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English 9 Poetry

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English 9 Poetry

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TERM WHAT IT MEANS

Devices a Poet Uses

1. Alliteration

Repeating the same consonant sound at the beginnings of words. Ex: Phil’s phone’s ring was so funny.

2. Onomatopoeia

The use of words that sound like the ideas they represent Ex: Bang or Woof

3. Repetition

Using the same word or group of words more than once Ex: What did I know, what did I know Of love’s austere and lonely offices?

4. Simile

A comparison between two things that uses like or as Ex: Death stood thin as a scythe.

5. Metaphor

A direct comparison between two things—no like or as Ex: Life is a broken-winged bird.

6. Personification

Giving an object or thing human characteristics; describing a thing as if it were alive Ex: The daffodils danced around the lake.

7. Imagery

Description that creates vivid pictures for a reader by using the five senses. Ex: The snow cracked under our feet as the frosty air burned our cheeks.

8. Meter

The beat or rhythm of the lines in a poem. To identify meter, look at which syllables are accented and which are not. Ex. of a line with a steady meter: Twinkle twinkle little star

9. Rhyme

The repetition of sounds within words. End rhyme is when the rhyme comes at the ends of lines. Internal rhyme refers to words that are in one line and rhyme.

10. Rhyme scheme

The pattern of end rhyme in a poem. To talk about rhyme scheme, you give each sound a letter. Ex: Twinkle twinkle little star A How I wonder what you are.A Up above the world so high B Like a diamond in the sky. B

11. Speaker The person talking in a poem. You cannot assume that the speaker and the poet are the same. This is the equivalent of what we call a narrator in prose.

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Names for Poem Sections

12. Structure

Describes a poem in terms of stanzas, rhyme scheme, and meter

13. Stanza

The name for a group of lines in a poem. A stanza is similar to a paragraph in prose.

14. Couplet

A stanza that is made of two lines that rhyme.

15. Quatrain

A stanza that is made of four lines that rhyme.

Poem Forms and Types

16. Verse

Poetry with a definite meter

17. Free Verse

Poetry with no steady meter or rhyme scheme.

18. Dramatic Poem

Poetry in which the speaker is clearly someone other than the poet. Some of the best dramatic poetry consists of dialogue in which more than one character speaks. It may have a setting and a conflict.

19. Narrative Poem

Poem that tells a story. Like a short story, it has a plot, characters, setting, and a theme, and it follows the plot triangle.

20. Sonnet

All sonnets have 14 lines, and they have regular rhyme schemes. The rhyming pattern depends on the sonnet type. Shakespearian (Elizabethan) Sonnet ababcdcdefefgg Petrarchan Sonnet (Italian) abba abba cdc dcd The first eight lines, or "octave," do not often deviate from the "abba abba" pattern, but the last six lines, or "sestet," frequently follow a different pattern, such as "cde cde," "cde ced," or "cdc dee."

21. Haiku A poem with three lines and a certain number of syllables. The first line has 5 syllables, the second line has 7 syllables, and the third line has 5 syllables.

22. Concrete Poem

A poem where the words are arranged in such a way to reflect the content of the poem.

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Types of Meter

Iamb

A foot with one unstressed syllable followed by a stressed syllable.

Ex: again

Trochee

A foot with a stressed syllable followed by an unstressed syllable.

Ex: wonder

Anapest

A foot with two unstressed syllables followed by one strong stress.

Ex: on the beach

Dactyl

A foot with one strong stress followed by two unstressed syllables.

Ex: wonderful

Spondee

A foot with two strong stresses.

Ex: spacewalk

Numbers of Meter (based on the number of feet)

Monometer

Verse written in one-foot lines. EX:

All things

Must pass

Away.

Dimeter

Verse written in two-foot lines. EX:

Thomas | Jefferson

What do | you say

Under the | gravestone

Hidden | away

Trimeter

Verse written in three-foot lines. EX:

I know | not whom | I meet

I know | not where | I go

Tetrameter

Verse written in four-foot lines. EX:

And did | those feet | in an | cient time

Pentameter Verse written in five-foot lines. EX:

The sea | awoke | at mid | night from | its sleep

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Poetry Project

You will have the opportunity to complete a project for the poetry unit. Here are your options for the project. Most of the work will be

completed at home, but when we have work time in class, you are welcome to work on the project if it is feasible to complete in the

classroom.

