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Cover_All-in-one_Poetry89_Print.indd 1 2014/06/11 2:11 PM Cover_All_In_One_SPLIT_Final.indd 4 2014/06/11 2:25 PM SECTION SECTION SAMPLE SAMPLE SECTION SECTION TABLE OF CONTENTS SECTION SAMPLE SAMPLE SAMPLE FOREWORD SECTION

SECTION SAMPLE About The English Experience ...... 6 Our approachSAMPLE...... 6 SECTION Using this resource ...... SECTION . 7 SECTION SAMPLE SAMPLE SAMPLE INTRODUCTION TO POETRY: MAKING ART WITH WORDS SECTION Reading and understanding poetry. . . . .SECTION ...... 9 SAMPLE SECTION Found poetry exercise. . . .SAMPLE ...... 17 SAMPLE Poetry revision quiz...... 19 SECTION SECTION GlossarySECTION of poetic terms ...... 22 SAMPLE SECTION SAMPLE SAMPLE SAMPLE SECTION 1: SECTION SECTION POETIC DEVICES:SECTION LINKING LANGUAGE, STRUCTURESAMPLE AND MEANING SAMPLE SAMPLE 1.1 Tone, Imagery and DictionSECTION SECTION Colouring with toneSAMPLE ...... 24 Exploring imagery...... SAMPLE . . . . 27 SECTION SECTIONDallying with diction ...... 29 Exercise 1: Skills Task...... SECTION ...... SAMPLE 34 SAMPLE Exercise 2: Poetry TSAMPLEask ...... 37 Exercise 3: Creative Task ...... SECTION ...... 40 SECTION SECTION SAMPLE 1.2 Rhythm and Rhyme SAMPLE SAMPLE Rhythm: Pulse of poetrySECTION ...... 43 Rhyme: Catchy matches ...... SECTION...... 46 SAMPLE Meaning behind the music ...... SAMPLE ...... 48 Exercise 1: Skills Task...... SECTION49

Exercise 2: Poetry Task SECTION...... SAMPLE . . . . 51 Exercise 3: Creative Task ...... 54 SECTION SAMPLE SECTION SAMPLE 1.3 Structure SAMPLE Enjambment: Going with the flow ...... SECTION . . . . . 56 Making a point with punctuation ...... 58 SAMPLE Exercise 1: Skills Task...... SECTION60 Exercise 2: Poetry Task ...... 63 SECTION SAMPLE Exercise 3: Creative Task ...... 66 SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION 1.4 Sound Devices SAMPLE SAMPLE AlluringSECTION alliteration ...... 68 SECTION SECTION SAMPLEContemplating consonance and assessing assonance...... SAMPLE70 Out of the ordinary with onomatopoeiaSAMPLE...... 72 Exercise 1: Skills Task...... SECTION 72

Exercise 2:SECTION Poetry Task ...... SAMPLE ...... 73

Exercise 3: Creative Task ...... 76 SAMPLE SECTION 1.5 Comparative Devices SECTION SECTION SAMPLE Scintillating simplicity of similes...... SAMPLE ...... 79 SAMPLE Making it memorable with metaphors ...... 80 SECTION Personification with purpose. . . SECTION...... 81 SAMPLE SECTION Exercise 1: Skills TaskSAMPLE...... 82 Exercise 2: Poetry Task ...... SAMPLE...... 84 SECTION Exercise 3: Creative Task ...... 86SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE 1.6 Humour SAMPLE Satire, parody and caricature: Making a mockery ...... SECTION ...... 88 SECTION PokingSECTION pun ...... SAMPLE...... 92 SAMPLE Exercise 1: Skills Task...... 94 SAMPLE Exercise 2: Poetry Task . . SECTION...... 95 SECTION Exercise 3: CreativeSAMPLE Task ...... 98 SAMPLE SECTION SECTION SECTION 2: SECTION SAMPLE SAMPLE POETIC FORMS: LEARNINGSAMPLE THE RULES, AND THEN BREAKING THEM SECTION SECTION 2.1SECTION The Sonnet SAMPLE SAMPLE Colluding with the classics...... 99 SAMPLE Petrarchan sonnets:SECTION The Italian connection ...... 99 Shakespearean sonnets: Enter the Bard ...... SECTION ...... 102 SAMPLE The Bop: A modern twist on a traditional formSAMPLE...... 105

Exercises: The Sonnet ...... SECTION108

SECTION SAMPLE SECTION 2.2 The BalladSAMPLE SECTION SAMPLE It’s all about the drama...... 115 Exercises: The Ballad ...... SAMPLE ...... 120 SECTION

2.3 The Lyric SAMPLE SECTION Emoting through melody ...... 126 SECTION SAMPLE Exercises: The Lyric...... 131 SAMPLE SECTION

4 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION 2.4 The Ode SAMPLE SAMPLE Singing yourSECTION praises...... 136 SECTION SECTION SAMPLEExercises: The Ode ...... SAMPLE142 SAMPLE SECTION 2.5 The Villanelle SECTION SAMPLE Beauty in structure...... 149 Exercises:SAMPLE The Villanelle ...... 154 SECTION SECTION SECTION SAMPLE 2.6 Free Verse SAMPLE SAMPLE Freedom of expression ...... 159 SECTION Exercises: Free Verse...... SECTION...... 163 SAMPLE SECTION SAMPLE SAMPLE SECTION SECTION 3: SECTION SECTION SAMPLE Unseen Poetry SECTION SAMPLE SAMPLE SAMPLE Going with your Gut: Tips and guidelines ...... SECTION...... 168 SECTION “The OlympicSECTION Runner” ...... SAMPLE . . . 171 “An Abandoned Bundle” ...... SAMPLE174 SAMPLE “Another Reason Why I Don’t Keep SECTIONa Gun in the House” ...... 177

“Roar”...... SECTION 180 SAMPLE SAMPLE SECTION SECTION SECTION 4: SECTION SAMPLE SAMPLE Exercises and EnrichmentSAMPLE Tasks SECTION Flaunting your skills...... 183SECTION SECTION SAMPLE “To His Young Mistress” ...... SAMPLE184 SAMPLE“How Do I Love Thee?” ...... 188 SECTION “Anthem for Doomed Youth” ...... SECTION...... 192 SAMPLE “Not Waving But Drowning” ...... SAMPLE ...... 195 “Pig Song” ...... SECTION198

“Cheetah” ...... SECTION ...... SAMPLE. 202 “My Name” ...... 206 SECTION SAMPLE SECTION SAMPLE Acknowledgements ...... SAMPLE...... 210 SECTION SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION SAMPLE SAMPLE SECTION SECTION Foreword SECTION SAMPLE SAMPLE SAMPLE SECTION

About TheSECTION English Experience SAMPLE

The SAMPLEEnglish Experience is an independent South African publishing house that specialises in developing high-quality English and LifeSECTION Orientation educational resources for IEB educators and SECTION SECTION students. The team of passionate,SAMPLE talented experts behind The English Experience works tirelessly SAMPLE SAMPLE to ensure that every resource encourages insight, growth and debate — enriching and challenging bothSECTION educators and students — without losing sight of the important goal of examination readiness and success. SECTION SECTION SAMPLE Focused on bringing the subjectSAMPLE to life, every resource The English Experience publishes incorpo- SAMPLE rates a range of features — including content and contextual questions and stimulating enrichment SECTION SECTION materialsSECTION — designed to encourage a critical appreciation of the subject and to inspire the higher SAMPLE SECTION SAMPLE SAMPLEorder thinking for which examiners are always looking. SAMPLE The world-class English Experience team includes highly experiencedSECTION educators, some with over SECTION 20 years ofSECTION classroom experience, passionate literary expertsSAMPLE in various fields, such as historical fiction, poetry and Shakespeare, fanatical historians and researchers, creative writers,SAMPLE skilled SAMPLE editors, pernickety proofreaders andSECTION obsessive fact checkers — together with spirited university lecturers and enthusiastic young minds who help to ensure that ourSECTION approach remains unique SAMPLE and fresh. SAMPLE SECTION WhileSECTION examination readiness and success is a non-negotiable, our aspiration is to inspire a genuine interest in, and love of, EnglishSECTION literature. SAMPLE SAMPLE SAMPLE SECTION SECTION OurSECTION approach SAMPLE SAMPLE SAMPLE Perhaps the toughest challengeSECTION in teaching poetry to modern learners is convincing them that the effort often required to grasp the meaning of a poem is worthSECTION it. Decoding the language and SAMPLE deciphering the message of a poem can be particularlySAMPLE taxing for students in Grades 8 and 9 so it’s perhaps not surprising that many of them see poems as works through which theySECTION have to slog

in order to earn marks or passSECTION a test. SAMPLE SECTION This resource hasSAMPLE been written with this reality in mind and particular attention has been paid to providing the kind of context and insight necessarySECTION to help students engage fully with each SAMPLEpoem and to discover for themselves why itSAMPLE has captivated others. We believe that studying poetry rewards us with a richer, deeper understandingSECTION of ourselves and of the world around us. That is why this resource doesSAMPLE more than provide students with a thorough introduction to poetic techniques, devices and forms. It focuses on helping studentsSECTION

develop the key skills they need to understandSECTION and analyse poetry effectively. SAMPLE SAMPLE SECTION

6 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION Throughout this resource, students are exposed to a unique blend of fresh, contemporary poems SAMPLE SAMPLE and recognised classics — imaginative and illustrative verse that will entertain and inspire, as well SECTION SECTION as instruct them. SECTION SAMPLE SAMPLE Students are also encouraged to engageSAMPLE with a diverse selection of poems through sets of contextual questions at the end of each section. By formulating and expressingSECTION their own responses to

these verses, studentsSECTION will be motivated to reflect and growSAMPLE as individuals, as well as learners.

In the SAMPLEend, we have approached the specific needs of students in Grades 8 and 9 with two, interrelated goals in mind. Our first objectiveSECTION is to ensure that students are thoroughly prepared to SECTION SECTION tackle the increasing demandsSAMPLE of the English syllabus throughout the rest of their school careers. Our second ambition is to inspire a genuine interest in, and appreciationSAMPLE of, the transformative SAMPLE power of poetry and the intrinsic value of the works being studied. SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SECTION Visit www englishexperience. co. za. to learn more about The English Experience and the SECTION SECTION SAMPLE range of educational resources theSECTION company publishes . You can scan this QRSAMPLE code to SAMPLE launch the site on your phone automatically . Please note, you will need to have the free ‘Tag reader’ app installed,SAMPLE which you can download from http://gettag .mobi SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION Using this resourceSAMPLE SAMPLE This imaginative, innovative resource is ideal for teaching poetry to students in Grades 8, 9 and 10.SECTION SECTION Designed to be used exhaustively over this period, it features detailed explanations of all major SECTION SAMPLE SAMPLEFigures of Speech, poetic devices and poetry forms, with illuminating examples and skills-focused SAMPLE exercises aimed at honing students’ understanding of eachSECTION topic. SECTION ExposedSECTION to relevant and thought-provoking poemsSAMPLE from a wide range of eras, students are guided and encouraged to make the crucial links between form and meaning, and to recogniseSAMPLE how the SAMPLE poet conveys mood, tone SECTIONand intention. SECTION This resource SAMPLEwill ensure that students are thoroughly prepared to tackle the increasing demands of the English syllabus throughout the rest of their schoolSAMPLE careers. SECTION

SECTION SAMPLE SECTION Chapter structureSAMPLE SECTION SAMPLE Each chapter of this resource introduces a different aspect of poetry and builds on the knowledge and skills gained in the preceding section.SAMPLE Each new concept is defined and explained using example poems and extracts of verse. The chapter concludes with a SECTIONseries of exercises that reinforce the abilities of students through specific skills questions,SAMPLE contextual poetry questions and an imaginative creative task (marking rubrics are included on the companion CD). SECTION

