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POETRY PROJECT – 9th Lit/Comp 91

POETRY ANALYSIS RUBRIC AND SKILL SET

Directions: Read the poem carefully several times. Write a four-paragraph analysis as follows.

I. MLA format (10 pts)II. Structure (10 pts)

A. State the poem title and author. Address the title correctly.B. Give the type of poem (narrative, lyric, ballad, sonnet, etc.).C. State the number of stanzas and type of stanza (couplet, tercet, etc.).D. Identify the rhyme scheme, if any. If there is not one present, you must still address this point.

III. Paraphrase (20 pts) see next page’s notes for ParaphrasingA. Describe the speaker with vivid adjectives and keen insight. See Tone page 14.B. Paraphrase the poem (1-2 well-constructed sentences). Paraphrase the poem with the analysis

from section IV (below) in mind.IV. Devices: (40 pts) Identify the device and cite the line number

Write a TS for this paragraph, but no CS is needed.Choose 2 of the following 3 devices present in the poem. You may not be repetitive. For example: 1 figurative language device and 1 sound device or other similar combo. You may not pick 2 figurative devices or 2 imagery examples or 2 sound devices even though they may be different. Then you must choose selection D and address tone and mood.A. Identify figurative language (simile, metaphor, personification, allusion, etc.) and explain how the

example supports the theme.B. Identify effective example of imagery (sight, sound, etc.) and explain how it supports the theme . C. Identify sound devices (alliteration, assonance, consonance, etc.) and explain how it supports the

theme.D. State the tone and mood and justify your ideas by citing specific words/details from the poem.

Do not forget to document the line examples correctly.V. Theme: (20 pts) Explain the central idea or life lesson of the poem. A theme is not just one word but

rather a sentence that expresses the over arching, encompassing idea.

IMPORTANT Poetry Analysis Pointers

1. Use topic sentences when applicable: “Longfellow uses a variety of literary devices in this poem.”2. To refer to the speaker, use “he” or “she”, not “they.” 3. If you write the line number in the sentence, spell out the number: “In line seven, the speaker claims that

the ‘defenseless land’ is being pounded by the mighty ocean.”4. If you write the line number in parentheses, here’s how you do it: “The speaker claims that the

“defenseless land” is being pounded by the mighty ocean” (line 7). 5. Don’t use the word “This” to begin a sentence unless you have a noun that follows it: “Clearly, this

description expresses his view that the land is much weaker than the sea” is better than “Clearly, this expresses his view that the land is much weaker than the sea.”

6. Don’t quote themes.7. Write themes as universal and arguable complete sentences, and don’t use you or (you) as the subject:

“Beauty is cunning and addictive” is better than “You don’t know what you have until it’s gone.” Quotes always go after periods and commas: “In line seven, the speaker claims that the ‘defenseless land’ is being pounded by the mighty ocean.”

8. Alliteration is present in line 20; the “d” sound is repeated in the words “dances” and “daffodils.”

PoetryProject91B2013 1

TPFASTT Poetry Analysis (see large version on last page)

T (Title): Anticipate the title’s meaning. What questions does it bring to mind?P (Paraphrase): What is the poem about? Write one or two sentences.F (Figurative Devices): Look beyond the literal at figurative and sound devices. What types of devices are included? Important: How do these devices affect meaning and feeling?A (Attitude): Analyze the narrator’s and poet’s attitude (tone). S (Shifts): Note shifts in tone, subject, speaker, situation, and diction.T (Title): Re-think the meaning of the title.T (Theme): What is the poem saying? What is its “message”? (Remember to use a complete sentence that’s universal and arguable.)

ParaphrasingA paraphrase is a restatement of someone else’s ideas written in your own words. A paraphrase fully and clearly states the meaning of a complex piece of writing. Because a paraphrase is intended to clarify complicated phrases and ideas, it can actually be longer than the original.

Original Nothing Gold Can Stay by Robert Frost

Nature’s first green is gold,Her hardest hue to hold.Her early leaf’s a flower;But only so an hour.Then leaf subsides to leaf. 5So Eden sank to grief,So dawn goes down to day.Nothing gold can stay.

