Unit Objectives:
- Determine the central meaning of a poem through close analysis
- Learn appreciation of poets/poetry
- Identify patterns in terms of sound, form, and ideas/content within a poem and analyze how the writer’s choices contribute to the poem’s overall meaning.
- Define and identify elements of poetry/Poetic Devices
- Develop reading strategies to assist in interpretation of poems
- Develop and deliver original poetry
Concept : Form/Structure + Content = Overall Meaning of the Poem
Misconceived Poetry Assumptions
Students who read poetry often bring with them many assumptions:
- That a poem is to be read for its "message,"
- That this message is "hidden" in the poem,
- The message is to be found by treating the words as symbols which naturally do not mean what they say but stand for something else,
- You have to decipher every single word to appreciate and enjoy the poem.
There are no easy ways to dispel these biases. Poetry is difficult because very often its language is indirect. But so is experience - those things we think, feel, and do. The lazy reader wants to be told things and usually avoids poetry because it demands commitment and energy. Moreover, much of what poetry has to offer is not in the form of hidden meanings. Many poets like to "play" with the sound of language or offer an emotional insight by describing what they see in highly descriptive language. In fact, there can many different ways to enjoy poetry; this reflects the many different styles and objectives of poets themselves. Finally, if you are the type to give up when something is unclear, just relax; there can be many different approaches to examining poetry; often these approaches (like looking for certain poetic devices or examining the meaning of a specific phrase) do not require a complete and exhaustive analysis of a poem. So, enjoy what you do understand!
*credit : http://learn.lexiconic.net/elementsofpoetry.htm
Handouts:
POETRY UNIT ASSIGNMENTS:
"Richard Cory" : Song for Assignment #1
|
1. Emily Dickinson Biography
(click on her highlighted name above to read her biography)
2. Emily Dickinson Poems:
- "I Heard A Fly Buzz- When I Died"
- "Hope Is A Thing With Feathers"
- "I Died For Beauty- But Was Scarce"
- "I'm Nobody! Who Are You?"
- "I Felt A Funeral, In My Brain"
** Questions for Interpreting & Understanding Poetry Handout**
** Making a Word Cloud Assignment: Click here for DIRECTIONS!
Form & Syntax Definitions:
FORM in Poetry: Form, in poetry, can be understood as the physical structure of the poem: the length of the lines, their rhythms, their system of rhymes and repetition. In this sense, it is normally reserved for the type of poem where these features have been shaped into a pattern, especially a familiar pattern.
Another sense of "form" is to refer to these familiar patterns - these can be simple and open-ended forms, such as blank verse, or can be a complex system of rhymes, rhythms and repeated lines within a fixed number of lines, as a sonnet or villanelle is. (This is similar to the word "shape"; asked to think about "a shape", you would expect a triangle or a circle, but Alaska too has a shape.)
- See more at: http://www.poetryarchive.org/glossary/form#sthash.pziVx2Gj.dpuf
SYNTAX in Poetry:
Syntax refers to word order, and the way in which it works with grammatical structures. As we are used to hearing things in certain orders, the effect of breaking with normal syntax is to draw attention to what is being said and the way it is said. P J Kavanagh's 'Beyond Decoration' has a speaker who says, rather than "I cannot go out", "Go out I cannot", which - by shifting its syntax - seems to make the impossibility in "cannot" stronger, as well as creating a reversed echo with the second half of that line.
- See more at: http://www.poetryarchive.org/glossary/syntax#sthash.jKYz39ms.dpuf
Personification Poetry
(click on Assignment # below for directions)
1. ASSIGNMENT #3A
2, ASSIGNMENT #3B
(click on Assignment # below for directions)
1. ASSIGNMENT #3A
2, ASSIGNMENT #3B
ASSIGNMENT #5 (follow the directions below for this assignment)
1. Click & Read Walt Whitman's Biography on the following hyperlink..."Biography on Walt Whitman". You do not need to take notes, just read & review the poet's bio.
2. Complete the TPCASTT Handout (this will be passed out to you) for the following section shown below of Walt Whitman's poem titled "Song of Myself". This is only a section of the poem, and you are to work with only this piece given here, not the entire poem.
Song of Myself (1892 version) BY WALT WHITMAN
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.
I loafe and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.
My tongue, every atom of my blood, form’d from this soil, this air,
Born here of parents born here from parents the same, and their parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.
Creeds and schools in abeyance,
Retiring back a while sufficed at what they are, but never forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.
