If We Must Die

Total Page:16

File Type:pdf, Size:1020Kb

If We Must Die summary This poem is a defiant call to protest. The speaker warns against passive acceptance of hostility and urges people to fight back. He suggests that death is inevitable but can be noble if it serves a cause. The final couplet states the speaker’s resolve to die fighting. If We Must Die Claude McKay If we must die, let it not be like hogs Hunted and penned in an inglorious1 spot, LITERARY ANALYSIS While round us bark the mad and hungry dogs, Making their mock at our accursed lot. c sonnet 5 If we must die, O let us nobly die, Possible answer: The rhyme scheme is So that our precious blood may not be shed In vain; then even the monsters we defy abab, cdcd. On the basis of this rhyme Shall be constrained2 to honor us though dead! c c SONNET scheme, the sonnet is Shakespearean. O kinsmen! we must meet the common foe! State the rhyme scheme of lines 1–8. Considering 10 Though far outnumbered let us show us brave, If students need help . Refer them to the rhyme scheme, what page 847 and the definitions of Petrarchan And for their thousand blows deal one deathblow! type of sonnet is this? and Shakespearean sonnets. What though before us lies the open grave? Like men we’ll face the murderous, cowardly pack, Pressed to the wall, dying, but fighting back! d d FORM AND MEANING By the end of the poem, what resolution has the READING SKILL speaker reached? d form and meaning Possible answer: The speaker decides that he will fight back even if he dies fighting. 1. inglorious: shameful; disgraceful. 2. constrained: forced. If students need help . Have them record line groupings and main ideas in the pre- 850 unit 5: the harlem renaissance and modernism reading chart introduced on page 847. Line Grouping Main Idea L11PE-u05s12-IfWeDie.indddifferentiated 850 instruction 8/31/06 4:11:51 PM First quatrain We won’t die like hogs hunted by dogs. for less–proficient readers for advanced learners/ap Second quatrain If we must die, we will Comprehension Support [paired option] Research McKay wrote “If We Must Die” do it nobly. Have student pairs work together to during the “Red Summer,” a term coined respond to these questions about “If We by James Weldon Johnson to describe the Must Die”: racially violent summer and fall of 1919 selection wrap–up • Who is the speaker? during which African Americans were the victims of violent attacks. Have students • What is the speaker’s message? SYNTHESIZE Invite students to comment on research the causes of these events, noting what Johnson’s and McKay’s works contrib- Invite pairs to share their responses. Ask in particular the significance of McKay’s uted to the Harlem Renaissance. students to explain their thinking by poem as a part of the response to them. providing examples from the poem. Find opportunities for students to present their findings to the class. 850 unit 5 LL11TE-u05s02-mycity.indd11TE-u05s02-mycity.indd 850850 11/4/07/4/07 112:56:562:56:56 PPMM.
Recommended publications
  • HARLEM in SHAKESPEARE and SHAKESPEARE in HARLEM: the SONNETS of CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, and GWENDOLYN BROOKS David J
    Southern Illinois University Carbondale OpenSIUC Dissertations Theses and Dissertations 5-1-2015 HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS David J. Leitner Southern Illinois University Carbondale, [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/dissertations Recommended Citation Leitner, David J., "HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS" (2015). Dissertations. Paper 1012. This Open Access Dissertation is brought to you for free and open access by the Theses and Dissertations at OpenSIUC. It has been accepted for inclusion in Dissertations by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS by David Leitner B.A., University of Illinois Champaign-Urbana, 1999 M.A., Southern Illinois University Carbondale, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Doctor of Philosophy Department of English in the Graduate School Southern Illinois University Carbondale May 2015 DISSERTATION APPROVAL HARLEM IN SHAKESPEARE AND SHAKESPEARE IN HARLEM: THE SONNETS OF CLAUDE MCKAY, COUNTEE CULLEN, LANGSTON HUGHES, AND GWENDOLYN BROOKS By David Leitner A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the field of English Approved by: Edward Brunner, Chair Robert Fox Mary Ellen Lamb Novotny Lawrence Ryan Netzley Graduate School Southern Illinois University Carbondale April 10, 2015 AN ABSTRACT OF THE DISSERTATION OF DAVID LEITNER, for the Doctor of Philosophy degree in ENGLISH, presented on April 10, 2015, at Southern Illinois University Carbondale.
