Planning Commentary
Write the Planning commentary (of no more than 9 single-spaced pages, including
prompts) by providing your response to each of the prompts below. If you are prompted to
provide any explanations that can be found in your lesson plans, refer to the appropriate
page(s) of those plans.
1. Content Focus
Summarize the central focus for the content you will teach this learning segment.
The content focus of this learning segment is the content and concept of ballad and
narrative poetry. The school has a focus on skill sets, so as I move into this unit it will be with
the intent of building the abilities to analyze and formulate opinions on poetry, while having a
firm grasp on the vocabulary of poetic devices that will be featured in the poems. By the time
this specific lesson is being done, students will already have seen the vocabulary within the
lesson. This will simply give them an opportunity to apply it and continue to practice it. Students
will develop and apply vocabulary through exposure to texts, apply a conceptual understanding
of new words, use a variety of strategies to understand what they read, apply and demonstrate
listening skills appropriately in a variety of settings and for a variety of purposes, and analyze
elements of narrative texts to facilitate understanding and interpretation of narrative and ballad
poetry.
Students in my 7th grade Language Arts class will be learning about seven different
forms of poetry: haiku, concrete, lyric, haiku, narrative, limerick, and free verse. Thus, this ballad
and narrative section is just one piece in an overall unit of about three weeks. Each week is
comprised of learning the history and features two to three types of poetry, reading examples,
writing them, and then taking a summative assessment in the form of a test. Throughout the
unit, students are creating an individual poetry book which features their own poetry as well as
profession examples of each type. At the end of the entire unit, another summative assessment
will be completed in the form of scoring their poetry books with a rubric, which will additionally
give students feedback on their personal work.
During the ballad/narrative piece of the unit, we will look at the following: the history and
format of ballad and narrative poetry; how the two types of poems compare; review the terms of
poetic elements, figurative language, and sound devices featured in poetry; analyze the poem
“The Highwayman;” summarize the content and plot structure of the poem; debate opinions
based on the content of the poem; write a class ballad; write individual ballad poems; take a test
on ballad poetry and various poetic terms. This learning segment will be rigorous as it
approaches poetry not only for its forms, but also for its history in a sort of cross-curricular
approach. It allows students to orally analyze and physically produce their own work as well as
the works of others.
2. Knowledge of Students to Inform Teaching
For each of the categories, describe what you know about your students’ prior learning and
experience with respect to the central focus of the learning segment. What do they know, what
can they do, and what are they learning to do? Consider the variety of learners in your class
who may require different strategies/support.
a & b. Academic development & Academic language development:
My students have touched on poetry in 6th grade, but from pre-assessment, it seems
they have only carried over the most basic concepts, such as shape poetry (which they will now
learn to call concrete) and some essential poetry vocabulary such as rhyme and onomatopoeia.
While many of them still seem to remember the general definition of personification, the concept
of the difference between similes and metaphors has been surprisingly lost. Thus, their prior
knowledge and general academic development is at entirely different stages, especially across
the different leveled classrooms.
However, I have come to learn that several of my students are actually gifted poets
already. While they lack the ability to break down elements of poetry and explain to me each
device they are using, two of my students, one of them being the student considered Gifted and
Talented, already have collections of poetry at home. They were quite eager to have an
opportunity to put their poems in a poetry book that I would get to see. Ricky (the
Gifted/Talented student) writes mostly narrative style poems with consistent meter and rhyme.
When I asked him about his poetry, he said, “I can’t write poetry that doesn’t rhyme.” My student
Mikayla writes mainly dark free verse style poetry. Her poems do tell stories, but not in the same
advanced narrative structure that would be found in a lengthier poem. Instead, hers feature a
greater amount of descriptive language and elevated imagery. These two students, of course,
are the exception, not the rule.
The majority of my students fall somewhere on a spectrum of general inexperience.
