Poetry Unit

Unit Summary:

In this unit, students will read and study a group of poems written by various poets in various styles. They will understand poets use various poetic devices to help them convey the meaning. Students will focus on textual details to draw inferences. Upon completing the unit, students will write an analysis comparing a poem with a work of art on the same subject through research, in-depth reading of a poem and making comparison and contrast between the two works of art.

Pacing Calendar

Lesson 1: Introduction by Billy Collins| Lesson 2 "Lift Every Voice and Sing" by J.W. Johnson | Lesson3- 4 Yet Do I Marvel by Countee Cullen | Lesson 5 | Lesson 6 Emily Dickinson| Lesson 7 Dickinson 12/06 | Lesson 8 Dickinson | Lesson 9 A.E. Housman | Lesson 10 W.H. Auden | Lesson 11 W.H. Auden | Lesson 12 Formative Assessment | Lesson 13 The Raven #1Edgar Allen Poe | Lesson 14 The Raven#2 | Lesson 15 Raven #3 Central Idea | Lesson 16 | Lesson 17 | Lesson 18-19 | Poetry Summative Assessment |

Desired Results ( State Standards and or/ grade level benchmarks addressed):
New York State Common Core Learning Standards: R 1, 4, 6, 7, 11; W 1, 3, 4, 6; S 1, 2, 4)

Reading

Enduring Understanding


Overarching Enduring Understanding(s)
Students will understand that…
  • Poets reveal their unique perspectives on life through a unique lens- poetic language and voice. 

Topical Enduring Understanding(s) Specific to Unit:

  • Students will understand that reading poetry and getting its meaning are subjective to ones’ ability to understand diction, visualize the text and making connections.

Overarching Essential Question(s)
To understand, students will need to consider such questions as....

  • How do poets share their experiences or perspectives through their unique poetic language and voice?

Topical Essential Question(s) Specific to Unit:

  • How does understanding diction help you determine the tone and meaning of a poem?
  • How do figures of speech add complexity to a text?

 

 

 

 

 

 

 

 

 

 

Students will be able to-

Students will be able to understand-

Assessment Evidence
Diagnostic Assessment(s)  To determine students’ readiness (based upon required knowledge and skills), interests, and learning profiles):

Summative Assessment
Analyze how artistic representation of Ramses II (the pharaoh who reigned during the time of Moses) vary, basing their analysis on what is emphasized or absent in different treatments of the pharaoh in works of art ( image sin British Museum) and in Percy Shelley's poem "Ozymandias".

Lesson 1 1/29/2013

Lesson One: Introduction to Poetry

Objectives: Students will understand reading poery is different from reading prose. Students will see and understand that poetry has its unique language and structure.

Aim: How do we read poetry?

Do Now: Pre-Assessment.

Answer the following questions (10 minutes).

  1. On a scale of 1 to 5 where 5 is really like and 1 is strongly dislike, what would you give…
  2. What are some of the poetic devices you’re familiar with? Name three and give an example for each.
  3. What are some poems that are meaningful to you and why?

Acquisition: How do we read poems?

Introduction to Poetry


I ask them to take a poem
and hold it up to the light
like a color slide

or press an ear against its hive.

I say drop a mouse into a poem
and watch him probe his way out,

or walk inside the poem's room
and feel the walls for a light switch.

I want them to waterski
across the surface of a poem
waving at the author's name on the shore.

But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.

They begin beating it with a hose
to find out what it really means.

--Billy Collins

How does Billy Collins use the poem to suggest how we read poetry?

Stanza 1: the image of “hold it up to the light like a color slide “ to suggest poetry needs to be read from certain perspectives or experiences so its intensity, vibrancy and radiance will “shine” through

Stanza 2: the act of “listening to hives” suggesting listening for the individual messages, the nuance

Stanza 3:  the image of a mouse “probing his way out” suggests the enigmatic nature of poetry- it’s not so easy to get through a poem right away

Stanza 4: the imagery of a “poem’s room” that needs to be lit suggests that the obscure nature of poetry that we need to find our way to turn on the “light switch” so we see the “light”

Stanza 5: The “waterski”ing image across the surface of a poem indicates reading poetry is the adventurous, exciting and daunting task but fun.

Stanza 6: The diction of “tie” and “torture” suggest poetry will not “confess” its meaning no matter what.

Stanza 7: “beating with a hose” by a reader suggests a reader’s anger and frustration when confronted by poetry’s silent treatment.

Answer: All these suggest, reading poetry is a subjective experience based on figuring out its nuance, meaning and finding the right switch to see the “inside of a poem”.

Meaning Making- Each group works on the assigned stanza and figure out its meaning using the strategies we learned today.