Paraphrase: The first growth of spring is more gold in color than green. But this golden shade of green does not last very long. The first leaf is actually a blossom or flower, but it remains for only a very short time. Then the buds and blossoms give way to full, green leaves. Just as the Garden of Eden was taken away, so day is taken away by the night. Nothing beautiful lasts forever.__________________________________________________________________________________

Different Types of PoetryCinquain – a single stanza five-line poem of two, four, six, eight. and two syllables in that order; invented by Adelaide Crapsey who was greatly influenced by the Japanese haiku and tanka.

Just now, The earthOut of the strange Emerges newStill dusk – as strange, as still – Beneath the hand of dawn,A white moth flew. Why am I grown Sculptured out of morning marbleSo cold? Silence.

– The Warning by Adelaide Crapsey – Nayan McNeill (1965)

These beThree silent things:The falling snow . . the hourBefore the dawn . . the mouth of oneJust dead.


- Triad by Adelaide Crapsey“The Seven Ages of Man” by William Shakespeare (ex. of a dramatic monologue)

All the world's a stage,And all the men and women merely players,They have their exits and entrances,And one man in his time plays many parts,His acts being seven ages. At first the infant, 5Mewling and puking in the nurse's arms.Then, the whining schoolboy with his satchelAnd shining morning face, creeping like snailUnwillingly to school. And then the lover,Sighing like furnace, with a woeful ballad 10Made to his mistress' eyebrow. Then a soldier,Full of strange oaths, and bearded like the pard,Jealous in honour, sudden, and quick in quarrel,Seeking the bubble reputationEven in the cannon's mouth. And then the justice 15In fair round belly, with good capon lin'd,With eyes severe, and beard of formal cut,Full of wise saws, and modern instances,And so he plays his part. The sixth age shiftsInto the lean and slipper'd pantaloon, 20With spectacles on nose, and pouch on side,His youthful hose well sav'd, a world too wide,For his shrunk shank, and his big manly voice,Turning again towards childish treble, pipesAnd whistles in his sound. Last scene of all, 25That ends this strange eventful history,Is second childishness and mere oblivion,Sans teeth, sans eyes, sans taste, sans everything.


“The Raven” by Edgar Allan Poe

1. List and define any unfamiliar words. 2. What type of poem is “The Raven”?3. What is the rhyme scheme?4. Find at least one example of each of the following in the first two stanzas. Write the words in

quotations marks and cite the line number(s) in parentheses. alliteration, assonance, consonance, end rhyme, internal rhyme, onomatopoeia

5. Eleven stanzas end with the word “Nevermore.” What technique is this?6. Examine the diction of stanza 2. List words that set the mysterious, dark mood.7. Describe the speaker.8. Who is the speaker talking to in stanza 4?9. Why would the narrator say “Lenore” at the doorway in stanza 5?10. Why end stanza 6 with an exclamation point and “’Tis the wind and nothing more!”?11. What is suggested by the fact that the bird makes no “sign of obeisance” in stanza 7?12. In stanza 10, what does the narrator mean by “Other friends have flown before”?13. What reason does the narrator give for the bird’s saying “Nevermore” all the time in stanza 11?14. As the narrator pulls up a chair and studies the bird’s fiery eyes and ominous features, what

does he think of, and how might this thought be significant (stanzas 12 and 13)?15. Define “censer” and “Nepenthe.” Why would Poe have incorporated a censer swung by angels?

Explain “Balm of Gilead.”16. In stanza 16, what questions (in your own words) does the narrator ask the bird, and why in

stanza 17 does he curse the bird?17. The last stanza reveals a final, horrifying epiphany on the part of the narrator. What is this

realization?18. Poe considered using a parrot in this poem. Would a parrot have been as effective as the raven?

Why or why not?19. Might the raven be a figment of the speaker’s unsound imagination? Explain.20. Identify the tone and mood. 21. Suggest a theme. (Be sure to write it as a complete, declarative sentence.)

"A big black bird screamed Roto-Rooter" and away go troubles down the drain. The "Raving"...read and take heed. Once upon a midnight dreary, while I pondered weak and weary,Over many a quaint and curious volume of forgotten lore. While I nodded in the hushing, suddenly there came a rushing, as of someoneslowly flushing water 'cross my chamber floor. Only this and nothing more.Eagerly I wished the morrow, vainly I sought to borrow plungers to relieve mysorrow, mops to dry the soggy floor. I slowed it down and nothing more. Ankle deep in water standing, long I stood there wheezing, panting, weeping, cursingcurses no mortal ever cursed before. As the mess was slow subsiding, my thoughts werestrong to go a-riding to dry my troubled clothes, perhaps to find a liquor store. I jumped astride my motor scooter, a big black bird screamed "Roto-Rooter"!"And away go troubles down the drain" -- Roto-Rooter. Quoth the raven: "Evermore."

