A five class course Max Heinegg Grade 10 and 12 ELA Medford High School, October and November 2011, C213

Overview and Purpose of the Class Day 1: To review all the terms the new standards expect students to know To discuss the distinctions between denotation and connotation To discuss the distinction between literal and figurative language Day 2: To look at the major types of narrative poems and analyze some famous examples in

terms of form and content; we will mainly look at ballads, and a bit of epics, idylls, and lays. form and content in lyric poems. We will start with the visual formal poets: e.e. cummings, Herbert, and move to the technical ones: Basho, Shakespeare, Auden.

Day 3: To look at the major types of lyric poems and analyze some famous examples in terms of

Day 4: Continued from day three, lyric poems, with a focus on content. Day 5: To review everything MCAS has asked our students to know about poetry, so we know

how our teaching of poetry is measured; to review other poems that teach the same skills

Sources: Grade 10 ELA MCAS 2005-2010, modern lyric and narrative poetry from 100 Best Loved

Poems, a simple Dover Thrift Edition I have purchased, and from the public domain, as well as from our anthology.

Here are the formal devices from the New Standards, aka Poetic Terms

Ballad: a songlike poem; folk ballads = London Bridge and literary ones = Rime of the Ancient Mariner S.T. Coleridge Chorus: the repetitive part of the song; teach this with any contemporary song Consonance: east/ west, struts/frets Diction: word choice what informs style Extended Metaphor Rihannas Take a Bow good for an activityHeroic couplet: O could I flow like thee, and make thy stream / My great example, as it is my theme!

Iambic pentameter: five iambic feet (soft, loud syllables) Metaphor: when we pretend (and say) one thing is another, e.g All the worlds a stage Meter: The beat of the line and the metrical unit of choice (how you use your Feet) Onomatopoeia: When a word means what it sounds like. Pastoral: The Passionate Shepherd to his Love teach with the Nymphs Reply Personification: giving human characteristics to non-human things; the sky is crying Rhyme: cat/ sat! Assonance plus consonance = rhyme usually. Simile: a comparison using like or as; a simile activity would be good for middle school, use I am as your base Sonnet: 14 lines poem, usually about love, with some rigid requirements. Stanza: a group of lines in a poem Style: Word choice that creates voice; the way the writer works verbally Syntax: word order; teach this with Yoda quotes or Beowulf Tone: Authorial attitude towards subject; read an editorial Theme: the broad idea, message, or moral Voice: authorial style that conveys personality Verse: another word for poetry, but in a song its the stanzas that are the body of the song, and not the chorus

Here are terms the standards skipped

Enjambment: run on line End stopped line: where the meter and the meaning conclude at the end of the line Caesura: a complete pause in the middle of a line of poetry Foot: The foot is the basic metrical unit in a line of verse, e.g. iambic pentameter ( five iambic feet) Trochee, dactyl, anapest, spondee (types of feet) Lyric: A poem that expresses thoughts and feelings Narrative: A poem that tells a story Free verse: poetry without rhyme or meter; blank verse: unrhymed iambic pentameter Elegy: poem for the dead; the most famous include For the Union Dead and O Captain Acrostic, limerick, cinquain types of short poems (acrostic is the visual one) Ode: lyric poem on a serious subject Villanelle: 19th century poetic form that uses only two rhyme sounds Couplet, tercet, quatrain, cinquain, sestet, septet, octet Ottava rima: rhyming stanza form of Italian origin - abababcc Repetition: repetition. Refrain: line or lines repeated in verse or song in a song its usually the chorus Near rhyme, slant rhyme, internal and external rhyme Metonymy: when one word is substituted with another word with which it is closely related Synecdoche: in figurative language, where the part stands for the whole, or vice versa Rhapsodes, scops, griots (oral tradition)

Sample Lesson to Teach Literary Terms: Thanksgiving Rap Battle

Tricks of the trade: Alliteration Assonance

Repetition of same initial letter: Sally sells sea shells Repetition of the vowel sounds of words, but not rhyming: Face and fade, night and like Consonance Repetition of the ending consonants, but not rhyming: East and west, caught and, built Dialect Using the slang and specific words based on where you are from Internal Rhyme Rhyming inside the lines: I see the bee fly free End Rhyme Rhyme at the end of lines: The old cat/ On the rug sat Rhyme Scheme The pattern of end rhymes Poetic License Changing the spelling of words to suit your purpose Meter The beat of the lines, the rhythm of it, patterns of syllable stress Poetic tricks you are familiar with, like simile, metaphor, and personification are also used. Examples for Jay-Zs 99 Problems Half-a-mil for bail cause I'm African All because this fool was harrasin them Tryin to play the boy like hes saccharine Terms used: End rhyme, rhyme scheme, You know the type: loud as a motor bike But wouldn't bust a grape in a fruit fight The only thing that's gonna happen is I'mma get to clappin He and his boys gon be yappin to the captain Terms used: Simile, Assonance, Dialect In groups or alone, compose your own rap verse about what you love about Thanksgiving: She/He who uses the most terms correctly wins a turkey. No, seriously.

Another lesson for Literary Terms: Beowulf!

The Beowulf Brag This Anglo-Saxon inspired brag is due Thors day (ha) 20 lines for Standard - 30 lines for Honors (essentially you need to hit a term every other line) has to: (a la Beowulf to Unferth) address someone and promise you will do something, while announcing proof that you will accomplish this act, or just brag about your awesomeness a la Run DMC The King of Rock technical bits: Honors (do all) Standard (do 8) 1) alliteration 2) allusion (preferably Biblical) 3) assonance 4) caesura 5) consonance 6) epithet 7) homily 8) hyperbole 9) kenning 10) litotes 11) simile 12) personification at the bottom of the poem, provide footnotes that explain each of the pieces you used (number them) for that extra bit, you may weave in some religious or pagan imagery like the Beowulf poet and/or the monk did

rubric: you will be graded on your correct and effective use of the terms, the richness of your diction (word choices), the extent to which tone and style cohere, and the overall development, and effect of your brag Humor is always welcome and effective.

Were you so inclined. Meter.

iamb one unstressed syllable followed by a stressed syllable (e.g. describe, Include, retract) trochee one stressed syllable followed by an unstressed syllable (e.g. picture, flower) dactyl one stressed syllable followed by two unstressed syllables (e.g.annotate an-no-tate) anapest two unstressed syllables followed by one stressed syllable (e.g. comprehend com-prehend) spondee two stressed syllables together (e.g.enough) pyrrhic two unstressed syllables together (rare, usually used to end dactylic hexameter)

The number of metrical feet in a line are described in Greek terminology as follows: monometer - one foot dimeter two feet trimeter three feet tetrameter four feet pentameter five feet hexameter six feet heptameter seven feet octameter eight feet

For example: Iambs: To swell the gourd and plump the hazel shells (Keats)Trochees: Peter Peter Pumpkin Eater Anapests: Twas the night before Christmas and all through the house Spondees: This labour, by slow prudence to make mild (Tennyons Ulysses http://en.wikipedia.org/wiki/Meter_(p oetry)

Language Distinctions

We begin with two major distinctions in language: denotation and connotation.A word's denotation is its literal definition. For example: Snake: a limbless reptile with a long, scaly bodyA word's connotation is all the association we have with it. For example: "snake in the grass," the biblical serpent, the danger of poisonous snakes, our own fear of snakes, or a malevolent (evil, bad) person might be called "a real snake" Connotation can depend on the person who hears the word and brings his or her own associations to it. * A plumber might immediately think of a plumbing tool called a snake. *A biologist might think of the rare Indigo Snake he felt lucky to see the past weekend. Some words, though, have shades of meaning that are commonly recognized. While "serpent" is literally a snake, the word "serpent" is usually associated with evil. In today's society, "politician" has somewhat negative associations, while "statesman" sounds more positive. Directions: For these conditions, first think of a word with a positive connotation, and then think of a word with a negative connotation.

Condition 1. overweight 2. short 3. not smart 4. unattractive 5. non-athletic

Positive Connotation ________________________ ________________________ ________________________ ________________________ ________________________

Negative Connotation ___________________ ___________________ ___________________ ___________________ ___________________

http://teacherweb.com/AR/LakesideJuniorHighSchool/MrsCannellsEnglish9/DenotationConnotationClusters.doc

Class Activity on Connotation and Denotation Word

denotation

connotation

Apple Bed Dream Rain Love Father Mother Flower Grave Winter Spring Shadow River Graveyard

Car Activity:Which car names have an actual denotation, and which play on our sense of a word, its connotation or its roots connotation? Some names conjure an image but have no real definition, as a word need not have a true denotation to have a connotation; it need only have a root we know, or sound like another word For each of the following 15 cars (some of the most popular in the US), say what it means (denotation) makes you think of (its connotation); if it has no apparent denotation, say its connotation (to you) and any images that come to your mind. Camry Sorrento Altima

Sonata Equinox Elantra Accord

Focus Escape Explorer Cruze

Fiesta CR-V RAV-4 F-150

Cars and connotation, continued

Car Names: Here are some car names from the past: Thunderbird, Falcon, Charger, Comet, Mustang, Barracuda, Rabbit, Pinto, Gremlin. Choose one of these cars & answer these questions: 1. What sort of image do you get from this name?________________________________ 2. What kind of performance would you expect from this car?___________________________ 3. What kind of person would this product target?_____________________________________ Now, you think of a name for a car. First, decide if your product is a mini-van, SUV, sports car, luxury car, whatever?_________________________________________________________ Then, think of your target consumer:________________________________________________ Then, think of a name for your product that describes its function and performance and would appeal to your target consumer:____________________________________________________ http://www.csun.edu/~bashforth/098_PDF/06Sep15Connotation_Denotation.pdf

Literal and Figurative Language

Figurative language, i.e. figures of speech (most of our literary terms are these); Parting is such sweet sorrow (Romeo and Juliet); this is alliteration and metaphor: such sweet sorrow (repetition of s) and the metaphorical idea of leaving a loved one is emotionally bittersweet; in addition, one could nearly argue the rendering of the emotion as a flavor is synaesthesia Have students make a list of dead boring literal statements, and then, side by side, make them figurative: L: Its raining outside F: Its raining cats and dogs L: I think its cold in MHS F: MHS is as cold as Hell! L: I enjoy going to work. F: I am in love with work. Stop laughing.