The following poem by James Weldon Johnson has been referred to as “The Black National Anthem” because it celebrates the triumph of slavery. It is actually a hymn, which is a type of song that is usually religious, and written as a form of praise and exhaltation. The poem celebrates how far black Americans have come since the days of slavery but acknowledges that the path to freedom still remains in the distant horizon.

Lift Every Voice and Sing by James Weldon Johnson ( Listen to the recording of the song)
Lift ev'ry voice and sing,
Till earth and heaven ring,
Ring with the harmonies of Liberty;
Let our rejoicing rise
High as the list'ning skies,
Let it resound loud as the rolling sea.
Sing a song full of the faith that the dark past has taught us,
Sing a song full of the hope that the present has brought us;
Facing the rising sun of our new day begun,
Let us march on till victory is won.

Stony the road we trod,
Bitter the chast'ning rod,
Felt in the days when hope unborn had died;
Yet with a steady beat,
Have not our weary feet
Come to the place for which our fathers sighed?
We have come over a way that with tears has been watered.
We have come, treading our path through the blood of the slaughtered,
Out from the gloomy past,
Till now we stand at last
Where the white gleam of our bright star is cast.

God of our weary years,
God of our silent tears,
Thou who hast brought us thus far on the way;
Thou who hast by Thy might,
Led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places, our God, where we met Thee,
Lest our hearts, drunk with the wine of the world, we forget Thee;
Shadowed beneath Thy hand,
May we forever stand,
True to our God,
True to our native land.

Transfer (1 minute): What's your new understanding how poem should be read?

Homework # 1: Read Johnson’s poem and respond to the following questions.

Lesson 2

Objective: Students will understand the central meaning of a poem by analyzing its diction and literary devices.

Aim: How do the individual parts of a poem create its overall message?

Do Now: Listen to Harlem Boys Choir’s rendition of Weldon’s poem, Lift Every Voice and Sing. Now that you are listening to the song, why might people refer to this work as the Black National Anthem?

Acquisition: Sound, poetic devices, central meaning

  1. What is the rhyme scheme of the poem?

Lift ev'ry voice and sing, [A]
Till earth and heaven ring, [A]
Ring with the harmonies of Liberty; [B]
Let our rejoicing rise [C]
High as the list'ning skies, [C]
Let it resound loud as the rolling sea. [B]
Sing a song full of the faith that the dark past has taught us, [D]
Sing a song full of the hope that the present has brought us; [D]
Facing the rising sun of our new day begun, [E]
Let us march on till victory is won. [E]

2. Is the poem iambic?

3. Examples of poetic devices and inferred meanings-

4. What is the tone/mood conveyed?

3. What’s the meaning of the stanza? How do the poetic devices contribute to its meaning?

4. Use a Semantic Map to figure out the central meaning

Meaning Making: Complete the worksheet in small groups. Each group will either work on the second or third stanza.

Worksheet#1

Group members:________________                                      Group #___     Date________ Period_
                                                         

  • Have one person for each position:
  • Group facilitator: keeps the group on task and assures work is done by all
  • Timekeeper: monitors time and moves group along
  • Note taker: takes notes of the group's discussion and prepares a written report.
  • Presenter: Presents the group's work in class.

Material :

"Stony the road we trod, bitter the chastening rod,
Felt in the days when hope unborn had died;
Yet with a steady beat, have not our weary feet,
Come to the place for which our fathers sighed?
We have come over a way that with tears has been watered,
We have come, treading our path through the blood of the slaughtered;
Out from the gloomy past, till now we stand at last
Where the white gleam of our bright star is cast."

Do the follwoing task with the poem-

  1. Mark the rhyme scheme of the poem for the stanza.
  2. Find one example of personification and explain how Johnson uses it.
  3. Why is the road stony and what are potential meanings of the image of bitter the chastening rod?
  4. What inferences can you make about the path that has been watered with tears and has blood of the slaughtered?
  5. What is the relationship between the last two lines of the stanza?
  6. What’s the meaning of the stanza? How do the poetic devices contribute to its meaning?
  7. Use a Semantic Map to figure out the central meaning.

 

Group members:________________                                      Group #___     Date________ Period_                                                         

  • Have one person for each position:
  • Group facilitator: keeps the group on task and assures work is done by all
  • Timekeeper: monitors time and moves group along
  • Note taker: takes notes of the group's discussion and prepares a written report.
  • Presenter: Presents the group's work in class.

