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Language Elements & The Poem

Why Do People Write Poetry?

Evaluated Anchor Skills I can read closely to determine what the text says explicitly and to make logical

inferences from it; I can cite specific textual evidence when writing or speaking to support conclusions drawn from the text (R.1).

I can determine central ideas or themes of a text and analyze their development; I can summarize the key supporting details and ideas (R.2).

I can interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone (R.4).

I can present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience (SL.4).

I can make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations (SL.5).

I can demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing (L.2).

I can apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening (L.3).

I can draw evidence from literary or informational texts to support analysis, reflection, and research (W.9).

DiscoverConnotations & Tone

Sound & Visual Language Devices

Lyric & Narrative PoetryPoetry Reading Strategies

Famous Poets & PoemsCompose

Poetic AnalysisPodcast Script

Slam Poem

SharePodcast

Poetry Slam


Language DevicesSound Devices

Alliteration: Repetition of initial consonant sounds in two or more wordsExample: She sells sea shells by the sea shore

Assonance: Repetition of vowel sounds within two or more non-rhyming wordsExample: They allow loud mouths out now

Consonance: Repetition of consonant sounds within or at the end of wordsExample: Good food improves moods

Meter: Measured pattern of rhythmic accents Example: × / × / × / × / × / So long as men can breathe, or eyes can see

Onomatopoeia: A word that imitates a soundExample: Pow! Thwap! Psh. Woof.

Rhyme: Repetition of final sounds in two or more words

Visual Devices

Allusion: A casual reference to a famous historic or literary figure, event, or work of literatureExample: His acting ability could make him the next Brad Pitt

Hyperbole: An extreme exaggerationExample: My backpack weighs a ton

Imagery: Words or phrases that appeal to one or more senses

Metaphor: A comparison between two or more objects without using “like” or “as”Example: School is a prison

Personification: The granting of human traits or abilities to an inanimate object Example: The wind whistled through the trees

Simile: A comparison between two or more objects using “like” or “as”Example: School is like a prison


*Symbol: A word(s) or object(s) representing another word(s) or object(s) Poetic Analysis

In each collection below, read one poem, determine its theme, and analyze its development through the use of language devices, as defined in each collection below. Your analysis must be completed using the provided graphic organizer and written in an academic essay consisting of an introduction paragraph and one to two supporting paragraphs containing cited textual evidence, including at least one quote. Additionally, your academic essay must be typed or pen-written and MLA-formatted.

Evaluated Anchor Skills I can demonstrate command of the conventions of standard English

capitalization, punctuation, and spelling when writing (L.2). I can apply knowledge of language to understand how language functions

in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening (L.3).


Poetry Collection 1 – Narrative Poetry; Tone; Rhyme & Meter The Raven by Edgar Allan Poe

Poetry Collection 2 – Visual Devices (620-636)Dream Deferred by Langston HughesDreams by Langston HughesSonnet on Love XIII by Jean de SpondeMeciendo/Rocking by Gabriela MistralI Wandered Lonely as a Cloud by William WordsworthAll Watched Over by Machines of Loving Grace by Richard BrautiganHope is the thing with feathers by Emily DickinsonMuch Madness is divinest Sense by Emily DickinsonThe War Against the Trees by Stanley KunitzMaggie and millie and mollie and may by e. e. cummings (732)

Poetry Collection 3 – Sound Devices (646-663)Summer by Walter Dean MyersThe Eagle by Alfred, Lord TennysonAnalysis of Baseball by May SwensonThe Bells by Edgar Allan PoeSlam, Dunk, and Hook by Yusef KomunyakaaJabberwocky by Lewis Carroll

Poetry Collection 4 Self-Selected Poem (Songs Included) Approved by Weiler


Example Organizer“Selected Passage”(Author Last Name

Page #)

Paraphrase or Summary

Language Device or Style Element Effect or Function

“There is something uneasy in the Los Angeles air this afternoon, some

unnatural stillness, some tension. What it means is that tonight a Santa

Ana will begin to blow, a hot wind from the

northeast whining down through the Cajon and San Gorgonio Passes,

blowing up sand storms out along Route 66,

drying the hills and the nerves to flash point

(Didion 60).

The winds are creepy. They bring sand storms

and cause fires.

Personification – “a hot wind from the northeast whining down...blowing

up sand storms out along Route 66”

Giving the wind a human quality makes it even more threatening

and intimate.