Select a project that fits your interests and talents as a student.

Poetry Collection

Find 10 published poems (a minimum of 12 lines per poem) and create a poetry booklet. In the booklet, include the title and author of

the poem and the full text of the poem. For each poem, include notes about the poem. The notes should be thorough and should explain

why you have selected the poem, what the poem means to you, and how the author is creating the meaning.

Spoken Word

Memorize and perform a poem in the spoken word style. You can either perform this for the class on the day projects are due, or you can

record your performance and share it with me on youtube (or another video sharing program).

Art Project

Create an art project based on a poem. This could take the form of a painting, a sculpture, a mosaic, a drawing, etc. Only choose this

option if you are interested and skilled in art. The final product needs to be of high quality and professional looking.

Analysis

Write an analysis of a poem. This would be similar to the character analysis we completed for To Kill a Mockingbird. Offer an

interpretation of the poem in a solid thesis statement and develop the analysis using textual evidence.

Children’s Book

Illustrate a picture book based on the poem. This option is intended for students who are artistically inclined. The book should be bound

in some way and look “published.”

Videopoem

Create a visual interpretation of the poem (think music video only using the poem rather than a song).

Creative Writing

Write your own poetry. This selection is for students who really love to write. Length and number of poems will be determined on an

individual basis, so if you choose this option, chat with the teacher.

Projects will be evaluated based on the originality of the ideas and the quality of the work. Final products should be professional looking

and indicate extensive time and effort.

1 Rita Dove

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Dream Deferred By Langston Hughes

What happens to a dream deferred?

Does it dry up like a raisin in the sun? Or fester like a sore-- And then run? Does it stink like rotten meat? Or crust and sugar over-- like a syrupy sweet?

Maybe it just sags like a heavy load.

Or does it explode?

Ho

How to Read a Poem

Read the poem carefully SEVERAL times. Read the poem ALOUD at least once. Look up DEFINITIONS of any words that you do not know. Pay special attention to allusions, proper names, archaic words, regional terms, etc.

How to Annotate a Poem

1. Pay attention to the title—at some point, make a connection between the title and the meaning.

2. Pay attention to beginnings, endings and breaks. They will point you toward meaning.

3. Rule of Three: trace the patterns

of ideas and words. Circle and connect words that explore similar topics or that convey similar feelings.

4. Look for devices. Don’t just

identify a device (ex: “I Spy a Simile”); talk about why the device is important. What feeling does it create?

5. Visualize and use images to help

you determine the meaning. 6. Pay attention to form: is it a

sonnet? A narrative poem? An ode?

7. Pay attention to the speaker.

Does it matter who’s talking? 8. Look for transition words to

notice CHANGES or SHIFTS.

9. Sum up each section. 10. At the end of reading, sum up the

poem’s meaning in a sentence or two. Use everything you know about the poet and the text itself to draw conclusions.

Befire abb Poem shows what happens if we are forced to put off dreams

Pattern in verbs—all nasty, gross; last verb changes! Much more dangerous

Last line—change in force of verbs—explosion seems like it’s dangerous to put

off dreams; reminds me of riots in 1960s

Completely gross simile—turns my stomach; picturing green pus

Simile—shows even something

sweet/beautiful turns gross in time

Simile—shows dreams create a weight

Since I know Langston Hughes is an African American poet from the 1930s (the time of To Kill a Mockingbird), I think this poem is about the anger and frustration people feel when they can’t fulfill their dreams, sometimes because of racism. It’s showing that people will end up angry (exploding), which is exactly what happened in the 1960s race riots.

Rule of Three Chart

Negative ideas

(sounds

nice but it suggests that it is too sweet and, therefore, not enjoyable)

Lifeless

Violence

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What to Do to Prepare for Class: Read each poem several times and look up any words that you don’t know. Some words have been defined for you in footnotes, so be sure to use those to help your reading. Annotate the poem Some annotation strategies work better

for different poems, so I’ll give you specific directions on how to approach each poem. We’re not concerned with the “right” reading of the poem. There are many ways to read and interpret poems, so we’re going to focus on how to read poems in order to find a meaning.