Reading Material-
"God of our weary years, God of our silent tears,
Thou Who hast brought us thus far on the way;
Thou Who hast by Thy might, led us into the light,
Keep us forever in the path, we pray.
Lest our feet stray from the places, our God, where we met Thee.
Lest our hearts, drunk with the wine of the world, we forget Thee.
Shadowed beneath Thy hand, may we forever stand,
True to our God, true to our native land."

Do the following-

  1. Mark the rhyme scheme of this stanza.
  2. How does this stanza offer religious praise?
  3. Which lines of this stanza remind you of the National Anthem and why?
  4. What is the meaning of the seventh line beginning with Shadowed?
  5. What is the significance of the image of into the light?
  6. What’s the meaning of the stanza? How do the poetic devices contribute to its meaning?
  7. Use a Semantic Map to figure out the central meaning .

Transfer:  Where did you find the "light switch" today to help you see the inside of a poem?

HW #2: Identify the central idea of Johnson’s poem and explain how individual parts of the poem contribute to its central meaning. Use as many examples as you can identify to help you determine its meaning.

Lesson 3 Poem #2
Yet Do I Marvel By Countee Cullen 1903–1946

I doubt not God is good, well-meaning, kind,
And did He stoop to quibble could tell why
The little buried mole continues blind,   
Why flesh that mirrors Him must some day die,

Make plain the reason tortured Tantalus
Is baited by the fickle fruit, declare   
If merely brute caprice dooms Sisyphus
To struggle up a never-ending stair.
   
Inscrutable His ways are, and immune   
To catechism by a mind too strewn   
With petty cares to slightly understand   
What awful brain compels His awful hand.   

Yet do I marvel at this curious thing:   
To make a poet black, and bid him sing!

Lesson 4
Objectives
: Students will become familiar with the structure of an English Sonnet and understand how the knowledge about sonnets can help them probe the poet's intention and atiitude.

Aim: How does the poet use irony to convey a sense of pride?

Do Now:

Group#1 Group #2 Group # 3 Group 4

Look up Countee Cullen,the black poet(1903-1946) and his role in Harlem Renaissance.

 

 

 

Look up what each allusion means as well as its origin-

  • Tantalus
  • Sisyphus

 

Look up the definitions of the new vocabulary words-

  • quibble
  • fickle
  • caprice
  • Inscrutable
  • catechism
  • strewn   
  • compels

Look up the poetic devices-

  1. allusion
  2. alliteration
  3. metonymy

 

 

Acqusition:

  1. The structure of an English Sonnet and its intention-
  2. What's the observations the poet made or problems posed in the 1st quatrian?
  3. What's the observations the poet observed or problems posed in the 2nd quatrian?
  4. What conclusion or dramatic transformation does the poet make in the sextet ?

Meaning Making-

Each row completes answering the questions for each section of the sonnet. Work in pairs or groups of three. Copy in Word Doc and complete the worksheet.

Transfer: List three things you have learbed today about a sonnet or fixed form poetry.

HW#3 How does the poet use irony to convey a sense of pride? Use textual evidence from the sonnet to support your answer.

Lesson 5 Yet Do I Marvel By Countee Cullen 1903–1946

Objectives: Students will be able to understand that poets write about social problems by contextualizing the poems .

Aim: How do poets reveal social issues through poetry?

Do Now: Share your answer to the questions( 1st quatrain, 2nd quatrain and the sextet) with a student in your class who has worked on a different portion of the sonnet. If you didn't complete, do it now.

Acqusition: Contextualize

  1. In what circumstances did Johnson compose his poem "Lift and Sing" ? For what purpose?
  2. In what circumstances did Cullen write his poem" Do I Marvel"? For what purpose?

Meaning Making-

  1. Write a short essay response to "How does the poet use irony to convey a sense of pride?" Provide as much textual evidence as possible.
  2. Identify the social issues implied in each poem and the poets' attitude toward them.

Transfer: Do you feel poets are as eloquent as Civil Rights Movement leaders when they "spoke" for African Americans' rights?

H.W.#4 Explain why oets are as eloquent as Civil Rights Movement leaders when they "spoke" for African Americans' rights.

Lesson 6 Poem#3 by Emily Dickinson

We grow accustomed to the Dark --
When light is put away --
As when the Neighbor holds the Lamp
To witness her Goodbye --

A Moment -- We uncertain step
For newness of the night --
Then -- fit our Vision to the Dark --
And meet the Road -- erect --

And so of larger -- Darkness --
Those Evenings of the Brain --
When not a Moon disclose a sign --
Or Star -- come out -- within --

The Bravest -- grope a little --
And sometimes hit a Tree
Directly in the Forehead --
But as they learn to see --

Either the Darkness alters --
Or something in the sight
Adjusts itself to Midnight --
And Life steps almost straight.