Some are very eager to learn new forms of poetry. Since we have already completed the initial
poetry book making activity, I can say with confidence that many of them are showing pride and
ownership over their creations. This simple fact has inspired many students to start asking when
we will write poems in class. I am seeing that when students come in, they are going right over
to the class piles where their books are kept and retrieving them to keep at their desks for the
duration of class. Some students have already brought in their own poems (some of which are
from previous academic years, and others that are simple free verse pieces). This is by no
means universal, however. I do have students that are completely disinterested in the entire
unit. They have put little work into their books and continually ask how long the poetry unit will
be and if they have to write poetry. These students feel that there is no “use” for poetry in the
“real world,” which I have addressed on an individual basis as needed.
c. Family/community/cultural assets:
The class I will be focusing on for this unit is a very diverse class compared to my
others. We have an interesting and often times volatile dynamic as we have Ricky, the Gifted
and Talented student with a 504 for ADHD, along with three students classified by
administration and peers (as determined early in the year by anonymous polls and counseling
reports) as bullies. The bullies in the class tend to pick on the Gifted and Talented student
because he consistently demonstrates his advanced knowledge across various subject areas.
Poetry is no exception. Given opportunities in the past to present written work, Ricky has
presented poetry, which his peers have made fun of him for.
To make the dynamic more interesting, one of the bullies, Myles, has recently been
approved for a 504 plan due to his parents continued pushing. Myles’s parents felt that he was
treated unfairly for being an African American student in a mostly Caucasian school. The
councilors at the school, Myles’s psychologist, and the administrators in charge of IEP/504
plans conversely seem to believe that Myles perceives his peers as viewing him differently as a
result of paranoia. At any mention of the words “dark,” “black,” or words with similar color
associations that could be used in context to describe African Americans, Myles looks around
for reactions. This makes Language Arts interesting as darkness is often a theme discussed in
class. When one of his peers treats him in a way he thinks is unfair, he tells any adult nearby
that it is “because he is black.” Myles achieves at an all A level and is one of the most intelligent
students in my class. He is well received by his peers (except those he targets with bullying),
and does not have any major disciplinary concerns, other than those aforementioned. Despite
the data demonstrating Myles’s achievements, his parents continued to push through for the
504, which Myles laughs about in class and rolls his eyes at now that is has been approved.
One of the actual accommodations in the 504 is that Myles is not to be joked with as any joking
could cause him to think he is being made fun of for being African American. This, as one might
imagine, create a new set of classroom management concerns.
The community this school is in is mostly affluent, so students are very technologically
savvy, needing extra media centered supports to maintain interest. They often lose focus when
only a text is introduced. They also do significantly better expressing themselves verbally than in
any form of writing. For example, if I ask students a prompting question about a text, they can
raise their hand, be called on, and explain in detail the answer. On the other hand, given the
same prompt and writing an answer yields less detailed responses and demonstrates a
generally lower level of thinking.
d. Social and emotional development:
Socially and emotionally speaking, most of the girls are typical 12 year olds. They love to
chat and be social, and take continual probing to work. The boys are social within more specific
groups and cliques. They tend to push their limits in concerns with discipline much more so than
the girls. Students in this class enjoy working in groups, but need strict time limits to force them
to get work done, due to their chattiness. This seems typical of middle school students from my
observations.
3. Description of Text Used
Provide the title, author (or, if a film, director), and a short discussion (about a paragraph) of
salient features of the text(s) that a scorer who is unfamiliar with the text(s) needs to know in
order to understand your instruction. These might include such things as the genre, text
structure, theme, plot, imagery,
This learning segment heavily features the poem “The Highwayman” by Alfred Noyes.
This poem is perhaps one of the best examples of a ballad and narrative poem and is a 7th
grade level text. The poem is about an 18th century highwayman who is in love with Bess, the
daughter of an innkeeper. He tells her he is going to get some gold, then return for her. A
jealous stable-man overhears their conversation and reports the highwayman to the Redcoats,
who come to the inn and tie the innkeeper’s daughter up as bait for him to return. Knowing he
will come to rescue her, Bess kills herself with the gun the Redcoats have strapped beneath her
breast, after struggling to get her finger onto the trigger. The highwayman hears the gun shot
and turns around. The next morning, he finds out what has happened and returns, only to be
killed in the road by the Redcoats.
The poem is not written in what I will call “classic ballad form” during instruction, but is
nevertheless a powerful example due to its rhyme, musical qualities, and advanced usage of
figurative language and poetic devices. As this is both a ballad and narrative poem, it features
all five parts of a typical plot structure, which is excellent as the students are very familiar with
plot structure and can analyze it. The themes in the text are morality, love, greed, and death,
which are additionally symbols the students can analyze in the text and the visual supplement I
will be using. During instruction, we will focus on the poetic elements, specifically simile,
metaphor, rhyme, meter, onomatopoeia, and symbolism. Students will be encouraged to find
other poetic devices in the poem, but mastery over these specifically mentioned will be
necessary to do well on the test at the end of this segment. Furthermore, we will analyze how
this poem is both a ballad and narrative, and use it to discuss the common features of both
types of poems. Students will also discuss their opinions on the content of the poem, particularly
whether what Bess did was brave or stupid. My students have very strong opinions, almost all of
which will be different in some way. This will open up the potential for debate amongst them.