(c) 1979 Roto-Rooter


Writing a Petrarchan or Italian Sonnet

1. WORK IN PENCIL.2. Write one syllable in each cell of this grid.3. Follow the pattern of stressed and unstressed syllables shown at the top of the grid. 4. Follow the pattern for end rhyme shown along the right side of the grid. Possible variations of the

rhyme scheme of the sestet include cdc dcd, cde ced, cdd cee.5. Be creative.6. The octave should state a premise, pose a problem, or ask a question. The sestet should make a

conclusion, resolve the problem, or state the answer. 7. Be sure to punctuate your sonnet and use correct spelling, mechanics and grammar.8. Give your sonnet a title.9. Type your final copy. Print it on a separate sheet of paper. 10. Staple this work sheet to the back of the final copy. Turn both in.

1 a

2 b

3 b

4 a

5 a

6 b

7 b

8 a

9 c

10 d

11 e

12 c

13 d

14 e


Writing a Shakespearean Sonnet

11. WORK IN PENCIL.12. Write one syllable in each cell of this grid.13. Follow the pattern of stressed and unstressed syllables shown at the top of the grid. 14. Follow the pattern for end rhyme shown along the right side of the grid. 15. Be creative.16. Each quatrain should address a different aspect of the topic. The couplet should express the theme.17. Be sure to punctuate your sonnet and use correct spelling, mechanics and grammar.18. Give your sonnet a title.19. Type your final copy. Print it on a separate sheet of paper. 20. Staple this work sheet to the back of the final copy. Turn both in.

1 a

2 b

3 a

4 b

5 c

6 d

7 c

8 d

9 e

10 f

11 e

12 f

13 g

14 g

Creative Responses RubricPoetryProject91B2013 6

Haiku/Cinquain (10 points)

0-7 points 8 points 9-10 pointsForm Incorrect # of lines

Incorrect # of syllables 3 lines or 5 lines 5, 7, 5 syllables or

2, 4, 6, 8, 2 syllables

3 lines or 5 lines 5, 7, 5 syllables or

2, 4, 6, 8, 2 syllablesContent creates image

focus is something other than nature

creates effective image focus on nature

creates startling or vibrant image

focus on natureStyle several grammatical/MLA

spelling/punctuation/errors few grammatical/spelling/

MLA/punctuation errors no grammatical/spelling/

punctuation/MLA errors

Seven Age (25 points)

0-18 points 19-21 points 22-25 pointsForm little attempt to emulate

Shakespeare attempts to emulate

Shakespeare emulates Shakespeare

Content fewer than 4 stages indistinct stages weak metaphor

4 distinct stages creative extended metaphor

that is fully sustained

5 distinct stages highly creative and fully

sustained extended metaphor

Style several errors few errors no errors

Ballad (25 points)

0-18 points 19-21 points 22-25 pointsForm little attempt to emulate

ballad form attempts to emulate ballad

form fully follows ballad form

Content demonstrates limited/weakunderstanding of form/content of ballad

does not meet length requirement

incomplete/vague narrative limited/weak figurative

language/sound devices

stanza form of ballad; few lapses in rhyme scheme

meets length requirement tells a story average inclusion of

figurative language/sound devices

stanza form/rhyme scheme of ballad

seven or more stanzas relates a full/compelling

narrative extensive use of figurative

language and sound devices


Sonnet (40 points)

0-28 points 29-35 points 36-40 pointsForm meets some criteria: 14

lines, iambic pentameter, rhyme scheme; worksheet incomplete/missing

meets most criteria: 14 lines, iambic pentameter, rhyme scheme; worksheet completed

meets all criteria: 14 lines, iambic pentameter, rhyme scheme; worksheet completed

Content structure does not reflect meaning; no/limited theme/message

structure somewhat reflects meaning; evident theme/ message

structure reflects meaning; clear, insightful theme/ message


TOTAL _____________


Memorization Presentation

Name _________________________________________ Title of poem/passage ________________________________________

Preparedness Student is completely prepared and has

obviously rehearsed. Few, if any, hesitations,

stumbles, omissions, repetitions. Pauses

appropriately.10

Student well prepared but might have needed a couple of

more rehearsals. Limited number of hesitations, stumbles, omissions,

repetitions. Almost always pauses appropriately.