Objectives: Students will get to know what kind of poet Emily Dickinson is and her style of writing; they will use the knowledge about the poet to help them understand the meaning of the poem.

Aim: What kind of writer is Emily Dickinson? How is her writing style unique?

Agenda-

Do Now:  Click open the website http://academic.brooklyn.cuny.edu/english/melani/cs6/dickinson.html  ; http://www.americanpoems.com/poets/emilydickinson/index.shtml
and read about Emily Dickinson’s life and her writing. Jot down five facts about the poet that you found intriguing.

Acquisition- 'Dickinson's Poetic Style"

Meaning-Making

Each group works on the assigned stanza of the poem and does the following. Copy the stanza on top of the poster paper, draw a squre to enclose it and write the responses below the stanza.

  1. Identify the stylistic features as described above from the reading.
  2. How is Dickinson's poem different from other poems you have read? Do you like Dickinson' style? Why or why not?
  3. How is "dark" described in each stanza? What kind of literary technique does the poet use to describe it? What does it mean?
  4. What's the motif( the repeated imagery) of the poem? How does the motif help reveal the meaning of the poem?
  5. How are last two lines of each stanza diferent from the 1st two lines? ( hit: find words or phrases that are opposite in meaning to the ones in the 1st two lines).
  6. Why doe the poet bring out such as a contrast?

Group 1

We grow accustomed to the Dark --
When light is put away --
As when the Neighbor holds the Lamp
To witness her Goodbye --


Group 2
A Moment -- We uncertain step
For newness of the night --
Then -- fit our Vision to the Dark --
And meet the Road -- erect --

 

Group 3

And so of larger -- Darkness --
Those Evenings of the Brain --
When not a Moon disclose a sign --
Or Star -- come out -- within --

 


Group 4


The Bravest -- grope a little --
And sometimes hit a Tree
Directly in the Forehead --
But as they learn to see --

 

Group 5

Either the Darkness alters --
Or something in the sight
Adjusts itself to Midnight --
And Life steps almost straight.

Transfer: What is the one "new" thing you have learned today about poetry and its writing?

HW#5 Respond to the "Meaning-Making" individually and complete all the questions in your notebook.

Lesson 7

Objectives: Students will study and understand the emotional undertone of Dickinson's poem.

Aim: How to “re-live our own experiences through Dickinson's intensity and with her emotional and intellectual clarity”?

Do Now: Respond to Dickinson’s remark about poetry, "If I read a book and it makes my whole body so cold no fire can ever warm me, I know that is poetry. If I feel physically as if the top of my head were taken off, I know that is poetry. These are the only ways I know it. Is there any other way?

Acqusition: Diction and Tone/Emotion

1. Capture the moment- use the real life experience to set the stage for a more sophisticated discourse

2. Shift in meaning: when does the poet discuss the darkness literally? Metaphorically?

Meaning-Making

How is the motif of "darkness portrayed by Dickinson in her poem?

  1. Based on each stanza of the poem, make a list of the words that are used for their literal meaning.
  2. Make a list of words that are used metaphorically.
  3. Explain the meaning of each metaphor.

Transfer: Make up a metaphor to describe any shade of meanings of "darkness" .

HW# 6Write a paragraph discussing "How is the motif of 'darkness' portrayed by Dickinson in her poem? ". Provide textual evidence for your interpretation.

Lesson 8 “We Grow Accustomed to the Dark”

Objectives: Exploring the poet, Emily Dickinson, and poems; creating context by studying the poet’s language and physical environment that fueled her poetry.

Aim:  How do online resources of a poet’s home and a guide to the language that they used provide context to the study of their poetry?

Agenda-

Do Now:  Explore the Emily Dickinson Museum in small groups to learn more about her homestead, its importance to her as a writer, and to help us interpret the poem. Review the properties of Dickinson’s family. Find five key facts on the following properties. Use the guiding questions to help you. http://www.emilydickinsonmuseum.org/  


Row 1 - Homestead

Row 2 - Evergreens

Row 3 – Landscape

When was the Homestead built and where was it located?

How do you think the Evergreens could have influenced Dickinson’s writing?

What does Dickinson’s study of botany and possession of a sample of plant specimens reveal about her?

Acquisition:
Poets like Dickinson use words sparingly, which intensifies the significance of every word.

Meaning Making: http://edl.byu.edu/introduction.php

Group 1
We grow accustomed to the Dark --
When light is put away --
As when the Neighbor holds the Lamp
To witness her Goodbye --


Group 2 
A Moment -- We uncertain step
For newness of the night --
Then -- fit our Vision to the Dark --
And meet the Road -- erect --

 

Group 3
And so of larger -- Darkness --
Those Evenings of the Brain --
When not a Moon disclose a sign --
Or Star -- come out -- within --

Group 4
The Bravest -- grope a little --
And sometimes hit a Tree
Directly in the Forehead --
But as they learn to see --

Group 5
Either the Darkness alters --
Or something in the sight
Adjusts itself to Midnight --
And Life steps almost straight.