. Late credit will not be given because we will be going over

the poems together as a class. (If you are absent, you need to show me your completed work at the beginning of class the day of your return to earn credit.) As a class, we’ll share our observations and annotations as a class, which will help everyone understand the process of reading poetry for meaning. Be prepared to share with the class our observations about the poems.

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Reading 1: Your Questions

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2.

3.

Reading 2: Your Observations:

Reading 3: Your Response

1. Read through the poem once and write at least three questions in response to the poem.

2. Read through the poem a second time and record what you notice about the poem (include at least three).

3. Read through the poem a third time and write a response to the poem. What is it about? What is Collins saying about the topi c? How does

he write about the topic (what is his tone?)? What words help you to determine the tone? How does the poem affect the reader (mood)?

Introduction To Poetry By Billy Collins

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.

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2.

3.



On Turning Ten By Billy Collins

The whole idea of it makes me feel like I'm coming down with something, something worse than any stomach ache or the headaches I get from reading in bad light-- a kind of measles of the spirit, a mumps of the psyche, a disfiguring chicken pox of the soul. You tell me it is too early to be looking back, but that is because you have forgotten the perfect simplicity of being one and the beautiful complexity introduced by two. But I can lie on my bed and remember every digit. At four I was an Arabian wizard. I could make myself invisible by drinking a glass of milk a certain way. At seven I was a soldier, at nine a prince. But now I am mostly at the window watching the late afternoon light. Back then it never fell so solemnly against the side of my tree house, and my bicycle never leaned against the garage as it does today, all the dark blue speed drained out of it. This is the beginning of sadness, I say to myself, as I walk through the universe in my sneakers. It is time to say good-bye to my imaginary friends, time to turn the first big number. It seems only yesterday I used to believe there was nothing under my skin but light. If you cut me I could shine. But now when I fall upon the sidewalks of life, I skin my knees. I bleed.

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2.

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Snow Day By Billy Collins

Today we woke up to a revolution of snow, its white flag waving over everything, the landscape vanished, not a single mouse to punctuate the blankness, and beyond these windows the government buildings smothered, schools and libraries buried, the post office lost under the noiseless drift, the paths of trains softly blocked, the world fallen under this falling. In a while I will put on some boots and step out like someone walking in water, and the dog will porpoise through the drifts, and I will shake a laden branch, sending a cold shower down on us both. But for now I am a willing prisoner in this house, a sympathizer with the anarchic cause of snow. I will make a pot of tea and listen to the plastic radio on the counter, as glad as anyone to hear the news that the Kiddie Corner School is closed, the Ding-Dong School, closed, the All Aboard Children's School, closed, the Hi-Ho Nursery School, closed, along with -- some will be delighted to hear -- the Toadstool School, the Little School, Little Sparrows Nursery School, Little Stars Pre-School, Peas-and-Carrots Day School, the Tom Thumb Child Center, all closed, and -- clap your hands -- the Peanuts Play School. So this is where the children hide all day, These are the nests where they letter and draw, where they put on their bright miniature jackets, all darting and climbing and sliding, all but the few girls whispering by the fence. And now I am listening hard in the grandiose silence of the snow, trying to hear what those three girls are plotting, what riot is afoot,

which small queen is about to be brought down.

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2. Identify all the you recognize, mark them on the poem, and label them. (Be sure to address the structure of the poem.)

3. Start looking for or that seem to be related or connected in some way and circle them. For example, minute,

second, day, and year, all have to do with time, so I would start a category labeled TIME. Now start looking for other words that connect to time.

Perhaps young, most, and more would go in this category. Make a list, with time as the heading, of all these words.

4. Continue to identify other of words, concepts and images. Develop each one as completely as you can. (In this poem, there are at least

five different categories you can develop.)

5. After you have made multiple lists of concepts, SYNTHESIZE the concepts to state the main idea or theme of the poem. Look at specific lines of the

poem (close reading) that will help you develop and support a theme or main idea.

if up’s the word by ee cummings if up's the word; and a world grows greener minute by second and most by more-- if death is the loser and life is the winner (and beggars are rich but misers1 are poor) --let's touch the sky: with a to and a fro (and a here there where)and away we go in even the laziest creature among us a wisdom no knowledge can kill is astir2-- now dull eyes are keen3 and now keen eyes are keener (for young is the year, for young is the year) --let's touch the sky: with a great(and a gay and a steep)deep rush through amazing day it's brains without hearts have set saint against sinner; put gain over gladness and joy under care-- let's do as an earth which can never do wrong does (minute by second and most by more) --let's touch the sky: with a strange(and a true) and a climbing fall into far near blue if beggars are rich(and a robin will sing his robin a song)but misers are poor-- let's love until noone could quite be(and young is the year, dear)as living as i'm and as you're --let's touch the sky: with a you and a me and an every(who's any who's some)one who's we