9-8

Student is somewhat prepared, but it is clear tht

rehearsal was lacking. Several hesitations, stumbles,

omissions, repetitions. Inappropriate pausing.

7-6

Student does not seem prepared to present. Numerous errors in

presentation.

5-0Clarity Speaks clearly and

distinctly all (95-100%) of the time and

mispronounces no words.

4

Speaks clearly and distinctly all (95-100%) of the time, but mispronounces one word.

3

Speaks clearly and distinctly most (85-94%) of the time.

Mispronounces no more than one word.

2

Often mumbles or cannot be understood or

mispronounces more than one word.

1-0Pitch/Pacing Pitch was regularly used

and it conveyed emotions appropriately.

Excellent pacing.4

Pitch was often used but the emotion sometimes did not fit

the content. Good pacing throughout poem.

3

Pitch was rarely used or the emotion it conveyed often

did not fit the content. Pacing too fast/slow at times.

2

Pitch was not used to convey emotion. Pacing too fast/slow throughout

most of poem1-0

Posture and Eye Contact

Stands up straight, looks relaxed and confident. Establishes eye contact

with the audience.4

Stands up straight and establishes eye contact with the

audience.

3

Sometimes stand up straight and establishes eye contact.

2

Slouches and/or does not look at people during the

presentation.

1-0Volume Appropriate volume

throughout the presentation.

3

Volume is loud enough at least 90% of the time

2

Volume is loud enough at least 80& of the time.

1

Volume is often too soft.

0

TOTAL _______________/25PoetryProject91B2013 8

The Ballad of William Sycamore

A ballad is a poem that tells a story, often of a single historical or legendary person. Ballads are usually made up of four-line stanzas, and the stanzas normally have the same rhythm and rhyme scheme throughout the entire poem. In Benet’s ballad the first and third lines have four rhythmic beats each and rhyme with each other. The second and fourth lines have three beats, and they, too, rhyme. This rhyme scheme may be signified by the letters abab. Because of their strong rhythm and rhyme, ballads are often set to music.

Early ballads were composed anonymously and then passed on orally from generation to generation. “Bonnie George Campbell” is an example of an early folk ballad:

High upon Highlands, And low upon Tay,

Bonnie George Campbell Rode out on a day;

Saddled and bridled, And gallant to see:Home came his good horse, But home came not he.

The rest of the verses describe the feelings of Bonnie George’s mother and bride.

A literary ballad is one written by a poet in conscious imitation of the folk ballad. “The Ballad of William Sycamore” is an example.

As you read “The Ballad of William Sycamore,” look for the lively, song-like effect created by the rhythm and rhymes. Also, notice the vivid images—word pictures—Benet uses to express the quality of William Sycamore’s life.

Benet’s poem is partly about the changes in American life during the nineteenth century. Think about some changes you have noticed in your community.

THINKING ABOUT THE SELECTION

1. What skills did William’s father pass along to William?2. Explain what happened to William’s oldest and youngest sons. 3. How did he feel about the fencing of the land?4. Explain how William Sycamore died.5. Describe the kind of people William Sycamore, his, wife, and his parents were.6. In line 53, William speaks of a letter burning his hand. What does he mean?7. What does he mean by “the towns you have built of blocks” (line 73)?8. If you could ask William Sycamore, “What is your idea of a good and happy life?” How might he reply?

ANALYZING LITERATURE

1. What is the story that Benet’s ballad tells? Summarize it in a brief paragraph.2. What do you think that Benet saw in the lives and characters of frontiersmen like William Sycamore that inspired him to write this ballad?

CRITICAL THINKING AND READING

The theme of a literary work is the central idea or insight into life that it presents. The theme of a ballad must be inferred from the plot, characters, and setting, and also from the spirit or tone of the poem.

1. What does the poem imply about the changes that civilization has caused?2. What does it imply about the United States as it was known by the frontiersmen?3. How would you describe the spirit or tone of the poem?4. State the theme of the poem. Remember that the theme should be a complete sentence that expresses a universal, arguable idea.