 

 

 

Transfer: How does your home environment influence your own writing?

Homework #7: Find other poems of Dickinson and discover the connection between her life and craft. Write about the connections between the physical spaces she lived in and the art she produced.

Lesson 9

 

Poem#4 Loveliest of trees, the cherry now..."
by A. E. Housman (1859-1936)

Loveliest of trees, the cherry now
Is hung with bloom along the bough,
And stands about the woodland ride
Wearing white for Eastertide.

Now, of my threescore years and ten,
Twenty will not come again,
And take from seventy springs a score,
It only leaves me fifty more.

And since to look at things in bloom
Fifty springs are little room,
About the woodlands I will go
To see the cherry hung with snow.

 

Objective: Students will understand how a poet can use imagery to imply his attitude toward life.

Aim: How does the natural beauty of the cherry blossom in Housman’s poem represent the transient nature of human life?

Agenda

Do Now: Do the following-

Acquisition:

Meaning Making-

Transfer: Since we know we won’t live forever, what does this poem tell us about life?

HW#8 Copy and answer the "Meaning-Making" questions ( in bold).

Lesson 10

 

Poem#5 Musee des Beaux Arts

W. H. Auden

About suffering they were never wrong,
The old Masters: how well they understood
Its human position: how it takes place
While someone else is eating or opening a window or just walking dully along;
How, when the aged are reverently, passionately waiting
For the miraculous birth, there always must be
Children who did not specially want it to happen, skating
On a pond at the edge of the wood:
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.

In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may
Have heard the splash, the forsaken cry,
But for him it was not an important failure; the sun shone
As it had to on the white legs disappearing into the green
Water, and the expensive delicate ship that must have seen
Something amazing, a boy falling out of the sky,
Had somewhere to get to and sailed calmly on.

 

 

Objectives: Students will learn to construct meanings of a poem by studying the social setting of the poet's life, making inferences from the allusions, using visuals of works of art and identifying the key lines of the poem.

Aim: Why is it important to identify the key elements of a text to help us grasp the essentionl meaning? How do we find an "entrance point" to start?

Agenda-

Do Now: Read the poem silently by yourself and pick one of the activities from below that you feel mostly inclined to starting as the entrance point to the poem-

Activity 1
Activity 2
Activity 3
Activity 4
Activity 5
Find out more about the author, W. H. Auden's life and work What was the social setting of Auden's time in 1930s England?

Visual & captions

Who is Breughel?

Allusion:

Greek myth of Icarus

Acqusition:

  1. Key Concepts:  
  2. Which lines in the poem are most essential? Why?
  3. Make a list of imagery we can "see" in the poem.
  4. What about the poem that is strange or stands out for us for any reason?
  5. What does the title mean?

Meaning Making-

The Royal Museums of Fine Art in Brussels which houses Flemish work including that of Breughel

 

b

Pieter Brueghel the Elder, The Census at Bethlehem (1566)

http://harpers.org/archive/2008/11/hbc-90003880

 

 

ch

http://www.mcah.columbia.edu/arthum2/publicportfolio.cgi?view=2837&columns=2#

Bruegel, Christ Carrying the Cross, signed and dated 1564, (oil on panel, 124 x 170 cm [48 3/4 x 66 7/8 in]), Kunsthistoriches Museum, Vienna

 

 

i

Pieter Brueghel, The Fall of Icarus

Oil-tempera, 29 inches x 44 inches. Museum of Fine Arts, Brussels.

http://english.emory.edu/classes/paintings&poems/auden.html

Transfer: What was the most difficult or intereting piece of knowllsdge you have learned today?

Homework#9: Complete other "Do Now" activities. Take notes and be prepared to share tomorrow.

Lesson 11 W.H.Auden

Objectives: Students will understand that imagery helps the poet create a specific tone. They will also learn that the connections among all the imagery reveal the theme or central idea of the poem.

Aim: What is the power of "showing" instead if "telling"? What do all imagery share in common and what does it reveal?

Agenda-

Do Now: Find imagery we "saw" in the poem in the paintings above by Brueghel. Match the verbal imagery with the details in the paintings. Identify the image of "suffering" in each painting and describe the surrounding people's emotional reactions toward it.

