TASK 1D LESSON 1 ASSESSMENTS: DAFFODILS vs. THIRTEEN WAYS TABLE “Daffodils” “Thirteen Ways” SPEAKER (who is speaking? Is the identity of the speaker clear or unclear? Is the speaker constant?) TONE LANDSCAPE/SETTING (What does the world look like?) ROLE OF NATURE (What is nature like? What does it do for the speaker/blackbird) ORGANIZATION OF IDEAS ENDING DAFFODILS vs. THIRTEEN WAYS TABLE ANSWER KEY (answers may vary) “Daffodils” “Thirteen Ways” SPEAKER (who is A person who is walking Not sure who is speaking. speaking? Is the through the fields. Identity is unclear and identity of the speaker Identity is clear and speaker ‘s voice is hear clear or unclear? Is the speaker is constant inconsistently throughout speaker constant?) the poem. TONE Sad, mournfulàhappy Bleak, pessimistic and optimistic LANDSCAPE/SETTING A field with hills, clouds, a Not sure exactly on the (What does the world lake with trees that sway setting and it could possible look like?) in the wind and then a change throughout the poem. field with flowers. There are twenty snowy mountains, trees, icicles in windows. ROLE OF NATURE Nature is happy Nature is menacing: (What is nature like? (twinkling stars, dancing “whirling” the blackbird it its What does it do for the heads of daffodils in winds with long icicles speaker/blackbird) “sprightly dance” hanging in windows. Nature “sparkling waves of glee” is vast and empty (“Among – it sooths the speakers 20 mts-­‐The only thing spirits and fills his heart moving) Nature is cold and with pleasure unhelpful ORGANIZATION OF Unclear on how poem is IDEAS Clear and linear organized. Fragmented, and seemingly unconnected. ENDING Poem ends back at where it Went from a sad starts. In the snow with the beginning to a positive blackbird in the trees. The outcome poem hasn’t gotten anywhere. SNOWY WOODS DIALOGUE PROMPT: Imagine Wordsworth and Wallace are walking through a snowy woods together. Consider their poetic voices and adopting each persona and poetic worldview, write a 2 page (handwritten) dialogue between the two poets on the topic, “What is nature?” Be SURE to include in your dialogue the characteristics of Romantic and Modern Poetry that we have discussed in class. SNOW WOODS DIALOGUE RUBRIC: LESSON 2 ASSESSMENTS: PRUFROCK PROFILE: ANSWER KEY: (Answers may very) Observations: Women coming and going and not talking to him, talking of Michelangelo, yellow smoke, arms that are braceleted and white and bare, perfume from a dress, narrow streets at dusk, lonely men in shirt-­‐sleeves, leaning out of windows, his hair is growing thin, observes he is getting older (eternal footman holding his coat), etc. Personality traits: indecisive, insecure about his decisions, insecure about his looks, bored with the things around him, afraid of death, afraid of rejection, timid, quiet, doesn’t see himself as the lead character in his own life, etc. Internal Conflicts: whether or not to tell the woman he likes her, whether or not to interact with the people around him, wonders how to begin to tell the woman, whether it is worth it to take action, how to part his hair, whether or not to each a peach, etc. PRUFROCK PERSONAL AD PROMPT: Write a typed, double-­‐spaced, one-­‐page personal ad that describes J. Alfred Prufrock as an individual seeking love. The ad should be rooted in the poem itself and you should use descriptive adjectives. PRUFROCK PERSONAL AD RUBRIC: LESSON 3 ASSESMENTS: IMAGIST POETRY QUESTIONS: 1. Given the setting of the poem, “In a Station of the Metro”, analyze why is the image of “petals on a wet, black bough” surprising? 2. Why do you think Pound chose to use the word apparition rather than appearance? 3. Of the fourteen lines in “In the Station of the Metro” not one of them is a verb. A.) How does this absence reflect the criteria Pound lists in his essay? B.)How does it affect the reader’s experience of the poem? 4. In what ways is Pound’s advice to a.) avoid abstractions and b.) avoid superfluous words evident in all of these poems we read in class? 5. Explain how Modernism’s “self-­‐conscious break from tradition” is evident in these poems. 6. In what ways might these imagist poems be compared and contrasted to Eliot’s “The Love Song of J. Alfred Prufrock” and the Duchamp’s painting, “Nude Descending a Staircase”? What parts of them might be alike and what parts might be different? 7. Take a look at your descriptive sentences, and write the one you feel is your best below. 8. What imagery did you use in this sentence? 9. What other figurative language did you include? 10. Are there any other poem-­‐like qualities in your sentence? 11. Is your sentence a poem? Why or why not, or how could it be so? 12. Rewrite your sentence as a poem: IMAGIST POETRY QUESTIONS ANSWER KEY: (Answers may very) 1. Given the setting of the poem, “In a Station of the Metro”, analyze why is the image of “petals on a wet, black bough” surprising? A metro station is urban, underground, dingy, dirty, and busy; petals on a wet bough are delicate, peaceful, and natural. The comparison is surprising because most people would never have associate the two very different things. 2. Why do you think Pound chose to use the word apparition rather than appearance? Appearance implies that something has come clearly into vision, whereas apparition is usually used to describe the appearance of a supernatural thing, like ghost-­‐ something that is not clear and exact. To use the work apparition rather than appearance gives the idea of walking through the metro seeing people who are coming and going like ghosts. 3. Of the fourteen lines in “In the Station of the Metro” not one of them is a verb. A.) How does this absence reflect the criteria Pound lists in his essay? B.)How does it affect the reader’s experience of the poem? a.) Pound says to avoid superfluous words in poetry. b.) Without the verb, the reader is left with a scene, a moment in time, like a snap-­‐shot or a painting – a clear image. 4. In what ways is Pound’s advice to a.) avoid abstractions and b.) avoid superfluous words evident in all of these poems we read in class? a.) The poems only use words that give a direct image b.) All of the poems only have the bare necessity of words to give the exact image that the writer intended. 5. Explain how Modernism’s “self-­‐conscious break from tradition” is evident in these poems. Unlike traditional poetry, these poems are without a rhyme or meter. Many are shorter than traditional poetry, they are not in a traditional form, they often focus on daily, domestic subjects, the writers focus on giving one specific image to the reader rather than a series of images, the poetry is free from superfluous words etc. 6. In what ways might these imagist poems be compared and contrasted to Eliot’s “The Love Song of J. Alfred Prufrock” and the Duchamp’s painting, “Nude Descending a Staircase”? What parts of them might be alike and what parts might be different? Both Prufrock and the painting present many small, fragmented images that sometimes seem unconnected and unclear, but eventual make a whole, while the poems read in class today also present small images, but these ones present very clear images that create a whole in themselves, using only necessary words to provide the reader with a very clear, coherent image.” [Back page: answers may very] 7. Take a look at your descriptive sentences, and write the one you feel is your best below. 8. What imagery did you use in this sentence? 9. What other figurative language did you include? 10. Are there any other poem-­‐like qualities in your sentence? 11. Is your sentence a poem? Why or why not, or how could it be so? 12. Rewrite your sentence as a poem: