Mr. PolancoFebruary Assignment (Due March 3)

Read Jane Eyre, and answer all questions Complete the following packet.

Jane Eyre assignment:1. Read and take notes on background information. (Links are at the end.) The guiding questions for this part of your reading are the following: What is the ideal Victorian woman? What are her traits? With what activities does she concern herself? These notes can be compiled in a bound notebook.

2. Consider the following question: How does Charlotte Brontë's Jane Eyre refute the notions associated with the ideal Victorian woman? (This is a fairly common question people ask about the novel. We’ll discuss other aspects of the novel, too, at the beginning of the year.)  3. Read Jane Eyre with this background information and question in mind, using sticky notes to mark significant passages that reveal Jane’s character and the expectations of the society toward women. Then create a close reading journal with excerpts from the book and your own analytical comments in response to those excerpts. How many excerpts? I won’t give you an exact number, but your journal should be thorough and robust in its exploration. You’re not counting excerpts, but thinking through the novel.  4. Write a 1-2 page response to the question listed in #2. Make specific references to the novel to support your thinking.

Links for background information:  Goethe’s “The Sphere of a Woman” (read 209 and the top of 210) (this is a primary source)http://babel.hathitrust.org/cgi/pt?u=1&num=209&seq=16&view=image&size=100&id=mdp.39015004111095BBC’s “Women’s Rights Quiz” (this is a secondary source)http://www.bbc.co.uk/history/interactive/games/victorian_women/index_embed.shtml

BBC’s “Ideals of Womanhood in Victorian Britain” (this is a secondary source)http://www.bbc.co.uk/history/trail/victorian_britain/women_home/ideals_womanhood_01.shtml

“Ideal Husbands; or, School-Girl Fancies” from a March 1850 Godey’s Lady’s Book. Read just the first chapter of this story. (Godey’s Lady’s Book is a primary source: you can browse the whole issue here.)http://babel.hathitrust.org/cgi/pt?view=image;size=100;id=mdp.39015004111095;page=root;seq=36;num=24

The AP exam:

This exam is more about reading than writing (with the multiple choice questions and two essays in response to reading texts

3 hours

One hour of multiple choice (55 questions based on five texts: prose-poetry).There is no penalty for guessing! Leave nothing blank! It accounts for 45% of the exam. The questions will be mixed with various levels of difficulty (unlike the SATs with each section beginning from easy-to intermediate-to difficult). Don’t get bogged down by the difficult questions as you must capitalize on the easy ones. Mark a difficult question and come back to it later. Again, there is no penalty for guessing.

AP essays: The AP graders in NYS expect you to start your essays strong, and remain consistent. You have 120 minutes to write three essays, so time is of the essence (40 minutes each)Essays will be graded from 1-9 (a score of 9 is extremely rare). Graders are looking for clarity and abundance of voice, insight, and wakeful intelligence. Only 1% of essay grades receive a score of 9.

One essay will be a response to poetry (1 or 2 poems), one will be a response to prose, and one will be an open question based on a list of books provided

Overall AP exam grades are given scores of 1-5.

Most prestigious universities look fondly upon scores of 4-5, and many smaller schools are following suit due to the competitive nature of college admission.

The AP Poetry Essay

“A Story” by Li-Young Lee and sample essays

POV Tone What does this poem add up to in the end? If you were writing an essay for this poem, what lines would you extract for

reference?

SWBAT Practice on The AP Poetry Essay (2011 “A Story” by Li-Young Lee)

Read poem Study the Rubric that comprises the AP Poetry Essay Write your essay for “A Story”

2011 AP® ENGLISH LITERATURE AND COMPOSITION FREE-RESPONSE QUESTIONS

© 2011 The College Board.

Question 1

(Suggested time—40 minutes. This question counts as one-third of the total essay section score.)

The following poem is by the contemporary poet Li-Young Lee. Read the poem carefully. Then write a well-developed essay in which you analyze how the poet conveys the complex relationship of the father and the son

through the use of literary devices such as point of view and structure.

A Story

Sad is the man who is asked for a story

and can’t come up with one.

His five-year-old son waits in his lap.

Not the same story, Baba. A new one.

5 The man rubs his chin, scratches his ear.

In a room full of books in a world

of stories, he can recall

not one, and soon, he thinks, the boy

will give up on his father.