4. Supporting Student Learning in English-Language Arts: Respond to prompts to explain
how your plans support your students’ learning of English-language arts related to the central
focus of the learning segment.
a. Explain how your understanding of your students’ prior learning, experiences, and
development guided your choice or adaptation of learning tasks and materials to develop
students’ ability to comprehend, construct meaning from, interpret, and/or respond to a complex
task:
I understand that my students have read poetry before. However, as I mention, preassessment indicates their knowledge is only partial and has not carried over as much as
instructors might hope. Therefore, I am prepared to work on terms and forms from the ground
up to ensure that all students will be given the opportunity to access the material in as equal a
way as possible. I also know that some of my students are disengaged from poetry. For both of
these reasons, Lessons 1, 2, and 3 have many supports to try and engage my students in
different ways and provide them with the necessary background to understand and make
connections between what they already know and need to know. I am always sure to pose
questions before giving answers to see what students already know. We will continually build on
the vocabulary that has already been established throughout the unit, as well as the terms they
have learned in previous grades.
I chose the supplemental materials of the reading, song, and video for “The
Highwayman” in order to address student’s media literacy. Since my students are already very
intimately acquainted with various uses of media, I try to address that as much as possible. I
approached the lesson by looking at the needs of my many learners. As I have students with
ADHD, I knew I wanted to have materials that would be different from the “teacher stands and
lectures at us” model. Because of this, I chose to have the text be read to everyone, have it in a
music form (which really seems to engage a large group of students), and then a completely
visual form (another thing the students really love). Instead of reading the selection silently, I
chose to ensure that they would see the text multiple times in different forms.
To help them construct meaning, I will have students give summarizes of different parts
of the text. I will also ask them to consider the emotional effects of different forms of media
portrayal. Then, I will pose probing questions and ask for emotional responses to various parts
of the text, how various words make them feel, and how that contributes to the mood and tone
of the poem.
A lot of what inspired this lesson and how to approach it is the concept of flow. “Going
with the Flow: How to Engage Boys (and Girls) in Their Literacy Learning” addresses the
concept of flow (Smith & Wilhelm). Flow experiences are a concept that researcher
Csikszentmihalyi has spent his life looking at. He describes them as times when “people are so
involved in an activity that nothing else seems to matter” (4). Furthermore, students need an
appropriate challenge. Enjoyment comes to the students whenever the opportunity for action is
viewed as equivalent to what they are personally capable of. Content and assessment should
be “Neither too difficult, nor too easy” (7). This relates back to the goal of control and
competence. In order to demonstrate mastery, students need to have something that is
precisely the right challenge level. Of course, it can be difficult to achieve this initially in a
classroom setting, but, by getting to know our students, we can provide better assessments and
materials. Flow comes with clear goals and is enhanced by immediate feedback (8).
Competency needs to be perceived and reflected on at once, ensuring that students are not
neglected, but rather recognized for what goals they have achieved. Success for the students
should be measurable, both for them, and us, so that we can give them positive feedback and
encouragement. They need to feel that their efforts are rewarded. Finally, flow has a focus on
immediate experience. The text states that material should be compelling so much that
interference does not take away from enjoyment (10). If I am able to have both literal and
figurative flow from piece to piece of these lessons, I feel that I can help my students adapt to
the needs of the lesson and connect well with the concepts and texts.
b. How are the plans for instruction sequence in the learning segment to build connections
between students’ learning and experiences and new knowledge?:
By this point in the unit, students will have already been exposed at least once or twice
to all poetic devices, as we will talk about them in different types of poems; students will already
have learned haiku, concrete, and lyric at this point. Additionally, one of the first activities in the
overall poetry unit was defining and finding examples of sound devices and types of figurative
language. They will already have had one test, written three poems, found three professional
examples of given types of poetry, and gotten used to the pattern of learning the history and
form prior to reading and writing. We will frequently write examples of poems together, and I will
always answer any questions during the writing process. Therefore, I feel that I am providing a
proper amount of scaffolding and addressing student needs.
