1& 2 Poetry 101 [Feb 9]3- Denotation & ConnotationThe world is too much with us by William Wordsworth [Feb 9]4- Imagery [Feb 13]The Forge by Seamus Heaney5- Figurative Language 1[Feb15]To His Coy Mistress by Andrew Marvell6- Figurative Language 2[Feb15]Fire and Ice by Robert Frost7- Figurative Language 3[Feb17]Much Madness is divinest Sense by Emily Dickinson8- Allusion [Feb 22]Abraham to kill him by Emily Dickinson9- Meaning & Idea [Feb 22]Stopping by Woods on a Snowy Evening by Robert Frost10- Tone [Feb 24]The Flea by John Donne11- Musical Devices [Feb 24]Woman Work by Maya Angelou12- Rhythm & Meter [March 6]Had I the Choice by Walt Whitman13- Sound & Meaning [March 8]I heard a Fly buzz – when I died by Emily Dickinson14- Pattern [March 8]Do Not Go Gentle Into That Good Night by Dylan Thomas15 & 16- Evaluating Poetry

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Chapter Assignments

Perrine’s

A P L I T A N D C O M P

An Introduction to Poetry

LANGUAGE AND SOUND

Perrine—contacts with existence.” perception of life, to widen and sharpen our

to bring us a sense of and a ]s[ exist]Poetry[“

A Sensory Experience

OverviewWe will spend the next unit immersed in poetry as we seek to understand its nature and variety, manipulation of language to influence meaning, some reasonable means for reading poetic forms with understanding, and a few ideas of how to evaluate poetry. In groups you will grapple with assigned chapters, focusing on the terminology and how it is used to write and understand poetry. Based on this information and the study of your poem you will present a lively and enlightening interpretation to the class. In your presentation, it will be important for you to not only demonstrate mastery of the given elements of poetry and your poem, but also to engage your audience. To help your classmates make connections with this text and to understand its true meaning, you will couple the poem with a piece of published art or music. The connection between the pieces should be clearly explained and should help the class come to a greater understanding of the original poem – do not just throw pieces in. You must directly and thoughtfully interact

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Responsibilities & Poetry Assignments1. Preparation: Every student will read every chapter

including all assigned poems, whether leading the presentation/discussion or not. Presenters will carefully and thoroughly annotate, analyze/TP-CASTT the poem, connect it to a piece of visual art or music, and a present all the information. Non-presenting students that day will annotate the assigned poem, keeping in mind Perrine’s questions 1 - 7,10,11, 12 and 16 [to the right]. You will add to your original annotation during the presentation in a different color ink to show focus, learning, and further your understanding of the poems and elements; bring a different colored pen!

2. Presentation Structure: The student-taught lessons will:

a. demonstrate mastery of chapter content through application to assigned poetry analysis. Focus on the language of the poem and the literary techniques studied in the assigned chapter to complete a thorough study.

b. interpret the overall tone and theme of the poem, and what each person should note to remember.

c. use visuals and/or graphics to enhance the important points of the poem, as well as the visual art or music.

d. engage students in an appropriate and meaningful way (ask for feedback, call on people, ask students to point out examples of X in the poem.)

2. Time Limit will be approximately 30 minutes per group. Be succinct, organized and ready to roll.

3. Evaluation will be based on clarity, obvious content mastery, clear and accurate understanding and articulation of the poem and its meaning, choice of visual art or music that makes sense and enhances student understanding of the poem, and class engagement. Enthusiasm and preparedness are a must. If Mrs. Honeycutt has to teach your lesson, you will not receive higher than a 60%.

4. Every student audience member must come to class with

Perrine’s Questions for …Understanding & Evaluating

Poetry

1. Who is the speaker? What kind of person is the speaker?

2. Is there an identifiable audience for the speaker? What can we know about it (her/him/them)?

3. What is the occasion?4. What is the setting in

time? (hour, season, century, etc.)