10 Already the man lives far ahead, he sees

the day this boy will go. Don’t go!

Hear the alligator story! The angel story once more!

You love the spider story. You laugh at the spider.

Let me tell it!

15 But the boy is packing his shirts,

he is looking for his keys. Are you a god,

the man screams, that I sit mute before you?

Am I a god that I should never disappoint?

But the boy is here. Please, Baba, a story?

20 It is an emotional rather than logical equation,

an earthly rather than heavenly one,

which posits that a boy’s supplications

and a father’s love add up to silence.

Li-Young Lee, “A Story” from The City in Which I Love You.

Copyright © 1990 by Li-Young Lee. Used by permission of

BOA Editions, Ltd., www.boaeditions.org.

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AP Literature Mr. Polanco

Poetry Packet

a. Read and annotate each of the poems thoroughly witha. Underlinings (highlight significant text that are particularly

meaningful, linguistically rich, or puzzling

b. Use shorthand markings

=important ideas?=puzzling!= idea or language you find striking!

c. margin notes

b. Take one of these poems and write an original poem that would mirror it in syntax, style, or rhyme scheme (DON’T WORRY ABOUT “NOT BEING” A POET, JUST GIVE IT YOUR BEST TRY)

c. Poems: W. Shakespeare: Sonnets i and iiJ. Milton: On His BlindnessJohn Dryden: The Crown Prince of DullnessAlexander Pope: The Triumph of DullnessWilliam Blake: The TigerMatthew Arnold: Dover Beach

SONNET 18

Shall I compare thee to a summer's day? Thou art more lovely and more temperate:Rough winds do shake the darling buds of May,And summer's lease hath all too short a date: Sometime too hot the eye of heaven shines,And often is his gold complexion dimm'd; And every fair from fair sometime declines,By chance or nature's changing course untrimm'd;But thy eternal summer shall not fadeNor lose possession of that fair thou owest;Nor shall Death brag thou wander'st in his shade,When in eternal lines to time thou growest: So long as men can breathe or eyes can see,So long lives this and this gives life to thee.

SONNET 29

When, in disgrace with fortune and men's eyes,I all alone beweep my outcast state And trouble deaf heaven with my bootless criesAnd look upon myself and curse my fate, Wishing me like to one more rich in hope, Featured like him, like him with friends possess'd,Desiring this man's art and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising,Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate;For thy sweet love remember'd such wealth bringsThat then I scorn to change my state with kings.

John Milton  (1608-1674)

Sonnet: On his blindness

When I consider how my light is spent, Ere half my days, in this dark world and wide, And that one talent which is death to hide, Lodged with me useless, though my soul more bentTo serve therewith my maker, and present My true account, lest he returning chide, Doth God exact day-labour, light denied? I fondly ask; but Patience to preventThat murmur, soon replies, God doth not need Either man's work or his own gifts, who best Bear his mild yoke, they serve him best, his stateIs kingly. Thousands at his bidding speed And post o'er land and ocean without rest: They also serve who only stand and wait.

AP Literature Mr. Polanco

SWBAT Understanding the Concept of Epiphany and it relates to Milton’s “On His Blindness, ” the movie Paris Je Taime, and James Joyce’s Dubliners

Arthur Fry, inventor of the Post-it Note, with one on his forehead bearing a with a picture of a lightbulb

An epiphany (from the ancient Greek ἐπιφάνεια, epiphaneia, "manifestation, striking appearance") is an experience of sudden and striking realization. Generally the term is used to describe breakthrough scientific, religious or philosophical discoveries, but it can apply in any situation in which an enlightening realization allows a problem or situation to be understood from a new and deeper perspective. Epiphanies are studied by psychologists and other scholars, particularly those attempting to study the process of innovation.

Epiphanies are relatively rare occurrences and generally following a process of significant thought about a problem. Often they are triggered by a new and key piece of information, but importantly, a depth of prior knowledge is required to allow the leap of understanding. Famous epiphanies include Archimedes's discovery of a method to determine the density of an object and Isaac Newton's realization that a falling apple and the orbiting moon are both pulled by the same force.

The epiphany realized by the narrator in Milton’s “On His Blindness:

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John Dryden (1631-1700)

(Original Title)

Mac FlecknoeA Satire upon the True-blue Protestant Poet T.S.