In this particular learning segment, students will first learn the history of ballad poetry.
They will then take a close look at the rules. We will view examples of the classic ballad form,
then move into looking at a poem which is not a classic form, but nonetheless still a very
important example of ballad and narrative. This will open up discussion for ballad and narrative
poetry and how the terms are interrelated.
c: Describe common student errors or misunderstanding within your content focus and how you
will address them:
Common student errors come in missing specific instructions such as how many stanzas
a type of poem should have or where rhyme should fall; i.e. some students will switch odd for
even lines. Additionally, some students mistake the requirements I give them in writing their
individual poems for what is actually a requirement of the professional form of poetry. For
example, my students were asked to pick a symbol and create a concrete poem that addressed
the symbol and the ideas/themes/concepts surrounding it. Not all concrete poems have a
specific universal symbol or theme. On the test, some students write that a feature is that
concrete poems must use a symbol. Therefore, they are mixing up the requirements of their
writing with the actual requirements of the form. To address this, whenever I see this error, or a
similar error, I approach the student individually with a comment on their test/poem and explain
it. I then address it to the class as a common error and explain what the educational value is in
asking them to have it as a requirement, but remind them that it is not always a feature in the
poetic form.
d. Explain how, throughout the learning segment, you will help students make connections
between textual references, constructions of meaning, interpretations, and response to text to
deepen student learning:
As Thoman and Jolls write in their article "Media Literacy Education: Lessons from the
Center for Media Literacy," "Today information about the world around us comes to us not only
through words on a piece of paper, but more and more through the powerful images and sounds
of out multimedia culture" (180). With media comes new ways of learning, thinking, and
expressing. Our students today are much more interested in engaging with media on
computers, and this is such a technologically advanced school, it seems only appropriate to
utilize what the students are most engaged and familiar with. “The Highwayman” is a text that
can seem very foreign, so looking at it a few times and then seeing a visual representation can
really “seal the deal” for some students. It will really click with them because that is what they
know to relate to. Music can be the same for many of them, though music is not as universal
based on varying tastes and exposure.
My hope here is that auditory and visual learners will be engaged, that seeing the text
several times (read, sung, in writing, orally explained, etc) will ensure the basics are grasped,
and that the ability to formulate responses in both a spoken and written form will help support
their understanding as well. This plan certainly addresses the Universal Design for Learning
model in many ways. In concerns with options for comprehension, this lesson does quite a bit
by activating background knowledge, focusing on critical features and big ideas, and supporting
memory. It provides options for self-regulation, mainly through the use of sticky notes and
continual prompting. Students have to reflect on the text to formulate an opinion about it. We
look at multiple options for language and symbols through the various forms of media, having
frontloaded vocabulary and continuing to touch on it, and decoding the text piece by piece. I feel
confident that this lesson does many things to ensure that students will be engaged in some
form or another. While it is impossible to guarantee each student will be fully engaged 100% of
the time, I think the different methods will appeal at different times.
e. Describe instructional strategies planned to support students with specific learning needs.
This will vary based on what you know about your students:
I have a mix of approaches for students with various needs. We have lecture, writing,
discussion, debate, listening, and reading. I hope that throughout this learning segment, I can
address many different styles of learning. I have no problems giving my 504 students their
additional time on any activities, but otherwise, they are right on level with the rest of the class
as far as achievement. Ricky, being both Gifted and Talented and ADHD does need many
reminders, but his poetry is his passion, so I have a feeling that he may not need as many
reminders as usual. Nonetheless, I will be sure to give them.
Again, the primary approach of Lesson 2 is to expose the students to “The Highwayman”
text multiple times in multiple forms. They have access to the original text, an audio reading, an
audio song, and a visual representation of the storyline. Each builds on the other. First the
students get an outline of the story to scaffold them into the actual text. Then, they have a
traditional reading (with an audio component for modification). Third, they have a song version,
which appeals to students who like to follow patterns or enjoy music. Finally, they get a visual,
non-literary or word based representation. These are meant to appeal to different styles of
learning. Those that like the text approach have the book in front of them. They also have sticky
notes to help them monitor their findings, which can appeal to the few who like to write. There is
not a lot of “teacher talking” during this lesson, as Lesson 1 frontloads most of the vocabulary
and knowledge necessary to understand the text. Additionally, we will be building on vocabulary
already used throughout the rest of the unit.