5. What is the setting in place? (indoor or out, city or country, land or sea, region, nation, hemisphere)

6. What is the central purpose of this poem?

7. State the central idea or theme of the poem in a sentence.

8. a. Outline the poem to show its structure and development orb. Summarize the events of the poem

9. Paraphrase the poem10. Discuss the diction of the poem. Point out words that are particularly well chosen and explain why. 11. Discuss the imagery of the poem. What kinds of imagery are used? Is there a structure of imagery?12. Point out examples of metaphor, simile, personification, and metonymy, and explain their appropriateness.13. Point out and explain any symbols. If the poem is allegorical, explain the allegory. 14. Point out and explain examples of paradox, overstatement, understatement and irony. What is their function?15. Point out and explain any allusions. What is their function?16. What is the tone of the poem? How is it achieved?17. Point out significant

A Word on Evaluation (your grade)This unit will directly influence your score on the AP Exam. It is fast and intense, but you will be amazed at how much you know by the end of the unit! I hope that is motivation enough to keep you working hard. There is no excuse for not giving this unit 100% whether you are responsible for teaching or learning for the day. Now is the time to make AP Lit your top priority. Feel free to read ahead of the schedule if you know you will be busy on a certain day. If you know you will be

Poems for Study The World Is Too Much With Us By William Wordsworth The world is too much with us; late and

soon, Getting and spending, we lay waste our

powers;— Little we see in Nature that is ours; We have given our hearts away, a sordid

boon! This Sea that bares her bosom to the

moon; 5The winds that will be howling at all

hours, And are up-gathered now like sleeping

flowers; For this, for everything, we are out of

tune; It moves us not. Great God! I’d rather be A Pagan suckled in a creed outworn;

10So might I, standing on this pleasant lea, Have glimpses that would make me less

forlorn; Have sight of Proteus rising from the sea; Or hear old Triton blow his wreathèd

horn.

The ForgeBy Seamus HeaneyAll I know is a door into the dark.Outside, old axles and iron hoops rusting;Inside, the hammered anvil’s short-pitched ring,The unpredictable fantail of sparksOr hiss when a new shoe toughens in water. 5The anvil must be somewhere in the centre,Horned as a unicorn, at one end square,Set there immoveable: an altarWhere he expends himself in shape and music.Sometimes, leather-aproned, hairs in his nose, 10He leans out on the jamb, recalls a clatterOf hoofs where traffic is flashing in rows;Then grunts and goes in, with a slam and a flick To beat real iron out, to work the bellows.

An hundred years should go to praise Thine eyes and on thy forehead gaze; Two hundred to adore each breast, 15 But thirty thousand to the rest; An age at least to every part, And the last age should show your heart. For, Lady, you deserve this state,

Nor would I love at lower rate 20

Fire and Ice By Robert Frost Some say the world will end in fire, Some say in ice. From what I’ve tasted of desire I hold with those who favor fire.

But if it had to perish twice, I think I know enough of hate 5To say that for destruction ice Is also great

And would suffice.

Much Madness is divinest SenseBy Emily Dickinson Much Madness is divinest Sense -To a discerning Eye -Much Sense - the starkest Madness -’Tis the MajorityIn this, as all, prevail -

5Assent - and you are sane -Demur - you’re straightway dangerous -And handled with a Chain -

Abraham to kill himBy Emily DickinsonAbraham to kill himWas distinctly told—Isaac was an Urchin—Abraham was old—

Not a hesitation— 5Abraham complied—Flattered by ObeisanceTyranny demurred—

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To His Coy Mistress By Andrew Marvell Had we but world enough, and time, This coyness, Lady, were no crime. We would sit down and think which way To walk and pass our long love's day.

Thou by the Indian Ganges’ side 5 Shouldst rubies find: I by the tide Of Humber would complain. I would Love you ten years before the Flood, And you should, if you please, refuse

Till the conversion of the Jews 10 My vegetable love should grow Vaster than empires, and more slow;

Stopping by Woods on a Snowy Evening By Robert Frost Whose woods these are I think I know.   His house is in the village though;   He will not see me stopping here   To watch his woods fill up with snow.   

My little horse must think it queer   To stop without a farmhouse near   Between the woods and frozen lake   The darkest evening of the year.   