SECTION SAMPLE SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION Section 1: Poetic DevicesSAMPLE SAMPLE SECTION SECTION After an introduction to reading and understandingSECTION poetry, the techniques poets use to create vividSAMPLE descriptions that arrest our senses and stimulate our imaginations are exploredSAMPLE in detail, SAMPLE starting with the ways Figures of Speech, imagery and diction are used to create tone, mood and SECTION meaning. Next, we wrap our tongues around sound devices, rhythm and rhyme and hear how SECTION SAMPLE these make music out of poetry. Section one ends on a lighter note as we have a giggle using humorousSAMPLE devices such as puns, satire and parody and see how poets can use humour to make a more serious point. SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE Section 2: Poetic Forms SECTION In section two, the links between poeticSECTION form and meaning are traced. The rules of traditional SAMPLE SECTION forms like sonnets and odesSAMPLE are exposed, as well as how some poets deliberately break those rules to make a particular point. The beauty of constraint is revealedSAMPLE in the villanelle. The sweet SECTION music of the ballad and lyric forms is enjoyed and the section ends with an exploration of theSECTION SECTION SAMPLE exciting freedom and endless possibilities ofSECTION free verse. SAMPLE SAMPLE SAMPLE SECTION Section 3: Unseen Poetry SECTION SECTION SAMPLEKey to using the boxes The unseen poetry section prepares students for SAMPLE SAMPLE in this resource: tackling poetry they have not comeSECTION across before. It features edgy, different and inspiring verse from a SECTION SAMPLE Definition or Glossary variety of contemporary sources, challenging ques - SAMPLEProvides the meanings of words tions, and guidelines on how to interpret and explain and terms used in the text SECTION intricateSECTION and original poems. SECTION SAMPLE SAMPLE Information SAMPLE Provides additional details or SECTION Section 4: Exercises and facts about a topic SECTION EnrichmentSECTION Tasks SAMPLE Alert SAMPLE SAMPLEDesigned to test the skills students have mastered ! Something to which you need to SECTION while working through the rest of the resource, the SECTIONpay attention final sectionSAMPLE features a sample of South African and SAMPLE Quirky Fact international poems that address the full spectrum Fun, interesting extraneousSECTION of human emotion, from jubilation and admiration to information indignation, shame and pain.SECTION Each poem includes a SAMPLE SECTION short biographicalSAMPLE note on its poet, a series of skills- Checklist based questions and an enrichment task that allowsSECTION ✓ A list of items or activities SAMPLE students to develop and explore theirSAMPLE reactions to required to complete a task the verse further (with marking rubrics included on satisfactorilySECTION the companion CD as well). SAMPLE

We hope you enjoy using this resource as much as we enjoyed putting it together. If you haveSECTION any

comments, queries or suggestions, pleaseSECTION do not hesitate to contact us. SAMPLE SAMPLE SECTION

8 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION SAMPLE SAMPLE SECTION SECTION Introduction to poetry:SECTION SAMPLE SAMPLE Making art with SAMPLEwords SECTION

SECTION SAMPLE

ReadingSAMPLE and understanding poetry SECTION SECTION SECTION Poetry is about experiencingSAMPLE the world around you in new ways. It is about seeing everyday things through a new lens, as though for the first time. The most powerfulSAMPLE poems will make you think, feel SAMPLE and wonder. Poetry is emotion so powerful that it can’t be expressed in everyday language and SECTION experience so intense that it demands to SECTIONbe shared and felt. SAMPLE SECTION Every poem you encounter isSAMPLE an invitation to take a journey somewhere new. Getting the most SAMPLE out of that journey requires being open to new perspectives and ideas, letting the words capture SECTION SECTION your sensesSECTION and immerse you in the world the poem depicts. SAMPLE SECTION SAMPLE SAMPLE SAMPLE ‘If theySECTION give you ruled SECTION SECTION SAMPLE paper, write the SAMPLE other way.’ SAMPLE SECTION — Juan Ramón Jiménez SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION Poetry is about suspending your preconceived ideas and experi- SECTION encing the world SAMPLEaround you in new ways. Dali Atomicus by Phillippe SAMPLE Halsman (1948) (Library of Congress Prints and Photographs Division Washington, D .C .) SECTION

SECTION SAMPLE SECTION SAMPLE Seeing through the eyes of another SECTION SAMPLE Poets want to challenge you, to shakeSAMPLE you out of your everyday haze and to awaken your senses from their SECTION bored stupor. As well as wanting to craft something SAMPLEPainting of Spanish poet Juan Ramón unique and beautiful out of words, poets want you to see Jiménez by Joaquín Sorolla y BastidaSECTION

through their eyes, feel with their heartsSECTION as they try to (1903) (Wikimedia Commons)SAMPLE make sense of life. SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION SAMPLE SAMPLE ‘Poetry is an echo, asking ‘A good poet is someone SECTION SECTION a shadow to dance.’ SECTIONwho manages, in a lifetime of SAMPLE SAMPLE — Carl Sandburg SAMPLE standing out in thunderstorms, to be struck SECTIONby lightening five

SECTION SAMPLEor six times.’

SAMPLE — Randall Jarrell SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE Self portrait (1904) . (Carl SandburgSAMPLE Home National Historic Site) Randall Jarrell, whileSECTION in the army (1943) SECTION SECTION SAMPLE SAMPLE SAMPLE Understanding the different techniquesSECTION that poets use to craft their messages will help you to SECTION appreciate the meaningSAMPLE of their poems and let you take the journey with them. SAMPLE Every poet wants to take your hand and show you something. Who knows where you mightSECTION be ledSECTION and what you might discover, if you let them? SECTION SAMPLE SAMPLE SAMPLE SECTION Navigating the journey SECTION SECTION SAMPLE If the poet’s message is the destination, then his or her SAMPLE SAMPLEwords are the journey and, like any trip worth taking, SECTION getting there is the best part. Let your intuition guide you SECTION on the journeySAMPLE and be sure to include a few stops along SAMPLE the way. Take your time and enjoy the scenery. SECTION

Before drafting an academicSECTION response to a poem, SAMPLE complete your journey with the poet. It may have been SECTION SAMPLE challenging and you might not have enjoyed every step, SECTION SAMPLE but, if you have engaged with a poem and appreciated what the poet is trying to tell you, thisSAMPLE will be reflected in the way you respond to it. SECTION SAMPLE The remainder of this section suggests a process you can SECTION use to explore any poem and describe how you got to your SECTION SAMPLE destination. ©Calico Feathers SAMPLE SECTION

10 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION Reading the map SAMPLE SAMPLE SECTION SECTION The lines of verse in a poem are like a map to the poet’sSECTION destination. Take the time to read through theseSAMPLE ‘directions’ as many times as you need to understand where you are going. The moreSAMPLE you SAMPLE read and engage with a poem, the more clearly you will understand it. If youSECTION rush into it, you could take a ‘wrong turn’ early on and reach an entirely different destination to the one the poet had in SECTION SAMPLE mind. Take your time: the journey is the best part. Be curious, be open-minded, ask questions, and enjoySAMPLE the poem before you even start trying to analyse it. SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE The lines of verse in a poem are like a map to the poet’s destination. Cartographer by Graham Hannah. SAMPLE SECTION SECTION SAMPLE Simply reading the poem through several times withoutSAMPLE over-thinking it will help you to process the poet’s meaning and techniques more naturally. If you can, read the poem aloudSECTION, taste the words on your tongue, find patterns of rhyme and rhythm, and hear the music in the poet’s words. SECTION SAMPLE The punctuation in the poem acts like road signs. Pause where there are commas and full stops SECTION SAMPLE and take note of how these pauses influence your understanding of the poem. Poets will often SECTION SAMPLE use punctuation to emphasise a particular word or phrase; think about why he or she is drawing SAMPLE your attention to these parts of the poem. SECTION It helps to create your own art on the page. Once you haveSAMPLE read through the poem a few times, pick up a pencil and read through it again, making notes or marks on the poem this time. DrawSECTION pictures, make mind-maps, highlight words or phrases that you love. Let your graffiti help you to SECTION SAMPLE interpret and internalise its meaning. SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION What’s the story?SAMPLE SAMPLE SECTION SECTION Once you’ve read the poem, think about the ‘story’SECTION of the poem. Ask yourself: what is the poem about?SAMPLE What message is the poet trying to convey? In other words, where is the poetSAMPLE ‘taking’ SAMPLE you? What does she or he want you to see along the way? SECTION

Consider the storySECTION of the poem, and then tell yourself thatSAMPLE story in your own words. Look back over the notes you made on the poem and compose one or two sentences that sum up the SAMPLE subject and theme of the poem. Together,SECTION these make up the ‘destination’ of your journey. SECTION SECTION SAMPLE SAMPLE SAMPLE

SECTION The subject of the poem is SECTION SAMPLE its literal SECTIONmeaning: what it is SAMPLE about, its story or narrative . The SAMPLEtheme of the poem is its figurative SECTION meaning: its message, argument SECTION SECTION SAMPLE SECTION or greater significanceSAMPLE . If the SAMPLE subject of a poem is a treasure SAMPLE chest,SECTION then its theme is the gold . The subject of a poem might be SECTION SECTION SAMPLEa man grieving the death of his wife and looking back over SAMPLEtheir SAMPLE SECTION life together, for instance, while its themeSECTION may be the eternal nature SAMPLE and power of romantic love . If the subject of a poem is a treasure chest, then its theme is the gold.SAMPLE ©Snake Oil Magazine SECTION SECTION SECTION SAMPLE SAMPLE This is also a good time to work out who is behind the ‘voice giving you directions’ as the speaker

(the voice) of a poem is SAMPLEnot necessarily the poet. The views expressed by the speaker may not be SECTION a reflection of the poet’s own views. A ‘persona’ or character might have been adopted in orderSECTION to

tellSECTION a particular story or present a certain viewpoint.SAMPLE Just as authors create characters in novels, SAMPLE poets often create characters through which to tell the story of their poems. SAMPLE SECTION The speaker in the poem may not be talking SECTION SAMPLE to you directly, either. It could be that you are SAMPLE! It’s often important to know something eavesdropping on the dialogue, much like a about a poet’s context in orderSECTION to under- ‘hitchhiker’ who is coming along for the ride. stand his or her poetry . Familiarise yourself SECTION SAMPLE Determine whether the speaker is addressing a with the different literary periods and the common concerns or styles of these eras, as SECTION specific person SAMPLEor audience in the poem. You’ll well as any major historical events that may still enjoy the journey if you are just ‘hitching a SECTION SAMPLE have influenced the poets of that era . Take ride’ for a while, but being aware of SAMPLEthe person note of the poet’s date of birth and think to whom the speaker is talking might change about how his or SECTIONher world would have been your perception of the ‘destination’ — the differentSAMPLE from the one you know today . meaning or theme of the poem. SECTION