Acqusittion-

  1. How to indentify imagery and its purpose? For example, "...someone else is eating or opening a window or just walking dully along;" what kind of mood does the image portray?
  2. What do all the images share?
  3. From the genrality to the specifics-
  4. What's the general view in the 2nd stanza? How does the poet illustrate his view?
  5. Identify the variety of sentence structure in Auden's poem.

Meaning Making

How does William Carlos Williams's poem reveal the same attitude as Auden's? What are the similarities and differences between the 2nd stanza of Auden's poem and William's " Landscape with the Fall of Icarus"?

Landscape with the Fall of Icarus

William Carlos Williams

According to Brueghel
when Icarus fell
it was spring

a farmer was ploughing
his field
the whole pageantry

of the year was
awake tingling
with itself

sweating in the sun
that melted
the wings' wax

unsignificantly
off the coast
there was

a splash quite unnoticed
this was
Icarus drowning

(http://english.emory.edu/classes/paintings&poems/williams.html)

Listen to “Fortuna Desperata,” a song by the Flemish composer Heinrich Isaac, in a performance by Jordi Savall and the Capella reial de Catalunya in an AliaVox CD (9814). The lyrics are -”Reckless fortune/you are born, suffer and die/unjust and accursed/who to so choice a lady/has fame been denied.” The work survives in a transcription by Isaac’s student Ludwig Senfl, recorded about the time that Brueghel completed “The Census at Bethlehem,” and has many links to the painting (note that in the exact center of the painting, Brueghel has placed one of the hallmark images of the late Middle Ages, the rota fortuna, or wheel of fortune, and that his core message is of the unrecognized fame of the great lady, which is also the theme inspiring Isaac’s work. The donna eletta is, of course, the Virgin Mary.)
Resources: http://harpers.org/archive/2008/11/hbc-90003880

Transition: Do you agree with the poets that people feel indifferent toward others' sufferings? Why or why not?

Homework #10 Describe how W.H. Auden show people's attitude toward sufferings. Be sure to use textual evidence.

Lesson 12 Formative Assessment

Poetry Unit Assessment #2   12/14/2011      
Student Name_______________                                                       Per#_____________
Pick out two out of five poems we have studied and discuss the similarities and differences between the two selected poems. In your short essay, be sure to include the following-

  • State the central idea of each poem
  • Point out each poet’s attitude toward life
  • Discuss the similarities ( imagery, diction, attitude or tone, central idea). Use at least one textual evidence to support your point.
  • Discuss the differences (imagery, diction, attitude or tone, central idea). Use at least one textual evidence to support your point.

The list of poems-

Lesson 13 Poem#6 The Raven [First published in 1845] by Edgar Allen Poe

Objectives: Students will leann Poe's distictive style of expessions by undestanding various sound devices.

Aim: How does Poe use various sound devices such as rhyme, internal rhyme and alliteration to create mood?

Do Now: Do one of the following and take notes. Be ready to present to the class your findings.

About Edgar Allen Poe alliteration/cacophony internal rhyme/ external rhyme Onomatopoeia

Assonance/Consonance

http://www.online-literature.com/poe/        

The Text -The Raven by Edgar Allen Poe

Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'

Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'

But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'

Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'

But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'

`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'

And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!

Acqusition:

  1. alliteration/cacophony
  2. internal rhyme/ external rhyme
  3. Onomatopoeia
  4. Assonance/Consonance
  5. Imagery & sound -mood: How does Poe use the sound device to create a mood of "horror"?

Meaning-Making

 

 

Internal Rhyming

 

1) “The Raven” has how many unique internal rhyme schemes?  2

2) The rhyme schemes are found where in each stanza?
one in the 1st line of each stanza, and a second in the 3rd and part of the 4th line of each stanza.

List the internal rhyming scheme words from two different stanzas in the poem
3) Example #1

 

4) Example #2

 

 

External Rhyming

 

 

5) What is the external rhyme scheme used?
ABCBBB

6) Site one example from the Raven of the external rhyme scheme
last words from any stanza can be used

 

 

 

Alliteration
provide two examples of how Poe used alliteration

1) Example #1:

What is this grim, ungainly, ghastly, gaunt and ominous bird of yore?
Doubting, dreaming, dreams no mortal ever dared to dream

 

2) Example #2:
While I nodded, nearly napping

There are many examples throughout

Assonance
provide one example of how Poe used assonance

3) Example:  For the rare and radiant maiden whom the angels named Lenore

 

4) Assonance is used to
convey and reinforce some meaning or to link ideas in the poem.

Cacophony
provide one example of how Poe used cacophony

5) Example
What is this grim, ungainly, ghastly, gaunt and ominous bird of yore?