Houses and rooms are full of perfumes, the shelves are crowded with perfumes,
I breathe the fragrance myself and know it and like it,
The distillation would intoxicate me also, but I shall not let it.
The atmosphere is not a perfume, it has no taste of the distillation, it is odorless,
It is for my mouth forever, I am in love with it,
I will go to the bank by the wood and become undisguised and naked,
I am mad for it to be in contact with me.
Welcome is every organ and attribute of me, and of any man hearty and clean,
Not an inch nor a particle of an inch is vile, and none shall be less familiar than the rest.
I am satisfied—I see, dance, laugh, sing;
Alone far in the wilds and mountains I hunt,
Wandering amazed at my own lightness and glee,
In the late afternoon choosing a safe spot to pass the night,
Kindling a fire and broiling the fresh-kill’d game,
Falling asleep on the gather’d leaves with my dog and gun by my side.
The press of my foot to the earth springs a hundred affections,
They scorn the best I can do to relate them.
I am enamour’d of growing out-doors,
Of men that live among cattle or taste of the ocean or woods,
Of the builders and steerers of ships and the wielders of axes and mauls, and the drivers of horses,
I can eat and sleep with them week in and week out.
What is commonest, cheapest, nearest, easiest, is Me,
Me going in for my chances, spending for vast returns,
Adorning myself to bestow myself on the first that will take me,
Not asking the sky to come down to my good will,
Scattering it freely forever.
I am of old and young, of the foolish as much as the wise,
Regardless of others, ever regardful of others,
Maternal as well as paternal, a child as well as a man,
Stuff’d with the stuff that is coarse and stuff’d with the stuff that is fine,
One of the Nation of many nations, the smallest the same and the largest the same,
A Southerner soon as a Northerner, a planter nonchalant and hospitable down by the Oconee I live,
A Yankee bound my own way ready for trade, my joints the limberest joints on earth and the sternest joints on earth,
A Kentuckian walking the vale of the Elkhorn in my deer-skin leggings, a Louisianian or Georgian,
A boatman over lakes or bays or along coasts, a Hoosier, Badger, Buckeye;
At home on Kanadian snow-shoes or up in the bush, or with fishermen off Newfoundland,
At home in the fleet of ice-boats, sailing with the rest and tacking,
At home on the hills of Vermont or in the woods of Maine, or the Texan ranch,
Comrade of Californians, comrade of free North-Westerners, (loving their big proportions,)
Comrade of raftsmen and coalmen, comrade of all who shake hands and welcome to drink and meat,
A learner with the simplest, a teacher of the thoughtfullest,
A novice beginning yet experient of myriads of seasons,
Of every hue and caste am I, of every rank and religion,
A farmer, mechanic, artist, gentleman, sailor, quaker,
Prisoner, fancy-man, rowdy, lawyer, physician, priest.
I resist any thing better than my own diversity,
Breathe the air but leave plenty after me,
And am not stuck up, and am in my place.
I know I am solid and sound,
To me the converging objects of the universe perpetually flow,
All are written to me, and I must get what the writing means.
I know I am deathless,
I know this orbit of mine cannot be swept by a carpenter’s compass,
I know I shall not pass like a child’s carlacue cut with a burnt stick at night.
I know I am august,
I do not trouble my spirit to vindicate itself or be understood,
I see that the elementary laws never apologize,
(I reckon I behave no prouder than the level I plant my house by, after all.)
I exist as I am, that is enough,
If no other in the world be aware I sit content,
And if each and all be aware I sit content.
I have said that the soul is not more than the body,
And I have said that the body is not more than the soul,
And nothing, not God, is greater to one than one’s self is,
And whoever walks a furlong without sympathy walks to his own funeral drest in his shroud,
And I or you pocketless of a dime may purchase the pick of the earth,
And to glance with an eye or show a bean in its pod confounds the learning of all times,
And there is no trade or employment but the young man following it may become a hero,
And there is no object so soft but it makes a hub for the wheel’d universe,
And I say to any man or woman, Let your soul stand cool and composed before a million universes.
And I say to mankind, Be not curious about God,
For I who am curious about each am not curious about God,
(No array of terms can say how much I am at peace about God and about death.)
I hear and behold God in every object, yet understand God not in the least,
Nor do I understand who there can be more wonderful than myself.
Why should I wish to see God better than this day?
I see something of God each hour of the twenty-four, and each moment then,
In the faces of men and women I see God, and in my own face in the glass,
I find letters from God dropt in the street, and every one is sign’d by God’s name,
And I leave them where they are, for I know that wheresoe’er I go,
Others will punctually come for ever and ever.