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12 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION Pulling over … and SAMPLEcollecting souvenirs SAMPLE SECTION SECTION The Figures of Speech and poetic devices that aSECTION poet uses are a bit like the souvenirs you collectSAMPLE on a holiday. These add context and meaning to the story of the poem and will SAMPLEhelp you SAMPLE to remember the experience of reading the verse. Collecting souvenirs SECTIONfrom a poem is called a ‘close reading’. SECTION SAMPLE Familiarising yourself with the different Figures of Speech and poetic devices will help you to find SAMPLE the most valuable ‘gifts’ and mementosSECTION on your journey. Consider how these different aspects of the poem draw you in, immerse you in the poet’s world and help you to understandSECTION the message SECTION SAMPLE of the poem. SAMPLE SAMPLE SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SECTION SECTION SECTION A souvenir is any object collected SAMPLE SECTION and taken home SAMPLEby a visiting SAMPLE traveller. The term brings to mind SAMPLE SECTIONthe mass-produced kitsch that you find in tourist gift shops like SECTION SECTION SAMPLE the model Eiffel towers pictured, but the true value of a souvenirSAMPLE SAMPLE lies in the memories with which SECTION its owner associates it, the invis- ibleSECTION psychological connection SAMPLE SAMPLEthat gives the object meaning. ©Ximeg (Wikimedia Commons)SECTION SECTION SECTION SAMPLE SAMPLE ‘Pulling over’ is the equivalentSAMPLE of slowing down and ‘taking in’ the poem, spotting things that you might otherwise have missed. Read over the notes andSECTION marks you have made on the poem. SECTION TheseSECTION are the aspects of the poem that caughtSAMPLE your attention along the way and are comparable to the poet showing you the most beautiful or poignant parts of the ‘scenery’. SAMPLE SAMPLE Ask yourself: why did theseSECTION particular features strike SECTION you as effectiveSAMPLE or interesting? Is the poet using a Section 1 of this resource, SAMPLE Poetic Devices, will help you particular poetic device or Figure or Speech? Why do you think the poet is trying to draw your attention to to identify and explain theSECTION different Figures of Speech and how these this particular aspect of the poem?SECTION SAMPLE work to enhance your experience of SECTION Once you have dealtSAMPLE with the aspects of the poem that poetry and guide you on your ‘journey’ . The different Poetic Forms ofSAMPLE proved most striking to you, return to the beginningSECTION of poetry, such as sonnets, odes or the poem and work carefully through eachSAMPLE line, taking free verse,SECTION are the ‘vehicles’ that note of the more subtle poetic devices and Figures of take you to your destination (the Speech used by the poet. Again, ask yourself: why has SAMPLEmeaning of the poem) and will be the poet written the poem in this way? explored in Section 2 . SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION Consider the connotations of the words chosen by the poet, particularly any words that seem SAMPLE SAMPLE unusual or particularly noticeable. Diction in a poem is carefully chosen by the poet to create a SECTION SECTION particular effect or impact. SECTION SAMPLE SAMPLE SAMPLE SECTION

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SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION ‘Pulling over to take in the scenery’ will help you to experience and appreciate the poemSECTION as a whole and lessen the chances of your missing something SAMPLEimportant. Pictured is Sani Pass, one of the most spectacular and notorious roads in the world. The nine kilometre road climbs from Underberg to Mokhotlong in LesothoSAMPLE and is 2876 metres above sea level at the top. ©Amada44 (Wikimedia Commons) SECTION SECTION SECTION SAMPLE SAMPLE Punctuation or typographySAMPLE may give you further Diction refers to the particu- clues about the particular emphasis given to a word SECTION lar selection of words made by SECTION or SECTIONphrase by the poet. A word on its ownSAMPLE line, for the poet . If you liken theSAMPLE poem to a example, is always significant and the poet is drawing painting, then diction would be the SAMPLE attention to it. Rhythm SECTIONand rhyme schemes will also colours on the artist’s palette . help to create emphasis in particular sections of the SECTION SAMPLE poem and change the way in which you read it. AlwaysSAMPLE ask why the poet has made these particular decisions, SECTION and what effect they have. Every word has two levels of SECTION meaningSAMPLE associated with it: SECTION Take note of theSAMPLE speaker’s tone as this will influence its denotation , which is its diction- the way in which a poem is read. ‘Tone’ and ‘attitude’SECTION ary definition, and its connotationsSAMPLE, which are qualities that we may asso- are synonymous in poetry and will usually be indicated SAMPLE ciate with that word . The word ‘red’, by the use of particular diction, punctuation or typog- for instance,SECTION denotes a particular raphy. This is where reading the poem out loud is SAMPLEcolour, while its connotations could useful. Typically, the poet will have written his or her be representative of anger, passion,SECTION poem in such a way that you will naturally adopt a hatred or danger . particular tone when reading it. SECTION SAMPLE SAMPLE SECTION

14 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION SAMPLE Typography refers to the ! Just as every brush strokeSAMPLE on a canvas is carefully

layout orSECTION ‘design’ of the considered and deliberately executed by the artist, a SECTION SECTION SAMPLEpoem; the way it looks on the poet purposely chooses every word to communicateSAMPLE his page . Shape poems, for exam - SAMPLEor her intended meaning best . Whenever you recognise ple, are designed to form pictures a specific feature of a poem, yourSECTION main concern should that reflect the subject or theme be determining why the poet has chosen to express SECTION SAMPLE of the poem . him- or herself in that way and the effect that it creates . SAMPLE SECTION SECTION SECTION SAMPLE ✓ SAMPLE SAMPLE CLOSE READING CHECKLIST SECTION SECTION SAMPLE SECTION The basics: SAMPLE SAMPLE Ensure that you are confident about the following: SECTION SECTION SECTION SAMPLE þ the subject (what the poem is about) SECTION SAMPLE SAMPLE þ the context (poet’s backgroundSAMPLE or literary period) SECTION þ the speaker SECTION SECTION SAMPLE SAMPLE þ the tone/attitude SAMPLE SECTION þ the theme or message SECTION SAMPLE SAMPLE Style and technique: SECTION SECTION Determine whether the poet has employedSECTION any of the following techniques: SAMPLE SAMPLE

þ particular form or structureSAMPLE (such as a sonnet or ode) SECTION SECTION þ SECTION unusual diction (word choice) or punctuationSAMPLE SAMPLE þ striking or unusual typography (layout of the poem) SAMPLE SECTION þ specific rhyme scheme SECTION SAMPLE þ regulated rhythm or meter SAMPLE SECTION

þ repetition or other form SECTIONof emphasis SAMPLE SECTION þ metaphors SAMPLEor similes SECTION SAMPLE þ other Figures of Speech SAMPLE SECTION In an examination or test scenario, you will be required to recognise the different styles and SAMPLE techniques a poet has used and explain how these techniques have helped in communi-SECTION cating the meaning of the poem as a whole. SECTION SAMPLE SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_intro FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION SAMPLE SAMPLE PoeticSECTION Devices: Linking language, SECTION SECTION SAMPLE SAMPLE structure and meaningSAMPLE SECTION

SECTION SAMPLE

Tone,SAMPLE Imagery and Diction SECTION SECTION SECTION SAMPLE Colouring with tone SAMPLE SAMPLE An artist’sSECTION palette is smeared with a riot of colour — reds, SECTION SAMPLEgreens, blues … and every shade in between. The artist will SECTION use those colours to communicateSAMPLE a particular mood on the SAMPLE canvas: streaks of crimson, for example, might communi- SECTION SECTION cate anSECTION angry, passionate or even violent atmosphere, while SAMPLE cooler blues will create a more soothing, melancholySECTION or even SAMPLE SAMPLE sombre feeling. SAMPLE SECTION A poet uses tone the way an artist uses colour. The tone of SECTION SECTION SAMPLE a poem is the mood or ‘feeling’ it evokes when read. It is the A poet uses tone the way an artistSAMPLE uses SAMPLEatmosphere or attitude that you perceive the poem to have; colour. All In A Day’s Work by Hannah SECTION Dansie. for example, happy, angry or filled with remorse and regret. SECTION Your response to theSAMPLE tone of the poem will, in turn, shape the way in which you interpret its meaning and the intentionSAMPLE SECTION (purpose)SECTION of the poet. SECTION SAMPLE SAMPLE SAMPLE Putting a voice to the words on paper SECTION SECTION ToneSECTION is one of the most important ways in whichSAMPLE we commu - SAMPLE nicate with each other. When you are talking to someone, SAMPLE the way in which he or SECTIONshe speaks will suggest how he or she feels about the topic of conversation. Consider how you SECTION SAMPLE Russian poster promoting patriotism and are able to interpret someone’s tone of voice andSAMPLE estab- giving the working class a voice. “Lengiz lish whether he or she is feeling excited, angry, nervous or books on all subjects!”SECTION by Aleksander Rodchenko (1925). sceptical. SECTION SAMPLE SECTION Imagine you areSAMPLE angry with a friend or sibling and he or she asks you what’s wrong, but you do not want to talkSECTION about it. SAMPLE You might answer by saying, ‘nothing,SAMPLE I’m fine’. Your tone ! The tone of a poem is creat- of voice, however, is likely to communicate the fact that you edSECTION by several different poetic are not fine and the other person will recognise that you are devices working together: dic- SAMPLEtion, imagery, Figures of Speech irritated, despite what you say. and form will all influence toneSECTION in

By communicating a particular attitudeSECTION or feeling, tone adds some way . SAMPLE meaning to our words. It can change the way phrases or SAMPLE SECTION

24 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION sentences are interpreted. A sarcastic tone, for instance, will SAMPLE SAMPLE alert you to the fact that the words should not be accepted ! It is important to distin- SECTION at ‘face value’ SECTION(the superficial meaning the words appear guish between the speaker SECTION and the poet when discussing to haveSAMPLE at first) and that a different or contrary meaning is SAMPLE SAMPLE a poem . The poet is the artist intended by the speaker. and creator,SECTION while the speaker Tone works the same way in speech and poetry. In poetry, is the persona or character that SECTION SAMPLEthe poet may adopt, the ‘voice’ it can be explained as the style in which the ideas of the SAMPLE through which the story of the speaker are expressed, in order to reveal to the reader the SECTION poem is told . Intention and poetic intention of the poet. You ‘hear’ the tone of a poem in much devices belongSECTION to the poet, while SECTION the same way as you hearSAMPLE the tone in a person’s voice. SAMPLEfeelings, emotions and voices SAMPLE The poet will use different poetic devices (tools and tech- belong to the speaker . niques)SECTION throughout the verse that will help you perceive the SECTION SAMPLE‘feeling’ with which she or he intends the poem to be read. SECTION SAMPLE SAMPLE SECTION Describing the colours SECTION SECTION SECTION SAMPLE By describing the tone of a poem, you are explaining the speaker’s attitude towards SAMPLEthe subject SAMPLE of the poem. The way you describeSAMPLE the tone of a poem is very similar to the way in which you SECTION describe a person’s tone of voice. SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION Why do you haveSAMPLE a favourite colour ? SAMPLE Do you feel uneasy or nervous in a yellow room? Does the colour blue make you feel calmSECTION SECTIONand peaceful? Artists have long understood that colour can affect our moods, feelings SECTION SAMPLE SAMPLE and emotions. Different colours trigger different physiological reactions and, as a result, have developed differentSAMPLE symbolic meanings and properties. While these reactions and SECTION meanings may vary across cultures and individuals, colour psychology is used in a wide SECTION varietySECTION of ways, from therapy to corporate branding.SAMPLE SAMPLE SAMPLE SECTION SECTION In the same waySAMPLE that an artist has the whole spectrum of SAMPLE The twist in the tale colours to use, the poet has a whole range of emotions at ! SECTION Consider the poem as a his or her disposal. A poem SECTIONcan be ‘serious’ or ‘playful’, whole beforeSAMPLE you decide on its ‘romantic’ or ‘cynical’, ‘joyful’ or ‘mournful’ and, just as an tone because a ‘twist’ or revela- SECTION artist may choose SAMPLEto use several combinations of colours on tion at the end of the poem may SECTION SAMPLE a canvas, a poet may shift the tone of the verse throughout change the way in which you the poem. This means that one word maySAMPLE not be enough to read it . describe the tone of the poem as a whole. SECTION SAMPLE It’s useful to memorise as many words that describe tone as possible because having a ‘toneSECTION vocabulary’ will allow your response to the poem to be more specific and sophisticated. SECTION SAMPLE SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION SAMPLE SAMPLE Words that describe tone can include: admiring, ambivalent, amused, anxious, angry, apologetic, SECTION SECTION bitter, celebratory, condescending, contemplative,SECTION critical, cynical, defensive, defiant, desperate, SAMPLEdepressed, determined, disdainful, disgusted, disheartened, dramatic, earnest, enthusiastic,SAMPLE excited, fearful, formal, frank, friendly, frustrated,SAMPLE gloomy, happy, honest, hopeful, humorous, indifferent, indig- nant, informal, intimate, ironic, irreverent, judgmental, lighthearted, lofty, malevolent,SECTION malicious, melan-