5. Supporting Student Understanding and Use of Academic Language
Respond to the prompts below to explain how your plans support your students’ academic
language development.
a. Identify the key academic language demand and explain why it is integral to the central focus
for the segment and appropriate to students’ academic language development. Consider
language functions and language forms, essential vocabulary or phrases for the concepts and
skills being taught, and instructional language necessary for students to understand or produce
oral and/or written language within learning tasks and activities.
Before this learning segment, students will need to have a basic grasp of Language Arts
terms such as plot, character, and theme, which will help enhance their ability to discuss the
content of poems. This is a very media centered and student centered lesson, which can help
them stay on task. It still gets the content across and re-addresses essential vocabulary taught
earlier. It also exposes students to a classic text. I feel that this learning segment will help
students develop their ability to talk about and analyze figurative language and the elements of
poetry.
My students need to master the language demands of poetry, specifically the ballad and
narrative form. This requires being able to identify, analyze, and use poetic sound devices and
figurative language, including but not limited to the following: alliteration, consonance, meter,
repetition, rhyme, metaphor, simile, onomatopoeia, symbol, and imagery. Students need to be
able to not only write their own examples of various types of poetry, but also analyze how
authors why authors make certain language choices and use devices in their poetry to
communicate plot, mood, and tone. Within this learning segment, students will have to look at
the common features of ballad and narrative poetry and compare and contrast not only the two
forms in general, but how the rules of the specific form relate to the poem ”The Highwayman.”
Students should be able to look at poetic language forms and recognize, as well as emulate,
them in their own writing.
b. Explain how planned instructional supports will assist students to understand academic
language related to the key language demand to express and develop their content learning.
Describe how planned supports vary for students at different levels of academic language
development.
My planned instructional supports include the front loading and constant review of poetic
terms, a scaffolded approach to writing, and multiple examples of poetry (or in this case,
multiple forms of the same poem for the purpose of addressing multiple means of learning and
repletion of material in new and accessible ways). Orally, they will get to help write a class poem
and present their own writing. As far as written work is concerned, they will have workshop time
to draft in class, receive feedback, and then will finish their poems at home. They also have to
find professional examples, which I will check on a weekly basis. If their professional examples
do not meet the requirements of whatever type of poem I have asked them to get, I will catch
early on that they do not understand the form.
Students will get constant exposure to the necessary terms and will have support from
me when it comes to producing their own work. I have answered any questions they ask,
provided assistance, aided in brainstorming, and reminded students of rules as I see them being
broken. Seeing the elements in use as we find them and demonstrate them as a class will also
help to assist students in understanding the academic language. I certainly do not shy away
from repetition and reminders. Those that need additional help can also be pulled during my last
period tutoring time to receive individual or class help. I have done this once with a type of
sentence structure than about 75% of my students understood, but the final quarter did not. I
simply pull those students for the tutoring block and given them additional supports and one on
one time. Furthermore, I remind students of what we have talked about, use transition words
and qualifiers to clarify meaning.
I realize that students will produce on different levels, but the important part is their
ability to meet whatever requirements I give them. For example, their ballad must have ballad
features, but be a narrative as well (all ballads are narratives, but not all narratives are ballads).
The requirements I will give them are as follows: 8/6/8/6 syllables per stanza, or close enough
that the rhythm is present; 4 quatrains; even lines must rhyme (ABAB or ABCB rhyme scheme);
should go to a ballad tune (think Gilligan’s Island) or otherwise be musical. With these
requirements, I allow students the freedom of content. However, in order to produce a proper
poem, they must understand rhyme schemes, what a quatrain is, and how syllables create
rhythm. I find that students naturally begin using the poetic devices that we learn. Although I
have not put a specific device as a requirement for their ballad other than rhyme/rhythm, they
have had to demonstrate imagery, repetition, alliteration, and other poetic elements in the past,
which I believe many will continue to build on.
6. Monitoring Student Learning
a. Explain how the informal and formal assessments were selected and/or designed to provide
evidence you will use to monitor student progress toward the standards/objectives. Consider
how the assessments will provide evidence of students’ abilities to comprehend, construct
meaning from, interpret, and/or respond to a complex text.
I will be assessing students in both informal and formal ways. During Lesson 1, 2, and 3
formative assessments will be in the form of discussion. Additional formative assessments will
be monitoring student writing during workshop times. The formal assessment will be primarily in
the final test at the end of the learning segment. After this specific learning segment, students
will also be graded on their poems overall (all seven poems in their poetry book) on a rubric,
based on the requirements I gave for each type of poem. These various assessments will
provide evidence of how well they are taking in the material because I will constantly have a
grasp of where they are at given discussions, probing questions, review, and summary
activities.