And as to you Death, and you bitter hug of mortality, it is idle to try to alarm me.
To his work without flinching the accoucheur comes,
I see the elder-hand pressing receiving supporting,
I recline by the sills of the exquisite flexible doors,
And mark the outlet, and mark the relief and escape.
And as to you Corpse I think you are good manure, but that does not offend me,
I smell the white roses sweet-scented and growing,
I reach to the leafy lips, I reach to the polish’d breasts of melons.
And as to you Life I reckon you are the leavings of many deaths,
(No doubt I have died myself ten thousand times before.)
I hear you whispering there O stars of heaven,
O suns—O grass of graves—O perpetual transfers and promotions,
If you do not say any thing how can I say any thing?
Of the turbid pool that lies in the autumn forest,
Of the moon that descends the steeps of the soughing twilight,
Toss, sparkles of day and dusk—toss on the black stems that decay in the muck,
Toss to the moaning gibberish of the dry limbs.
I ascend from the moon, I ascend from the night,
I perceive that the ghastly glimmer is noonday sunbeams reflected,
And debouch to the steady and central from the offspring great or small.
There is that in me—I do not know what it is—but I know it is in me.
The past and present wilt—I have fill’d them, emptied them,
And proceed to fill my next fold of the future.
Listener up there! what have you to confide to me?
Look in my face while I snuff the sidle of evening,
(Talk honestly, no one else hears you, and I stay only a minute longer.)
Do I contradict myself?
Very well then I contradict myself,
(I am large, I contain multitudes.)
I concentrate toward them that are nigh, I wait on the door-slab.
Who has done his day’s work? who will soonest be through with his supper?
Who wishes to walk with me?
Will you speak before I am gone? will you prove already too late?
The spotted hawk swoops by and accuses me, he complains of my gab and my loitering.
I too am not a bit tamed, I too am untranslatable,
I sound my barbaric yawp over the roofs of the world.
The last scud of day holds back for me,
It flings my likeness after the rest and true as any on the shadow’d wilds,
It coaxes me to the vapor and the dusk.
I depart as air, I shake my white locks at the runaway sun,
I effuse my flesh in eddies, and drift it in lacy jags.
I bequeath myself to the dirt to grow from the grass I love,
If you want me again look for me under your boot-soles.
You will hardly know who I am or what I mean,
But I shall be good health to you nevertheless,
And filter and fibre your blood.
Failing to fetch me at first keep encouraged,
Missing me one place search another,
I stop somewhere waiting for you.
3. When you finish the TPCASTT of the poem above, look at the handout on creating a BIO POEM.
- Follow the directions, review the example on the handout, and create an original poem about YOURSELF.
- Word process your poem, print it out, and turn it in.
4. Turn in both the TPCASTT handout & your original BIO Poem.
Assignment #6: MOOD & TONE
- Mood is the feeling created by the poet for the reader.
- Tone is the feeling displayed by the author toward the subject of the poem.
- Look at the following poems by Gwendolyn Brooks & Langston Hughes: What is the feeling you get after reading it and thinking about the topic? How do you think the author feels about this topic?
The Assignment:
1. Review this HANDOUT on MOOD & TONE.
2. Complete this assignment.
3. "Poison Tree" Assignment (on separate handout)
RESOURCES for Reciting Poetry:
Poetry Out Loud - Reciting Poems -click to view website
Poetry Slam Competitors:
|
|
UNIT STANDARDS
Anchor Standards for Reading (RL.9-10, RL.11-12)
Key Ideas and Details
1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. 3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.
Craft and Structure
4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. 5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole. 6. Assess how point of view or purpose shapes the content and style of a text.
Integration of Knowledge and Ideas
7. Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words. 8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence. 9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.
Range of Reading and Level of Text Complexity
10. Read and comprehend complex literary and informational texts independently and proficiently.
Anchor Standards for Language (L.9-10, L.11-12)
Knowledge of Language
3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.
Vocabulary Acquisition and Use
4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate. 5. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.
Key Ideas and Details
1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas. 3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.
Craft and Structure
4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. 5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole. 6. Assess how point of view or purpose shapes the content and style of a text.
Integration of Knowledge and Ideas
7. Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words. 8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence. 9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.
Range of Reading and Level of Text Complexity
10. Read and comprehend complex literary and informational texts independently and proficiently.
Anchor Standards for Language (L.9-10, L.11-12)
Knowledge of Language
3. Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.
Vocabulary Acquisition and Use
4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as appropriate. 5. Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.