choly, mischievous,SECTION mocking, negative, nostalgic, objective, SAMPLEoptimistic, patient, patronising, pensive, perplexed, persuasive, pessimistic, reflective, regretful, remorseful, reverent, sarcastic, satirical, scathing, self-pitying,SAMPLE sensationalistic, sentimental, serious, sincere, sceptical, solemn, stiff, straightforward, sympathetic, thankful, threatening, tragic,SECTION urgent, vindictive, witty . SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION Intertwining mood and tone SECTION SAMPLE SECTION SAMPLE Tone and mood are closely linked in poetry, but they are not exactlySAMPLE the same thing. The tone of SECTION a poem describes the speaker’s attitude towards the subject of the verse, while the mood is theSECTION atmosphereSECTION or emotions felt by the reader. SAMPLE SECTION SAMPLE SAMPLE SAMPLE SECTION ! In poetry, tone is related to the SECTION SECTION SAMPLEspeaker, while mood is all about SAMPLE you, the reader, and how the poem SAMPLE SECTION makes you feel . SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE While tone and mood are often intertwined in SAMPLE poetry, the two may not be as closely linked as SECTION youSECTION think; like the circles in this famous illusion, SAMPLE which appear intertwined, but are, in fact, SAMPLEconcentric. The Pinna illusion by Dr Baingio Pinna (1990) (Wikimedia Commons)SECTION

SECTION SAMPLE A poem is meant to be experienced by the reader. Throughout the poem, the relationship between SECTION SAMPLE tone and mood is like a dialogue or exchange between you and the speaker. The tone of the poem SECTION SAMPLE (the speaker’s attitude) will directly impact on the mood experienced by the reader (the feeling the verse evokes in the reader). SAMPLE SECTION Sometimes, the words used to describe tone and mood can be quite similar. A celebratory tone SAMPLE may, for instance, evoke a happy or joyful mood in the reader. Although tone and mood areSECTION not always so closely linked: a sinister or menacing tone may create a fearful mood, for example, while a sarcastic tone might evoke a SECTIONmood of amusement. SAMPLE SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION Mixing the colours to createSAMPLE different shades of tone SAMPLE SECTION SECTION There are various techniques that a poet can use SECTIONto create tone in a poem. It’s important to SAMPLE considerSAMPLE the poem as a whole when discussing tone because all the different elements of a poem will work together to convey a particularSAMPLE tone and mood to the reader. Two of the most important SECTION ways in which a poet creates tone are through the use of imagery and diction. SECTION SAMPLE

SAMPLE Exploring imagery SECTION SECTION SECTION SAMPLE In poetry, imagery refers to the mental images or ‘pictures’ SAMPLE SAMPLE that a poet creates using words. These pictures transport us

into theSECTION poet’s mind, allowing us to see through his or her SECTION eyes. Imagery can be dramatic, intense and vivid, leaving you SECTION SAMPLE breathless and stunned, or itSAMPLE can be a more subtle, delicate SAMPLE blending of impressions that keeps you engaged long after SECTION SECTION the final SECTIONline of verse. SAMPLE SECTION SAMPLE SAMPLE Imagery will appeal to one or more of our Imagery will appeal to one or moreSAMPLE of our five senses: sight, five senses: sight, touch, hearing, smell touch, hearing, smell and taste. When a poet uses imagery, SECTION and taste. (Museum Store Association . SECTION he or she usesSECTION our familiarity with our senses to help us ‘see’SAMPLE Denver, Colorado) and ‘feel’ what is being described. SAMPLE SAMPLE The use of imagery can turn simpleSECTION statements into expres - SECTION sions of power and beauty.SAMPLE Imagery pulls words off the page and brings them to life. By appealing to the five senses,SAMPLE Glossary SECTION imagerySECTION can draw the reader into the world created by the poet and allow the reader to experienceSECTION the poem, rather Elwood (line 1):SAMPLE a suburb of SAMPLE than simply passively readingSAMPLE it. Melbourne, Australia SECTIONmarr ow (line 1): a green- SECTION SECTION SAMPLE skinned vegetable from the Making fruitful connections squash family SAMPLE SAMPLE klaxon (line 8): a loud hooter Consider, for example, theSECTION following extract from Alison or horn Croggon’s poem “The Elwood Organic Fruit and Vegetable SECTION SAMPLE Shop”: SAMPLE SECTION I will go walking in Elwood with my mind as smooth as a marrow SECTION SAMPLE1 SECTION […] SAMPLE SECTION SAMPLE to the Elwood Organic Fruit and Vegetable Shop: 4 SAMPLE […] SECTION for the mangoes are soft yellow thighs and the strawberries are klaxons SAMPLE of sweetness 8 SECTION

SECTION SAMPLE SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION Croggon’s poem is an excellent example of the way in which imagery is used to engage the five SAMPLE SAMPLE senses of the reader. Note how the speaker uses similes and metaphors to describe the sights SECTION SECTION and sensations that she experiences. The speakerSECTION uses vivid descriptions that allow the reader to ‘experience’SAMPLE those sensations as well. SAMPLE SAMPLE SECTION

SECTION SAMPLE ‘There is no shame in not Similes and metaphors are both SAMPLE comparative devices . Similes draw knowing something. SECTION comparisons through the use of words The shame is in not being such as ‘like’ andSECTION ‘as’, while metaphors SECTION SAMPLE create a more direct comparison . See the willing to learn.’ SAMPLE SAMPLE section on Comparative Devices (p 78). – Alison Croggon SECTION for a more detailed explanation . SECTION SAMPLE SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SAMPLE SECTION The literal meaning of a word refers SECTION SECTION SAMPLEto its basic ‘dictionary’ or ‘normal’ definition, while the figurative meaningSAMPLE is SAMPLE SECTION the exaggerated, metaphorical or altered ©Salt Publishing meaning . If someoneSECTION tells you that their SAMPLE ‘heart is broken’, for example, the literal SAMPLEdefinition would indicate that the organ in his or her chest is physically damaged,SECTION InSECTION this example, the speaker describes her state of SECTION but the figurative meaningSAMPLE implies that SAMPLE mind as being ‘smooth as a marrow’ (line 1). The he or she is overwhelmed by misery or reader pictures the silky,SAMPLE even skin of a marrow distress because the heart represents or SECTION vegetable and understands that the speaker is symbolises the place where we feel our SECTION

makingSECTION a figurative comparison here: her brainSAMPLE is emotions . SAMPLE not literally a vegetable, but her even-tempered SAMPLE and calm state of mindSECTION is like the smooth, cool SECTION skin of the vegetable.SAMPLE SAMPLE The sense of touch is also evoked, as this line SECTION provokes the reader to imagine the feeling of SECTION SAMPLE running a finger across the skin of a marrow. The term context refers to the part SECTION The smooth, uniformSAMPLE sensation of the skin of the SECTION of a text (words or phrases) thatSAMPLE vegetable that the reader imagines is then trans- immediately precedes and/or follows a ferred to the description of the speaker’sSAMPLE mind, particular word or statement and clarifies which is just as smooth and unruffled. Comparing its meaning; forSECTION example, a line of verse the speaker’s mind to a vegetable is particularly needsSAMPLE to be understood in the context of appropriate in this context because the speaker the poem as a whole in order to appreSECTION- is describing her visit to a fruit and vegetable ciate its meaning fully . SECTION SAMPLE shop. SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION Engaging the senses SAMPLE SAMPLE SECTION SECTION Croggon also uses rich imagery to describe the fruit inSECTION the SAMPLE store.SAMPLE She uses a metaphor to compare the mangoes to ‘soft yellow thighs’ (line 8), engaging theSAMPLE reader’s senses SECTION of sight and touch to illustrate how appetising the fruit SECTION SAMPLE is. We know that the mangoes are ripe from the mention of theirSAMPLE yellow colour and the comparison to thighs suggests that they are deliciously plumpSECTION and tender. SECTION SECTION The strawberries, meanwhile,SAMPLE are ‘klaxons of sweetness’ SAMPLE SAMPLE (line 8) and this description encourages the reader to imagineSECTION that the burst of their sweet flavour is so intense SECTION SAMPLEthat it can be compared with the wailing of a loud horn. SECTION SAMPLE The Klaxon horn produces a very loud In these few lines, the poet has engaged four of the and distinctiveSAMPLE ‘awooga’ sound. It was SECTION reader’s senses: sight (the yellow mangoes), touch first fitted to cars in 1908 and was also SECTION (the skinSECTION of the marrow and the ‘soft yellow thighs’), used for evacuation alarms, factory sirens SAMPLE SECTION SAMPLE SAMPLEhearing (the klaxons) and taste (the sweet strawberries). and even submarine dive alarms. SAMPLE ©ChelseaDeals Elsewhere in the poem, she describes the ‘poignant […] SECTION fragrance’ of the fresh herbs on offer and the reader’s SECTION SECTION SAMPLE nose tingles at the thought. SAMPLE A poet’s use of imagery SAMPLE By bombarding the reader with a sensorySECTION overload of creates pictures and sensa- sights, smells and sensations, the poet has made the tions in SECTIONyour mind, allowing you, SAMPLE reader feel as though he or she is really there, visiting SAMPLEas the reader of the poem, to the fruit and vegetable shop. Note also how the use of understand better the speaker’sSECTION attitude towards what he or she richSECTION imagery has allowed the poet to turn a rather boring SECTION is describing . This,SAMPLE in turn, helps SAMPLEeveryday chore — grocery shopping — into something you to determine the tone of the exciting and extraordinary.SAMPLE SECTIONpoem . SECTION SECTION SAMPLE Dallying with diction SAMPLE SAMPLE SECTION The term diction refers to the poet’s choice of specific words. AnSECTION artist thinks carefully and deliberately about SAMPLEevery stroke of his brush on the canvas. In the same way, a poet will always put SAMPLE much thought into each and every word he or she uses in a poem. As readers, we must be aware SECTION that each choice the poet makes when expressing an idea holds a great deal of significance and will influence the way in whichSECTION we read a poem. SAMPLE SECTION SAMPLE Every word has two levels of meaning: its denotation, which is its dictionary definition or literal SECTION SAMPLE meaning, and its connotations, which are qualities that we may associate with that word. Most words will only have one or two denotations,SAMPLE but many connotations. SECTION Consider the word ‘red’, for example. Its denotation simply refers to the colour it defines. Yet its SAMPLE connotations are almost endless. We associate the colour red with love and passion, anger SECTIONand even hatred. The colour may bring to mind a beautiful sunset or blood and gore. SECTION SAMPLE SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION The way in which we interpret the connotations of a word will depend on the context in which it is SAMPLE SAMPLE used and with our personal knowledge of its associations. If a poet refers to a ‘blood red sky’, for SECTION SECTION example, we know that he or she is talking about SECTIONa beautiful sunset. On the other hand, if a poet describesSAMPLE someone as ‘seeing red’, we know that he or she means that the person is furiouslySAMPLE angry. SAMPLE SECTION