Students should demonstrate the ability to identify various devices, interpret “The
Highwayman,” comprehend how the author has used devices, and formulate opinions on the
content and character motivations. Students should also be able to write their own examples of
ballad poetry, after seeing examples, as well as learning rules and features. By the end of this
learning segment, students will hopefully be able to identify ballad and narrative poetry, in
addition to various poetic devices when given a passage to analyze.
The final assessment that I will be analyzing and providing feedback for is how they do
in writing their own ballad/narrative poems. I feel that this is the best way to show how they
grasped the overall ballad concept because it requires them to engage in creating their own
example of a type of work. They need to be able to emulate the type of poetry and use its
features proficiently in order to communicate the content of their work and demonstrate mastery
of the basic concepts.
b. Describe any modifications or accommodations to the planned assessment tools or
procedures that allow students with specific needs to demonstrate their learning.
The accommodations for my two students with 504s will be additional time, as well as
the ability to work in a quiet area. Our school has a room called “Content Mastery,” where
students can go work independently without distractions. Myles and Ricky will have the ability to
go to Content Mastery to work on their tests and any other formal assessments. With concerns
to more informal assessments, they will be given the same amount of attention when it comes to
feedback on their personal work. They both have preferential seating close to the board to help
them maintain focus. Both are very active students, so I do not worry much about assessing
their understanding when it comes to participation in general.
Final Notes on Rationale
This unit is an essential part of preparing students for the Middle School Assessments,
but I also feel it is necessary to expose students to poetry, not just because it is part of the core
curriculum, but because they will continue to see it throughout high school and into college if
they pursue any humanities degree. Exposing students to poetry in a detailed and rigorous way
will challenge them, but will also help them do well in later grades when the content comes up
again. I have pushed to expose my students to terms that are not necessarily a part of the
curriculum that I know for certain they will see later because I feel that I can approach their zone
of proximal development and still have them grasp the concepts they absolutely must have at
this level.
As a student of education, I have strongly focused on the concept of intrinsic motivation
and student choices. This poetry unit and learning segment still offers students choices, as they
are given a few rules to follow, but are not limited in what they are able to write (within school
appropriate reason, of course). I feel that because I have given students freedom to create their
own books and individualized works, they will have a sense of intrinsic motivation because of
choices, and extrinsic motivation in trying to impress me with their knowledge of various poetic
terms and rules, creativity, and work ethic. The only way to see if this is true is to go ahead and
teach the unit all the way through and assess the quality of their work in the end.
Works Cited (Within Commentary)
Thoman, Elizabeth, and Tessa Jolls. "Media Literacy Education: Lessons From The Center For
Media Literacy." Yearbook Of The National Society For The Study Of Education (WileyBlackwell) 104.1 (2005): 180-205. Education Research Complete. Web. 07 Mar. 2012.
CAST. “Universal design for learning guidelines version 1.0.” Wakefield, MA. (2008). Print.
Smith, M. W., & Wilhelm, J. D. (2006). Going with the flow: how to engage boys (and girls) in
their literacy learning. Portsmouth: Heinmann.
Lesson 1 Works Cited
Anderson, B. (2009, April 25). Teaching poetry: ballads. Retrieved from
http://edublahg.blogspot.com/2009/04/teaching-poetry-ballads.html
Poets.org. (n.d.). Poetic Form: Ballad. Retrieved from
http://www.poets.org/viewmedia.php/prmMID/5769
Lesson 2 Works Cited
(2009, January 29). "The Highwayman" by Alfred Noyes (poetry reading). Youtube.
Retrieved from http://www.youtube.com/watch?v=99UH0JB7m5A
(2009, September 03). Loreena Mckennitt-The Highwayman (With lyrics). Youtube.
Retrieved from http://www.youtube.com/watch?v=teq2m0BN-Wo
(2007, July 09). The Highwayman. Youtube.
Retrieved from http://www.youtube.com/watch?v=Q1OVqAANwJE
Noyes, Alfred (4 Oct 2004). The Highwayman. Poetry X, Edited by Jough Dempsey. Retrieved
04 Apr. 2012 from http://poetry.poetryx.com/poems/6982/