    [Show full text]
  • 1921 Tulsa Race Riot Reconnaissance Survey
    1921 Tulsa Race Riot Reconnaissance Survey Final November 2005 National Park Service U.S. Department of the Interior CONTENTS INTRODUCTION 1 Summary Statement 1 Bac.ground and Purpose 1 HISTORIC CONTEXT 5 National Persp4l<live 5 1'k"Y v. f~u,on' World War I: 1896-1917 5 World W~r I and Postw~r ( r.: 1!1t7' EarIV 1920,; 8 Tulsa RaCR Riot 14 IIa<kground 14 TI\oe R~~ Riot 18 AIt. rmath 29 Socilot Political, lind Economic Impa<tsJRamlt;catlon, 32 INVENTORY 39 Survey Arf!a 39 Historic Greenwood Area 39 Anla Oubi" of HiOlorK G_nwood 40 The Tulsa Race Riot Maps 43 Slirvey Area Historic Resources 43 HI STORIC GREENWOOD AREA RESOURCeS 7J EVALUATION Of NATIONAL SIGNIFICANCE 91 Criteria for National Significance 91 Nalional Signifiunce EV;1lu;1tio.n 92 NMiol\ill Sionlflcao<e An.aIYS;s 92 Inl~ri ly E~alualion AnalY'is 95 {"",Iu,ion 98 Potenl l~1 M~na~menl Strategies for Resource Prote<tion 99 PREPARERS AND CONSULTANTS 103 BIBUOGRAPHY 105 APPENDIX A, Inventory of Elltant Cultural Resoun:es Associated with 1921 Tulsa Race Riot That Are Located Outside of Historic Greenwood Area 109 Maps 49 The African American S«tion. 1921 51 TI\oe Seed. of c..taotrophe 53 T.... Riot Erupt! SS ~I,.,t Blood 57 NiOhl Fiohlino 59 rM Inva.ion 01 iliad. TIll ... 61 TM fighl for Standp''''' Hill 63 W.II of fire 65 Arri~.. , of the Statl! Troop< 6 7 Fil'lal FiOlrtino ~nd M~,,;~I I.IIw 69 jii INTRODUCTION Summary Statement n~sed in its history.
    [Show full text]
  • 11Th Week of April 27Th, 2020 Day 1 Day 2 Day 3 Day 4 Day 5 ELA Read
    Christina School District Instructional Board Grade Level: 11th Week of April 27th, 2020 Day 1 Day 2 Day 3 Day 4 Day 5 ELA Read the two quotes Read the poem Read the poem Complete the Short- The poem “If We Must below. Explain what “My City” by James “If We Must Die” by Written Response 16 Die” is considered an each means in your Weldon Johnson and Claude McKay and and 17. English, or own words and then answer the questions answer the questions Shakespearean. The explain how each 1-7. 8-15. sonnet has a rhyme resonates with you scheme of abab cdcd and/or your life. efef gg. This divides --------------------------- the poem into four “The world does not distinct line groups: know that a people three quatrains, or is great until that four-line units, people produces followed by a couplet, great literature and a pair of rhymed lines. art.” —James Weldon Write your own Johnson English Sonnet and --------------------------- title it My City. It can “If a man is not be about where you faithful to his own live now or a city you individuality, he would like to visit. cannot be loyal to anything.” —Claude McKay --------------------------- Read the background information on James Weldon Johnson and Claude Christina School District Instructional Board McKay. Underline 2 important details for each. Math Properties of Complete Properties of Complete Properties of Complete Properties of Complete Properties of (IM3) Logarithms Logarithms Worksheet 2 Logarithms Worksheet 2 Logarithms Worksheet 3 Logarithms Worksheet 4 #1-13. (attached) #14-26. (attached) #1-9. (attached) #1-5.
    [Show full text]
  • Teacher Kit Unit 3 GRACE ABOUNDING the Core Knowledge Anthology of African-American Literature, Music, and Art Please Read
    GRACE ABOUNDING The Core Knowledge Anthology of African-American Literature, Music, and Art Teacher Kit Unit 3 GRACE ABOUNDING The Core Knowledge Anthology of African-American Literature, Music, and Art Please Read Editor’s Note About the Teacher Resource Kits For each of the four major literary units in Grace Abounding there is a corresponding Teacher Resource Kit, which includes Lesson Plans, Reading Check Tests, Vocabulary Tests, and answer keys. Please fi nd the forementioned sections in the bookmark tab of your Teacher Resource Kit PDF. Copyright Information. Th e purchase of a Grace Abounding Teacher Kit grants to the teacher (Purchaser) the right to reprint materials as needed for use in the classroom. For instance, Student Handouts and other assessments may be reproduced as needed by Purchasers for use in the classroom or as homework assignments. Materials in the Teacher Kits may not be reproduced for commercial purposes and may not be reproduced or distributed for any other use outside of the Purchaser’s classroom without written consent from the Core Knowledge Foundation. Lesson Plans With the lesson plans, teachers can target major language arts objectives while giving students exposure to important African-American writers, thinkers, and activists. Th e fi rst page of each lesson plan is for the teacher’s reference only and should be used in planning for a day’s lesson. Th e fi rst page usually includes basic information about the lesson (e.g., objectives, time allotment, and content), a “mini-lesson” that contains basic information and terminology the students should know as well as examples for the teacher to write on the board and use as the basis of discussion and instruction.