Class Activity with Literal and Figurative LanguageLiteral

Figurative

I am in love with her ________________________________ Shaquille ONeal is tall ________________________________ I enjoyed this meal ________________________________ I am quite tired ________________________________ I am very bored ________________________________ The temperature is high ________________________________ The temperature is low ________________________________ My friend is kind ________________________________ My friend is annoying ________________________________ My home is pleasant _________________________________ My finances are in disrepair _________________________________ You spend a lot of time at the gym_______________________________ MH

Making Figurative Language Literal

Many students have trouble understanding poetry because they get lost in figurative language. For each of the following examples, translate the figurative language into literal

"The only monster here is the gambling monster that has enslaved your mother! I call him Gamblor, and it's time to snatch your mother from his neon claws!" (Homer Simpson, The Simpsons)

"The road isn't built that can make it breathe hard!" (slogan for Chevrolet automobiles)

"Unseen, in the background, Fate was quietly slipping the lead into the boxing gloves." (P.G. Wodehouse, Very Good, Jeeves, 1930)

[inside SpongeBob's mind] SpongeBob boss: Hurry up! What do you think I'm paying you for? SpongeBob worker: You don't pay me. You don't even exist. We're just a clever visual metaphorused to personify the abstract concept of thought. SpongBob boss: One more crack like that and you're outta here! SpongeBob worker: No, please! I have three kids! ("No Weenies Allowed," SpongeBob SquarePants, 2002)

"Fear knocked on the door. Faith answered. There was no one there." (proverb quoted by Christopher Moltisanti, The Sopranos)

"Life is like a game of cards. The hand that is dealt you represents determinism; the way you play it is free will. Jawaharlal Nehru "Life is like a ten-speed bicycle. Most of us have gears we never use. Charles M. Schulzhttp://grammar.about.com/od/pq/g/personifterm.htm

Figurative and Literal Language Activity: Explain each metaphor in literal language1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13.

Dying is a wild night and a new road Dickinson Conscience is a mans compass Van Gogh Chaos is a friend of mine Bob Dylan Art washes away from the soul the dust of everyday life Picasso All religions, arts, and sciences are branches of the same tree Einstein All our words are but crumbs that fall down from the feast of the mind Kahlil Gibran A good conscience is a continual Christmas Benjamin Franklin All the worlds a stage and the men and women merely players/ They have their entrances and exits / Their acts being seven stages Shakespeare I am a rock / I am an island Paul Simon "Life is a journey, but don't worry, you'll find a parking spot at the end. Isaac Asimov "Life is a moderately good play with a badly written third act. Truman Capote "Life is the art of drawing without an eraser. John W. Gardner http://www.drmardy.com/metaphor/inevermetaphor.shtml http://www.macmillandictionaryblog.com/famous-metaphors

Form and Content Form is the shape the poem takes, from how it appears on the page (see Charles Olson or e.e.

cummings, who saw the page the way a painter sees a canvas), and from line to line. A line is analogous to a sentence in prose, but it is different, because the poet is also a musician. A line can follow the breath, as in Whitman or his heir Allen Ginsberg, or it can be boxed in (often beautifully) by meter, see Frost and other practitioners of blank verse, i.e. unrhymed iambic pentameter. Form is the auditory techniques the poet uses to make a poem sound like a prayer, song, or spell; techniques like assonance, consonance, dissonance, alliteration, and the grand-pappy of them all: rhyme, which can be internal, external, or slant Form is also the techniques used to make new associations between things or experiences similes, metaphors, and variations on these: personification, kenning, metonymy, synecdoche Form includes the poets bag of tricks, her or his arsenal of figurative language techniques, things like imagery, i.e. language that appeals to the senses and from the world of rhetoric, anaphora, epistrophe, symploce (repetition of the beginning or end of a line symploce is when you have both) and antithesis Ask not what your country can do for you/ Ask what you can do for your country which is also anaphora and parallel structure

Content: Main idea, theme, message, moral

MH

Day Two: Narrative poetry

Today I want to introduce narrative poetry and then focus on several groupings of narrative poetry. Poetry by groups Group #1: What we wont be reading today, but what you could do if you had a lot of time, i.e. a class. This includes epics which will be given short shrift. Im just looking at three. Group #2: Fun narrative poems, to show that poetry neednt be stuffy or obfuscating-ly suffused with impenetrable erudition. We will focus on Lewis Carroll. Group #3: Ballads and particularly murder ballads. Just like the sick interest in CSI et cetera, popular songs that tell macabre stories are quite teachable! Group #4: Mysterious narratives, to illustrate how the magic of language can work in lovely concert with mysterious content (as in the classs title, Form and Content); here we will focus on the femme fatale. Group #5: How poetry is perfectly suited to tell the story of universal experiences, from childhood reveries to elegies. Here we will focus on the Nobel prize winning poet (and local professor) Seamus Heaney. Group #6: Famous or just excellent narrative poems that we may not have time to get to- ones that work to teach particular techniques or that work well to assign writing.

MH

Two main types of poems: Lyric and Narrative Poetrys roots are both lyric and narrative; from the Greeks and Romans for example, we have the poetry of Homer and Sappho, from the Romans, Virgil and Catullus Narrative poetry has a plot; lyric does not Lyric poetry is concerned with the poets thoughts and feelings about experiences, life, love, death, objects, travel, et cetera Epic narratives spoke to the souls desire for grandeur and great adventure epic tales and epic heroes; the lyric speaks to the level of the everyday, our loves, thoughts, dreams and perceptions Poetry has traditionally been accompanied by music; from the Greek lyre to the Celtic harp, from The Odyssey to Beowulf to todays rock and folk musicians with guitars, from Elliott Smith to Bob Dylan, poetry enchants the ear and has a natural friend in music and the singing voice. Epic poems and romances were poetic narratives; much poetry today is lyric, as is most music (except country!) Country music is a great resource for narrative poetry; folk music is a great resource for ballads. Poetry is also the form of choice in much drama Shakespeare for example.

MH

Intro to narrative poetry

Narrative poetry is poetry that has a plot. The poems that make up this genre may be short or long, and the story it relates to may be simple or complex. It is usually non-dramatic, with objective regular scheme and meter.[1] Narrative poems include epics, ballads, idylls and lays. Realistically, its epics, and ballads. They also include romances; the romance is a medieval verse narrative depicting a knight on a journey for the love of a lady of a high ideal examples of this would be the Arthurian legend, and in particular, Tristan and Iseult. I teach the Bedier translation its 89 pages and rocks. Other examples include the Romance of the Rose or Tennyson's Idylls of the King. Although these examples use medieval and Arthurian materials, romances may also tell stories from classical mythology. A good example of that would be Ovids Metamorphoses; you could take his retelling of the story of Icarus or Narcissus if you like.

Shorter narrative poems are often similar in style to the short story. Sometimes these short narratives are collected into interrelated groups, as with Chaucer's Canterbury Tales. Some literatures contain prose narratives that include poems and poetic interludes; much Old Irish poetry is contained within prose narratives, and the Old Norse sagas include both incidental poetry and the biographies of poets. An example is "The Cremation of Sam McGee" by Robert Service. In terms of what works in high school, and what we teach in 10th grade, the Canterbury Tales works best, in particular, if you are confident, the Millers Tale, the Wife of Baths Tale, the Reeves Tale, The Pardoners Tale, and of course, the general prologue which is a masterpiece. Chaucers The Pardoners tale is the best story to teach Irony. http://en.wikipedia.org/wiki/Narrative_poetry (a reference for this page)

Famous narratives to use in class

Epics signature aspects

An epic or heroic poem; a long narrative poem; On a serious subject Written in a grand or elevated style; Centered on a larger-than-life hero. Epics also tend to have the following characteristics: An opening in medias res (in the middle of the action) An invocation to the Muse (you see this in Homer and Milton) A concern with the fate of a nation or people; A correspondingly large scale, often ranging around the world (and in Milton's case, beyond the earth and into heaven); The intervention of supernatural figures, who are interested in the outcome of the action (the system of gods, demons, angels, and such is often called machinery); Extended similes, generally called epic similes (you find this a lot in Homer) Long catalogues, whether of ships, characters, or places; Extensive battle scenes (particularly the Iliad) A few stock episodes, including a visit to the underworld (the Odyssey)

http://andromeda.rutgers.edu/~jlynch/Terms/epic.html

Epic poetry

Homer wrote the oldest surviving epics, the Iliad and the Odyssey, from around 750 B.C.E. To be precise, change wrote to composed: Homer, even if there was a single individual called Homer, was probably illiterate, and probably composed orally. Virgil, although thoroughly literate, consciously imitated many of Homer's techniques, and produced the most famous epic poem of Augustan Rome, the Aeneid. Many of the characteristics of later epic derive from the quirks of oral composition.I n both Greek and Latin, the most common epic meter was dactylic hexameter. That's a difficult meter to pull off in English, though; English epics aren't associated with any one meter, though most of them beginning with Spenser are in pentameter. Famous English epics include the Old English poem Beowulf (written inalliterative meter); in the Renaissance, Spenser's Faerie Queene (with its complicated Spenserian stanza) and Milton's Paradise Lost (in blank verse). In the late seventeenth and early eighteenth centuries, heroic couplets were considered the best form for epics; Dryden's translation of Virgil and Pope's translation of Homer use heroic couplets. The history of the epic is worth studying in some detail. The Iliad, Odyssey, and Aeneid are the most famous epics of antiquity, but not the only ones; Statius'Thebaid, for instance, is worth reading. In the Middle Ages, the dominant long narrative form is the romance, which is epic's kissin' cousin.