(AP Exam Title)

“The Crown Prince of Dullness”

              1 All human things are subject to decay,              2 And, when Fate summons, monarchs must obey:              3 This Flecknoe found, who, like Augustus, young              4 Was call'd to empire, and had govern'd long:              5 In prose and verse, was own'd, without dispute              6 Through all the realms of Non-sense, absolute.              7 This aged prince now flourishing in peace,              8 And blest with issue of a large increase,              9 Worn out with business, did at length debate            10 To settle the succession of the State:            11 And pond'ring which of all his sons was fit            12 To reign, and wage immortal war with wit;            13 Cry'd, 'tis resolv'd; for nature pleads that he            14 Should only rule, who most resembles me:

            15 Shadwell alone my perfect image bears,            16 Mature in dullness from his tender years.            17 Shadwell alone, of all my sons, is he            18 Who stands confirm'd in full stupidity.            19 The rest to some faint meaning make pretence,            20 But Shadwell never deviates into sense.            21 Some beams of wit on other souls may fall,            22 Strike through and make a lucid interval;            23 But Shadwell's genuine night admits no ray,            24 His rising fogs prevail upon the day:            25 Besides his goodly fabric fills the eye,            26 And seems design'd for thoughtless majesty:            27 Thoughtless as monarch oaks, that shade the plain,

            28 And, spread in solemn state, supinely reign.

(Original poem consists of 217 lines)

Alexander Pope (1688-1744)The Triumph of Dullness

(Book IV, lines 627-656)    In vain, in vain, -- the all-composing Hour Resistless falls: The Muse obeys the Pow'r. She comes! she comes! the sable Throne behold Of Night Primæval, and of Chaos old! Before her, Fancy's gilded clouds decay, And all its varying Rain-bows die away. Wit shoots in vain its momentary fires, The meteor drops, and in a flash expires. As one by one, at dread Medea's srain, The sick'ning stars fade off th' ethereal plain; As Argus' eyes by Hermes' wand opprest, Clos'd one by one to everlasting rest; Thus at her felt approach, and secret might, Art after Art goes out, and all is Night. See skulking Truth to her old Cavern fled, Mountains of Casuistry heap'd o'er her head! Philosophy, that lean'd on Heav'n before, Shrinks to her second cause, and is no more. Physic of Metaphysic begs defence, And Metaphysic calls for aid on Sense! See Mystery to Mathematics fly! In vain! they gaze, turn giddy, rave, and die. Religion blushing veils her sacred fires, And unawares Morality expires. Nor public Flame, nor private, dares to shine; Not human Spark is left, nor Glimpse divine! Lo! thy dread Empire, CHAOS! is restor'd; Light dies before thy uncreating word; Thy hand, great Anarch! lets the curtain fall; And Universal Darkness buries All.

--Alexander Pope

The TigerBy William Blake

1757-1827

TIGER, tiger, burning bright In the forests of the night, What immortal hand or eye Could frame thy fearful symmetry?

In what distant deeps or skies Burnt the fire of thine eyes? On what wings dare he aspire? What the hand dare seize the fire?

And what shoulder and what art Could twist the sinews of thy heart? And when thy heart began to beat, What dread hand and what dread feet?

What the hammer? what the chain? In what furnace was thy brain? What the anvil? What dread grasp Dare its deadly terrors clasp?

When the stars threw down their spears, And water'd heaven with their tears, Did He smile His work to see? Did He who made the lamb make thee?

Tiger, tiger, burning bright In the forests of the night, What immortal hand or eye Dare frame thy fearful symmetry?

Dover Beach Matthew Arnold (1822-1888)

The sea is calm to-night.The tide is full, the moon lies fairUpon the straits;--on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanch'd land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in.

Sophocles long agoHeard it on the {AE}gean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea.

The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furl'd.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world.

Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night.

Mr. PolancoSWBAT Understand Clues in the AP Lit. Exam to Assist in Poetry Analysis

Treasure Hunting While Analyzing Poetry

I love poetry! It is the shortest genre of creative writing, yet the most daunting, because the goal is to express a well formulated thought that elicits an emotional response in very few words! Most students find this process of analyzing poetry to be quite cerebral and too burdensome, especially when a poet makes literary or historical allusions that are unfamiliar (Dante, Milton, T.S. Eliot, etc.)