    [Show full text]
  • Commonlit | If We Must
    HEROES Essential Question: Why do people act heroically? Your Tasks: You will read seven texts that explore why people act heroically. Throughout this unit, students will revisit the essential question: “Why do people act heroically?” You will read ​ thematically paired texts from CommonLit and complete a graphic organizer that will ​ help you track your own understanding of this theme to prepare for a final task in which you will answer the question, “Why do people act heroically?” Assignments in This Unit: This unit is made up of 11 total assignments: 7 reading assignments, 3 sets of pairing questions, and a final assessment. The assignments should be read in the current outlined sequence. For each reading assignment, you are to complete a journal entry, read the text, and answer the associated questions. Then, you are to add to your graphic organizers. At the end of the unit, you are to complete the final assessment. Outline of Assignments: Assignment #1 Journal Entry #1 Reading & Questions If We Must Die ​ Add to your graphic organizer Assignment #2 Journal Entry #2 Reading & Questions How Jackie Robinson Changed Baseball ​ Add to your graphic organizer Assignment #3 Cross-Textual Questions If We Must Die and How Jackie Robinson ​ Changed Baseball Assignment #4 Journal Entry #3 Reading & Questions Theseus and the Minotaur ​ Add to your graphic organizer Assignment #5 Journal Entry #4 Reading & Questions The Underground Railroad ​ Add to your graphic organizer Assignment #6 Cross-Textual Questions Theseus and the Minotaur and The ​ Underground Railroad Assignment #7 Journal Entry #5 Reading & Questions Woman Who Helped Anne Frank Dies at 100 ​ Add to your graphic organizer Assignment #8 Journal Entry #6 Reading & Questions The Story of Ida B.
    [Show full text]
  • Thematic Trends in Claude Mckay's Selected Poems Of" the Harlem Era"
    International Journal of Education & Literacy Studies ISSN 2202-9478 Vol. 2 No. 2; April 2014 Copyright © Australian International Academic Centre, Australia Thematic Trends in Claude Mckay’s Selected Poems of the Harlem Era Adewumi, Samuel Idowu Department of Languages, Rufus Giwa Polytechnic, Owo, Ondo State, Nigeria E-mail: [email protected] Kayode, Moses Bolawale Department of Languages, Rufus Giwa Polytechnic, Owo, Ondo State, Nigeria E-mail: [email protected] Received: 06-02- 2013 Accepted: 19-03-2013 Published: 30-04-2014 doi:10.7575/aiac.ijels.v.2n.2p.15 URL: http://dx.doi.org/10.7575/aiac.ijels.v.2n.2p.15 Abstract Black American Literature is a microcosm of the history of the black people’s presence on the American continent as it is known today. The literature of the Black Americans cannot be fully separated from the experience of Slavery and Racism which characterized their lives as a community of people whose social, economic and political privileges are tied up with the evils of race and color. In the latter part of the eighteen century, most black slaves started developing interest in written literature but before this time, they were more interested in the struggle for survival than to spare the time for literary art. This paper reveals the traumatic experiences of the Blacks in the plantations in the hands of their White masters in America through some of the poems of Claude McKay bringing out some themes in such poems to reveal the traumatized life of the Africans. Keywords: black, socio-history, poem, literature. 1. Introduction Of all the Renaissance writers, Claude McKay was one of the first to express the spirit of the New Negro.