SECTION SAMPLE Sniffing out the undertones SAMPLE Diction is often considered to be positive,SECTION negative or neutral. This refers to the associations and feelings we may connect with a particular word. Consider, for example,SECTION the following set of SECTION SAMPLE words: SAMPLE SAMPLE SECTION Smell — fragrance — odour SECTION All three of these words refer to the same thing: a sensation that we can detectSECTION using our noses. SAMPLE Yet we associate different connotationsSAMPLE with each of these words. SAMPLE SECTION ‘Smell’ is a neutral word and we will usually use this to describe any sort of scent, good or bad,SECTION SECTION SAMPLE that we can perceive. ‘Fragrance’ has a positiveSECTION connotation and we are usually SAMPLEreferring to a SAMPLE pleasant scent or perfume whenSAMPLE we use it. ‘Odour’, by contrast, has a negative connotation and refers to something pungent or unpleasant. SECTION SECTION If a poet wasSECTION to use one of these three words to describeSAMPLE a scent, each would influence the way SAMPLE in which we interpreted his or her subject. In a love poem, for instance, the poet’s speaker would SAMPLE be more likely to refer to his ladylove’sSECTION scent as a ‘fragrance’ than an ‘odour’, especially if he is

trying to woo her. SECTION SAMPLE SAMPLE Diction may also be described as formal or informal. A poem with formal diction — SECTIONthat is, strictlySECTION grammatical, ‘proper’ language — is more likely to be serious in tone and subject. Informal SECTION SAMPLE SAMPLE diction is conversational and creates a sense of familiarity between the poet’s speaker and the reader. It is more likely toSAMPLE be fun, humorous or light-hearted in tone. SECTION There are various Figures of Speech associated with the use of diction. Some of the most promSECTION- SECTION SAMPLE inent include: hyperbole, allusion, oxymoron and paradox . SAMPLE SAMPLE SECTION SECTION HyperboleSAMPLE SAMPLE Hyperbole magnifies things out of proportion. It is a deliberately over-exaggerated SECTIONstatement that

is not meant to be understoodSECTION literally. We often use hyperbole in everydaySAMPLE language. Instead of simply saying ‘I am hungry’, for example, you might say ‘I could eat a horse’. This does not mean SECTION SAMPLE that you would literally consume an entire horse, but rather that you are just extremely hungry. SECTION SAMPLE A poet will use hyperbole to create impactSAMPLE and communicate a point more effectively. Hyperbole is often used in love poetry, when the speaker is exaggerating the depthSECTION of his love or the many beautiful qualities that he admires in his lady. Consider, SAMPLEfor example, this extract from Andrew Marvell’s poem, “To His Coy Mistress”: SECTION

SECTION SAMPLE SAMPLE SECTION

30 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION […] SAMPLE SAMPLE An hundred years should go to praise SECTION SECTION Thine eyes, and on thy forehead gaze; SECTION SAMPLE SAMPLE Two hundred to adore each breastSAMPLE 15 But thirty thousand to the rest; SECTIONThe opposite of hyperbole is called under- SECTION SAMPLE An age at least to every part, statement, where the poet SAMPLEAnd the last age should show your heart . purposefully plays down or undervalues the descriptions For, lady, you deserve this state, SECTION of his orSECTION her subject . SECTION Nor would I love at lowerSAMPLE rate . 20 SAMPLE SAMPLE SECTION In this poem, the speaker is addressing theSECTION woman he is trying to seduce and telling her that, if SAMPLEhe had an eternity to woo her, he would spend hundreds of years describingSECTION the perfection of SAMPLE each part of her body. Marvell does not intend this to be understoodSAMPLE literally; his speaker is simply SECTION telling the woman that she is so beautiful that it is impossible for any poetic description to do her SECTION justice. SECTION SAMPLE SECTION SAMPLE SAMPLE SAMPLE Allusion SECTION SECTION SECTION SAMPLE Allusion occurs when a writer refers to another text, place, person or event that has happened.SAMPLE Usually,SAMPLE the writer won’t refer to the subject of the allusion directly, but rather hint at it subtly by SECTION using imagery, words or phrases commonly associated with it. If a poetSECTION is referring to something that is greatly desired, butSAMPLE not allowed he or she may describe it as ‘forbidden fruit’, for example, SAMPLE which is usually an allusion to the Biblical story of Adam and Eve in the Garden of Eden. SECTION SECTION For an allusion to be effective and appreciated,SECTION the reader needs to have someSAMPLE knowledge of SAMPLEthe person, text or place to which the poet is alluding. It is similar to a kind of déjà-vu — as you SAMPLE remember the text, event or thing to which reference is beingSECTION made, the knowledge and associations you already have help you to understand the poet’s meaning and what the speaker isSECTION SECTION SAMPLE expressing. Consider the following lyrics from the song “Desolation Row”, by Bob Dylan:SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION

SECTION SAMPLE SECTION SAMPLE SECTION SAMPLE SAMPLE Still ofSECTION Bob Dylan from the promo - tional film clip (the precursor to SAMPLE the modern music video) for Don’t Look Back, a documentary aboutSECTION

SECTION the American songwriterSAMPLE and singer. (1967) (Docurama Films) SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION […] SAMPLE SAMPLE Cinderella, she seems so easy SECTION SECTION ‘It takes one to know one,’ she smiles SECTION SAMPLE SAMPLE And puts her hands into her backSAMPLE pockets 15 Bette Davis style SECTION

SECTION SAMPLE And in comes Romeo, he’s moaning SAMPLE ‘You belong to me I believe’ SECTION And someone turns and says to him SECTION SECTION SAMPLE ‘My friend you’d better leave’ SAMPLE 20 SAMPLE SECTION[…] SECTION SAMPLE SECTION Einstein, disguised asSAMPLE Robin Hood SAMPLE With his memories in a trunk 50 SECTION SECTION SECTIONPassed this way an hour ago SAMPLE SECTION SAMPLE SAMPLE With his friend, a jealous monk SAMPLE SECTION In these lines, Dylan alludes to several different well-known people, both real and imagined. SECTION These includeSECTION characters from folklore, Cinderella (line SAMPLE13) and Robin Hood (line 49); the American SAMPLE actress Bette Davis (line 16); the lovelorn character of Romeo from Shakespeare’s play, Romeo SAMPLE and Juliet (line 17); and the famousSECTION scientist Albert Einstein (line 49). SECTION The song, as a whole,SAMPLE is Dylan’s commentary on urban decay and chaos, and the listener’s under- SAMPLE standing of his message is dependent on his or her knowledge of the characters and events in SECTION historySECTION to which Dylan alludes. SECTION SAMPLE SAMPLE SAMPLE Oxymoron and Paradox SECTION The plural form of the word SECTION An SECTIONoxymoron is a Figure of Speech thatSAMPLE combines oxymoron is oxymora . SAMPLE two apparently contradictory terms within one phrase. SAMPLE Shakespeare was particularlySECTION fond of oxymora: in Romeo and SECTION SAMPLE Juliet, for instance, he uses the SAMPLE terms ‘loving hate’ and ‘sweet SECTION

sorrow’. While these phrasesSECTION SAMPLE may appear contradictory, they SECTION SAMPLE are, in fact, very descriptive. SECTION SAMPLE Juliet feels ‘sweet sorrow’ when she parts from Romeo because SAMPLE she is sad to be apart from him SECTION and yet also happily in love and SAMPLE excited about marrying him the SECTION

next day. SECTIONHave you ever felt alone in a crowd? ©Ruths138 (Flickr)SAMPLE SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION A paradox is a statement that, at first, seems to be contradictory or illogical, but proves to be true SAMPLE SAMPLE when it is considered more carefully. It’s often a very effective way of making the reader consider SECTION SECTION something in a new and unusual light. A speaker inSECTION a poem, for example, may describe herself as beingSAMPLE ‘alone in a crowd’. This does not really make sense at first: how can you be aloneSAMPLE when SAMPLE you are among many other people? If, however, the reader considers this statement carefully, SECTION it becomes clear that the speaker is referring to her emotional rather than physical state: even SECTION SAMPLE though she is surrounded by people, she cannot connect with them on an emotional level and feels lonelySAMPLE as a result. SECTION Consider the following passage from Act 3, Scene 2 of Romeo and JulietSECTION, where Juliet has just SECTION found out that her new husband,SAMPLE Romeo, has murdered her cousin Tybalt: SAMPLE SAMPLE SECTION[…] O serpent heart, hid with a floweringSECTION face! SAMPLE SECTION Did ever dragon keep soSAMPLE fair a cave? SAMPLE Beautiful tyrant! fiend angelical! 75 SECTION SECTION Dove-feather’dSECTION raven! wolvish-ravening lamb! SAMPLE SECTION SAMPLE SAMPLEDespised substance of divinest show! SAMPLE Just opposite to what thou justly seem’st, SECTION SECTION A damnedSECTION saint, an honourable villain! SAMPLE SAMPLE O nature, what hadst thou to do in hell, 80 SAMPLE When thou didst bower the spiritSECTION of a fiend SECTION In moral paradise SAMPLEof such sweet flesh? SAMPLE Was ever book containing such vile matter SECTION SECTIONSo fairly bound? O that deceit should dwell SECTION SAMPLE SAMPLE In such a gorgeous palace! 85 SAMPLE SECTION Juliet is expressing her confusion and SECTION violentlySECTION mixed emotions. She is deeply SAMPLE SAMPLE in love with Romeo and believes him Glossary SAMPLE to be gentle, kind and loving;SECTION however, fair (lines 74 and 84): beautiful she has just been told that he has killed SECTION SAMPLE tyrant (line 75): a cruel and overbearing person her beloved cousin and, naturally, she is SAMPLE devastated. fiend (lines 75 and 81): an evil demon or spiritSECTION angelical (line 75): resembling an angel An example of a paradox is SECTIONfound in SAMPLE raven (line 76): a black bird, like a crow SECTION the lines ‘Was everSAMPLE a book containing such vile matter / So fairly bound?’ wolvish-raveningSECTION (line 76): hunts like a wolf SAMPLE (lines 83-84). Here, she is wonderingSAMPLE justly (line 78): exactly how such a handsome, gentle man bower (line 81): enclose insideSECTION could possess a temperament so violent SAMPLE as to commit murder. SECTION

SECTION SAMPLE SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION A similar sentiment is expressed in the oxymora in this passage, including ‘Beautiful tyrant!’, SAMPLE SAMPLE ‘fiend angelical!’ (line 75), ‘A damned saint’ and ‘an honourable villain!’ (line 79). All of these SECTION SECTION descriptions support Juliet’s point that Romeo is SECTION‘Just opposite to what [he seemed]’ (line 78). SAMPLE SAMPLE SAMPLE SECTION

A paradoxSECTION is a statement that appears illogical or contradictorySAMPLE at first, but may actually point to an underlying truth, for example, ‘the beginning of the end’. An oxymoron is a SAMPLE descriptive phrase that combines SECTIONtwo contradictory terms, such as ‘living dead’ or ‘beautiful disaster’. SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLEExercises: Tone, Imagery and Diction SECTION SAMPLE SAMPLE SECTION SECTION ExerciseSECTION 1: Skills Task SAMPLE SECTION SAMPLE SAMPLE 1. Identify whether the followingSAMPLE statements are examples of hyperbole, allusion, SECTION oxymoron or paradox, and provide a clear explanation of its meaning in each case. SECTION SECTION SAMPLE 1.1 ‘I’ve told you a million times to clean your room!’ her mother shrieked. SAMPLE(2) SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE 1.2 The poet George Bernard Shaw proclaimed, ‘What a pity that youth SAMPLEmust be SAMPLE wasted on the young.’ (2) SECTION SECTION SAMPLE SAMPLE SECTION

SECTION SAMPLE SECTION SAMPLE

SECTION SAMPLE SAMPLE SECTION 1.3 Barack Obama once joked, ‘I was not born in SAMPLEa manger. I was actually born on Krypton and sent here by my father, Jor-el, to save the Planet Earth.’ SECTION(2)