Dante's Divine Comedy is probably best described as an epic. It has three parts, LInferno, Puratorio, and Paradiso, or Hell, Purgatory, and Heaven. Most MHS seniors read the Inferno. As you get into the Renaissance, the familiar pattern of the classical epic becomes more visible: Ariosto's Orlando Furioso (1516) mixes romance with epic, but Tasso's Gerusalemme Liberata (1575) is clearly modeled on the epics of Homer and Virgil. Camoens's Lusiads are the great Portuguese epic. The first great English epic of the Renaissance is Spenser's Faerie Queene (159096), followed by Milton's Paradise Lost (1667-74). But then the form seems to disappear, or at least to trasform itself radically. For most MHS students, I would say they should be familiar with Gilgamesh The Iliad The Odyssey The Aeneid Beowulf The Divine Comedy Paradise Losthttp://andromeda.rutgers.edu/~jlynch/Terms/epic.html

The Iliad

The ten year war between the Greeks and Trojans over Helen (of Sparta, then of Troy) The poem details the rage of Achilles after losing Briseis, his war prize, to Agamemnon, the general. He prays that the Greeks lose the war until he re-enters the battle so everyone will see his worth. Zeus grants his mothers wish that this be so and for about 20 books the lesser warriors duke it out until Achilles puts on his armor (which takes a whole book) and kills Hector after which he drags his body around Troy still angry that Hector has killed his friend Patroclus. In the end of the book, Achilles returns Hectors body to Priam and Hector is buried. Many people do not realize that Achilles is alive and Troy is standing at the end of the Iliad. The book exalts courage, friendship, the power of the gods, and also is critical of various human traits, including hubris, cowardice (Paris), vanity etc. It is unrivaled for action and war scenes.

The OdysseyThe greatest story ever told IMHO. This is the ten year return of Odysseus, king of Ithaca, from the Trojan War. After angering Poseidon, the god of the sea, by blinding his son Polyphemus (a cyclops), he struggles to reach home. Along the way he faces the sirens, the straits of Scylla and Charybdis, the island of the Lotus, the temptation of eating the cattle of Hyperion, the magic of Circe, and the loveliness of Calypso, before benefitting from Alcinous and the Phaecians, who send him home on a boat. Once there, he uses his wits and the help of his patron goddess Athena, and his son Telemachus to craft a plan to violently take back his home from the suitors who seek to steal his world. Disguised as an old man, he gets his wife to hold an archery competition in a weaponless room; once cornered, he wins the competition, reveals himslef, and brutally kills them all, thus retaking his home!

Beowulf:Anonymous 3200 line epic that details the exploits of the hero Beowulf as he brings peace to Denmark and slays three magical monsters: Grendel, Grendels mother, and a dragon.Hallmarks: kennings (compound metaphors) alliteration alliterative verse, not metrical, Homily (advice), litotes (understatement via the double negative), hyperbole, personification, and the typical tricks: simile, metaphorAs you probably know, the key concepts in the poem are : Lof: fame for valor Wyrd: the sense of destiny Comitatus: loyalty between king and thane, valor for gold Wergild: every life has its price It follows Joseph Campbells The Heros Journey and exalts a fatalistic warrior culture, placing emphasis on loyalty, courage, and doing what you say youll do. It has a mixture of pagan and Christian motifs, and is boatloads of bloody fun.

http://www.jnanam.net/beowulf_art/keepin g-beowulfgrendlesma-e.jpg

Fun Narrative poem #1, The Jabberwocky

JABBERWOCKY Lewis Carroll (from Through the Looking-Glass and What Alice Found There, 1872) `Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. "Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!"

Activity #1: Have students write down the action of the poem and describe the poems participants Activity #2 Language Enrichment: have students create their own portmanteaus here: http://werdmerge.com/ The word "portmanteau" was first used in this sense by Lewis Carroll in the book Through the Looking-Glass (1871),[4] in which Humpty Dumpty explains to Alice the coinage of the unusual words in Jabberwocky,[9] where "slithy" means "lithe and slimy" and "mimsy" is "flimsy and miserable." Humpty Dumpty explains the practice of combining words in various ways by telling Alice, 'You see it's like a portmanteau -- there are two meanings packed up into one word.' http://en.wikipedia.org/wiki/Portmanteau

He took his vorpal sword in hand: Long time the manxome foe he sought -So rested he by the Tumtum tree, And stood awhile in thought. And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! One, two! One, two! And through and through The vorpal blade went snicker-snack! He left it dead, and with its head He went galumphing back. "And, has thou slain the Jabberwock? Come to my arms, my beamish boy! O frabjous day! Callooh! Callay!' He chortled in his joy.

`Twas brillig, and the slithy toves Did gyre and gimble in the wabe; All mimsy were the borogoves, And the mome raths outgrabe.

http://www.jabberwocky.com/carroll/jabber/jabberwocky.html

Fun Narrative poetry #2: Lewis Carroll

The Walrus and The Carpenter Lewis Carroll (from Through the Looking-Glass and What Alice Found There, 1872)The sun was shining on the sea, Shining with all his might: He did his very best to make The billows smooth and bright-And this was odd, because it was The middle of the night. The moon was shining sulkily, Because she thought the sun Had got no business to be there After the day was done-"It's very rude of him," she said, "To come and spoil the fun!" The sea was wet as wet could be, The sands were dry as dry. You could not see a cloud, because No cloud was in the sky: No birds were flying overhead-There were no birds to fly. The Walrus and the Carpenter Were walking close at hand; They wept like anything to see Such quantities of sand: "If this were only cleared away," They said, "it would be grand!" "If seven maids with seven mops Swept it for half a year. Do you suppose," the Walrus said, "That they could get it clear?" "I doubt it," said the Carpenter, And shed a bitter tear.

And shook his heavy head-Meaning to say he did not choose To leave the oyster-bed.

We can begin to feed."

But four young Oysters hurried up, All eager for the treat: Their coats were brushed, their faces washed, Their shoes were clean and neat-And this was odd, because, you know, They hadn't any feet. Four other Oysters followed them, And yet another four; And thick and fast they came at last, And more, and more, and more- All hopping through the frothy waves, And scrambling to the shore. The Walrus and the Carpenter Walked on a mile or so, And then they rested on a rock Conveniently low: And all the little Oysters stood And waited in a row. "The time has come," the Walrus said, "To talk of many things: Of shoes--and ships--and sealingwax-Of cabbages--and kings-And why the sea is boiling hot-And whether pigs have wings." "But wait a bit," the Oysters cried, "Before we have our chat; For some of us are out of breath, And all of us are fat!" "No hurry!" said the Carpenter. They thanked him much for that. "A loaf of bread," the Walrus said, "Is what we chiefly need: Pepper and vinegar besides Are very good indeed-Now if you're ready, Oysters dear,

"But not on us!" the Oysters cried, Turning a little blue. "After such kindness, that would be A dismal thing to do!" "The night is fine," the Walrus said. "Do you admire the view? "It was so kind of you to come! And you are very nice!" The Carpenter said nothing but "Cut us another slice: I wish you were not quite so deaf-I've had to ask you twice!" "It seems a shame," the Walrus said, "To play them such a trick, After we've brought them out so far, And made them trot so quick!" The Carpenter said nothing but "The butter's spread too thick!" "I weep for you," the Walrus said: "I deeply sympathize." With sobs and tears he sorted out Those of the largest size, Holding his pocket-handkerchief Before his streaming eyes. "O Oysters," said the Carpenter, "You've had a pleasant run! Shall we be trotting home again?' But answer came there none-And this was scarcely odd, because They'd eaten every one.