Poetry Collection 2 Poem - ______________________________“Selected Passage”(Author Last Name

Page #)





Page #)




Page #)



W.2 Extended Thinking Skill Rubric

Category 4 – Expert Mastery 3 – Proficient Mastery 2 – Insufficient Mastery 1 – No Mastery

FocusThe text focuses on a

topic to inform a reader with ideas, concepts,

information, etc

The text clearly focuses on a compelling topic that informs

the reader with ideas, concepts, information, etc.

The text focuses on an interesting topic that informs

the reader with ideas, concepts, information, etc.

The text has an unclear topic with some ideas, concepts,

information, etc.

The text has an unidentifiable topic with minimal ideas,

concepts, information, etc.

DevelopmentThe text presents

relevant facts, definitions, concrete details, quotations,

examples, and a conclusion

The text provides significant facts, definitions, concrete details, and quotations that

fully develop and explain the topic. The conclusion provides insight to the

implications, explains the significance of the topic, and

projects to the future, etc.

The text provides effective facts, definitions, concrete

details, quotations, and examples that sufficiently

develop and explain the topic. The conclusion provides the implications, significance of and future relevance of the

topic, etc.

The text provides facts, definitions, details, quotations, and examples that attempt to develop and explain the topic.

The conclusion merely restates the development.

The text contains limited facts and examples related to the

topic. The writing may fail to offer a conclusion.

AudienceThe author anticipates

the audience’s background knowledge

of the topic

The text consistently addresses the audience’s

knowledge level and concerns about the topic. The text

addresses the specific needs of the audience.

The text anticipates the audience’s knowledge level

and concerns about the topic. The text addresses the specific

needs of the audience.

The text illustrates an inconsistent awareness of the audience’s knowledge level

and needs.

The text lacks an awareness of the audience’s knowledge

level and needs.

CohesionThe text uses appropriate

and varied transitions to link the major sections of the text,

creates cohesion, and clarifies the relationships among complex ideas and

concepts

The text strategically uses words, phrases, and clauses to link the major sections of text.

The text explains the relationships between the

topic and the examples and/or facts.

The text skillfully uses words, phrases, and clauses to link

the major sections of the text. The text identifies the

relationship between the topic and the examples and/or facts.

The text contains limited words, phrases, and clauses to link the major sections of the

text. The text attempts to connect the topic and the

examples and/or facts.

The text contains few, if any, words, phrases, and clauses to link the major sections of the

text. The text does not connect the topic and the

examples and/or facts.

Language & StyleThe text presents a

formal, objective tone and uses precise

language and topic-specific vocabulary to

manage the complexity of the topic

The text presents an engaging, formal, and objective tone and

uses sophisticated language and topic-specific vocabulary to manage the complexity of

the topic.

The text presents an appropriate formal, objective

tone and uses relevant language and topic-specific vocabulary to manage the complexity of the topic.

The text illustrates a limited awareness of formal tone and awareness of topic-specific

vocabulary.

The text illustrates a limited or inconsistent tone and

awareness of topic-specific vocabulary.


PodcastDiscuss each of your analyzed poems, including their themes and other notable topics or details, and synthesize your discussion and analyses to answer “Why Do People Write Poetry?” in a group podcast using Audacity.

Evaluated Anchor Skills I can present information, findings, and supporting evidence such that

listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience (SL.4).

I can make strategic use of digital media and visual displays of data to express information and enhance understanding of presentations (SL.5).


Podcast Structure & Talking Points Introduction of Group Members & Podcast Subject – All Group Members

Discussion of Analyzed Poems & Why People Write Poetry – Group Member 1 (Other Group Members are Encouraged to Comment During Discussion)



Views on Poetry After Understanding Why People Write It – All Group Members Conclusion – All Group Members

Evaluation

4Podcast includes an introduction, discussion of analyzed poems and why people write poetry, views on poetry, and a conclusion with full and consistent group participation; all discussions

and analyses indicate exemplary critical thinking through evidence-based claims.

3Podcast includes an introduction, discussion of analyzed poems and why people write poetry,

views on poetry, and a conclusion with full but inconsistent group participation; all discussions and analyses indicate satisfactory critical thinking through evidence-based claims.

2Podcast includes an introduction, discussion of analyzed poems and why people write poetry,

views on poetry, and a conclusion, but one or more elements may be poorly developed or lacking full and consistent group participation; all discussions and analyses indicate

inadequate critical thinking through evidence-based claims.