1 people who have a lot of money but won’t spend 2 moving 3 sharp, perceptive

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2. Identify all the you recognize, mark them on the poem, and label them. (Be sure to address the form of the poem, what type of

poem is this? Explain why the device is important. What feeling does it create?

3. Rule of Three: Start looking for or that seem to be related or connected in some way and circle them. Determine

a category that connects all the words and make a list. Continue to identify other of words, concepts and images. Develop each one

as completely as you can.

4. Visualize and use images to help you determine the meaning.

5. Pay attention to the speakers. Who are they? How do they help you determine the type of poem?

6. Look for transition words to notice or

7. At the end of reading, sum up the poem’s meaning in a sentence or two.

Incident in a Rose Garden By Donald Justice

The gardener came running. An old man, out of breath. Fear had given him legs.

Sir, I encountered Death Just now among the roses. Thin as a scythe1 he stood there. I knew him by his pictures. He had his black coat on, Black gloves, a broad black hat. I think he would have spoken, Seeing his mouth stood open. Big it was, with white teeth. As soon as he beckoned, I ran. I ran until I found you. Sir, I am quitting my job. I want to see my sons Once more before I die. I want to see California.

We shook hands; he was off. And there stood Death in the garden. Dressed like a Spanish waiter. He had the air of someone Who because he likes arriving At all appointments early Learns to think himself patient. I watched him pinch one bloom off And hold it to his nose— A connoisseur1 of roses—

1 an implement consisting of a long, curved single-edged blade with a long bent handle, used for mowing or reaping.

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One bloom and then another. They strewed2 the earth around him.

Sir, you must be that stranger Who threatened my gardener. This is my property, sir. I welcome only friends here.

Death grinned, and his eyes lit up With the pale glow of those lanterns That workmen carry sometimes To light their way through the dusk. Now with great care he slid The glove from his right hand And held that out in greeting,

Sir, I knew your father, And we were friends at the end. As for your gardener, I did not threaten him. Old men mistake my gestures. I only meant to ask him To show me his master. I take it you are he?

1 a person with expert knowledge or training, especially in the fine arts 2 were scattered

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2. Identify all the you recognize, mark them on the poem, and label them. Explain why the device is important. What feeling does

it create?





5. Who is the speaker? How does the speaker help create meaning?



Theme for English B By Langston Hughes The instructor said,

Go home and write a page tonight. And let that page come out of you— Then, it will be true.

I wonder if it's that simple? I am twenty-two, colored, born in Winston-Salem1. I went to school there, then Durham, then here to this college on the hill above Harlem2. I am the only colored student in my class. The steps from the hill lead down into Harlem through a park, then I cross St. Nicholas, Eighth Avenue, Seventh, and I come to the Y, the Harlem Branch Y, where I take the elevator up to my room, sit down, and write this page:

1 Winston Salem…Durham: cities in North Carolina.

2 Columbia University in New York City. Harlem, a district in upper Manhattan, is home to an important African-American community.

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It's not easy to know what is true for you or me at twenty-two, my age. But I guess I'm what I feel and see and hear, Harlem, I hear you: hear you, hear me—we two—you, me, talk on this page. (I hear New York too.) Me—who? Well, I like to eat, sleep, drink, and be in love. I like to work, read, learn, and understand life. I like a pipe for a Christmas present, or records—Bessie, bop, or Bach1. I guess being colored doesn't make me NOT like the same things other folks like who are other races. So will my page be colored that I write? Being me, it will not be white. But it will be a part of you, instructor. You are white— yet a part of me, as I am a part of you. That's American. Sometimes perhaps you don't want to be a part of me. Nor do I often want to be a part of you. But we are, that's true! As I learn from you, I guess you learn from me— although you're older—and white— and somewhat more free.

This is my page for English B.