"O Oysters, come and walk with us!" The Walrus did beseech. "A pleasant walk, a pleasant talk, Along the briny beach: We cannot do with more than four, To give a hand to each." The eldest Oyster looked at him, But never a word he said: The eldest Oyster winked his eye,

Ballad 101

Ballad Writing Tips often have verses of four lines usually have a rhyming pattern: either abac or aabb or acbc (usually the easiest to rhyme) repetition often found in ballads entire stanzas can be repeated like a song's chorus lines can be repeated but each time a certain word is changed a question and answer format can be built into a ballad: one stanza asks a questions and the next stanza answers the question Ballads contain a lot of dialogue. Action is often described in the first person Two characters in the ballad can speak to each other on alternating lines Sequences of "threes" often occur: three kisses, three tasks, three events, for example

Ballad: a relatively short narrative poem, written to be sung, with a simple and dramatic action. The ballads tell of love, death, the supernatural, or a combination of these. Two characteristics of the ballad are incremental repetition and the ballad stanza. Incremental repetition repeats one or more lines with small but significant variations that advance the action. The ballad stanza is four lines; commonly, the first and third lines contain four feet or accents, the second and fourth lines contain three feet. Ballads often open abruptly, present brief descriptions, and use concise dialogue. The folk ballad is usually anonymous and the presentation impersonal. The literary ballad deliberately imitates the form and spirit of a folk ballad. The Romantic poets were attracted to this form, as Longfellow with "The Wreck of the Hesperus," Coleridge with the "Rime of the Ancient Mariner" (which is longer and more elaborate than the folk balad) and Keats with "La Belle Dame sans Merci" (which more closely resembles the folk ballad).

http://www.studyguide.org/ballads.htm

http://academic.brooklyn.cuny.edu/english/melani/lit_term.html

Folk Ballad #1

Get up and Bar the Door IT fell about the Martinmas time, And a gay time it was then, When our good wife got puddings to make, And shes boild them in the pan. The wind sae cauld blew south and north, 5 And blew into the floor; Quoth our goodman to our goodwife, Gae 1 out and bar the door. My hand is in my hussyfskap, 2 Goodman, as ye may see; 10An it shoud nae be barrd this hundred year, Its no be barrd for me. They made a paction tween them twa, They made it firm and sure, That the first word whaeer shoud speak, 15 Shoud rise and bar the door. Then by there came two gentlemen, At twelve oclock at night, And they could neither see house nor hall, Nor coal nor candle-light. 20 Now whether is this a rich mans house, Or whether is it a poor? But neer a word wad ane o them speak, For barring of the door. And first they ate the white puddings, 25 And then they ate the black; Tho muckle thought the goodwife to hersel,

Yet neer a word she spake. Then said the one unto the other, Here, man, tak ye my knife; 30 Do ye tak aff the auld mans beard, And Ill kiss the goodwife. But theres nae water in the house, And what shall we do than?What ails thee at the puddingbroo, 3 35 That boils into the pan? O up then started our goodman, An angry man was he: Will ye kiss my wife before my een, And scad 4 me wi pudding-bree? 40 Then up and started our goodwife, Gied three skips on the floor: Goodman, youve spoken the foremost word, Get up and bar the door. Note 1. Housewifery. [back]Note 2. Water in which the puddings were boiled. [back]Note 3. Scald. [back]Note 4. Dry, make. [back]

Describe the argument and deal the husband and wife make Describe who enters the house and how the spouses react What happens at the end of the ballad? What is the joke?

Lord Randall

Narrative Poetry: Lord Randall murder ballad #1, plus its echo

"Oh where ha'e ye been, Lord Randall, my son! And where ha'e ye been, my handsome young man!" "I ha'e been to the wild wood: mother, make my bed soon, For I'm wearied wi' hunting, and fain wald lie down." "An wha met ye there, Lord Randall, my son? An wha met you there, my handsome young man?" "I dined wi my true-love; mother, make my bed soon, For I'm wearied wi hunting, and fain wad lie doon." "And what did she give you, Lord Randall, my son? And what did she give you, my handsome young man?" "Eels fried in broo; mother, make my bed soon, For I'm wearied wi hunting, and fain wad lie doon." "And wha gat your leavins, Lord Randall, my son? And wha gat your leavins, my handsome young man?" "My hawks and my hounds; mother, make my bed soon, For I'm wearied wi hunting, and fain wad lie doon." "What become a yer bloodhounds, Lord Randall, my son? What become a yer bloodhounds, my handsome young man?" "They swelled and they died; mother, make my bed soon, For I'm weary wi huntin, and fain wad lie doon." "O I fear ye are poisoned, Lord Randall, my son! I fear ye are poisoned, my handsome young man!" "O yes, I am poisoned; mother, make my bed soon, For I'm sick at m' heart, and I fain wad lie doon."

http://www.poemhunter.com/poem/lord-randall-2/ Ask: What do you notice in terms of dialect? Tell me what the mother discovers from her questions? What is the repetitive base of Lord Randall? Who is responsible for poisoning him?

A Hard Rain's A-Gonna Fall Oh, where have you been, my blue-eyed son? Oh, where have you been, my darling young one? Ive stumbled on the side of twelve misty mountains Ive walked and Ive crawled on six crooked highways Ive stepped in the middle of seven sad forests Ive been out in front of a dozen dead oceans Ive been ten thousand miles in the mouth of a graveyard And its a hard, and its a hard, its a hard, and its a hard And its a hard rains agonna fall Oh, what did you see, my blue-eyed son? Oh, what did you see, my darling young one? I saw a newborn baby with wild wolves all around it I saw a highway of diamonds with nobody on it I saw a black branch with blood that kept drippin I saw a room full of men with their hammers ableedin I saw a white ladder all covered with water I saw ten thousand talkers whose tongues were all broken I saw guns and sharp swords in the hands of young children And its a hard, and its a hard, its a hard, its a

hard And its a hard rains agonna fall And what did you hear, my blue-eyed son? And what did you hear, my darling young one? I heard the sound of a thunder, it roared out a warnin Heard the roar of a wave that could drown the whole world Heard one hundred drummers whose hands were a-blazin Heard ten thousand whisperin and nobody listenin Heard one person starve, I heard many people laughin Heard the song of a poet who died in the gutter Heard the sound of a clown who cried in the alley And its a hard, and its a hard, its a hard, its a hard And its a hard rains agonna fall Oh, who did you meet, my blue-eyed son? Who did you meet, my darling young one? I met a young child beside a dead pony I met a white man who walked a black dog I met a young woman whose body was burning I met a young girl, she gave me a rainbow I met one man who was wounded in love I met another man who was wounded with hatred And its a hard, its a hard,

its a hard, its a hard Its a hard rains a-gonna fall Oh, whatll you do now, my blue-eyed son? Oh, whatll you do now, my darling young one? Im a-goin back out fore the rain starts a-fallin Ill walk to the depths of the deepest black forest Where the people are many and their hands are all empty Where the pellets of poison are flooding their waters Where the home in the valley meets the damp dirty prison Where the executioners face is always well hidden Where hunger is ugly, where souls are forgotten Where black is the color, where none is the number And Ill tell it and think it and speak it and breathe it And reflect it from the mountain so all souls can see it Then Ill stand on the ocean until I start sinkin But Ill know my song well before I start singin And its a hard, its a hard, its a hard, its a hard Its a hard rains a-gonna fall

Murder Ballad #2 and #3 : Frankie and Johnny and Hey Joe Comparison activity

Frankie And Johnny Recorded by Hank Snow written by Jimmie Rodgers G Now Frankie and Johnny were sweethearts Oh Lord how they did love CG Swore to be true to each other true as the stars above D7 G He was her man but he wouldn't do her wrong Now Frankie went down to the corner Just for a bucket of beer CG She said Mr. Bartender has my loving Johnny been here D7 G He's my man he wouldn't do me wrong I don't want to cause you no trouble Woman I ain't gonna lie CG But I saw your lover an hour ago with a girl named Nellie Blie D7 G He's your man but he's doing you wrong Now Frankie looked over the transom She saw to her surprise CG There on the couch sat Johnny making love to Nellie Blie D7 G He's my man but he's doing me wrong Frankie threw back her Kimono Took out her little 44 CG

Rutty too-too three times she shot right through that hardwood door D7 G Shot her man he was doing her wrong Now bring out your rubber tired hearses Bring out your rubber tired hack CG I'm taken my man to the graveyard and I ain't gonna bring him back D7 G He was my man but he done me wrong Bring round a thousand policemen Bring 'em around today CG To lock me down in that dungeon cell and throw that key away D7 G I shot my man he was doing me wrong Now Frankie she said to the warden What are they going to do CG The warden he said to Frankie it's the electric chair for you D7 G You shot your man he was doing you wrong Now this story has no moral This story has no end CG This story just goes to show that there ain't no good in man D7 G He was her man but he done her wrong

Hey Joe by Tim Rose As played by Jimi HendrixHey joe, where you goin' with that gun of your hand Hey joe, i said where you goin' with that gun in your hand, oh I'm goin' down to shoot my old lady You know i caught her messin' 'round with another man Yeah, i'm goin' down to shoot my old lady You know i caught her messin' 'round with another man Huh! and that ain't cool Huh hey hoe, i heard you shot your mamma down You shot her down now Hey joe, i heard you shot your lady down You shot her down in the groud yeah! Yeah! Yes, i did, i shot her You know i caught her messin' round messin' round town Huh, yes i did i shot her You know i caught my old lady messin' 'round town And i gave her the gun And i shot her Alright Shoot her one more time again baby! Yeah! Oh dig it Oh alright Hey joe, Where you gonna run to now where you gonna go Hey joe, i said Where you gonna run to now where you gonna go I'm goin' way down south Way down to mexico way Alright I'm goin' way down south Way down where i can be free Ain't no one gonna find me Ain't no hang-man gonna He ain't gonna put a rope around me You better believe it right now I gotta go now Hey, joe You better run on down Goodbye everybody Hey hey joe

Hendrix image: http://www.thisdayinmusic.com/upload/jimi_hendrix_hey_joe_13101.JPG Elvis image: http://ecx.images-amazon.com/images/I/51JC8BY1W9L._SL500_AA300_.jpg

Not a Ballad, but still murder! A Poison Tree, by William Blake

I was angry with my friend: I told my wrath, my wrath did end. I was angry with my foe: I told it not, my wrath did grow. And I watered it in fears Night and morning with my tears, And I sunned it with smiles And with soft deceitful wiles. And it grew both day and night, Till it bore an apple bright, And my foe beheld it shine, And he knew that it was mine,-And into my garden stole When the night had veiled the pole; In the morning, glad, I see My foe outstretched beneath the tree

1. Play my adaptation! 2. Describe the events in the narrative? 3 What is the speakers tone? 4. What is the symbol at work in this narrative poem? 5. What is the message about repressed anger?