1Podcast does not include an introduction, discussion of analyzed poems and why people write

poetry, views on poetry, and a conclusion with full and consistent group participation; all discussions and analyses indicate poor critical thinking through evidence-based claims.

Slam PoemWrite an original poem using one of the following poem types. Include the required amount of poetic devices in your poem and evaluate its theme/purpose; explain why you included each poetic device and each of their effects on the poem. You will present your poem to the class.

Free Verse Poems are unrestricted poems, or poems refraining from consistent rhyme patterns, meter patterns, and forms. Your free verse poem must be at least ten lines (see note below) and include and identify at least three different poetic devices.

Note: As free verse poems do not subscribe to traditional poetic definitions and, thus, may redefine a poetic “line,” you may create redefined poetic lines in lieu of traditional poetic lines. If you create a redefined poetic “line,” state your new definition of poetic “line” before or after your free verse poem.

“[i carry your heart with me(i carry it in]” by e.e. cummings

i carry your heart with me(i carry it in my heart)i am never without it(anywhere i go you go,my dear;and whatever is done by only me is your doing,my darling) i fear no fate(for you are my fate,my sweet)i want no world(for beautiful you are my world,my true) and it’s you are whatever a moon has always meant and whatever a sun will always sing is you

here is the deepest secret nobody knows (here is the root of the root and the bud of the bud and the sky of the sky of a tree called life;which grows higher than soul can hope or mind can hide) and this is the wonder that's keeping the stars apart

i carry your heart(i carry it in my heart)

Etherees are poems consisting of ten unrhymed and unmetered lines in a single stanza. The first line contains one syllable with each succeeding line adding another syllable. Your etheree must include and identify at least two different poetic devices.

“Lonesome Road” by Diana Rosser

Greywindinglonesome roadlaments beyondhigh hedgerows hiding sun blushing rose spilling throughout darkening day sky.Speed teasing devils push homewardlyrics screaming bring pent-up releasedriving out sorrow lures transient peace


Palindromes are words, phrases, or other sequences of units that can be read the same way in either direction, with general allowances for adjustments to punctuation and word dividers. Your palindrome must be at least ten lines and include and identify at least two different poetic devices.

“Sunrise” by Anonymous

Morningsfresh and clearmakes sunrise spectacularwith birds chirping- GLORIOUS -chirping birds withspectacular sunrise makesclear and freshmornings.

Found Poems are created by taking words, phrases, and, occasionally, whole passages from other sources and reframing them into poetic forms by changing spacing and/or lines. Additionally, found poems can alter the source texts through additions or deletions. Your found poem must include at least ten lines taken from a single text and at least three identified different poetic devices.

Found Poem based on “Coming Home, Again” by Chang-Rae Lee

My mother prepared A certain meal To welcome me home. We would eat in the kitchen Table brimming Kalbi, leaf lettuce to wrap the meat Garlicky clam broth with miso and tofu and fresh spinach Shavings of cod Scallion and pepper pancakes Chilled steamed shrimp Steamed rice. The old flavors I knew Beautiful, salt, sweet, excellent. I wish I had paid more attention.


Extended Haikus are Japanese poems composed of several poetic sets containing three lines of five, seven, and five syllables; these poetic sets can be independent stanzas or connected as a whole. Your extended haiku must include at least four poetic sets and at least three identified different poetic devices.

“None is Travelling” by Basho

None is travellingHere along this way but I,This autumn evening.The first day of the year:thoughts come - and there is loneliness;the autumn dusk is here.

Kyrielles are French poems written in quatrains. Each stanza contains a repeated line or phrase as a refrain. The normal structure of a kyrielle is a/a/b/B, c/c/b/B, d/d/b/B, with B being the repeated line. Your kyrielle must include at least three quatrains and at least three identified different poetic devices.

“You Make Me Cry” by Anonymous

When I wake up you start to scoffYou pick on me and tell me offYou always seem to make me cryYou find a fault to amplify

I find it very difficultTo turn and ignore your insult"I'm not perfect" I replyYou find a fault to amplify

Our own pursuits we then resumeIt's mostly in a different roomIn interests we diversifyYou find a fault to amplify

Will it continue, will it endWill we make up or just pretendFor now sing me a lullabyDon't find a fault to amplify


Shakespearian Sonnets are lyric poems consisting of three quatrains and a couplet with the following rhyme scheme: abab, cdcd, efef, gg. Each line of a Shakespearian sonnet is in iambic pentameter (5 pairs of stressed and unstressed syllables). Your Shakespearian sonnet must include and identify at least four different poetic devices.