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SECTION

SECTION SAMPLE

1.4SAMPLE ‘Did you not get any sleep last night?’ she asked her friend. ‘You look like the SECTION walking dead today.’ SECTION (2) SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SAMPLE 1.5 Oscar Wilde famously declared: ‘I can resist anything but SECTIONtemptation.’ (2) SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION 1.6 Her rendition of Beethoven’s violin sonata was painfully beautiful. (2)SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION

SECTION SAMPLE SECTION SAMPLE SAMPLE 1.7 ‘If you keep lying like that, your nose willSECTION start to grow,’ his grandmother warned. (2) SAMPLE SECTION

SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE 1.8 ‘I died of shame when my SAMPLEbrother read my diary,’ she moaned. (2) SECTION

SECTION SAMPLE

SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SECTION 2. Rewrite each of the followingSAMPLE statements to make it hyperbolic. SAMPLE SECTION 2.1 My sister is very intelligent. (1)SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SAMPLE 2.2 I had the best holiday in Durban last December. SECTION (1) SECTION SECTION SAMPLE SAMPLE SAMPLE2.3 Nelson Mandela was a great leader. (1) SECTION SECTION SAMPLE 2.4 I read a beautiful poem yesterday. SAMPLE (1) SECTION SECTION SECTION SAMPLE SAMPLE 2.5 I like to play SAMPLEmy music at a high volume. (1) SECTION SECTION SECTION SAMPLE SAMPLE 3. Arrange the following groups of words in the table that follows by identifying which term SAMPLE carries a positive, negativeSECTION or neutral connotation. SECTION • GroupSAMPLE a) scrawny; lean; thin (3) SAMPLE • Group b) young; childish; energetic (3) SECTION • Group c) laid-back; inactive; lazy (3) SECTION SAMPLE SECTION SAMPLE Neutral Positive Negative SECTION SAMPLE Group a) SAMPLE Group b) SECTION Group c) SAMPLE SECTION[30]

SECTION SAMPLE SAMPLE SECTION

36 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION Exercise 2: Poetry TaskSAMPLE SAMPLE SECTION SECTION 1. Consider the poem “Lost Generation” by JonathanSECTION Reed, and answer the questions that SAMPLE SAMPLE follow: SAMPLE SECTION

“Lost Generation”SECTION SAMPLE

I amSAMPLE part of a lost generation . 1 SECTION And I refuse to believe that SECTION SECTION I can change the world.SAMPLE SAMPLE SAMPLE I realise this may be a shock, but ‘HappinessSECTION comes from within’ 5 SECTION SAMPLEIs a lie, and SECTION ‘Money will make me happy.’SAMPLE SAMPLE So in thirty years, I will tell my children SECTION SECTION TheySECTION are not the most important thing in my life. SAMPLE My employer will know that SECTION 10SAMPLE SAMPLE I have my priorities straight becauseSAMPLE Work SECTION SECTION Is more importantSECTION than SAMPLE Family SAMPLE SAMPLE I tell you this: SECTION 15 Once upon a time SECTION SAMPLE Families stayed together SAMPLE But this will not be true in my era. SECTION SECTIONThis is a quick fix society SECTION SAMPLE SAMPLE Experts tell me 20 30 years from now, I willSAMPLE be celebrating the 10th anniversary of my divorce. SECTION I do not concede that SECTION ISECTION will live in a country of my own making. SAMPLE SAMPLE In the future, SAMPLE Environmental destructionSECTION will be the norm. 25 No longer can it be said that SECTION SAMPLE My peers and I care about this Earth. SAMPLE It will be evident that SECTION

My generation is apatheticSECTION and lethargic. SAMPLE It is foolish to presume that 30 SECTION SAMPLE There is hope. SECTION SAMPLE

And all of this will come true unlessSAMPLE we reverse it. SECTION SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION 1.1 Identify the speaker’s tone in the poem, and explain how you are able to do so. (3) SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION

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SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE 1.2 How does the tone of this poem SECTIONimpact on its mood? SAMPLE (2) SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION

SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE 1.3 Now read theSAMPLE poem again, except this time do it backwards, starting with the SECTION final line and reading up towards the first line. How do the tone and mood of the SECTION SECTIONpoem change when it is read this SAMPLEway? (3) SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE

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38 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION 2. Read the following extract from TS Eliot’s poem “Preludes”, and respond to the ques- SAMPLE SAMPLE tions that follow: SECTION SECTION SECTION SAMPLE SAMPLE “Preludes” SAMPLE SECTION The winter evening settles down 1 SECTION SAMPLE With smell of steaks in passageways . SixSAMPLE o’clock . SECTION The burnt-out ends of smoky days . SECTION SECTION And now a gusty showerSAMPLE wraps 5 SAMPLE SAMPLE The grimy scraps SECTION Of withered leaves about your feet SECTION SAMPLE SECTION And newspapers from vacantSAMPLE lots; SAMPLE The showers beat SECTION SECTION On brSECTIONoken blinds and chimney-pots, 10 SAMPLE SECTION SAMPLE SAMPLEAnd at the corner of the street SAMPLE A lonely cab-horse steams and stamps . SECTION […] SECTION SECTION SAMPLE SAMPLE SAMPLE2.1 Using your own words, and in as much detail as possible, describe the scene SECTION that is portrayed in this extract from the poem. SECTION (3) SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE

2.2 Identify one example from the extract of a description that appeals to yourSECTION sense

of touch, and explainSECTION why you find it ef fective. SAMPLE (2) SECTION SAMPLE SECTION SAMPLE

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION 2.3 Explain the impact created by the imagery used by the speaker in line 4, ‘The SAMPLE SAMPLE burnt-out ends of smoky days’. (3) SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION

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SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SECTION 2.4 Identify a synonymSAMPLE in the poem for the word ‘dirty’. (1) SAMPLE SECTION SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SAMPLE 2.5 Re-read lines 9 to 12, and explain how imagery is used bySECTION the speaker to convey SECTION SECTIONa particular tone. SAMPLE (3) SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION [20] SECTION SAMPLE Exercise 3: Creative Task SAMPLE SECTION

1. Choose one of the humanSECTION emotions listed below and composeSAMPLE your own imagery SECTION poem usingSAMPLE it as the subject. Engage all five of your reader’s senses in your poem by describing how your chosen emotion looks,SECTION feels, tastes, sounds and smells. Let yourSAMPLE imagination run wild and take yourSAMPLE reader on a sensory journey with you. Choose from the following emotions: happiness, anger, love, loneliness,SECTION frustration, fear, delight, horror, excitement, grief, triumph. SAMPLE Marks will be awarded for the creative, innovative use of imagery that reflects the toneSECTION suggested by the chosen emotion. Poems should engage the five senses of the reader and, in doing so, convey an appropriateSECTION mood. SAMPLE (15) SAMPLE SECTION

40 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION SAMPLE SAMPLE Example: SECTION SECTION SECTION SAMPLE SAMPLE “Anxiety” SAMPLE SECTION Anxiety is a snake coiled up inside my belly SECTION SAMPLE waiting to strike with venomous fangs SAMPLE Anxiety is a red raw throb in the back of my throat SECTION that makes me swallow bitter gall SECTION SECTION SAMPLE Anxiety is a throbbing thudding thumping SAMPLE SAMPLE beating relentlessly on my eardrums SECTION Anxiety is a cold prickleSECTION against my skin SECTION SAMPLE that threatens to fill my lungs and leave me gasping SAMPLE for air SAMPLE SECTION SECTION SECTION Anxiety is a demon I can never elude . SAMPLE SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect1 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION The Lyric SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE Emoting through melody SAMPLE SECTION

SECTION SAMPLE The urge to pen a verse is often prompted by the stirrings of strong emotion, such as love, hate, anger,SAMPLE passion, grief or rage, and a poem that explores the complexities and strengths of emotion is called a lyric poem. These feelingsSECTION are among the most powerful experiences we may have in SECTION SECTION our lives, but they are alsoSAMPLE notoriously difficult to describe. SAMPLE SAMPLE Lyrics are similar to ballads, SECTION in that these also feature a SECTION SAMPLE melodic meterSECTION and are often SAMPLE written in the form of a song, SAMPLE accompanied by instruments. SECTION SECTION SECTION Both lyrics and ballads take SAMPLE SECTION you on a melodramaticSAMPLE journey SAMPLE SAMPLE of tragedy or exultation, often SECTION leaving you breathless and SECTION SECTION SAMPLE your pulse beating. Yet there SAMPLE are a few notable differences SAMPLE SECTION between ballads and lyrics

as SECTIONwell. Ballads are narra- SAMPLE SAMPLEtive poems: telling us a story, involving characters SECTIONand

SECTION dialogues, and usually build SECTION SAMPLE SAMPLE Can you identify all six emotions depicted by these masks? ©Melody Anderson SAMPLE SECTION SECTION

up SECTIONto a dramatic climax. Lyric poetry, on theSAMPLE other SAMPLE hand, focuses on emotion, revealing the innermost SAMPLE thoughts and feelings SECTIONof the speaker, rather than SECTION telling a story.SAMPLE SAMPLE Lyrics are usually shorter than ballads and told in the SECTION first person. The speaker will often address readers SECTION SAMPLE directly, whispering his or her darkest and most SECTION personal secretsSAMPLE in your ear. Lyric poetry is therefore very intimate, allowing you to feel as though SECTIONthe SAMPLE speaker is a friend who has just revealedSAMPLE his or her true self to you. SECTION

Like the ballad, the lyric has a long poetic history. SAMPLE Lyric poetry is often intimate and reads asSECTION if the The ancient Greeks and Romans composed lyrics speaker is whispering his or her darkest and that were accompanied by a musicalSECTION instrument. most personal secrets in yourSAMPLE ear. SAMPLE SECTION

126 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION Lyric poetry continued to be popular in Europe throughout the medieval era and it was the most SAMPLE SAMPLE dominant poetic form in the English language by the Romantic period in the 19th century. Its SECTION SECTION th popularity then waned slightly in the 20 century, butSECTION was taken up once more by ‘confessional’ feministSAMPLE poets, such as Sylvia Plath and Anne Sexton, in later decades. SAMPLE SAMPLE SECTION

SECTION SAMPLE ‘What horrifies me SAMPLE SECTION most is the idea SECTION SECTION SAMPLE of being useless: SAMPLE SAMPLE well-educated, SECTION brilliantly SECTION promising,SECTION and SAMPLE SAMPLE fading out into SAMPLE SECTION an indifferent SECTION SECTION SAMPLE SECTION middle age.’SAMPLE SAMPLE SAMPLE — Sylvia Plath SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION SECTION As its name suggests, lyric poetry was originally composed to be accompanied SECTION SAMPLE SAMPLEby a lyre, a small stringed instrument similar to a harp. Pictured is an artist’s impression of Nero, the RomanSAMPLE Emperor who loved to sing in public while accompanying himself on the lyre. ©Roger Payne SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION ! The lyric is not an ‘exclusive’ ✓ SECTION SAMPLE Lyric checklist form of poetry . Its definition is SAMPLE quite broad and a poem written þ A highly rhythmic, song-like meter SECTION in the form of a sonnet or ode, for instance, can also be consideredSECTION as þ Regular rhyme scheme SAMPLE SECTION a lyric . A sonnet thatSAMPLE focuses on the þ Explores the emotions, innermost thoughts or emotions of the speaker could be SECTION SAMPLE referred to as a lyrical sonnet, for state of mind of the speaker example . SAMPLE þ Usually quite short SECTION

þ Usually in theSAMPLE present tense and first person SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION A baring of innermostSAMPLE emotions SAMPLE

