Tied as he is to his father's words that "Good fences make good neighbors," the neighbor beyond the hill is committed to an end, the fence's completion. His participation in the process of rebuilding is sheer work--he never plays the outdoor game. The narrator, however, is not committed to ends, but to the process itself which he sees as having non-utilitarian value: "There where it is we do not need the wall." The process itself is the matrix of the play that redeems work by transforming it into the pleasure of an outdoor game in which you need to cast spells to make rocks balance. Overt magic-making is acceptable in the world of this poem because we are governed by the narrator's perspective; we are in the fictive world where all things are possible, where walls go tumbling for mysterious reasons. Kant's theory that work and the aesthetic activity are antagonistic, polar activities of man is, in effect, disproven, as the narrator makes work take on the aesthetic dimension. The real differences between the two people in the poem is that one moves in a world of freedom; aware of the resources of the mind, he nurtures the latent imaginative power within himself and makes it a factor in everyday living;

while the other, unaware of the value of imagination, must live his unliberated life without it. And this difference makes a difference in the quality of the life lived. All to no avail: the outrageously appropriate pun on "offense"--a linguistic emblem of the poem's spirit of play and freedom--falls on deaf ears. The neighbor won't say "elves," those little folk who don't love a wall; he will not enter the play world of imagination. He moves in "darkness," our narrator concludes, "like an old-stone savage armed." The characterization is philosophically precise in the logic of post-Kantian aesthetics; the recalcitrant and plodding neighbor is a slave to the rituals of the quotidian, a primitive whose spirit has not been freed by the artistic consciousness that lies dormant within. It is the play spirit of imagination, as Schiller suggests, which distinguishes the civilized man from his cave-dwelling ancestor--that "old-stone savage" who moved in "darkness."

Sound "Mending Wall" sounds and feels like the experience of shouting into an empty barn and seeing startled birds fly up, or of hearing the barns wooden walls creak and shift a little. The poem also sounds like we are in the middle of the woods, hearing nothing but the leaves rustle in the trees. Yes, siree, this is a quiet poem. The hunters and their noisy dogs are a far-off memory when the speaker tells us about them, and the their supposed noise only helps to intensify the poems silent nature. In fact, we cant help but feel little lonesome, simply because there is such an absence of sounds, people, places, and things.

Figurative Language 1 and 2 Boundaries: literal, i.e. the wall between the land of the two neighbours, but also metaphorical, i.e. the social boundaries between the two. Routine and rituals: the way in which the wall has to be broken and then repaired in the spring, almost as a law of nature. Spring is a time of rejuvenation. This sense of inevitability that the wall will break, but the quasi-mysterious way in which it does; Elves. Imagery:

 The force of nature destroying the wall: The frozen ground-swell under it, and spills the upper boulders in the sun the boulder is not supposed to be moved, demonstrating the power of nature. Something there is that doesnt love a wall, That wants it down. I could say Elves to him, Frost is arguing that the wall is unnatural, hence nature consistently breaks this man-made boundary. He is mocking his neighbour with the suggestion that maybe its Elves breaking the wall, almost as if his friend is in denial that the boundary is unnecessary and unnatural. He is all pine and I am apple orchard They are different types of people, and so probably would not mix anyway, so there is no need for the wall. Furthermore, due to their different trees, it is evident whose land is whose, and so there is no need for the wall. Some a This emphasises the precarious nature of the wall, and the inevitability that it will fall by next Spring, but it is a ritual and a social occasion. Hence the poetic voice almost wants the wall to fall, so as to continue the ritual Stayuntil our backs are turned. Likening the reparation of the wall as a game, that opposes the neighbours against one another: another kind of outdoor game, One on a side. The stone is not only a tool, but a weapon, in that it can kill. This idea of it as a destructive force bolsters the view that this man-made boundary is unnatural, and will simply separate the two neighbours like an old-stone savage armed. Meaning: The poem is in essence a debate as to the necessity of having walls. The poetic voice, likely to be Frosts opinion, argues that the wall is a negative and unnatural boundary: nature destroys it, it will inevitably fall again, there is no need to outline a specific line since they have different wildlife, and the boundary simply restricts their social interaction. It illustrates the boundaries of human interaction, in that we socially restrict ourselves, limiting both the risk of social failure but also the likelihood of friendship. The neighbour however insists that Good fences make good neighbours. This is the idea that with limited social interaction the two will not be able to annoy one another, keeping the relationship neutral, almost like a safe option (as opposed to Frosts idea which allows for a much more intimate relationship which could lead to a very good one or a very bad one.) Also, the process of repairing the wall is in itself a bonding exercise for the neighbours and so is a

positive thing. He might also say that walls are part of nature, that require Spring rejuvenation just like plants and other wildlife.

The presence of the spell, "Stay where you are until our backs are turned," makes us hear the two repeated lines "Something there is that doesnt love a wall" (1, 36) and "Good fences make good neighbors" (lines 27, 46) in a more spell-like way. Coupling those repetitions with the quietness which lurks throughout the rest of the poem compels us to ponder that age-old question: "If a wall falls in the forest and no one is around to hear or see it fall, does it actually fall?" Work on that for us, will you?

Rhyme, Form & Meter Frost writes this poem in blank verse, meaning that it doesnt rhyme (sad), but it does have interesting structure stuff going on. The poem loosely follows an iambic pentameter structure. Lets get our hands dirty and break down this architecture. Counting is always a good way to begin. We know that the poem has 46 lines, making "there where it is we do not need the wall" (line 23) the dead center of the poem, which is the exact point at which we figure out that our speaker isnt so gung-ho about the wall that he mends.

The majority of the lines in this poem have 10 syllables (in true iambic pentameter fashion), but we can find ten lines which have eleven syllables. When we encounter these lines, they momentarily throw our internal rhythm off kilter, and make us pay extra attention to the lines themselves. An example of this comes in line 8, when the speaker says, "But they would have the rabbit out of hiding." The eleventh syllable here seems to parallel the actual act of trying to force a bunny out of his hole. The last syllable of this line falls off the edge of the poem in the same way that a bunny falls out of its hiding place when its pursued by ferocious dogs.

Frost repeats two lines in this poem. Can you tell which lines they are? You guessed it: "Something there is that doesnt love a wall," and "Good fences make good neighbors." The repetitions of these lines, as well as the repetition of certain phrases throughout the poem, emphasize the whole "this is my side of the argument, and thats your side of the argument" theme. The poem is not broken into stanzas, which makes the poem itself look visually like a

rock wall turned on its side. We can see the "gaps" in the wall when we look at the way that the line endings form an imperfect line all the way down the page.