Here are some tips to tackling the more difficult poem:

1. When analyzing poetry, I am a firm believer that appreciating a poem for its aesthetic purposes FIRST is your primary goal. It makes the poetry-read much more enjoyable and heartfelt. Ask yourself: What word or line is most moving to you? What did the poem “say” to you? Having an appreciation for its style, imagery, and content will most likely lead you to grasp the theme(s).

2. Read the TITLE! Read the TITLE! Read the TITLE!Students often neglect to find importance in a title, when this critical “opening line” tends to place the reader into the poem’s backdrop. Not reading a title can often lead to misinterpretation or disillusionment of the entire poem. So, as stated before: Read the TITLE!(Analyze our previous packet’s titles of poems)

3. Look at the form of the overall poem. Do you recognize the rhyme scheme, meters, beats?

4. If you were able to identify the form, great! If not, keep moving, and continue to annotate throughout Now, go back to your original response. Focus on the lines that produced a strong response in you and begin analyzing how the author produces that response in you. How does the poem mean? This goes a step beyond the question of what it means. As a bonus, when you begin to look at the how, you usually see more of the what. Get it? If not, I am sure you will very soon!

5. Look for literary techniques, for you are sure to

encounter some of these in your poem and it helps your analysis if you can call them by name and speak about them knowledgeably.

Figurative language: Any use of language where the intended meaning differs from the actual literal meaning of the words themselves. There are many techniques which can rightly be called figurative language. Here are for you to review:

Metaphor--Making a comparison between unlike things without the use of a verbal clue (such as "like" or "as").Metaphors assert the identity of dissimilar things, as when Macbeth asserts that life is a “brief candle.” Metaphors can be subtle and powerful and can transform people, places, objects, and ideas into whatever the writer imagines them to be.

An implied metaphor is a more subtle comparison; the terms being compared are not so specifically explained. For example, to describe a stubborn man unwilling to leave, one could say that he was a “mule standing his ground.” This is a fairly explicit metaphor; the man is being compared to a mule. But to say that the man “brayed his refusal to leave” is to create an implied metaphor, because the subject (the man) is never overtly identified as a mule. Braying is associated with a mule, a notoriously stubborn creature, and so the comparison between the stubborn man and the mule is sustained.

An extended metaphor is a sustained comparison in which all parts of a poem consists of a series of related metaphors. Robert Francis’s poem “Catch” relies on an extended metaphor that compares poetry to playing catch.

A controlling metaphor runs through an entire work and determines the form or nature of that work. The controlling metaphor in Anne Bradstreet’s poem “The Author to Her Book” likes her book to a child.

Synecdoche is a kind of metaphor in which a part of something is used to signify the whole, as when a gossip is called a “wagging tongue,” or when ten ships are called “ten sails.”

Metonymy is a type of metaphor in which something closely associated with a subject is substituted for it. In this way, we speak of the “silver screen” to mean motion pictures, “the crown” to stand for the king, “the White House” to stand for the activities of speech.

Simile—A common figure of speech that makes an explicit comparison between two unlike things by using words such as like, as, than, appears, and seems. “A sip of Mrs. Cook’s coffee is like a punch in the stomach.”

Personification—a form of metaphor in which human characteristics are attributed to nonhuman things. Personification offers the writer a way to give the world life and motion by assigning familiar human behaviors and emotions to animals, inanimate objects, and abstract ideas. For example, in Keats' “Ode on a Grecian Urn,” the speaker refers to the urn as an “unravished bride of quietness."

(definitions excerpted from The Bedford Introduction to Literature)

6. Finally, I like to read a poem I am trying to understand over and over again and I advise you to do the same, whenever time permits. One of the first things I will do is underline any words that I am unsure of, that I think may have many meanings, or that are unusual, surprising, and unexpected in the poem. I look these up in the dictionary. When I am reading really old poetry, I

try to learn a words etymology via the almighty DICTIONARY!. I can tell what a word meant in 1800 as opposed to 1900. Since language is always changing, this can be very helpful. I recommend that you look up words, even familiar ones, to discover their layered meanings. Usually, these definitions provide insight into the poem’s meaning.