 

Consonance
provide one example of how Poe used consonance

6) Example
Poe ends several stanzas of The Raven with a line containing a repeated v sound: "Quoth the Raven, 'Nevermore'."

 

Onomatopoeia
provide one example of how Poe used onomatopoeia

7) Example:
Suddenly there came a tapping, as if some one gently rapping, rapping at my chamber door

 

8) This device is used to:
help bring a poem to life by letting you use all your senses, including hearing, when you read and imagine what's happening.

Rhythm

9) Describe how Poe uses rhythm in “The Raven”
Poe’s use of rhythm in the first stanza helps to set the tone throughout the poem; he also uses the he uses rhythm throughout the poem

Example:  this is the ebony bird beguiling my sad face into smiling

Transfer: Does the sound devices successfully create the horror effect? What's the most useful to you?

Homework#11 Create one example of your own of each sound device.

Lesson 14- Dreary Imagery in The Raven by Edgar Allen Poe

Objectives: Students will know the meanings of the essential vocabulary that is crucial to the understanding of the poem.

Aim: What kind of imagery looms in the poem?

Do Now: Look up the meanings of thenew vocabulary( in red font) in the poem The Raven.

Acqusition: Elements of poetry

Meaning-Making

Read the first five stanzas of the poem and find an example of each element.

Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'

Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.

Transition: What's the most useful information you have gained in today's lesson?

Homework#12 Complete the Meaning -Making activity. Study vocabulary and make one slide of KIM voc sheet with one of the words.

Lesson 15 Central Idea "The Raven"

Objectives: Students will learn how to infer the central idea of the poem of The Raven by making connections between parts of the poem and the "whole".

Aim: How do we draw the central idea from a poem?

Do Now: Make a list of the important parts of the poem The Raven you have learned. List at least 5.

Acqusition:

  1. Fgure out the main idea of each stanza through key imagery or diction.
  2. Making connection between parts of the poem and the "whole" using a semantic web.

Meaning -Making

Complete writing the main idea of each stanza.

The Text -The Raven by Edgar Allen Poe

I.

Once upon a midnight dreary, while I pondered weak and weary,
Over many a quaint and curious volume of forgotten lore,
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
`'Tis some visitor,' I muttered, `tapping at my chamber door -
Only this, and nothing more.'

Main Idea:

Textual Evidence:

II.

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels named Lenore -
Nameless here for evermore.

Main Idea:

Textual Evidence:

III.

And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'

Main Idea:

Textual Evidence:

IV.

Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.

Main Idea:

Textual Evidence:

V.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.

Main Idea:

Textual Evidence:

VI.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'

Main Idea:

Textual Evidence:

VII

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.

Main Idea:

Textual Evidence:

VIII.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'

Main Idea:

Textual Evidence:

IX

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'

Main Idea:

Textual Evidence:

X

But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'

Main Idea:

Textual Evidence:

XI.

Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'

Main Idea:

Textual Evidence:

XII

But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'

Main Idea:

Textual Evidence:

XIII

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Main Idea:

Textual Evidence:

XIV

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'

Main Idea:

Textual Evidence:

XV

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'

Main Idea:

Textual Evidence:


XVI

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'

Main Idea:

Textual Evidence:

XVII

`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'

Main Idea:

Textual Evidence:

XVIII

And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!

Main Idea:

Textual Evidence:

Write a paragraph describing the central idea of the poem "The Raven" and use the "parts" as examples to support the central idea.

Transfer: What's the key to infer a central idea of a text?

HW#13 Complete reading stanzas 6-10 and describe the main idea of each stanza. Provide evidence.

Lesson 16 The Raven

Objectives: Students will continue working ont he main idea of each stanza and understand its relationship to the central idea of the poem.

Aim: How can we use the repetitive imagery or sound to help determine he central idea of the poem?

Do Now: Describe the most important imagery including auditory images that help you determine the mood and menaing of the poem so far ( stanzas 1-6). Post your answer in the Litstudies Forum. Respond to at least one of your classmates' posts.

Acqusition: repetition and central idea

1. What are repeated in the first 5 stanzas? What does the repetition reveal about the poem?

2. Repetition can be imagery, sound, or action. What effects does repretition create?

Meaning-Making

Work in small groups of three and do the following-

  1. Each group works on 1- 2 stanzas
  2. Identify the key imagery in each stanza, examples of repretition and diction
  3. Use one or two sentences to describe the main idea of the stanza based on the imagery, repretition and diction
  4. Post your main ideas in the Litstudies Forum.

Transfer: What's the most important skill you have learned today? Why?

Homework#14: Finish reading the poem, "The Raven",and make an inference about its central idea.