Femme Fatale! Mysterious Narrative#1: Keats

I. O WHAT can ail thee, knight-at-arms, Alone and palely loitering? The sedge has witherd from the lake, And no birds sing. II. O what can ail thee, knight-at-arms! 5 So haggard and so woe-begone? The squirrels granary is full, And the harvests done. III. I see a lily on thy brow With anguish moist and fever dew, 10And on thy cheeks a fading rose Fast withereth too. IV. I met a lady in the meads, Full beautifula faerys child, Her hair was long, her foot was light, 15 And her eyes were wild. V. I made a garland for her head, And bracelets too, and fragrant zone; She lookd at me as she did love, And made sweet moan. 20 VI. I set her on my pacing steed, And nothing else saw all day long, For sidelong would she bend, and sing A faerys song.

VII. She found me roots of relish sweet, 25 And honey wild, and manna dew, And sure in language strange she said I love thee true.VIII. She took me to her elfin grot, And there she wept, and sighd fill sore, 30 And there I shut her wild wild eyes With kisses four. IX. And there she lulled me asleep, And there I dreamdAh! woe betide! The latest dream I ever dreamd 35 On the cold hills side. X. I saw pale kings and princes too, Pale warriors, death-pale were they all; They criedLa Belle Dame sans Merci Hath thee in thrall! 40

XI. I saw their starved lips in the gloam, With horrid warning gaped wide, And I awoke and found me here, On the cold hills side.XII. And this is why I sojourn here, 45 Alone and palely loitering, Though the sedge is witherd from the lake, And no birds sing.

Item #1 play my adaptation! Questions: Who are the speakers? Chart the relationship between the knight and the lady? What elements of a medieval romance do we see? What things she does make her seem magical? Why is she a femme fatale? Where is the knight at the poems end?

Background to the Lorelei

Etymology The name comes from the old German words "lureln" (Rhine dialect for "murmuring") and the Celtic term "ley" (rock). The translation of the name would therefore be: "murmur rock" or "murmuring rock". The heavy currents, and a smallwaterfall in the area (still visible in the early 19th century) created a murmuring sound, and this combined with the special echo the rock produces which acted as a sort of amplifier, giving the rock its name.[1] The murmuring is hard to hear today owing to the urbanization of the area. Other theories attribute the name to the many accidents, by combining the German verb "lauern" (to lurk, lie in wait) with the same "ley" ending, with the translation "lurking rock". Original folklore and the creation of the modern myth The rock and the murmur it creates have inspired various tales. An old legend envisioned dwarves living in caves in the rock. In 1801 German author Clemens Brentano composed his ballad Zu Bacharach am Rheine as part of a fragmentary continuation of his novelGodwi oder Das steinerne Bild der Mutter. It first told the story of an enchanting female associated with the rock. In the poem, the beautiful Lore Lay, betrayed by her sweetheart, is accused of bewitching men and causing their death. Rather than sentence her to death, the bishop consigns her to a nunnery. On the way thereto, accompanied by three knights, she comes to the Lorelei rock. She asks permission to climb it and view the Rhine once again. She does so and falls to her death; the rock still retained an echo of her name afterwards. Brentano had taken inspiration from Ovid and theEcho myth. In 1824 Heinrich Heine seized on and adapted Brentano's theme in one of his most famous poems, Die Lore-Ley. It describes the titular female as a sort ofsiren who, sitting on the cliff above the the Rhine and combing her golden hair, unwittingly distracted shipmen with her beauty and song, causing them to crash on the rocks. In 1837 Heine's lyrics were set to music by Friedrich Silcher in a song that became well known in German-speaking lands. A setting by Franz Liszt was also favored, and over a score of other musicians have set the poem to music.[2] The Loreley character, although originally imagined by Brentano, passed into German popular culture in the form described in the Heine-Silcher song and is commonly but mistakenly believed to have originated in an old folk tale. The French writer Guillaume Apollinaire took up the theme again in his poem "La Loreley".

Narrative (ballad): The Lorelei

Heinrich Heine The Lorelei I wish I knew the meaning, A sadness has fallen on me. The ghost of an ancient legend That will not let me be. The air is cool in the twilight And gently flows the Rhine; A mountain peak in the setting sun Catches the faltering shine.

Teach this poem in conjunction with Keatss. How is she like a siren? What happens to the boatman when he hears her song? How does she fit the idea of the femme fatale? What is mysterious about the story? How does the language echo her song (what is hypnotic in the language)?

The highest peak still gleaming Reveals enthroned in the air, A Siren lost in her dreaming Combing her golden hair. With golden combs she caresses Her hair as she sings her song; Echoing through the gloaming Filled with a magic so strong.The boatman has heard, it has bound him In throes of desire and love. He's blind to the reefs that surround him, He sees but the Maiden above. And now the wild waters awaken Then boat and the boatman are gone. And this is what with her singing, The Lorelei has done.

http://fanzone50.com/Tales/Lorelei.html

Narrative Poetry: Death Of A Naturalist by Seamus Heaney

All year the flax-dam festered in the heart Of the townland; green and heavy headed Flax had rotted there, weighted down by huge sods. Daily it sweltered in the punishing sun. Bubbles gargled delicately, bluebottles Wove a strong gauze of sound around the smell. There were dragon-flies, spotted butterflies, But best of all was the warm thick slobber Of frogspawn that grew like clotted water In the shade of the banks. Here, every spring I would fill jampotfuls of the jellied Specks to range on window-sills at home, On shelves at school, and wait and watch until The fattening dots burst into nimbleSwimming tadpoles. Miss Walls would tell us how The daddy frog was called a bullfrog And how he croaked and how the mammy frog Laid hundreds of little eggs and this was Frogspawn. You could tell the weather by frogs too For they were yellow in the sun and brown In rain. Then one hot day when fields were rank With cowdung in the grass the angry frogs Invaded the flax-dam; I ducked through hedges To a coarse croaking that I had not heard Before. The air was thick with a bass chorus. Right down the dam gross-bellied frogs were cocked On sods; their loose necks pulsed like sails. Some hopped: The slap and plop were obscene threats. Some sat Poised like mud grenades, their blunt heads farting. I sickened, turned, and ran. The great slime kings Were gathered there for vengeance and I knew That if I dipped my hand the spawn would clutch it.

Activity: Have students compose a narrative

poem about an episode in their childhood that changed the way they looked at things. Chart his attitude towards nature before, during, and after this experience. What imagery is used to describe the horrors of nature in all its viscous grotesquery? Focus on mood shift! When does it turn?

Narrative as the poetry of experience #2:Seamus Heaney Mid-Term Break

Mid-Term Break by Seamus Heaney I sat all morning in the college sick bay Counting bells knelling classes to a close. At two o'clock our neighbors drove me home. In the porch I met my father crying-He had always taken funerals in his stride-And Big Jim Evans saying it was a hard blow. The baby cooed and laughed and rocked the pram When I came in, and I was embarrassed By old men standing up to shake my hand And tell me they were "sorry for my trouble," Whispers informed strangers I was the eldest, Away at school, as my mother held my hand In hers and coughed out angry tearless sighs. At ten o'clock the ambulance arrived With the corpse, stanched and bandaged by the nurses. Next morning I went up into the room. Snowdrops And candles soothed the bedside; I saw him For the first time in six weeks. Paler now, Wearing a poppy bruise on his left temple, He lay in the four foot box as in his cot. No gaudy scars, the bumper knocked him clear. A four foot box, a foot for every year.

http://famouspoetsandpoems.com/poets/seamus_heane y/poems/12698

1. Describe the tone; the authors attitude towards his subject 2. Describe the style, the word choice (diction) and what kind of feelings you get from his voice? 3. Describe the participants in the poem, the speaker, the deceased 4. Describe the scene at the funeral 5. How does he describe his parents? 6. How did the boy die? 7. What is the overall feeling the narrative creates? 8. How might this poem be at odds with what you might expect From an older brothers elegy for his younger brother? 9. To further that, what is most missing from the poem?

Narrative Poetry: Frost

Stopping By Woods on a Snowy Evening Whose woods these are I think I know. His house is in the village though; He will not see me stopping here To watch his woods fill up with snow. My little horse must think it queer To stop without a farmhouse near Between the woods and frozen lake The darkest evening of the year. He gives his harness bells a shake To ask if there is some mistake. The only other sound's the sweep Of easy wind and downy flake. Write a short profile of the speaker/narrator/traveler. True, the poem provides little information about him (or her). However, we do know that (1).he apparently does not want to be seen observing the woods by the man in the village; (2) he owns a little horse; (3) he is a keen observer and reporter, who tells us what the horse may be thinking http://www.ketzle.com/frost/snowyeve.htm and describes the sounds of the wind and snowflakes; (4) he appreciates nature; (5) he keeps his promisesor at least tries to do Image: http://www.susanjeffersso. http://www.cummingsstudyguides.net/Guides2/Frost.html art.com/images/snowypg.jpg 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.