The Ballad of William Sycamore

My father, he was a mountaineer, His fist was a knotty hammer; He was quick on his feet as a running deer, And he spoke with a Yankee stammer.

My mother, she was merry and brave, 5And so she came to her labor, With a tall green fir for her doctor grave And a stream for her comforting neighbor.

And some are wrapped in the linen fine, And some like a godling's scion; 10But I was cradled on twigs of pine In the skin of a mountain lion.

And some remember a white, starched lap And a ewer with silver handles; But I remember a coonskin cap 15And the smell of bayberry candles.

The cabin logs, with the bark still rough, And my mother who laughed at trifles, And the tall, lank visitors, brown as snuff, With their long, straight squirrel-rifles. 20

I can hear them dance, like a foggy song, Through the deepest one of my slumbers, The fiddle squeaking the boots along And my father calling the numbers.

The quick feet shaking the puncheon-floor, 25And the fiddle squealing and squealing, Till the dried herbs rattled above the door And the dust went up to the ceiling.

There are children lucky from dawn till dusk, But never a child so lucky! 30For I cut my teeth on "Money Musk" In the Bloody Ground of Kentucky!

When I grew as tall as the Indian corn, My father had little to lend me, But he gave me his great, old powder-horn 35And his woodsman's skill to befriend me.

With a leather shirt to cover my back, And a redskin nose to unravel Each forest sign, I carried my pack As far as a scout could travel. 40

1. (l. 10) a godling’s scion: The descendant or child of a god2. (l. 14) ewer: a large water pitcher3. (l. 24) numbers: the different steps in a square dance4. (l. 25) puncheon-floor: floor made of heavy broad pieces of timber

by Stephen Vincent Benét

Till I lost my boyhood and found my wife, A girl like a Salem clipper! A woman straight as a hunting-knife With eyes as bright as the Dipper!

We cleared our camp where the buffalo feed, 45Unheard-of streams were our flagons; And I sowed my sons like the apple-seed On the trail of the Western wagons.

They were right, tight boys, never sulky or slow, A fruitful, a goodly muster. 50The eldest died at the Alamo. The youngest fell with Custer.

The letter that told it burned my hand. Yet we smiled and said, "So be it!" But I could not live when they fenced the land, 55For it broke my heart to see it.

I saddled a red, unbroken colt And rode him into the day there; And he threw me down like a thunderbolt And rolled on my as I lay there. 60

The hunter's whistle hummed in my ear As the city-men tried to move me, And I died in my boots like a pioneer With the whole wide sky above me.

Now I lie in the heart of the fat, black soil, 65Like the seed of the prairie-thistle; It has washed my bones with honey and oil And picked them clean as a whistle.

And my youth returns, like the rains of Spring, And my sons, like the wild-geese flying; 70And I lie and hear the meadow-lark sing And have much content in my dying.

Go play with the towns you have built of blocks, The towns where you would have bound me! I sleep in my earth like a tired fox, 75And my buffalo have found me.

5. (l. 31) “Money Musk”: a square dance tune6. (l. 42) a Salem clipper: a tall-masted sailing ship noted for speed7. (l. 50) muster: an assembly, especially of soldiers


Dramatic Poetry

Dramatic poetry is poetry that involves the techniques of drama and in which the speaker is clearly someone other than the poet. Some dramatic poetry consists of dialogue in which more than one character speaks.

As you read this poem, look for the way in which death becomes a character. If death were a person, what would you expect it to be like?

Incident in a Rose Garden Donald Justice

Gardener: Sir, I encountered DeathJust now among our roses.Thin as a scythe 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 sonsOnce more before I die.I want to see California.

Master: Sir, you must be that strangerWho threatened my gardener.This is my property, sir.

I welcome only friends here.Death: 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 himTo show me to his master.I take it you are he?

THINKING ABOUT THE SELECTION

1. How does the gardener recognize Death?2. Why does he run away?3. According to Death, why was the gardener mistaken in running away?4. Describe Death’s personality.5. Interpret the lines “Sir, I knew your father. / And we were friends at the end.”6. What is implied by the final line?7. In what way is the ending of the poem ironic, or the opposite of what was expected?8. If the poet had continued the poem, what might the master’s reply to Death be?

ANALYZING LITERATURE

In dramatic poetry, the speaker is someone other than the poet—a character, like one in a play or story. In many dramatic poems, not only is there a speaker, but there may be indications of other characters, a setting, and even a developing situation.