Lesson 17 Assessment

Essay Prompt: : How does the poet, Edgar Allen Poe, describe the sense of irreplaceable loss? How does the title "The Raven" foreshadows and encapsulate the theme of the poem? Provide evidence for your assertion.

Day 18-19 Poem#7

Shelley, Percy Bysshe "Ozymandias"

I met a traveller from an antique land
Who said: "Two vast and trunkless legs of stone
Stand in the desert. Near them on the sand,
Half sunk, a shattered visage lies, whose frown
And wrinkled lip and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed.
And on the pedestal these words appear:
`My name is Ozymandias, King of Kings:
Look on my works, ye mighty, and despair!'
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare,
The lone and level sands stretch far away".

Objectives: Students will understand the irony through contrasting imagery.

Aim:  How is Ozymandias, Ramses II, portrayed in the poem by Shelley?

Do Now:  Visit the sites http://www.bbc.co.uk/history/ancient/egyptians/ramesses_01.shtml and http://en.wikipedia.org/wiki/Ramesses_II and respond to-

  1. the meaning of “Ozymandias”
  2. your brief descriptions of Ramses II
  3. Share your responses in the Forum

Meaning Making-

  1. Irony- contrast between the sculpture and the inscriptions
  2. Voc: Visage, colossal, trunkless, boundless
  3. How is Ozymandias treated in the poem?
  4. Compare and contrast
    1. what is emphasized? –the ruin and helplessness
    2. What’s absent? –the power

Summative Assessment
Analyze how artistic representation of Ramses II (the pharaoh who reigned during the time of Moses) vary, basing your analysis on what is emphasized or absent in different treatments of the pharaoh in works of art ( images from British Museum) and in Percy Shelley's poem "Ozymandias".
http://en.wikipedia.org/wiki/Ramesses_II

Meaning Making
Look at the sculpture of Ramsey II and respond to

  1. what is emphasized? –the ruin and helplessness
  2. What’s absent? –the power

http://www.britishmuseum.org/explore/highlights/highlight_image.aspx?image=20_ramesses.jpg&retpage=15242
http://www.britishmuseum.org/explore/highlights/highlight_objects/aes/b/bust_of_ramesses_ii.aspx

http://www.metmuseum.org/toah/works-of-art/05.4.256

Transfer: What did you learn from the poem?

Homework#15: In what ways do the poem and sculpture portray Ramsey’s power and helplessness respectively?



TP-CASTT: A Tool To Use When Analyzing Poetry

T=TITLE:       

             Read the poem aloud at least twice to understand it!
P=PARAPHRASE:  

C=CONNOTATION: Examine the poetic devices, focusing on how those devices contribute to the meaning. These poetic devices include:

A=ATTITUDE (TONE): Describe the attitude (or MULTIPLE attitudes) that is (are) present. Look    
     again at diction, imagery, details, language (figurative), and syntax—anything that conveys the TONE of  
      the poem. Consider both the attitude of poet toward his/her subject as well as his/her attitude toward
      the reader/audience.
S=SHIFT: A shift in attitude or tone will often point to the real significance of a poem.  Here are some
      ways in which a poet might signal a shift:


T=TITLE (AGAIN): Now examine the title on an interpretative level. Compare your original response
      to your “informed” response.
T=THEME: Theme is a controlling idea or a subject for philosophical reflection in a literary work.  It
      is what the poem (or other literary work) is really about (NOT just what is on the surface, literal level).   
      The poet conveys theme—a universal truth about life—through BOTH the structure and content of the
      poem. In order to determine theme:

      SENTENCES ARE THE THEMES. For example, a theme statement might read as follows: “War affects  
      everyone, not just people who are fighting on the front lines.” A theme cannot be expressed in
      terms such as “The theme is war.” WHAT, SPECIFICALLY, IS THE POET SAYING ABOUT WAR? The
      answer to THAT QUESTION is the theme!!

Poem#8 "Song " by John Donn

Objective:

Song by John Donn

GO and catch a falling star,
Get with child a mandrake root,
Tell me where all past years are,
Or who cleft the devil's foot,
Teach me to hear mermaids singing,
Or to keep off envy's stinging,
            And find
            What wind
Serves to advance an honest mind.

If thou be'st born to strange sights,
Things invisible to see,
Ride ten thousand days and nights,
Till age snow white hairs on thee,
Thou, when thou return'st, wilt tell me,
All strange wonders that befell thee,
            And swear,
            No where
Lives a woman true and fair.

If thou find'st one, let me know,
Such a pilgrimage were sweet;
Yet do not, I would not go,
Though at next door we might meet,

Though she were true, when you met her,
And last, till you write your letter,
            Yet she
            Will be
False, ere I come, to two, or three.