Famous Narrative: to teach Dramatic Irony

The Chimney Sweeper From the Songs of Innocence William Blake

When my mother died I was very young, And my father sold me while yet my tongue Could scarcely cry 'weep! 'weep! 'weep! 'weep! So your chimneys I sweep, and in soot I sleep.There's little Tom Dacre, who cried when his head, That curled like a lamb's back, was shaved: so I said, "Hush, Tom! never mind it, for when your head's bare, You know that the soot cannot spoil your white hair." And so he was quiet; and that very night, As Tom was a-sleeping, he had such a sight, That thousands of sweepers, Dick, Joe, Ned, and Jack, Were all of them locked up in coffins of black. And by came an angel who had a bright key, And he opened the coffins and set them all free; Then down a green plain leaping, laughing, they run, And wash in a river, and shine in the sun. Then naked and white, all their bags left behind, They rise upon clouds and sport in the wind; And the angel told Tom, if he'd be a good boy, He'd have God for his father, and never want joy. And so Tom awoke; and we rose in the dark, And got with our bags and our brushes to work. Though the morning was cold, Tom was happy and warm; So if all do their duty they need not fear harm.

http://www.online-literature.com/blake/628/ Questions to ask: what do the coffins symbolize? What does the speaker not realize? How is this an indictment of Christianity?

Narrative Poems Story told via dialogue Yesterdayby W. S. Merwin My friend says I was not a good son you understand I say yes I understand he says I did not go to see my parents very often you know and I say yes I know

oh I say feeling again the cold of my father's hand the last time he says and my father turned in the doorway and saw me look at my wristwatch and he said you know I would like you to stay and talk with me oh yes I say

though there was nowhere I had to go and nothing I had to do

Activity: Underline what the friend said to separate it from what the poet is remembering or thinking. What is the import of the conversation? Contrast / compare the statements of each person What is the tone of the speaker? What feelings does the poem evoke? What is universal here?

but if you are busy he said I don't want you to feel that you have to even when I was living in the same city he just because I'm here says maybe I would go there once I say nothing a month or maybe even less I say oh yes he says my father said maybe he says the last time I went to see my you have important work you are doing father or maybe you should be seeing I say the last time I saw my father somebody I don't want to keep you he says the last time I saw my father he was asking me about my life how I was making out and he went into the next room to get something to give me I look out the window my friend is older than I am he says and I told my father it was so and I got up and left him then you know

https://lh6.googleusercontent.com/_Fop5FXliHo/TX0cQ3yBy3I/AAAAAAAAD QY/DAlLQRHDsfk/wsmerwin.jpg

Richard Coryby Edward Arlington Robinson

Whenever Richard Cory went down town, We people on the pavement looked at him: He was a gentleman from sole to crown, Clean-favored and imperially slim. And he was always quietly arrayed, And he was always human when he talked; But still he fluttered pulses when he said, "Good Morning!" and he glittered when he walked. And he was rich, yes, richer than a king, And admirably schooled in every grace: In fine -- we thought that he was everything To make us wish that we were in his place. So on we worked and waited for the light, And went without the meat and cursed the bread, And Richard Cory, one calm summer night, Went home and put a bullet in his head.Formal questions 1. What is the basic structure? 2. What is the rhyme scheme 3. What elements of rhetoric is used in stanza two? 4. What formal device is used in line 13? 5. How does the poet make his suicide a surprise? 6. Describe his style which is informed by his diction; in what way does his word choice fit his chosen narrator?

Content questions 1. Who is the speaker? 2. Describe Richard Cory physically 3. Describe whats enviable about him from the townspeoples perspective 4. Why is his suicide surprising?

Two good old ballads

Barbara Allen In Scarlet town where I was born There was a fair maid dwelling And every youth cried well away For her name was Barbara Allen Twas in the merry month of May The green buds were a swelling Sweet William on his deathbed lay For the love of Barbara Allen

Poem #237) The Ballad of Father Gilligan The old priest Peter Gilligan Was weary night and day For half his flock were in their beds Or under green sods lay. Once, while he nodded in a chair At the moth-hour of the eve Another poor man sent for him, And he began to grieve. 'I have no rest, nor joy, nor peace, For people die and die; And after cried he, 'God forgive! My body spake not I!' He knelt, and leaning on the chair He prayed and fell asleep; And the moth-hour went from the fields, And stars began to peep. They slowly into millions grew, And leaves shook in the wind And God covered the world with shade And whispered to mankind. Upon the time of sparrow chirp When the moths came once more, The old priest Peter Gilligan Stood upright on the floor. 'Mavrone, mavrone! The man has died While I slept in the chair.' He roused his horse out of its sleep And rode with little care.

He rode now as he never rode, By rocky lane and fen; The sick man's wife opened the door, 'Father! you come again!''And is the poor man dead?' he cried 'He died an hour ago.' The old priest Peter Gilligan In grief swayed to and fro. 'When you were gone, he turned and died, As merry as a bird.' The old priest Peter Gilligan He knelt him at that word. 'He Who hath made the night of stars For souls who tire and bleed, Sent one of this great angels down, To help me in my need. 'He Who is wrapped in purple robes, With planets in His care Had pity on the least of things Asleep upon a chair.' -- William Butler Yeats

He sent a servant unto her To the place she was dwelling Saying you must come to his deathbed now If your name be Barbara Allen

Slowly slowly she got up Slowly slowly she came nigh him And the only words to him she said Young man I think you're dying

As she was walking oer the fields She heard the death bell knelling And every stroke it seemed to say Hardhearted Barbara Allen

Oh mother mother make my bed Make it long and make it narrow Sweet William died for me today I'll die for him tomorrow

They buried her in the old churchyard They buried him in the choir And from his grave grew a red red rose From her grave a green briar

They grew and grew to the steeple top Till they could grow no higher And there they twined in a true love's knot Red rose around green briar (Trad./ Arranged by Harvey Reid)

Poetry and MCAS What they ask MCAS likes to use Shakespeare whether its from plays like Macbeth or sonnets, and the classics - Virgils Aeneid for example, as much as they use contemporary poets: Roethke, Sexton, Cofer, and even Bob Dylan. As such, students should be used to reading narrative and lyric poems, oldfashioned poems with antiquated diction, as well as free verse in the vernacular Having students analyze poems is a good idea, but also give them songs to pick apart One of my essays is Who is your favorite lyricist?; students have to analyze three songs and prove to me their favorite lyricist is talented (which means they have to formulate an aesthetic and prove their choice fits it. MCAS asks for reading comprehension It asks for main ideas and theme It has students close read lines and stanzas, mainly for meaning Literary terms are not the focus of the test, but they are valuable to us as ELA teachers and to the new standards

Lyric poetry Form and Content Analyses: William Blakes Auguries of Innocence To get started, heres some William Blake:

To see a world in a grain of sand, And a heaven in a wild flower, Hold infinity in the palm of your hand, And eternity in an hour.

The form is a quatrain written in accessible, simple word choices, in the rhyme scheme ABAB. The diction is simple, the style unadorned; there is parallel structure in the two pairs. The style is balanced and accessible; the poet wants to be understood, but also to pass along the mystery present in the mundane. The content or message is that the part contains the whole, and that separateness is an illusion; heaven is here and now; to see the divine in the mundane. He suggests we can see the big picture a world in the smallest thing a grain of sand. He suggests that, paradoxically, you can experience an eternity in an hour, which I hope will not be your experience today!

Content Reading

Lyric poetry with literal Language: Miracles by Walt Whitman

1819-1892 Why, who makes much of a miracle? As to me I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach just in the edge of the water, Or stand under trees in the woods, Or talk by day with any one I love, or sleep in the bed at night with any one I love, Or sit at table at dinner with the rest, Or look at strangers opposite me riding in the car, Or watch honey-bees busy around the hive of a summer forenoon, Or animals feeding in the fields, Or birds, or the wonderfulness of insects in the air, Or the wonderfulness of the sundown, or of stars shining so quiet and bright, Or the exquisite delicate thin curve of the new moon in spring; These with the rest, one and all, are to me miracles, The whole referring, yet each distinct and in its place. To me every hour of the light and dark is a miracle, Every cubic inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every foot of the interior swarms with the same. To me the sea is a continual miracle, The fishes that swim--the rocks--the motion of the waves--the ships with men in them, What stranger miracles are there?

What is a miracle? in the general sense that he expects people to have in their mind before reading his poem This poem is pure content and rhetoric; it is nearly devoid of figurative language How does this echo the content in terms of not gilding the lily? What are the natural images he thinks are lovely? What aspects of the city does he love? What is the connection between the part and the whole the scenes and his sense of life? What is a miracle to the poet?

http://www.poemhunter.com/poem/miracles/

2002 MCAS ELA: Shakespeare

The Seven Ages of Man from As You Like It by William Shakespeare Jacques: All the worlds a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, 5 His acts being seven ages. At first, the infant, Mewling and puking in the nurses arms. Then the whining schoolboy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, 10 Sighing like furnace, with a woeful ballad Made to his mistress eyebrow. Then a soldier, Full of strange oaths and bearded like the pard1, Jealous in honour, sudden and quick in quarrel, Seeking the bubble2 reputation 15 Even in the cannons mouth. And then the justice, In fair round belly with good capon3 lined, With eyes severe and beard of formal cut, Full of wise saws and modern instances4; And so he plays his part. The sixth age shifts 20 Into the lean and slippered pantaloon5 With spectacles on nose and pouch on side; His youthful hose, well saved, a world too wide For his shrunk shank, and his big manly voice, Turning again toward childish treble, pipes 25 And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans6teeth, sans eyes, sans taste, sans everything.