1. Tell how Justice’s poem illustrates the characteristics of dramatic poetry.2. What developing situation is suggested?

The dialogue used in Donald Justice’s “Incident in a Rose Garden” makes it a dramatic dialogue. A dramatic monologue is a poem spoken by one person. William Shakespeare’s “The Seven Ages of Man is a dramatic monologue.

CRITICAL THINKING AND READING

Personification means giving human quality to non-human objects or ideas. In this poem death is personified as a man.

1. Why is it appropriate that Death is wearing black?2. Why is it appropriate that Death is “Thin as a scythe . . .”?3. How would you personify death?


The Apple (ex. concrete poem)by S. C. Rigg

s t e m apple apple apple apple apple yum apple yum apple yum apple juicy juicy juicy juicy juicy juicy juicy juicy juicy crunchy crunchy crunchy crunchy crunchy crunchy red yellow green red yellow green red yellow green red apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple apple yum delicious yum delicious yum delicious yum delicious yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum yum

yum yum yum yum yum yum yum yum yum yum yum yum delicious yum delicious yum delicious yum

apple apple apple apple apple apple apple apple apple apple apple apple apple red yellow green red yellow crunchy crunchy crunchy

juicy juicy juicy juicy apple apple


The Red Wheelbarrow (ex. imagery)by William Carlos Williams

so much dependsupon

a red wheelbarrow

glazed with rainwater

beside the whitechickens.

Love That Boy by Walter Dean Myers

Love that boy,like a rabbit loves to runI said love that boylike a rabbit loves to runLove to call him in the morninglove to call him“Hey there, son!”

Stopping by Woods on a Snowy Eveningby Robert Frost

Whose woods these are I think I know.His house is in the village though;He will not see me stopping hereTo watch his woods fill up with snow.

My little horse must think it queerTo stop without a farmhouse nearBetween the woods and frozen lakeThe darkest evening of the year.

He gives his harness bells a shakeTo ask if there is some mistake.The only other sound's the sweepOf 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.

Dog by Valerie Worth

Under a maple treeThe dog lies down,Lolls his limpTongue, yawns,Rests his long chinCarefully betweenFront paws;Looks up alert;Chops, with heavyJaws, at a slow fly,Blinks, rollsOn his side,Sighs, closesHis eyes: sleepsAll afternoonIn his loose skin.

Street Musicby Arnold Adoff

T h i s c i t y:t h ea l w a y s n o i s eg r i n d i n gup from thes u b w a y su n d e r g r o u n d:slamming from bus tiresand taxi horns and enginesof cars and trucks in all

v o c a b u l a r i e sofclasflashscreechinghot metal l a n g u a g ec o m b i n a t i o n s:as p l a n e so v e r h e a d r o a rano r c h e s t r aof rolling drumsand battle blastsassaulting my earsw i t ht h e

a l w a y s n o i s e oft h i s c i t y:

The Pastureby Robert Frost

I'm going out to clean the pasture spring; I'll only stop to rake the leaves away (And wait to watch the water clear, I may): I sha'n't be gone long.—You come too.

I'm going out to fetch the little calf That's standing by the mother. It's so young, It totters when she licks it with her tongue. I sha'n't be gone long. You come too.

The Tigerby William Blake

Tiger, tiger, burning brightIn the forests of the night,What immortal hand or eyeCould frame thy fearful symmetry?

In what distant deeps or skiesBurnt the fire of thine eyes?On what wings dare he aspire?What the hand dare seize the fire? And what shoulder and what artCould twist the sinews of thy heart?And when thy heart began to beat,What dread hand and what dread feet? What the hammer? what the chain?In what furnace was thy brain?What the anvil? What dread graspDare its deadly terrors clasp? When the stars threw down their spears,And water'd heaven with their tears,Did He smile His work to see?Did He who made the lamb make thee? Tiger, tiger, burning brightIn the forests of the night,What immortal hand or eyeDare frame thy fearful symmetry?