SECTION th SECTION Consider the following poem by 19 century EnglishSECTION writer, Caroline Elizabeth Sarah Norton: SAMPLE SAMPLE SAMPLE “I Do Not Love Thee” SECTION

SECTION SAMPLE I do not love thee!—no! I do not love thee! 1 SAMPLEAnd yet when thou art absent I am sad; SECTION And envy even the bright blue sky above thee, SECTION SECTION SAMPLE Whose quiet stars may see thee and be glad . SAMPLE SAMPLE SECTION I do not love thee!—yet, I know not why, 5 SECTION Whate’er thou dost seems still well done, to me: SECTION SAMPLE And often in my solitudeSAMPLE I sigh SAMPLE SECTION That those I do love are not more like thee! SECTION SECTION SAMPLE I do not love thee! —yet, when thou SECTIONart gone, SAMPLE SAMPLE I hate the sound (though thoseSAMPLE who speak be dear) 10 SECTION Which breaks the lingering echo of the tone SECTION SECTION SAMPLE Thy voice of music leaves upon my ear . SAMPLE SAMPLE I do not love thee! —yet thySECTION speaking eyes, SECTION With their deep,SAMPLE bright, and most expressive blue, SAMPLE Between me and the midnight heaven arise, 15 SECTION SECTIONOftener than any eyes I ever knew . SECTION SAMPLE SAMPLE I know I do not SAMPLElove thee! yet, alas! SECTION Others will scarcely trust my candid heart; SECTION SECTION And oft I catch them smiling as they pass,SAMPLE SAMPLE Because they see me gazing where thou art . 20 SAMPLE SECTION SECTION In “I Do Not Love Thee”, the speaker SAMPLE explores her feelings for a lover, SAMPLE SECTION denying her attraction to him, while, at the same time, acknowledgingSECTION all the SAMPLE SECTION signs that contradictSAMPLE her words: she misses her lover when he is gone, wishes SECTION SAMPLE others were more like him, and thinks SAMPLE of his voice and his blue eyes. In the SECTION final stanza, she continues to insist that she is not in love, but says that no-one SAMPLE SECTION believes her and that people smile when they catch her gazing after her lover.SECTIONIf he is dumb enough to walk away, be smartSAMPLE enough to let him go. SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION “I Do Not Love Thee” is an example of a lyric poem as the speaker is baring her innermost SAMPLE SAMPLE emotions to the reader. She denies that she is in love, but she is implicitly revealing that her SECTION SECTION denials are untrue. This suggests the depth of the secretSECTION that she is sharing. She seems unwilling to admitSAMPLE it to herself and yet is entrusting the reader with it. Unusually for a lyric poem,SAMPLE the SAMPLE speaker is not addressing the reader directly, but rather her lover. SECTION

Also unusually for SECTIONa lyric poem, there is no regular meter discernableSAMPLE in the poem; the melodic rhythm is created by the regular rhyme scheme instead. Notice that each stanza follows a rhyme SAMPLE scheme pattern of ABAB, creating the sing-song effect typical of lyric poetry. The highly emotive SECTION language and regular stanzas are also characteristic of the lyric form. SECTION SECTION SAMPLE SAMPLE SAMPLE ContemporarySECTION lyrics: love, romance and heartbreak remain popular SECTION Today, recording artists and songwriters often adapt the traditional lyric formSECTION when producing SAMPLE modern music. Love, romanceSAMPLE and heartbreak have always been the most popular subjects of SAMPLE both poetry and music and the lyric form is the perfect vehicle to express these deep, often turbu- SECTION SECTION lent emotions.SECTION Consider the lyrics of “It Will Rain” by American singer-songwriter Bruno Mars: SAMPLE SECTION SAMPLE SAMPLE If you ever leave me, baby, SAMPLE 1 Leave some morphine at my door SECTION SECTION ’CauseSECTION it would take a whole lot of medication SAMPLE SAMPLE SAMPLETo realise what we used to have, SECTION We don’t have it anymore . SECTION5 SAMPLE There’s no religion that could save me SAMPLE SECTION SECTIONNo matter how long my knees are on the floor So keep in mind all the sacrificesSECTION I’m makin’ SAMPLE SAMPLE To keep you by my sideSAMPLE SECTION To keep you from walkin’ out the door . 10 SECTION SECTION SAMPLE ’Cause there’ll be no sunlight SAMPLE SAMPLE If I lose you, baby SECTION SECTION There’ll be no clear skies SAMPLE If I lose you, baby SAMPLE SECTION Just like the clouds 15 SECTION SAMPLE My eyes will do the same, if you walk away SECTION Everyday it’llSAMPLE rain, rain, rain . SECTION SAMPLE I’ll never be your mother’s favouriteSAMPLE Your daddy can’t even look me in the eye SECTION If I was in their shoes, I’d be doing the same thing SAMPLE 20

Sayin’, ‘There goes my little girl SECTION

Walkin’ with that troublesome guySECTION .’ SAMPLE SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION But they’re just afraid of something they can’t understand SAMPLE SAMPLE Ooh, but little darlin’ watch me change their minds SECTION SECTION Yeah for you I’ll try, I’ll try, I’ll try, I’ll try SECTION 25 SAMPLE SAMPLE I’ll pick up these broken pieces SAMPLE‘til I’m bleeding If that’ll make you mine SECTION

SECTION SAMPLE ’Cause there’ll be no sunlight SAMPLE If I lose you, baby SECTION There’ll be no clear skies SECTION30 SECTION SAMPLE If I lose you, baby SAMPLE SAMPLE Just like the clouds SECTION My eyes will do the same, if you walkSECTION away SAMPLE SECTION Everyday it’ll rain, rain,SAMPLE rain . SAMPLE SECTION SECTION ThoughSECTION written almost 200 years after Norton’s poem, Mars’ song is similar in many respects: SAMPLE it also directly addresses the speaker’s loverSECTION and expresses deeply-felt love andSAMPLE emotional SAMPLE turmoil. The most noticeable SAMPLEdifference is that each artist approaches the establishment of melody through different techniques. Norton relies on a regular rhymeSECTION scheme; Mars, however, SECTION does not rhymeSECTION his verse, but rather relies on meter toSAMPLE create the rhythm of his song. SAMPLE SAMPLEEven without the accompanying music, it is possible to hear the rhythm of “It Will Rain”. If we were to scan the first two lines of SECTIONthe song, we can clearly see the trochaic meter that is used: SECTION SAMPLE If you| ever| leave me,| baby,| SAMPLE Leave some| morphine| at my| door SECTION SECTION SECTION SAMPLE SAMPLE The trochaic meter of these lines immediately establish the rhythm of the song. Both Norton’s poem and Mars’ song demonstrateSAMPLE the melodic quality that defines the lyric poem. SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE ‘To write … SAMPLE you must have SECTION

SECTION an imagination, SAMPLE SECTION SAMPLE to have an imagination, youSECTION must be free.’ SAMPLE SAMPLE — Bruno Mars SECTION SAMPLE ©Brothers Le (Flickr) SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION Exercises: The LyricSAMPLE SAMPLE SECTION SECTION 1. Read “Ashes of Life”, by Edna St. Vincent Millay,SECTION and respond to the questions that follow: SAMPLE SAMPLE SAMPLE “Ashes of Life” SECTION

SECTION SAMPLE Love has gone and left me and the days are all alike; 1 SAMPLE Eat I must, and sleep I will, — andSECTION would that night were here! SECTION SECTION But ah! — to lie awake SAMPLEand hear the slow hours strike! Would that it were day again! — with twilight near! SAMPLE SAMPLE SECTION Love has gone and left me and I don’tSECTION know what to do; 5 SAMPLE This or that or what you will is all the same to me; SECTION SAMPLE But all the things that I begin I leave before I’m through, — SAMPLE SECTION SECTION There’sSECTION little use in anything as far as I can see . SAMPLE SECTION SAMPLE SAMPLELove has gone and left me, — and the neighbors knock and borrow, SAMPLE And life goes on forever like the gnawing of a mouse, — SECTION10 SECTION And to-morrowSECTION and to-morrow and to-morrow and to-morrowSAMPLE SAMPLE There’s this little street and this little house . SAMPLE SECTION SECTION SAMPLE 1.1 What does the title of the poem suggest aboutSAMPLE its theme, and what the reader may expect from it? SECTION(2) SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE

SAMPLE SECTION SECTION SAMPLE SAMPLE 1.2 What features of this poem allow us to identify it as a lyric? (4) SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE 1.3 Discuss how the poet has SAMPLEcreated rhythm in the poem. (3) SECTION

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SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SECTION SECTION 1.4SECTION Comment on the poet’s use of punctuation and how it conveys the speaker’s SAMPLE tone, using examples from the poemSECTION to illustrate your points. SAMPLE (4) SAMPLE SAMPLE SECTION

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SECTION SAMPLE SAMPLE SAMPLE 1.5 Identify the Figure of Speech in line 5, and comment on its effect in context. (2) SECTION SECTION SAMPLE SAMPLE

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION 2. Read “I Sit and Think” by JRR Tolkien, and answer the questions that follow: SAMPLE SAMPLE SECTION SECTION “I Sit and Think” SECTION SAMPLE SAMPLE SAMPLE I sit beside the fire and think of all that I have seen, 1 SECTION of meadow-flowers and butterflies in summers that have been; SECTION SAMPLE Of yellow leaves and gossamer in autumns that there were, SAMPLE with morning mist and silver sun and wind upon my hair . SECTION I sit beside the fire and think of how the world will be SECTION5 SECTION SAMPLE when winter comes without a spring that I shall ever see . SAMPLE SAMPLE ForSECTION still there are so many things that I have never seen: SECTION SAMPLEin every wood in every spring there is a different green . SECTION SAMPLE I sit beside the fire and think of people long ago, SAMPLE SECTION and people who will see a world that I shall never know . 10 SECTION SECTION SAMPLE But all the while I sit and think of times thereSECTION were befor e, SAMPLE SAMPLE I listen for returning feet and voicesSAMPLE at the door . SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE ‘I sit … and think of people long ago, SAMPLE and people who will see a world that I shall neverSECTION know’. ©Graham Crumb SECTION (Wikimedia Commons) SECTION SAMPLE SAMPLE SAMPLE 2.1 In three sentences, paraphrase what the speaker is contemplating through the SECTION course of this poem. SECTION (3) SAMPLE SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION 2.2 How would youSAMPLE describe the theme of this poem? (2) SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION

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SAMPLE SECTION SECTION SECTION 2.3 Scan the firstSAMPLE two lines, indicating with the correct symbols the stressed and SAMPLE SAMPLE unstressed syllables in these lines. (2) SECTIONOne mark will be awarded for each line that demonstrates the correct placement SECTION of stressed and unstressed syllables. SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION 2.4 Based on your answer in 2.3, how would you describe theSECTION meter of the first two lines? SAMPLE (2) SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE

SAMPLE SECTION 2.5 What features of this poem allow us to identify it asSECTION a lyric? (4) SAMPLE SAMPLE

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION 2.6 State whether you believe the speaker is a young or elderly person, citing SAMPLE SAMPLE evidence from the poem to support your answer. (2) SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect2 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION SAMPLE SAMPLE UnseenSECTION Poetry SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION Tips and guidelines SECTION SAMPLE Unseen Poetry exercises present you with a unique opportunity to be moved, uplifted and even SAMPLE transformed by the power of the new andSECTION unfamiliar verse. When you encounter a poem for the first time, without being told what to expect from it by a teacher or textbook, theSECTION verse has more chance