Section 1 of the Exam (Multiple choice)

(McGraw Hill Test prep) 1 hour to read four passages and answer 47 multiple choice questions Try to recognize the time periods or writing styles Try to acknowledge the type of questions asked Timing is important (wear a watch) The test DOES NOT become more difficult as you proceed Work at a pace of one question per minute Read and annotate the text (underline, circle, or highlight). Do not

waste your time reading questions before you read the selection Slow down and read with your senses of sight, sound, and touch. DO

NOT SPEED READ WITH JUST YOUR EYES. Pay attention to punctuation and rhythms of lines/sentences Read as if you were reading it aloud to an audience. Read CLOSELY!

What works often is if you read slowly, even if you have to use your finger as a guide.

Use all the information given to you about the passage: title, author, date of publication, and footnotes.

Be aware of foreshadowing, thematic lines, and obvious details sensitive to the multiple choice.

Types of questions:1. The straight-forward question2. The question that refers you to specific lines and asks you to

draw a conclusion or to interpret3. The “all…except” question4. The question that asks you to make an inference or to abstract

a concept that is not directly stated in the passage.5. The “Roman Numeral’ question

Strategies for answering the MC questions: Work the questions in order Write on the exam booklet, mark it up, make it yours!!! Do not spend too much time on a question (one minute per question) Use the process of elimination Use substitution / fill in the blank If you are lost about a question, make an educated guess.

Practice Quiz to Polish Up On Our Poetic DevicesName_______________________________

The Structure of Poetry Examination (Match the columns to the word)

____ Foot

____Meter

____Villanelle

____Sonnet

____Italian Sonnet

____Hexameter

____Ode

____Elegy

____Dramatic Monologue

____Feminine rhyme

____Ballad

____Lyric

____Iamb

____Trochee

____Anapest

____Spondee

____Tetrameter

____Dimeter

____Pentameter

____Trimester

____Couplet

____Quatrain

____Cinquain

____Septet

____Masculine rhyme

a. Six stressed feetb. Five lined stanzac. When the last stressed syllable of the rhyming words matches exactly

(The play’s the thing / Wherein I’ll catch the conscience of the king.”)

d. Four stressed feete. The basic building block of poetry, composed of a pattern of syllablesf. Four lined stanzag. _ _ /h. A pattern of beats and accentsi. Three stressed feetj. _ /k. Six stanzas, five tercets and a final quatrain. The first and last lines of the first

stanza alternate as the last line of the next four stanzas and then form a final couplet in the quatrain.

l. Seven lined stanzam. In iambic pentameter and is always made up of 14 lines

(abab, cdcd, efef, gg)

n. / _o. An episode in a speaker’s life through a conversational format that reveals the

character of the speakerp. A formal lyric poem written in honor of one who has died.q. A formal lyric poem that addresses subjects of elevated staturer. _ _s. A narrative, originally spoken or sung, written in simple quatrains, rhyme scheme

of abcbt. Five stressed feetu. Highly personal and emotional poem, elevated as an ode or elegy. Subjective,

melodious and reflective in tone.v. Two consecutive syllables of the rhyming words, with the first syllable stressed

(“The horses were prancing / as the clowns were dancing.”)

w. Two lined stanzax. Two stressed feety. Divided into an octave and a sestet.

(abba, abba, cde, cde)

(X-credit) Write out the following metric patterns:

Iambic pentameter ___________________________________________

Trochaic tetrameter___________________________________________

Anapestic dimeter ____________________________________________

Dactylic trimester ____________________________________________

Humanity’s Relationship with Nature:Does Humanity Stand Alone, in Commune with Nature, or is Nature ambivalent of Humanity’s existence?

In Groups of fours: Analyzing the poetry essay promptBY WILLIAM WORDSWORTH 1770–1850 “There Was a Boy

There was a Boy; ye knew him well, ye cliffs And islands of Winander! many a time,At evening, when the earliest stars beganTo move along the edges of the hills,Rising or setting, would he stand alone,Beneath the trees, or by the glimmering lake;And there, with fingers interwoven, both handsPressed closely palm to palm and to his mouthUplifted, he, as through an instrument,Blew mimic hootings to the silent owlsThat they might answer him.—And they would shoutAcross the watery vale, and shout again,Responsive to his call,—with quivering peals,

And long halloos, and screams, and echoes loudRedoubled and redoubled; concourse wildOf jocund din! And, when there came a pauseOf silence such as baffled his best skill:Then, sometimes, in that silence, while he hungListening, a gentle shock of mild surpriseHas carried far into his heart the voiceOf mountain-torrents; or the visible sceneWould enter unawares into his mindWith all its solemn imagery, its rocks,Its woods, and that uncertain heaven receivedInto the bosom of the steady lake.