street music

Tone / Style / Syntax

Tone is a writer or speaker’s attitude toward the subject

Developing a Tone Vocabularyangry sad sentimentalsharp cold fancifulupset urgent complimentarysilly joking condescendingboring poignant sympatheticafraid detached contemptuoushappy confused apologetichollow childish humorousjoyful peaceful horrificallusive mocking sarcasticsweet objective nostalgicvexed vibrant zealoustired frivolous irreverentbitter audacious benevolentdreamy shocking seductiverestrained somber candidproud giddy pitifuldramatic provocative didacticsatiric pedantic colloquialwhimsical indignant compassionatedramatic bantering impartiallearned flippant insipidinformative pretentious patronizingurgent facetious confident

clinical mock-heroic mock-seriousmoralistic inflammatory diffidentironic burlesque pettytaunting factual cynicalrestrained incisive turgidelegiac sardonic disdainfulscornful contentious lugubriouseffusive insolent candidfanciful concerned tranquil

Words that Describe Languagejargon pedantic poeticvulgar euphemistic moralisticscholarly pretentious slanginsipid sensuous idiomaticprecise exact concreteesoteric learned culturedconnotative symbolic picturesqueplain emotional homespunliteral figurative provincialcolloquial bombastic triteartificial abstruse obscuredetached grotesque precise

A List in Categories

reverence love ironic tonesawe affection bitiingveneration cherish playfulsolemn fondness witty

admiration humoroushappiness tenderness sarcasticglad sentiment sardonicpleased romantic flippantmerry Platonic cynicalglee adoration mockingdelight narcissism smirkingcheerful passion sneeringgay lust derisivesanguine rapture icymirth ecstasy acerbicenjoy infatuatedrelish enamor hopebliss compassion expectation

anticipationsadness angersomber vehement hatemelancholy rage abhorrencesorrow outrage animositylament antipathy enmitydespair irritation malicedespondent indignant piqueregret vexation rancor

dismal incensed aversionfunereal petulant loathingsaturnine irascible despisedark riled scorngloomy bitter contemptdejection acrimony disdaingrave irate jealousygrief fury repugnancemorose wrath repulsionsullen rancor resentmentwoe consternation spitebleak hostility disgustremorse miffed vengeanceforlorn cholericagony aggravation fearanguish futility apprehensiondepression umbrage anxietymisery gall terrorbarren bristle horrorempty exasperation dismaypity agitationlugubrious joy sinisterdistress exaltation alarm

zeal startlefervor uneasyardor qualmselation angstjubilant trepidationbuoyancy intimidation

appalledcalm dreadserene timiditytranquilplacid

Poetry Types/Forms

Directions: Write a brief definition of each poetry type/form in the space provided. Then fill in all of the poems of that type as we study them in class. Some poems will fit in more than one category.

narrative

ballad

epic

lyric

sonnet

Shakespearean sonnet

Petrarchan

sonnet

dramatic poem

dramatic monologue

free verse

blank verse

haiku

concrete poem

cinquain

Poetry AssignmentAn Autobiographical Poem

1. Read the poems on the following pages several times. Underline and/or note in the margin the poem’s structure and characteristics. Look for metaphors, similes, sound devices, sentence/line structure, diction, detail, etc.

2. Next, choose which poem you want to emulate and compose a poem that is about you or your family. Note: If you select “Ex-Basketball Player” to emulate, your poem will be written in third person. If you select “A Voice,” your poem will be written in second person as an apostrophe to you and/or a family member. Your task is to emulate the style of the poem you choose but to make the content personal to your life and experiences.

3. Find a picture of yourself (it may include others) and attach the picture to your poem. The picture does not have to fit the poem exactly, but it should show the “you” described in the poem. Please do NOT use a picture that is one-of-a-kind; it may be displayed, and I will make every effort to return it to you, but I cannot guarantee that it won’t be lost or damaged. The picture can be either a print attached to the poem or a file inserted in the document.

4. Since you will read your poem to the class and it will be displayed, do not write something you don’t want to share with others. Remember, your poem should be school appropriate.

5. Use MLA formatting for your heading, header, and margins. You may change the font for the poem itself, but do not use a size smaller than 12 point or larger than 14 point. Do not double-space your poem. Visually, it should look like the poem you are emulating in terms of spacing, stanzas, and line length.

6. Use an unlined sheet of 8 ½ by 11” computer paper (white or colored). Use only the front of the paper and try to fit both your picture and your poem on a single sheet of paper.

7. Title your poem like the poem you are emulating but change it a little to make it personal. For example, instead of “Ex-Basketball Player,” you could write, “Ex-Californian,” “Ex-Romantic,” “Ex-Vegetarian,” or “Ex-Chocolate-Addict.” Make sure the title relates to what you write in the poem itself.