Sonnet 18 by William Shakespeare

Shall I compare thee to a summer's day?Thou art more lovely and more temperate: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 complexion dimm'd;And every fair from fair sometime declines,By chance or nature's changing course untrimm'd;But thy eternal summer shall not fadeNor lose possession of that fair thou owest;Nor shall Death brag thou wander'st in his shade,When in eternal lines to time thou growest:So long as men can breathe or eyes can see,So long lives this and this gives life to thee.

Musical Ballads are narrative poems consisting of couplets or quatrains and a refrain that are suitable for singing and music. Many musical ballads are written in ballad meter, or alternating lines of iambic tetrameter (four pairs of stressed and unstressed syllables) and iambic trimeter (three pairs of stressed and unstressed syllables). Your musical ballad must be at least ten lines, include and identify at least four poetic devices, include at least two lines of alternating lines of iambic tetrameter and iambic trimeter, and be read to music or sung.

“The Ballad of Marian Blacktree” by Anonymous

Refrain:Oh, do you know the mountain roadThat leads to yonder peak?A few will walk that trail alone,Their dreams they go to seek.

One such was Marian Blacktree,A lowly sheperdess,And courting her was Tom, the swain,Who loved her nonetheless.

A thought occurred to MarianWhile watching o'er her sheep,And gazing at the mountain thusShe nodded off to sleep.

(Refrain)

That night she came to Tom and saidShe longed to know the sky."I'm weary of this valley, love,I want to learn to fly!"

Poor Thomas did not want to leave,This valley was all he knew.So when she turned and left him thereHer heart, it broke in two.

(Refrain)

As morning broke and lit the skyAn eagle he did see:It circled 'round him thrice and cried.

He knew now she was free


The RavenEdgar Allan Poe

ONCE upon a midnight dreary, while I pondered, weak and weary,

Over many a quaint and curious volume of forgotten lore,—

While I nodded, nearly napping, suddenly there came a tapping,

As of someone gently rapping, rapping at my chamber door.

"'Tis some visitor," I muttered, "tapping at my chamber door; 5

Only this and nothing more."

Ah, distinctly I remember it was in the bleak December

And each separate dying ember wrought its ghost upon the floor.

Eagerly I wished the morrow;—vainly I had sought to borrow

From my books surcease of sorrow—sorrow for the lost Lenore, 10

For the rare and radiant maiden whom the angels name Lenore:

Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain

Thrilled me—filled me with fantastic terrors never felt before;

So that now, to still the beating of my heart, I stood repeating 15

"'Tis some visitor entreating entrance at my chamber door,

Some late visitor entreating entrance at my chamber door:

This it is and nothing more."

Presently my soul grew stronger; hesitating then no longer,

"Sir," said I, "or Madam, truly your forgiveness I implore; 20

But the fact is I was napping, and so gently you came rapping,

And so faintly you came tapping, tapping at my chamber door,

That I scarce was sure I heard you"—here I opened wide the door:—

Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing, 25

Doubting, dreaming dreams no mortals ever dared to dream before;

But the silence was unbroken, and the stillness gave no token,

And the only word there spoken was the whispered word, "Lenore?"

This I whispered, and an echo murmured back the word, "Lenore:"

Merely this and nothing more. 30

Back into the chamber turning, all my soul within me burning,

Soon again I heard a tapping somewhat louder than before.

"Surely," said I, "surely that is something at my window lattice;

Let me see, then, what thereat is, and this mystery explore;

Let my heart be still a moment and this mystery explore: 35

'Tis the wind and nothing more."

Quaint (Adj) – Having an old-fashioned charm Lore (N) – Body of knowledgeBleak (Adj) – Bare; desolate Surcease (N) – To cease from an action; to endRadiant (Adj) – Shining, bright Entreat (V) – To implore; to beg


Open here I flung the shutter, when, with many a flirt and flutter,

In there stepped a stately Raven of the saintly days of yore.

Not the least obeisance made he; not a minute stopped or stayed he;

But, with mien of lord or lady, perched above my chamber door, 40

Perched upon a bust of Pallas just above my chamber door:

Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling

By the grave and stern decorum of the countenance it wore,—

"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,

45

Ghastly grim and ancient Raven wandering from the Nightly shore:

Tell me what thy lordly name is on the Night's Plutonian shore!"

Quoth the Raven, "Nevermore."