SECTION of being able to surprise,SAMPLE startle and challenge you. You are likely to be more open to the fresh SAMPLE SAMPLE perspectives and new ideas the poem may contain. SECTION Unseen Poetry exercises give you theSECTION chance to explore your personal ‘gut response’ to the SAMPLE SECTION verse. Free from the opinionsSAMPLE and ideas of others, the ‘journey’ on which an unfamiliar poem takes you is entirely your own. It is your reaction and your responseSAMPLE to the verse that count and SECTION you will be rewarded for a unique, well-substantiated interpretation. SECTION SECTION SECTION SAMPLE Not knowing where a poem might take you makes for an SAMPLE SAMPLE exhilarating expedition. It alsoSAMPLE allows you to ‘flex your !SECTIONThis guide to unseen poetry poetic muscles’ as you make sense of, interpret and explain should be used together SECTION an intricateSECTION and original text — a skill you will use in manySAMPLE with the notes on pages 9-15,SAMPLE different situations throughout your life. ‘Making Art With Words: An SAMPLE SECTION Introduction to Poetry’ . SECTION SAMPLE Charting your path SAMPLE SECTION DetectingSECTION the clues SECTION SAMPLE SAMPLE • Before you begin, take a moment to consider the title of the

poem and what it isSAMPLE telling you. The title is always your first SECTION point of contact and will often point you to the purpose the poet SECTION

SECTIONhad in mind when writing the poem. RememberSAMPLE that titles may SAMPLE be satirical or ironic and be open to this possibility. SAMPLE SECTION • If the unseen poem has a companion piece — perhaps anotherSECTION SAMPLE poem, a popular song or a visual that you SAMPLEmay be asked to compare it with — then use this for clues as to the theme(s) of SECTION the unseen poem. SECTION SAMPLE • The poetic genre chosen by the poet will often provide clues SECTION SAMPLE as to his or her intentions or themes. If the word ‘ode’ appears SECTION SAMPLE in the title, for instance, the poem will praise someone or SAMPLE something; if the title contains the word ‘ballad’, there will be a SECTION story element to consider. The journey on which an unfamiliar SAMPLE poem takes you is entirely your • Take note of the name of the poet. You may be familiar with own. It is your reactionSECTION and

other poems by the same writer andSECTION this could help you under- response toSAMPLE the verse that counts. stand his or her particular style. ©Sue Van Gageldonk SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect3 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION • If the dates of birth and death of the poet are provided, consider the literary movement to SAMPLE SAMPLE which they belonged. If the poet lived and wrote between 1800 and 1870, for example, then it SECTION SECTION is likely that he or she was part of the RomanticSECTION Movement and wrote verse that focused on SAMPLEthe glorification of the individual, the emotions and the imagination. SAMPLE SAMPLE SECTION

Taking in the ‘scenery’SECTION SAMPLE

• A poemSAMPLE is about the experience, the journey on which it takes you, so take it all in. Relax and read through the poem several timesSECTION so that you are familiar with all aspects of the poem. SECTION SECTION SAMPLE • Read the footnotes and glossary, if provided, as these will clear up any obscure words or SAMPLE SAMPLE phrases and may give you extra contextual meaning. SECTION • Make your own notes on the poem. UnderlineSECTION curious or difficult words, phrases and Figures SAMPLE SECTION of Speech. Jot down thoughtsSAMPLE as they come to you. SAMPLE SECTION • Write a short paraphrase of the poem. Decide on its central idea or theme and the poet’s SECTION reasonSECTION for writing it. SAMPLE SECTION SAMPLE SAMPLE SAMPLE A journey of discovery SECTION SECTION SECTION SAMPLE • As you read, remain attentive to the way in which the mechanics of the poem work;SAMPLE for SAMPLEinstance, punctuation and line breaks that indicate groupings of thoughts/ideas. SECTION

• If unusual phrasing or syntax SECTION SAMPLE is proving difficult for you to SAMPLE decipher, identify the subject of SECTION

SECTIONa sentence and then its verb to SECTION SAMPLE SAMPLE help clarify meaning. SAMPLE • Read through the questions as SECTION SECTION theseSECTION will provide you with further SAMPLE clues as to how to interpret the SAMPLE SAMPLE poem. A point you may not have SECTION understood is sometimes made SECTION SAMPLE clearer by the questions and this SAMPLE may help you see the poem in a SECTION different light. SECTION SAMPLE SECTION • Focus on theSAMPLE diction. A poet chooses words with the utmost SECTION SAMPLE care and thought: for their SAMPLE specific meanings and connota- SECTION tions, for the way they sound and for the pictures they paint in the SAMPLE SECTION mind of the reader. SECTIONBe alert to the pictures the words paint. Taylor MomsenSAMPLE ©Medicated- Kitty (Deviantart .com) SAMPLE SECTION

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect3 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION Describing your experienceSAMPLE SAMPLE SECTION SECTION • When answering the questions, work in roughSECTION first. Reread the sections of the poem on SAMPLE SAMPLEwhich the question indicates you should focus, asking yourself whether your interpretation makes sense when the poem is consideredSAMPLE as a whole. If it does, then you are ready to write SECTION your final answers. SECTION SAMPLE • Your creative interpretations are encouraged, provided that you can (i) prove your point SAMPLEby quoting from the text and (ii) the poem still forms a consistent and meaningful whole (in SECTION the light of your interpretation). SECTION SECTION SAMPLE SAMPLE SAMPLE ComparingSECTION different works of art SECTION • You may be asked an intertextual question in relation to the unseenSECTION poem. An inter- SAMPLE textual question willSAMPLE ask you to compare the poem with another text, which might be SAMPLE a different poem, an image or visual, even a cartoon. The companion text will not be SECTION SECTION SECTIONrandomly chosen. There will be some relationship or similarities between the two texts, SAMPLE SECTION SAMPLE SAMPLE which you will be asked to explore. SAMPLE • Often, the two texts will feature two different or even opposingSECTION views on a similar subject or theme. Be conscious of the tone of each text and of any particular viewpoints SECTION SECTION SAMPLE or opinions that are being expressed. SAMPLE SAMPLE • When answering intertextualSECTION questions, make sure that you draw on both texts for SECTION evidence to supportSAMPLE your answer. SAMPLE SECTION AvoidingSECTION common potholes SECTION SAMPLE SAMPLE • MisinterpretationSAMPLE: Weigh up all the evidence being presented to you by the words and SECTION SECTION SECTIONimagery of the poem carefully. LookSAMPLE for the ‘pointers’ provided by the poet regarding his SAMPLE SAMPLE or her perspective and intended meaning. SECTION SECTION • Arbitrary answers: The poet had a clear idea SAMPLE of where he or she was going. The poem SAMPLEdoes

not present the reader with a set of discon- SECTION

nected or aimless SECTIONconcepts. Your answers SAMPLE should indicate that you have understood the SECTION SAMPLE central ideas of the poem. If your responses SECTION SAMPLE do not fit the context, rethink or discard them, SAMPLE regardless of how clever they seem in isolation. SECTION • Careless oversights: Carefully consider key Open your heart and mind, think creatively and letSAMPLE the poem speak to you. Not knowing where Figures of Speech and obvious mechanical a poem might take you makes for an exhilaratingSECTION features like the use of monosyllables, run-on SECTION expedition. ‘Sailing ThroughSAMPLE Time’ ©Erin Hammill lines, the isolation of a word on a line, and the Young (Deviantart .com) SAMPLE SECTION

170 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect3 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION use of rhyme or the lack thereof. Everything that you learnt when you analysed seen SAMPLE SAMPLE poetry will apply to unseen poetry. SECTION SECTION • Leaving out questions : Attempt to answerSECTION all the questions. The questions that seem SAMPLE SAMPLE tougher will present you with anSAMPLE opportunity to be creative and to dig deeper. SECTION • Unnecessary anxiety: Keep calm and approach the poem positively, adopt an ‘I can do SECTION SAMPLE this’ attitude. Open your heart and mind, think creatively and let the poem speak to you. SAMPLE SECTION SECTION SECTION SAMPLE “The Olympic Runner” by Jacinta RamayahSAMPLE (20th century) SAMPLE SECTION The sun beat down so hard it burnt SECTIONhis back, 1 SAMPLE His feet ate the dust as he ran the endless track, SECTION SAMPLE The wind gave him wings and the miles flew by, SAMPLE SECTION SECTION HeSECTION was gunning for gold, for victory he’d die . SAMPLE SECTION SAMPLE SAMPLE Critics had a field day when he entered the arena, 5 SAMPLE They could have knocked him down with a feather, SECTION SECTION ‘SidewaysSECTION you can’t see him through a 50-cent coin,SAMPLE SAMPLE Bones on a cold carcass make up his manly loin .’ SAMPLE SECTION ‘His feet so long he will surely fall flat on his face, SECTION SAMPLE Legs stretch down like two bamboo poles in place, SAMPLE 10 From the land of famine he gets not his daily bread, SECTION SECTION If he wins, we’ll eat our hats,’ in SECTIONmockery they said . SAMPLE SAMPLE As he touched the finishSAMPLE line, the crowd went wild, SECTION Cheers heard across the land by every man and child, SECTION SECTION SAMPLE His heartbeats so erratic they were beating out of time 15 SAMPLE SAMPLE If he could take a shot at his critics it’d be no crime . SECTION SECTION Sweat SAMPLEstreamed down, pooled like rivulets on the floor, SAMPLE A warrior back from the battlefield, battered and sore, SECTION Standing tall as a Brobdingnagian, the anthem sung SECTION SAMPLE The joy so sweet, he could taste it on his tongue . 20 SECTION SAMPLE He was so tired he felt he could sleep for a yearSECTION SAMPLE The cynics struck dumb, had no causeSAMPLE to jeer, ‘A man in a million’ was the headline that day SECTION

‘Not a mere man but a giant in spirit,’ they say . SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect3 FINAL 3 July 2014 EXPERIENCE POETRY SECTION SECTION SAMPLE SAMPLE GSECTIONlossary SECTION SECTION SAMPLEloin (line 8): side of the body rivulets (line 17): streams SAMPLE SAMPLE Brobdingnagian (line 19): giant famine (line 11): food scarcity SECTION or shortage jeer (line 22): mock, abuse SECTION SAMPLE

SAMPLE SECTION SECTION SECTION SAMPLE ? Questions SAMPLE SAMPLE

1. SECTION In your own words, define the term ‘stereotype’, and explain how the poem makes use SECTION SAMPLE of stereotyping to convey its message. SECTION (4) SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SECTION SAMPLE SAMPLE SAMPLE SECTION

SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE 2. Describe the rhyme scheme of this poem. (2) SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION

3. Identify and explain oneSECTION example of the use of hyperbole in the poem.SAMPLE (2) SECTION SAMPLE SECTION SAMPLE SAMPLE SECTION

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172 PHOTOCOPYING OF THIS RESOURCE IS IN CONTRAVENTIONSAMPLE OF THE COPYRIGHT ACT (NO.98 1978)

PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect3 FINAL 3 July 2014 Poems and Learning Materials SECTION SECTION 4. Explain what it means to have ‘a field day’ (line 5), and comment on the speaker’s use of SAMPLE SAMPLE a pun in this line. (3) SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION

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SAMPLE SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION 5. Identify and explain the effect of the SECTIONFigure of Speech in line 10. (3) SAMPLE SECTION SAMPLE SAMPLE

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SAMPLE SECTION SECTION SAMPLE 6. Provide a synonym for the word ‘erratic’ (line 15). SAMPLE (1) SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE [15] SECTION SECTION SECTION SAMPLE SAMPLE SAMPLE SECTION SECTION SAMPLE SAMPLE SECTION

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PENMAN DESIGN cc English Experience: Poetry Resource Gr 7-8 083 254 1373 1401_Engl_Exp_Poetry_sect3 FINAL 3 July 2014 Cover_All_In_One_SPLIT_Final.indd 6 2014/06/11 2:25 PM Cover_All_In_One_SPLIT_Final.indd 1 2014/06/11 2:25 PM