1 Bessie Smith was a leading jazz and blues singer of the 1920s and early 1930s. Bop is a style of jazz that became popular in

the 1940s. Johann Sebastian Bach was an 18th-century German composer of classical music.

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2. Who is the speaker? How does the speaker help determine the meaning?









The Writer By Richard Wilbur In her room at the prow 1of the house Where light breaks, and the windows are tossed with linden2, My daughter is writing a story. I pause in the stairwell, hearing From her shut door a commotion of typewriter-keys Like a chain hauled over a gunwale3. Young as she is, the stuff Of her life is a great cargo, and some of it heavy: I wish her a lucky passage. But now it is she who pauses, As if to reject my thought and its easy figure4. A stillness greatens, in which The whole house seems to be thinking, And then she is at it again with a bunched clamor Of strokes, and again is silent.

1 the forward part of a ship 2 a shade tree with heart-shaped leaves 3 the upper edge of the side of a ship 4 figure of speech (such as a simile or metaphor)

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I remember the dazed starling

Which was trapped in that very room, two years ago; How we stole in, lifted a sash And retreated, not to affright1 it; And how for a helpless hour, through the crack of the door, We watched the sleek, wild, dark And iridescent creature Batter against the brilliance, drop like a glove To the hard floor, or the desk-top, And wait then, humped and bloody, For the wits to try it again; and how our spirits Rose when, suddenly sure, It lifted off from a chair-back, Beating a smooth course for the right window And clearing the sill of the world. It is always a matter, my darling, Of life or death, as I had forgotten. I wish What I wished you before, but harder.

1 scare

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4. Draw a picture of the visual created in each stanza.



I Wandered Lonely as a Cloud By William Wordsworth I wandered lonely as a cloud That floats on high o'er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze. Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly1 dance. The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, In such a jocund 2company: I gazed--and gazed--but little thought What wealth the show to me had brought: For oft, when on my couch I lie In vacant or in pensive3 mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils.

1 lively, like elves 2 happy 3 deeply thoughtful; dreamily thoughtful

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4. Sum up what is being said in each section.



The Journey by Mary Oliver One day you finally knew what you had to do, and began, though the voices around you kept shouting their bad advice -- though the whole house began to tremble and you felt the old tug at your ankles. "Mend my life!" each voice cried. But you didn't stop. You knew what you had to do, though the wind pried with its stiff fingers at the very foundations, though their melancholy1 was terrible. It was already late enough, and a wild night, and the road full of fallen branches and stones. But little by little, as you left their voices behind, the stars began to burn through the sheets of clouds, and there was a new voice which you slowly 1 great sadness

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recognized as your own, that kept you company as you strode deeper and deeper into the world, determined to do the only thing you could do -- determined to save the only life you could save.

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Song of the Open Road By Walt Whitman Afoot1 and light-hearted I take to the open road, Healthy, free, the world before me, The long brown path before me leading wherever I choose. Henceforth I ask not good fortune, I myself am good fortune, Henceforth I whimper no more, postpone no more,

need nothing, Done with indoor complaints, libraries, querulous2 criticisms, Strong and content I travel the open road.

1 on foot, walking 2 given to complaining

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3. Sum up what is being said in each stanza. This poem relies heavily on visual images, so draw or explain the images developed in each stanza and

then explain what the poet is saying in each stanza.

4. Who is the speaker?



A Narrow Fellow in the Grass By Emily Dickinson A narrow Fellow in the grass Occasionally rides— You may have met Him—did you not, His notice sudden is— The Grass divides as with a Comb— A spotted shaft is seen— And then it closes at your feet And opens further on— He likes a Boggy 1Acre A Floor too cool for Corn— Yet when a boy, and Barefoot— I more than once at Noon Have passed, I thought, a Whip lash Unbraiding in the sun When stopping to secure it, It wrinkled, and was gone— Several of Nature's People I know, and they know me— I feel for them a transport Of cordiality2— But never met this Fellow Attended, or alone Without a tighter breathing And Zero at the Bone—

1 wet 2 friendliness

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1. Pay attention to the title—think about how the punctuation in the first line connects to the title

2. Read the poem at least three times and then write a response to it. (This could be questions you have, what you think of the poem, what it

reminds you of, how it makes you feel, what you think it is about.)