He gives his harness bells a shake   To ask if there is some mistake.   The only other sound’s the sweep   Of easy wind and downy flake.   

The woods are lovely, dark and deep,   But I have promises to keep,   And miles to go before I sleep,   And miles to go before I sleep.

Woman WorkBy Maya Angelou

I've got the children to tendThe clothes to mendThe floor to mopThe food to shopThen the chicken to fry

Isaac—to his childrenLived to tell the tale—Moral—with a mastiff 10Manners may prevail.

Fall gently, snowflakesCover me with whiteCold icy kisses and 25Let me rest tonight.

Sun, rain, curving skyMountain, oceans, leaf and stoneStar shine, moon glowYou're all that I can call my own. 30

The Flea By John Donne

Mark but this flea, and mark in this,   How little that which thou deniest me is;   It sucked me first, and now sucks thee, And in this flea our two bloods mingled

be;   Thou know’st that this cannot be said

5A sin, nor shame, nor loss of maidenhead,     Yet this enjoys before it woo,     And pampered swells with one blood

made of two,     And this, alas, is more than we would

do.

Oh stay, three lives in one flea spare, 10

Where we almost, nay more than married are.   

This flea is you and I, and this Our marriage bed, and marriage temple

is;   Though parents grudge, and you, w'are

met,   And cloistered in these living walls of jet.

15     Though use make you apt to kill me,     Let not to that, self-murder added be,     And sacrilege, three sins in killing three.

Cruel and sudden, hast thou since Honeycutt2017 4

5The baby to dryI got company to feedThe garden to weedI've got shirts to pressThe tots to dress 10The cane to be cutI gotta clean up this hutThen see about the sickAnd the cotton to pick.

Shine on me, sunshine 15Rain on me, rainFall softly, dewdropsAnd cool my brow again.

Storm, blow me from hereWith your fiercest wind 20Let me float across the sky'Til I can rest again.

Do Not Go Gentle into That Good Night by Dylan Thomas Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they 5 Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light. Wild men who caught and sang the sun in flight, 10 And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men, near death, who see with blinding sight Blind eyes could blaze like meteors and be gay,

Purpled thy nail, in blood of innocence?    20

Wherein could this flea guilty be, Except in that drop which it sucked from

thee?   Yet thou triumph’st, and say'st that thou   Find’st not thy self, nor me the weaker

now;     ’Tis true; then learn how false, fears be:

25    Just so much honor, when thou yield’st

to me,     Will waste, as this flea’s death took life

from thee.

Meter or wit the best, or choice conceit to wield in perfect rhyme, delight of singers; 5These, these, O sea, all these I'd gladly barter, Would you the undulation of one wave, its trick to me transfer, Or breathe one breath of yours upon my verse, And leave its odor there.

I heard a Fly buzz - when I diedBy Emily Dickinson I heard a Fly buzz - when I died -The Stillness in the RoomWas like the Stillness in the Air -Between the Heaves of Storm -

The Eyes around - had wrung them dry - 5

And Breaths were gathering firmFor that last Onset - when the KingBe witnessed - in the Room -

I willed my Keepsakes - Signed awayWhat portion of me be

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Rage, rage against the dying of the light. 15

And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray, Do not go gentle into that good night. Rage, rage against the dying of the light.

When I have Fears That I May Cease to Beby John Keats When I have fears that I may cease to be Before my pen has gleaned my teeming brain, Before high-pilèd books, in charactery, Hold like rich garners the full ripened grain; When I behold, upon the night’s starred face, 5 Huge cloudy symbols of a high romance, And think that I may never live to trace Their shadows with the magic hand of chance; And when I feel, fair creature of an hour, That I shall never look upon thee more,

10Never have relish in the fairy power Of unreflecting love—then on the shore Of the wide world I stand alone, and thinkTill love and fame to nothingness do sink.