Much I marvelled this ungainly fowl to hear discourse so plainly,

Though its answer little meaning—little relevancy bore; 50

For we cannot help agreeing that no living human being

Ever yet was blessed with seeing bird above his chamber door,

Bird or beast upon the sculptured bust above his chamber door,

With such name as "Nevermore."

But the Raven, sitting lonely on the placid bust, spoke only 55

That one word, as if his soul in that one word he did outpour.

Nothing further then he uttered, not a feather then he fluttered,

Till I scarcely more than muttered,—"Other friends have flown before;

On the morrow he will leave me, as my Hopes have flown before."

Then the bird said, "Nevermore." 60

Startled at the stillness broken by reply so aptly spoken,

"Doubtless," said I, "what it utters is its only stock and store,

Caught from some unhappy master whom unmerciful Disaster

Followed fast and followed faster till his songs one burden bore:

Till the dirges of his Hope that melancholy burden bore 65

Of 'Never—nevermore.'

But the Raven still beguiling all my fancy into smiling,

Straight I wheeled a cushioned seat in front of bird and bust and door;

Then, upon the velvet sinking, I betook myself to linking

Fancy unto fancy, thinking what this ominous bird of yore, 70

What this grim, ungainly, ghastly, gaunt, and ominous bird of yore

Meant in croaking "Nevermore."

Obeisance (N) – Movement of the body expressing deep regret like a bow or curtsy Mien (N) – Air or demeanorBeguile (V) – To mislead; to take away from by deceiving Decorum (N) – Manners; orderlinessCountenance (N) – Facial expression Discourse (N) – Talk; conversationPlacid (Adj) – Pleasantly calm or peaceful Dirge (N) – A funeral songMelancholy (Adj) – Gloomy; depressing Ominous (Adj) – Threatening; indicating future evil or harm


This I sat engaged in guessing, but no syllable expressing

To the fowl whose fiery eyes now burned into my bosom's core;

This and more I sat divining, with my head at ease reclining

75

On the cushion's velvet lining that the lamplight gloated o'er,

But whose velvet violet lining with the lamp-light gloating o'er

She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer

Swung by seraphim whose foot-falls tinkled on the tufted floor.

80

"Wretch," I cried, "thy God hath lent thee—by these angels he hath sent thee

Respite—respite and nepenthe from thy memories of Lenore!"

Quaff, oh quaff this kind nepenthe, and forget this lost Lenore."


"Prophet!" said I, "thing of evil! prophet still, if bird or devil!

85

Whether Tempter sent, or whether tempest tossed thee here ashore,

Desolate yet all undaunted, on this desert land enchanted—

On this home by Horror haunted—tell me truly, I implore:

Is there—is there balm in Gilead?—tell me—tell me, I implore!"

Quoth the Raven, "Nevermore." 90

"Prophet!" said I, "thing of evil—prophet

still, if bird or devil!By that Heaven that bends above us, by that God we both adore,

Tell this soul with sorrow laden if, within the distant Aidenn,

It shall clasp a sainted maiden whom the angels name Lenore:

Clasp a rare and radiant maiden whom the angels name Lenore!"

95


"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting:

"Get thee back into the tempest and the Night's Plutonian shore!

Leave no black plume as a token of that lie thy soul hath spoken!

Leave my loneliness unbroken! quit the bust above my door!

100

Take thy beak from out my heart, and take thy form from off my door!"


And the Raven, never flitting, still is sitting, still is sitting

On the pallid bust of Pallas just above my chamber door;

And his eyes have all the seeming of a demon's that is dreaming,

105

And the lamp-light o'er him streaming throws his shadow on the floor:

And my soul from out that shadow that lies floating on the floor

Shall be lifted—nevermore!

Bosom (N) – Chest of a human being Divine (V) – To discover or declare Seraphim (N) – Angels Respite (V) – To delay; to relieve temporarily Nepenthe (N) – Drink having the power to bring forgetfulnessQuaff (V) – To drink a beverage heartily and copiously Tempest (N) – A violent windstorm; a violent disturbanceDesolate (Adj) – Barren; devastated Undaunted (Adj) – Not discouraged Plume (N) – A feather Pallid (Adj) – Pale, faint, or deficient in color

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weilerela.weebly.comweilerela.weebly.com/uploads/2/8/8/6/28865327/lesson_… · Web viewSeraphim (N) – Angels . Respite (V) ... and analyze how specific word choices shape meaning