On Wanting to Tell [ ] about a Girl Eating Fish Eyes by Mary Szybist, from Incarnadine (2013 winner of the National Book Award)

–how her loose curls float above the silver fish as she leans in to pluck its eyes.

You died just hours ago. Not suddenly, no. You’d been dying so long nothing looked like itself: from your window, fishermen swirled sequins;1 fishnets entangled 2the moon.

Now the dark rain looks like dark rain. Only the wine shimmers with candlelight. I refill the glasses as we raise a toast to you as so-and-so’s daughter–elfin, 3jittery4 as a sparrow– slides into another lap to eat another pair of slipper eyes with her soft fingers, fingers rosier each time, for being chewed a little.

If only I could go to you, revive you. You must be a little alive still. I’d like to put the girl in your lap. She’s almost feverishly warm, and she weighs hardly anything. I want to show you how she relishes 5each eye, to show you her greed for them.

She is placing one on her tongue, bright as a polished coin–6

What do they taste like? I ask. Twisting in my lap, she leans back sleepily. They taste like eyes, she says.

1 a small, shiny disk sewn as one of many onto clothing for decoration; a venetian coin 2 cause to become twisted together with or caught in. 3 small and delicate, typically with an attractively mischievous or strange charm 4 nervous or unable to relax 5 great enjoyment. 6 An allusion to Charon’s obol; an obol is a coin placed in the mouth of a dead person prior to burial; Charon is the ferryman who took souls across the river that divided the world of the living and the world of the dead. The obol was intended to be used as a payment or bribe for Charon.

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1. Pay attention to the title—at some point, make a connection between the title and the meaning

2. What kind of poem is this? Explain the structure of the poem.

3. Write a summary for each stanza of the poem.


Casey at the Bat

By: Ernest Lawrence Thayer

1 It looked extremely rocky for the Mudville Nine that day; The score stood two to four, with but one inning left to play. So, when Cooney died at second, and Burrows did the same, A pallor1 wreathed the features of the patrons of the game. 2 A straggling few got up to go, leaving there the rest, With hope which springs eternal within the human breast. For they thought: "If only Casey could get a whack at that." They'd put even money now, with Casey at the bat 3 But Flynn preceded2 Casey, and likewise so did Blake, And the former was a pudd'n, and the latter was a fake. So on that stricken multitude a death-like silence sat; For there seemed but little chance of Casey's getting to bat. 4 But Flynn let drive a "single" to the wonderment of all. And the much-despised Blakey, "tore the cover off the ball." And when the dust had lifted, and they saw what had occurred, There was Blakey safe at second and Flynn a-huggin' third. 5 Then from the gladdened multitude went up a joyous yell. It rumbled in the mountaintops, it rattled in the dell; It struck upon the hillside, and rebounded on the flat; For Casey, Mighty Casey, was advancing to the bat. 6 There was ease in Casey's manner as he stepped into his place, There was pride in Casey's bearing and a smile on Casey's face; And when responding to the cheers he lightly doffed3 his hat, No stranger in the crowd could doubt 'twas Casey at the bat. 7 Ten thousand eyes were on him as he rubbed his hands with dirt, Five thousand tongues applauded when he wiped them on his shirt; Then when the writhing pitcher ground the ball into his hip, Defiance glanced in Casey's eye, a sneer curled Casey's lip.

1 grim, gray appearance 2 came before 3 tipped

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8 And now the leather-covered sphere came hurling through the air, And Casey stood a-watchin' it in haughty1 grandeur there. Close by the sturdy batsman the ball unheeded 2sped; "That ain't my style," said Casey, "Strike One," the Umpire said.

9 From the benches, back with people, there went up a muffled roar, Like the beating of the storm waves on the stern and distant shore. "Kill him! Kill the Umpire!" shouted someone in the stand; And it's likely they'd have killed him had not Casey raised his hand.

10 With a smile of Christian charity great Casey's visage 3shone; He stilled the rising tumult, 4he made the game go on. He signaled to the pitcher, and once more the spheroid flew; But Casey still ignored it, and the Umpire said, "Strike Two." 11 "Fraud!" cried the maddened thousands, and the echo answered "Fraud!" But one scornful look from Casey and the audience was awed; They saw his face grow stern and cold, they saw his muscles strain, And they knew that Casey wouldn't let the ball go by again. 12 The sneer is gone from Casey's lips, his teeth are clenched in hate, He pounds with cruel vengeance his bat upon the plate; And now the pitcher holds the ball, and now he let's it go, And now the air is shattered by the force of Casey's blow. 13 Oh, somewhere in this favored land the sun is shining bright, The band is playing somewhere, and somewhere hearts are light; And somewhere men are laughing, and somewhere children shout, But there is no joy in Mudville. Mighty Casey has struck out.