1 pard leopard or large cat 2 bubble short-lived 3 capon a young, fattened chicken 4 instances examples to prove a point 5 pantaloon foolish old man in Italian comedy 6 sans without "The Seven Ages of Man" from AS YOU LIKE IT by William Shakespeare. In the public domain. Question #14 In line 3, what do the words "exits" and "entrances" represent in this selection?A. sorrow and love B. illness and health C. death and birth D. misfortune and happiness Question #15 How does Shakespeare characterize a soldier in lines 1115?A. A soldier is short-tempered and eager for fame. B. A soldier is loving and faithful to his mistress. C. A soldier is honorable and loyal to the throne. D. A soldier is jealous and cowardly in battle. Question #16 In lines 2325, what does Shakespeare most likely mean by "his big manly voice, / Turning again toward childish treble, pipes / And whistles in his sound"?A. The aging man plays many musical instruments. B. The aging mans voice changes from deep to high. C. The aging man snores loudly in his sleep. D. The aging man sings playful songs to his grandchildren. Question #17 In line 27, the word oblivion most likely meansA. liveliness. B. courage. C. nothingness. D. misery. Question #18 (Open-Response Question) All the worlds a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages.Explain what Shakespeare means by the lines above. Use evidence from each of the ages to support your answer.

2003 MCAS ELA: Spenser

Sonnet 26 Sweet is the rose, but grows upon a briar; Sweet is the juniper, but sharp his bough, Sweet is the eglantine, but pricketh near; Sweet is the r bloom, but his branch is rough; 5 Sweet is the cypress, but his rind is tough; Sweet is the nut, but bitter is his pill; Sweet is the broom ower, but yet sour enough; And sweet is moly, but his root is ill. So every sweet with sour is tempered still, 10 That maketh it be coveted the more: For easy things, that may be got at will, Most sorts of men do set but little store. Why then should I account of little pain, That endless pleasure shall unto me gain! Edmund Spenser

What contrast is established by the use of the word but in the rst eight lines of the poem? A. good versus evil B. life versus death C. pleasure versus pain * D. knowledge versus ignorance Edmund Spensers use of the words pricketh and maketh A. reects poetic language of his time. * B. introduces rhyme into the poem. C. emphasizes the actions of the speaker. D. suggests the disbelief of the speaker. What does the poet suggest in lines 1112? A. People easily take the things they want. B. People desire more than they can have. C. People do not value things that come easily. * D. People should be satised with who they are. What is the purpose of the last two lines of the poem? A. to add humor to the poem B. to reassert the speakers anger C. to summarize the poems meaning * D. to repeat the poems visual imager

Create another title for Sonnet 26 and explain why your title is appropriate. Use information from the poem to support your answer

2004 MCAS ELA: Sara Teasdale

Barter Life has loveliness to sell, All beautiful and splendid things, Blue waves whitened on a cliff, Soaring re that sways and sings, And childrens faces looking up Holding wonder like a cup. Life has loveliness to sell, Music like a curve of gold, Scent of pine trees in the rain, Eyes that love you, arms that hold, And for your spirits still delight, Holy thoughts that star the night. Spend all you have for loveliness, Buy it and never count the cost; For one white singing hour of peace Count many a year of strife well lost, And for a breath of ecstasy Give all you have been, or could be. Sara Teasdale

What is emphasized in stanzas 1 and 2? A. examples of beauty in life * B. reasons for the reader to take action C. the importance of reevaluating ones life D. the poets affection for children

Which of the following gures of speech is used in line 4? A. simile B. analogy C. onomatopoeia D. personication *What does line 10 suggest to the reader? A. the surprises one can nd in nature B. the need for aggressive action C. the warmth of humanity * D. the unpredictability of kindness Which of the following lines from the poem states that beauty is worth any sacrice? A. Life has loveliness to sell B. Holy thoughts that star the night C. Spend all you have for loveliness * D. For one white singing hour of peace The word barter means to trade something in exchange for something else. Explain why Barter is an appropriate title for the poem. Use relevant and specic information from the poem to support your answer

2005 MCAS ELA Selection #1: Shakespeares Macbeth

William Shakespeares The Tragedy of Macbeth is a story of greed and dangerous ambition. In this soliloquyone of the most famous passages in English literatureMacbeth, the king of Scotland, has just learned of the death of his wife Lady Macbeth, who had encouraged him in his deadly quest for power. Read the soliloquy and use the information to answer the questions that follow.

11 In line 5, what does the metaphor brief candle suggest? A. The speaker is on his deathbed. B. The speaker fears being alone. C. The speaker believes life is short. * D. The speaker prefers darkness to light. Read the lines from the soliloquy in the box below. . . . it is a tale Told by an idiot, full of sound and fury, Signifying nothing. 12 What does Macbeth mean in these lines? A. He believes people should be humble. B. He is retelling stories of others. C. He believes life has no meaning. * D. He is surprised that he is still alive. 13 Which of the following is closest in meaning to the word syllable as it is used in line 3? A. song B. speech C. motion D. moment *

from Macbeth by William Shakespeare To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools 5 The way to dusty death. Out, out, brief candle! Lifes but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, 10 Signifying nothing. *

2005 MCAS ELA grade 10 selection #2: Roethke

Night Journey Now as the train bears west, Its rhythm rocks the earth, And from my Pullman berth I stare into the night While others take their rest. Bridges of iron lace, A suddenness of trees, A lap of mountain mist All cross my line of sight, Then a bleak wasted place, And a lake below my knees. Full on my neck I feel The straining at a curve; My muscles move with steel, I wake in every nerve. I watch a beacon swing From dark to blazing bright; We thunder through ravines And gullies washed with light. Beyond the mountain pass Mist deepens on the pane; We rush into a rain That rattles double glass. Wheels shake the roadbed stone, The pistons jerk and shove, I stay up half the night To see the land I love.

English Language Arts Session 1 14 How does the poet help the reader understand that the view from the train is changing rapidly? A. by using technical railroad terms B. by using short lines * C. by using a nighttime setting D. by using passive voice 15 What does the poet most likely mean when he writes Bridges of iron lace in line 6? A. bridges that are cold and fragile B. bridges that are light and dark C. bridges that have history and value D. bridges that have strength and elegance * 16 What does the speaker mean when he says in line 14, My muscles move with steel? A. His body feels powerful. B. He exercises his body. C. His body responds to the motion. * D. He stretches in his Pullman berth. 17 What idea is conveyed by the shift to the pronoun we in lines 18 and 22? A. The other passengers are waking up. B. The man and machine are briey one. * C. The train is increasing its speed. D. The man is dependent on trains.

18 Explain how the poem builds to its concluding line. Use relevant and specic information from the poem to support your answer

Torn Down From Glory Daily 2006 MCAS ELA grade 10 Poetry Selection

29 Read lines 13 in the box below. All day we watched the gulls striking the top of the sky and riding the blown roller coaster. What image do the lines most likely suggest? A. gulls bobbing on the waves B. gulls being carried by wind currents C. gulls chasing people on the beach D. gulls diving into the ocean 31 In stanza 4, what is the effect of the metaphor city of wings? A. It indicates gulls living in an urban area. B. It suggests a large number of gulls in a group. C. It emphasizes the gulls power and strength. D. It points out the competitiveness of the gulls. 32 Read lines 3436 in the box below. Oh see how they cushion their shy bellies with a brothers crumb. What do the lines most likely suggest? A. The gulls have to compete with each other to survive. B. The gulls oat on the water to look for sh. C. The gulls use the bread to make their nests. D. The gulls search for food with their families

All day we watched the gulls striking the top of the sky and riding the blown roller coaster. Up there godding the whole blue world and shrieking at a snip of land. Now, like children, we climb down humps of rock with a bag of dinner rolls, left over, and spread them gently on stone, leaving six crusts for an early king. A single watcher comes hawking in, rides the current round its hunger and hangs carved in silk until it throbs up suddenly, out, and one inch over water; to come again smoothing over the slap tide. To come bringing its flock, like a city of wings that fall from the air. They wait, each like a wooden decoy or soft like a pigeon or a sweet snug duck: until one moves, moves that dart-beak breaking over. It has the bread. The world is full of them, a world of beasts thrusting for one rock. Just four scoop out the bread and go swinging over Gloucester to the top of the sky. Oh see how they cushion their fishy bellies with a brother's crumb. Anne Sexton

2008 ELA grade 10 MCAS Selection: Bob Dylan

The following song lyrics by Bob Dylan were written during the 1960s, a turbulent time in American history. Read the lyrics to Blowin in the Wind and The Times They Are A-Changin and answer the questions that follow.