8. Be creative and have fun!

Due date __________________________________________________

RubricAn autobiographical poem that receives an “A” (45-50) meets all of the following criteria:

_____/5 on an unlined sheet of 8 ½ by 11” paper

_____/5 includes a picture of the subject

_____/5 looks like the poem being emulated in terms of spacing, stanzas, and line length

_____/5 has an MLA heading, header, and margins and 12-14 point font

_____/5 title is creative but similar to the title of the poem being emulated

_____/5 is written in the correct point of view according to the poem being emulated

_____/10 is creative and insightful

_____/10 is similar to the poem being emulated in terms of literary devices but has its own unique voice

Ex-Basketball PlayerBy John Updike

Pearl Avenue runs past the high-school lot, Bends with the trolley tracks, and stops, cut off Before it has a chance to go two blocks, At Colonel McComsky Plaza. Berth’s Garage Is on the corner facing west, and there, Most days, you'll find Flick Webb, who helps Berth out.

Flick stands tall among the idiot pumps— Five on a side, the old bubble-head style, Their rubber elbows hanging loose and low. One’s nostrils are two S’s, and his eyes An E and O. And one is squat, without A head at all—more of a football type.

Once Flick played for the high-school team, the Wizards. He was good: in fact, the best. In ’46 He bucketed three hundred ninety points, A county record still. The ball loved Flick. I saw him rack up thirty-eight or forty In one home game. His hands were like wild birds.

He never learned a trade, he just sells gas, Checks oil, and changes flats. Once in a while, As a gag, he dribbles an inner tube, But most of us remember anyway. His hands are fine and nervous on the lug wrench. It makes no difference to the lug wrench, though.

Off work, he hangs around Mae’s Luncheonette. Grease-gray and kind of coiled, he plays pinball, Smokes those thin cigars, nurses lemon phosphates. Flick seldom says a word to Mae, just nods

Beyond her face toward bright applauding tiers

Of Necco Wafers, Nibs, and Juju Beads.

Note: Behind Mae (who probably stands at the cash register of the luncheonette) are candies and other snacks that customers buy after lunch. The candies are probably stacked in ascending rows much like the rows of seats in a basketball field house. The different candies mentioned are like the fans that used to sit in those tiered seats.

A Voiceby Pat Mora

Even the lights on the stage unrelentingas the desert sun couldn’t hide the otherstudents, their eyes also unrelenting,students who spoke English every night

as they ate their meat, potatoes, gravy.Not you. In your house that smelled likerose powder, you spoke Spanish formalas your father, the judge without a courtroom

in the country he floated to in the darkon a flatbed truck. He walked slowas a hot river down the narrow hallof your house. You never dared to race past him,

to say, “Please move,” in the languageyou learned effortlessly, as you learned to run,the language forbidden at home, though your mothersaid you learned it to fight with the neighbors.

You liked winning with words. You likedwriting speeches about patriotism and democracy.You liked all the faces looking at you, all those eyes.“How did I do it?” you ask me now. “How did I do it

when my parents didn’t understand?”The family story says your voice is the voiceof an aunt in Mexico, spunky as a peacock.Family stories sing of what lives in the blood.

You told me only once about the time you wentto the state capitol, your family proud as ifyou'd been named governor. But when you lookedaround, the only Mexican in the auditorium,

you wanted to hide from those strange faces.Their eyes were pinpricks, and you fakedhoarseness. You, who are never at a lossfor words, felt your breath stick in your throat

like an ice-cube. “I can't,” you whispered.“I can't.” Yet you did. Not that day but years later.You taught the four of us to speak up.This is America, Mom. The undo-able is done

in the next generation. Your breath movesthrough the family like the windmoves through the trees.

Poetry Analysis – TP - FASTT

TPFASTTTITLE (author)Anticipate Meaning. Questions?

ParaphraseWhat is the poem about? One-two sentences

TITLERethink the meaning of the title

THemeWhat is the poem saying?What is the “message?”

ShiftsNote the shifts in tone, subject, speaker, situation, diction

AttitudeAnalyze narrator’s and poet’s attitude (tone).

FIGURATIVEDEVICESLook beyond the literal at figurative and sound devices. How do they affect meaning/ feeling?

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