1 arrogant 2 ignored; disregarded 3 face 4 noisy uproar

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Falling Action

Climax

Exposition

Resolution

Rising Action

Explication of Stanza 1 Things were looking pretty grim for the Mudville baseball team

There was only one inning left in the game and the team was down 4-2

So, when the players Cooney and Burrows were tagged out at second

A sadness covered the faces of the fans at the game.

Think about where there is a shift in the poem, where the tension that has

been rising is alleviated

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Sonnets

Sonnet by Billy Collins All we need is fourteen lines, well, thirteen now, and after this one just a dozen to launch a little ship on love's storm-tossed seas, then only ten more left like rows of beans. How easily it goes unless you get Elizabethan and insist the iambic bongos must be played and rhymes positioned at the ends of lines, one for every station of the cross. But hang on here while we make the turn into the final six where all will be resolved, where longing and heartache will find an end, where Laura will tell Petrarch to put down his pen, take off those crazy medieval tights, blow out the lights, and come at last to bed. XLIII by Elizabeth Barrett Browning How do I love thee? Let me count the ways. I love thee to the depth and breadth and height My soul can reach, when feeling out of sight For the ends of Being and ideal Grace. I love thee to the level of everyday's Most quiet need, by sun and candle-light. I love thee freely, as men strive for Right; I love thee purely, as they turn from Praise. I love thee with a passion put to use In my old griefs, and with my childhood's faith. I love thee with a love I seemed to lose With my lost saints, --- I love thee with the breath, Smiles, tears, of all my life! --- and, if God choose, I shall but love thee better after death.

http://www.amherst.edu/~rjyanco94/literature/elizabethbarrettbrowning/menu.html

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XVIII by William Shakespeare Shall I compare thee to a summer's day? Thou art more lovely and more temperate1: Rough winds do shake the darling buds of May, And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion2 dimmed3, And every fair4 from fair sometime declines, By chance, or nature's changing course untrimmed: But thy5 eternal6 summer shall not fade, Nor lose possession of that fair thou ow'st, Nor shall death brag thou wander'st in his shade, When in eternal lines to time thou grow'st, So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee.

We learn about haikus when we are young, because they are a simple poem form. However, a haiku is more complex than we might realize.7 An English-language haiku typically consists of 17 syllables The format is composed of 3 lines of 5-7-5 (syllables) 2 simple subjects are often placed in juxtaposition These 2 images are usually separated by punctuation Haiku often contains a seasonal reference, and Poems are traditionally about nature or the natural world

1 marked by moderation; not extreme 2 the natural color, texture, and appearance of the skin, especially of the face. 3 lost brightness 4 of pleasing appearance, especially because of a pure or fresh quality 5 your 6 endless, timeless 7 from haiku-poetry.org

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Distinct image 1: a bird making noise

Distinct image 2: darkness falls

Separated by punctuation

Although not an exact reference to seasons (which is common in Haiku), the poem deals with nature.

The connection between the two subjects tells us a little something about ourselves: try as we might (the bird chirping), we cannot add hours to the day (nighttime comes, just the same, regardless of

how we spend our time).

Separated by punctuation—what punctuation is used?

by Kobayashi Issa The wren is chirping,

But it grows dusk

Just the same

by Matsuo Basho

An old silent pond; A frog jumps in— The sound of water.

What does the connection between the two subjects tells us about ourselves?

Distinct image 1:

Distinct image 2: Does the poem reference seasons? If so, how? If not, what does it deal with?

The

two

imag

es d

o no

t see

m to

be

conn

ecte

d—

they

are

a ju

xtap

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on (

two

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gs, s

eem

ingl

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unre

late

d, p

ut n

ext t

o ea

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).

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by Kijo Murakami

First autumn morning: the mirror I stare into shows my father’s face.

by Masaoka Shiki

A lightening flash: Between the forest trees I have seen water.

Distinct image 1:



Distinct image 1:


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