Blowin in the Wind How many roads must a man walk down Before you call him a man? Yes, n how many seas must a white dove sail Before she sleeps in the sand? Yes, n how many times must the cannon balls fly Before theyre forever banned? The answer, my friend, is blowin in the wind, The answer is blowin in the wind. How many times must a man look up Before he can see the sky? Yes, n how many ears must one man have Before he can hear people cry? Yes, n how many deaths will it take till he knows That too many people have died? The answer, my friend, is blowin in the wind, The answer is blowin in the wind. How many years can a mountain exist Before its washed to the sea? Yes, n how many years can some people exist Before theyre allowed to be free? Yes, n how many times can a man turn his head, Pretending he just doesnt see? The answer, my friend, is blowin in the wind, The answer is blowin in the wind. Bob Dylan

2007 MCAS grade 10 ELA Selection: Walt WhitmanHow much of what we learn adequately explains the world around us? Read the poem When I Heard the Learnd Astronomer to learn what the poet has to say about this question. Answer the questions that follow.

14 Which of the following statements represents the main theme of the poem? A. Science cannot fully express the wonder of the world. B. Nature is ones best source of recreation. C. Technology causes more problems than it solves. D. Learning causes one to become ill and fatigued. 15 In line 5, what is conveyed by the phrase tired and sick? A. the speakers sorrow and loss experienced in his life B. a sense of approaching danger C. a sense of the speakers poor health D. the speakers boredom and disappointment with the lecture 16 What is the main purpose of the phrase perfect silence in the last line of the poem? A. to explain why he has to leave the lecture room B. to convey a sense of loneliness and sorrow C. to contrast with the sounds in the lecture room D. to highlight the pleasure of science and learning 17 What do the last three lines of the poem suggest? A. the importance of personal experience with nature B. the dangers of losing track of time C. the importance of learning about astronomy D. the dangers of wandering off alone

18 Which of the following is the best synonym for the word learnd as it is used in line 1? A. aware B. remembered C. knowledgeable D. invented Question 19 is an open-response question. 19 In the poem, a shift occurs at the end of line 4. a. Explain what happens before and after the shift. b. Explain what causes the shift. Use relevant and specific information from the poem to support your answer

When I Heard the Learnd Astronomer When I heard the learnd astronomer, When the proofs, the figures, were ranged in columns before me, When I was shown the charts and diagrams, to add, divide, and measure them, When I, sitting, heard the astronomer where he lectured with much applause in the lecture room, How soon unaccountable I became tired and sick, Till rising and gliding out I wanderd off by myself, In the mystical* moist night air, and from time to time, Lookd up in perfect silence at the stars. Walt Whitman

2008 MCAS Grade 10 ELA Selection: Bob Dylan

The Times they are a-Changing

Come gather round people Wherever you roam And admit that the waters Around you have grown And accept it that soon Youll be drenched to the bone. If your time to you Is worth savin Then you better start swimmin Or youll sink like a stone For the times they are a-changin. Come writers and critics Who prophesize with your pen And keep your eyes wide The chance wont come again And dont speak too soon For the wheels still in spin And theres no tellin who That its namin. For the loser now Will be later to win For the times they are a-changin. Come senators, congressmen Please heed the call Dont stand in the doorway Dont block up the hall For he that gets hurt Will be he who has stalled Theres a battle outside And it is ragin. Itll soon shake your windows And rattle your walls For the times they are a-changin. Come mothers and fathers

Throughout the land And dont criticize What you cant understand Your sons and your daughters Are beyond your command Your old road is Rapidly agin. Please get out of the new one If you cant lend your hand For the times they are a-changin. The line it is drawn The curse it is cast The slow one now Will later be fast As the present now Will later be past The order is Rapidly fadin. And the first one now Will later be last For the times they are a-changin

9 In lines 3 and 5 of Blowin in the Wind, which of the following contrasting pairs do the white dove and the cannon balls symbolize? A. peace and war B. order and chaos C. freedom and slavery D. nature and machines

10 What is the effect of writing Blowin in the Wind as a series of questions? A. It encourages the listener to think about the speakers concerns. B. It causes the listener to care about the speakers life. C. It emphasizes the speakers confusion. D. It emphasizes the speakers curiosity. 11 What is the message of the first verse of The Times They Are A-Changin? A. Changes in society are about to occur. B. Changes in society can cause confusion. C. Most people will embrace changes in society. D. Creative people can make changes in society. 12 They Are Based on The Times

A-Changin, why does the speaker most likely single out senators, congressmen and mothers and fathers? A. They understand the problems of society. B. They represent an outdated set of values. C. They are the most open to change. D. They are role models for the speaker. 13 The songwriters use of contractions in both songs reveals that he most likely feels he represents A. the common man. B. the political leaders. C. the religiously devout. D. the artistic community

2009 MCAS grade 10 ELA Selection: Judith Cofer

In The Latin Deli: An Ars Poetica, Judith Ortiz Cofer describes the relationship between the owner of a Spanish grocery and her customers. Read the poem and answer the questions that follow.

The Latin Deli: An Ars Poetica*

Presiding over a formica counter, plastic Mother and Child magnetized to the top of an ancient register, the heady mix of smells from the open bins of dried codfish, the green plantains hanging in stalks like votive offerings, she is the Patroness of Exiles, a woman of no-age who was never pretty, who spends her days selling canned memories while listening to the Puerto Ricans complain that it would be cheaper to fly to San Juan than to buy a pound of Bustelo coffee here, and to Cubans perfecting their speech of a glorious return to Havanawhere no one has been allowed to die and nothing to change until then; to Mexicans who pass through, talking lyrically of dlares to be made in El Norte

all wanting the comfort of spoken Spanish, to gaze upon the family portrait of her plain wide face, her ample bosom resting on her plump arms, her look of maternal interest as they speak to her and each other of their dreams and their disillusions how she smiles understanding, when they walk down the narrow aisles of her store reading the labels of packages aloud, as if they were the names of lost lovers: Suspiros, Merengues, the stale candy of everyones childhood. She spends her days slicing jamn y queso and wrapping it in wax paper tied with string: plain ham and cheese that would cost less at the A&P, but it would not satisfy the hunger of the fragile old man lost in the folds of his winter coat, who brings her lists of items that he reads to her like poetry, or the others, whose needs she must divine, conjuring up products from places that now exist only in their hearts closed ports she must trade with. Judith Ortiz Cofe

36 In line 1, what does the word presiding suggest about the woman? A. She wants to return to her home country. B. She is tired of listening to her customers. C. She holds a position of status to her customers. D. She is a source of amusement to her customers.

by the comparison of the womans face to a family portrait? A. The customers are consoled by her familiar looks. B. Many of the customers are related to the woman. C. Many of the customers look like the woman. D. The customers think she is attractive. 40 In line 14, why does the poet most likely use quotation marks? A. to show that the Cubans can speak English well B. to show that the Cubans are learning a new language C. to indicate that the woman has heard the words often D. to indicate that the woman is speaking to the customer

37 Based on lines 14 and 15, how do the exiled Cubans think of Cuba? A. They think it has been ruined. B. They think of it as frozen in time. C. They think it is a forbidden place. D. They think of it as unsophisticated. 38 In line 17, what is the most likely reason the poet includes the Spanish terms dlares and El Norte? A. to make a connection with her probable audience B. to show that the woman is welcoming to all cultures C. to describe the products the woman sells in the store D. to indicate that the customers still speak in their native tongue

39 Based on lines 1821, what is suggested

2010 MCAS Grade 10 ELA: William Shakespeare

SONNET 73 That time of year thou mayst in me behold When yellow leaves, or none, or few, do hang Upon those boughs which shake against the cold, Bare ruined choirs where late the sweet birds sang. In me thou seest the twilight of such day As after sunset fadeth in the west, Which by and by black night doth take away, Deaths second self, that seals up all in rest. In me thou seest the glowing of such fire That on the ashes of his youth doth lie As the death-bed whereon it must expire, Consumed with that which it was nourished by. This thou perceivst, which makes thy love more strong, To love that well which thou must leave ere long. William Shakespeare

10 What do the images in the sonnet suggest is happening to the speaker as he ages? A. He is declining in strength. B. He is losing his conviction. C. He is sharpening his judgment. D. He is developing his imagination. 11 What aspect of the season does the poet most emphasize in the first four lines of the sonnet? A. the brilliant colors of foliage B. the dreaded approach of winter C. the abundant harvest of autumn D. the cautious movements of wildlife 12 Which line from the sonnet describes sleep? A. When yellow leaves, or none, or few, do hang B. In me thou seest the twilight of such day C. Deaths second self, that seals up all in rest D. As the death-bed whereon it must expire 13 What is the main theme of the sonnet? A. Age differences are no barrier to love. B. People need to be loved as they grow older. C. Happiness changes to worry as loved ones grow older. D. People love more intensely when they know life is ending

Mock MCAS Dulce et Decorum Est

DULCE ET DECORUM EST(1) Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares(2) we turned our backs And towards our distant rest(3) 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(4) Of tired, outstripped(5) Five-Nines(6) that dropped behind. Gas!(7) Gas! Quick, boys! An ecstasy of fumbling, Fitting the clumsy helmets(8) just in time; But someone still was yelling out and stumbling, And flound'ring like a man in fire or lime(9) . . . Dim, through the misty panes(10) 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,(11) 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(12) Of vile, incurable sores on innocent tongues, My friend, you would not tell with such high zest(13) To children ardent(14) for some desperate glory, The old Lie; Dulce et Decorum est Pro patria mori.(15) Wilfred Owen 8 October 1917 - March, 1918

Identify the speaker Discuss his ton