This boy was taken from his mates, and diedIn childhood, ere he was full twelve years old.Pre-eminent in beauty is the valeWhere he was born and bred: the churchyard hangsUpon a slope above the village-school;And through that churchyard when my way has ledOn summer-evenings, I believe that thereA long half-hour together I have stoodMute —looking at the grave in which he lies!

The Most of It — by Robert Frost (1942)

He thought he kept the universe alone;For all the voice in answer he could wakeWas but the mocking echo of his ownFrom some tree–hidden cliff across the lake.Some morning from the boulder–broken beachHe would cry out on life, that what it wantsIs not its own love back in copy speech,But counter–love, original response.And nothing ever came of what he criedUnless it was the embodiment that crashedIn the cliff's talus on the other side,And then in the far distant water splashed,But after a time allowed for it to swim,Instead of proving human when it neared

And someone else additional to him,As a great buck it powerfully appeared,Pushing the crumpled water up ahead,And landed pouring like a waterfall,And stumbled through the rocks with horny tread,And forced the underbrush—and that was all.

Title: “There Was a Boy” Author: William Wordsworth

Directions: In preparation for analyzing this poem, mark the beginning and end of each sentence. Consider what you know about the author. Your knowledge of the author and his/her literary movement may help you.

Title: Consider the title when you begin the poem and then again when you have finished reading it. What does it convey at first? What does a reading of the poem add to your sense of the title?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

___________________

Summary: What happens in this poem? Is there a story here?___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Form: What can you say about the form of this poem? Is it written in any specific metric foot? Does it rhyme? Does it fit any particular verse form you have learned? If not, how would you describe the verse?______________________________________________________________

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Diction: Are there any words used in a surprising or unusual way? What sort of words does this poem use? Is the diction colloquial (like every day speech)? Is it sophisticated? Exalted? Write down some of the words that seem to work together to convey mood (the feeling created in the reader or in the poem itself) and tone (the speaker’s attitude towards his subject)._______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Tone: What is tone of this poem? (See your attached list of tone words to help you)._____________________________________________________________________________________________________________________________________________________________________________________________________________________

Figurative Language: What are the key metaphors and similes in this poem?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Theme: What is the theme of this poem?

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Title: “The Most of It” Author: Robert Frost

Directions: In preparation for analyzing this poem, mark the beginning and end of each sentence.

Title: Consider the title when you begin the poem and then again when you have finished reading it. What does it convey at first? What does a reading of the poem add to your sense of the title?___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Summary: What happens in this poem? Is there a story here?___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Form: What can you say about the form of this poem? Is it written in any specific metric foot? Does it rhyme? Does it fit any particular verse form you have learned? If not, how would you describe the verse?__________________________________________________________________________________________________________________________________________________________________________________

Diction: Are there any words used in a surprising or unusual

way? What sort of words does this poem use? Is the diction colloquial (like every day speech)? Is it sophisticated? Exalted? Write down some of the words that seem to work together to convey mood (the feeling created in the reader or in the poem itself) and tone (the speaker’s attitude towards his subject).______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Tone: What is tone of this poem? (See your attached list of tone words to help you)._____________________________________________________________________________________________________________________________________________________________________________________________________________________

Figurative Language: What are the key metaphors and similes in this poem?________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

Theme: What is the theme of this poem?___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

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Comparison Chart“There Was a

Boy”Points of

Comparison“The Most of It”

AP List of Words to Describe TONEabashedabrasiveabusiveacquiescentaccepting

conversationalcriticalcurtcuttingcynical

hypercriticalindifferentindignantindulgentironic

self-criticalself-dramatizingself-justifyingself-mocking

acerbicadmiringadoringaffectionateaghastallusiveamusedangryanxiousapologeticapprehensiveapprovingarchardentargumentativeaudaciousawe-struckbanteringbegrudgingbemusedbenevolentbitingbitterblitheboastfulboredbriskbristlingbrusquecalmcandidcaressingcausticcavalierchildishchild-likeclippedcoldcomplimentarycondescendingconfidentconfusedcoy

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