Had I the ChoiceBy Walt WhitmanHad I the choice to tally greatest bards, To limn their portraits, stately, beautiful, and emulate at will, Homer with all his wars and warriors--Hector, Achilles, Ajax, Or Shakespeare's woe-entangled Hamlet, Lear, Othello--Tennyson's fair ladies,

10Assignable - and then it wasThere interposed a Fly -

With Blue - uncertain - stumbling Buzz -Between the light - and me -And then the Windows failed - and then

15I could not see to see -

O Solitude! By John Keats O Solitude! if I must with thee dwell, Let it not be among the jumbled heap Of murky buildings; climb with me the steep,- Nature’s observatory - whence the dell, Its flowery slopes, its river’s crystal swell,

5May seem a span; let me thy vigils keep ’Mongst boughs pavillion’d, where the deer’s swift leap Startles the wild bee from the fox-glove bell. But though I’ll gladly trace these scenes with thee, Yet the sweet converse of an innocent mind, 10Whose words are images of thoughts refin’d, Is my soul’s pleasure; and it sure must be Almost the highest bliss of human-kind, When to thy haunts two kindred spirits flee.

Preparing to Discuss and Analyze PoetryThis list is all about the genre of poetry. If we are to speak the same language as we enter into our dialogues about poetry, we must say words that address this genre and that all of us will understand. To that end, please pay attention to the list of terms below and become as conversant with them as possible. Note: this list is not exhaustive, but it assumes you already know basic terms such as imagery, tone, mood, etc.

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1. Alliteration2. Apostrophe3. Assonance4. Blank Verse5. Caesura6. Connotation7. Consonance8. Couplet9. Denotation10. End Rhyme11. Elegy12. Epic13. Foot14. Free Verse15. Hyperbole16. Iambic17. Iambic Pentameter

18. Internal Rhyme19. Extended Metaphor20. Meter21. Metonymy22. Near/Half Rhyme23. Onomatopoeia24. Oxymoron25. Paradox26. Personification27. Quatrain28. Rhythm29. Rhyme scheme30. Simile31. Sonnet –

Shakespearean/English32. Sonnet – Italian 33. Stanza34. Syntax35. Vernacular

GRADING RUBRIC

Activity 10 7 4Introduction Gives overall topic and

draws in the audience.Introduction relates to the topic and is clear.

Introduction does not give an overview & is not engaging.

Knowledge of Subject (x2)

Demonstrates masterful knowledge of the subject matter.

Demonstrates adequate/ average knowledge of the subject matter.

Demonstrates a very poor/little knowledge of the subject matter.

Evidence of Preparation (x2)

Demonstrates a superior ability to organize and execute the lesson.

Demonstrates an adequate/ average ability to organize and execute the lesson.

Demonstrates a very poor ability to organize and execute the lesson.

Text Elements, Graphics, Sound and/or Animations

Text does not overwhelm the slide. Background is the same throughout presentation. Graphics are crisp & clear & assisting in understand. No crossovers of graphics and text.

Most fonts are easy to read, but on occasion detract from readability. Visually depict topic and assist audience; images are proper size & resolution.

Busy background, poor color contrast. Unrelated to content, animations crossover. Distracting, busy, and detract from presentation.

Delivery Builds trust and captivates the

Quick recovery from minor mistakes;

Nervous tension obvious. No effort to

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audience’s attention by direct eye contact with all parts of audience; Fluctuation in volume and inflection.

consistent use of direct eye contact with audience; satisfactory variation of volume & inflection.

make eye contact with audience; low volume and/or monotonous tone causes audience to disengage.

Writing Mechanics

The text is written with no errors in grammar, capitalization, punctuation, and spelling.

The text clearly written with 1-4 errors in grammar, punctuation, and spelling.

Errors in spelling, capitalization, punctuation, and grammar repeatedly (5+ errors)

Works Cited (Last Slide)

Sources are noted on the last slide. NO MLA format errors.

4-6 errors in MLA format are evident.

Works Cited page not included. MLA format has 7+ errors.

Activity (x2) Connected and relevant to the topic; helps overall understanding of the poetry style and/or culture.

Connected but lacking relevance to the topic; somewhat helps the understanding of theatre style and/or culture.

Disconnected and lacking relevance to the topic; does not offer help in understanding or might confuse students.

Name: _______________________________________Topic: ______________________________________Date: _______________________________________Total:______________________________________

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