{ Introduction to Poetry

 Where in your life do you encounter poetry (beyond this class)? Think/pair/share

 How does poetry function as a genre?  How can we effectively read poetry?  How is reading poetry different from reading prose?  What role can poetry play in my life as an adult? Unit Essential Questions

  Poetry is appreciated by a broad and demographically diverse portion of society; individuals from all walks of life and education levels read and enjoy poetry.   Most poetry readers (80 percent) first encounter poetry as children, at home or in school. 77 percent of all readers were read nursery rhymes as children.   Among the most frequently cited reasons that people don't read poetry are lack of time…and the perception that poetry is difficult... Poetry in America findings

 What are the advantages of communicating through poetry (including songs)? Think/pair/share

Introduction to PoetryBY BILLY COLLINSBILLY 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.

{ First reactions Does this poem mirror your experiences with poetry? Why or why not?

Always remember: Analysis is a means, not an end.

 Speaker: who is the narrator?  Occasion: context  Audience: intended reader(s)  Purpose: why was the piece written?  Structure: what is enabled by the form?  TONE: author’s attitude SOAPStone analysis

Dulce Et Decorum Est Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of disappointed shells that dropped behind. GAS! Gas! Quick, boys!-- An ecstasy of fumbling, Fitting the clumsy helmets just in time; But someone still was yelling out and stumbling And floundering like a man in fire or lime.-- Dim, through the misty panes and thick green light As under a green sea, I saw him drowning. In all my dreams, before my helpless sight, He plunges at me, guttering, choking, drowning. If in some smothering dreams you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues,-- My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori.

{ First reactions?

 Speaker  Occasion  Audience  Purpose  Structure  Tone SOAPStone

How is it done? (structure)

 End rhyme  Elision  Enjambment  Foot, poetic  Iamb  Meter  Pentameter  Point of view  Quatrain  Rhyme scheme  Spondee  Stanza Technical vocabulary

 Enjambment: where one grammatical unit occupies multiple lines in a poem.  Point of view  Stanza: grouping of lines in a poem; generally contain fixed or repeating meter, rhyme, or other structural characteristics  Quatrain: four-line stanza Technical vocabulary

 Meter: pattern of rhythm in poetry; always consists of two words:  Type of foot  Number of feet per line  Foot: pattern of stressed and unstressed syllables  Iamb: unstressed syllable followed by a stressed syllable ˘ /  Spondee: two stressed syllables //  Pentameter: five metrical feet per line of poetry  Elision: omission of sounds; usually used to fit words to meter Meter

 End rhyme: rhyming of words at the end of poetic lines  Rhyme scheme: pattern of end rhyme, where each rhyme type is identified by a specific letter (ABAB CDCD EFEF GG) Rhyme

 Iambic pentameter with spondaic substitutions  Quatrains with end rhyme  Two sonnets smashed together  Disintegrations between first and second stanza  Point of view  Rhyme scheme  Meter (Pentameter)  Mirrors disintegration of nobility of war Notes on structure

 How would you express your love? Think/pair/share

130 My mistress’ eyes are nothing like the sun; Coral is far more red than her lips’ red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress when she walks treads on the ground. And yet, by heaven, I think my love as rare As any she belied with false compare.

 Speaker  Occasion  Audience  Purpose  Structure  Tone SOAPStone

How is it done? (structure)

What can you inductively reason about…  Rhyme scheme?  Meter?  Stanza types?  Form?

 Sonnet  Shakespearean (English) sonnet  Petrarchan (Italian) Sonnet  Spenserian sonnet  Iambic pentameter  Volta Technical Vocabulary

John Donne Death, be not proud, though some have called thee Mighty and dreadful, for thou art not so; For those whom thou think'st thou dost overthrow Die not, poor Death, nor yet canst thou kill me. From rest and sleep, which but thy pictures be, Much pleasure; then from thee much more must flow, And soonest our best men with thee do go, Rest of their bones, and soul's delivery. Thou art slave to fate, chance, kings, and desperate men, And dost with poison, war, and sickness dwell, And poppy or charms can make us sleep as well And better than thy stroke; why swell'st thou then? One short sleep past, we wake eternally And death shall be no more; Death, thou shalt die.

John Donne Batter my heart, three-person'd God, for you As yet but knock, breathe, shine, and seek to mend; That I may rise and stand, o'erthrow me, and bend Your force to break, blow, burn, and make me new. I, like an usurp'd town to another due, Labor to admit you, but oh, to no end; Reason, your viceroy in me, me should defend, But is captiv'd, and proves weak or untrue. Yet dearly I love you, and would be lov'd fain, But am betroth'd unto your enemy; Divorce me, untie or break that knot again, Take me to you, imprison me, for I, Except you enthrall me, never shall be free, Nor ever chaste, except you ravish me.

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 every day’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 the 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.

 nitiative_pa_keyfindings.html Sources