    [Show full text]
  • Including Claude Mckay in the Secondary-Level Classroom
    Abstract Reading and analyzing ambiguous literary texts are active ways to practice and develop critical thinking skills. If getting to the heart of an abstract text is perceived difficult or near impossible, then students tasked with analyzing an ambiguous text teeter on the verge of giving up analyzing thus giving up on a critical thinking exercise. The problem addressed is that approaching a literary text in any haphazard, emotional-response manner that simply leads students to an incorrect analysis of an ambiguous text and as a result, promotes the fear of failing and fear of analyzing ambiguous texts. In this specific instance of the issue the research paper utilizes Claude McKay’s poem, “If We Must Die,” to expose the problem. A specific action research situation shows the difference between using an appropriate literary criticism, such as Marxist literary criticism, and not using a literary criticism. The answer to this problem is to utilize reader-friendly literary criticisms for the appropriate literary text. Usera 2 Using Marxist Literary Criticism to Read “If We Must Die” in the Classroom By: Liberty A. Usera Adjunct Instructor at Kansas City Kansas Community College Langston Hughes gets over two hours of coverage in C-Span’s “Zora Neale Hurston, Langston Hughes and the Harlem Renaissance Writers” series about the Harlem Renaissance while Claude McKay received about three minutes total in the same presentation. Doing a Google Search on “Claude McKay” in the Secondary-level classroom brings scant lesson plans that refer to McKay’s “If We Must Die,” but those few lesson plans fail to see the meaning of the poem.
    [Show full text]
  • Grade 7: Module 3: Unit 1: Lesson 13 Poetic Tools in Narrative of the Life of Frederick Douglass
    Grade 7: Module 3: Unit 1: Lesson 13 Poetic Tools in Narrative of the Life of Frederick Douglass This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Exempt third-party content is indicated by the footer: © (name of copyright holder). Used by permission and not subject to Creative Commons license. GRADE 7: MODULE 3: UNIT 1: LESSON 13 Poetic Tools in Narrative of the Life of Frederick Douglass Long-Term Targets Addressed (Based on NYSP12 ELA CCLS) I can analyze the impact of rhymes and repetitions of sound on a specific section of poetry. (RL.7.4.) I can determine the figurative meaning of words and phrases in literary text. (RL.7.4) I can analyze how a poem’s form or structure contributes to its meaning. (RL.7.5) I can analyze figurative language, word relationships, and nuances in word meanings. (L.7.5) Supporting Learning Targets Ongoing Assessment • I can analyze the impact of rhyme and repetition in specific poems. • Poetic Tools in the Narrative: Exit Ticket • I can analyze the use of figurative language in poetry and nonfiction text. • I can analyze how figurative language, form, and sound contribute to meaning. Created by Expeditionary Learning, on behalf of Public Consulting Group, Inc. © Public Consulting Group, Inc., with a perpetual license granted to Expeditionary Learning Outward Bound, Inc. NYS Common Core ELA Curriculum • G7:M3:U1:L13 • June 2014 • 1 GRADE 7: MODULE 3: UNIT 1: LESSON 13 Poetic Tools in Narrative of the Life of Frederick Douglass Agenda Teaching Notes 1.
    [Show full text]
  • The Harlem Renaissance
    PART 3 THE HARLEM RENAISSANCE The Bitter Nest, Part II: The Harlem Renaissance Party, c. 1988. Faith Ringgold. Acrylic on canvas with printed, dyed, and pieced fabric, 94 x 83 in. Smithsonian American Art Museum, Washington, DC. “I, too, am America.” —Langston Hughes, “I, Too” 785 Smithsonian American Art Museum, Washington, DC/Art Resource, NY 0785 U5P3-845481.indd 785 4/8/06 6:38:29 PM BEFORE YOU READ My City MEET JAMES WELDON JOHNSON oth as an artist and an activist, James During the 1920s, Harlem Weldon Johnson spent his life introducing became “the recognized Bthe United States to the creative voice of Negro capital,” and the African Americans while fighting the racism and passionate innovations in the social injustices he believed hindered their African American music, progress. For Johnson, writing poetry and fighting art, and literature that for equality served the same goal: winning a developed there became respected place in society for African Americans. known as the Harlem Renaissance. Johnson was Born in Jacksonville, Florida, Johnson grew up in involved in the movement not only as an author a stable middle-class home and was raised to have but also as a mentor of young writers, such as an appreciation of the arts and a love of learning. Claude McKay and Langston Hughes. He urged Later, as a student at Atlanta University, he artists to find their inspiration in real-life African embraced the school’s philosophy that educated American communities. In these artists he saw “a African Americans should devote their lives to group whose ideals are becoming increasingly more public service—and he did just that.
    [Show full text]
  • Mckay: a Study of His Works
    .J THE FRAGMENTED VISION OF CLAUDE MCKAY: A STUDY OF HIS WORKS BY BARBARA J. GRIFFIN '/I Dissertation submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Doctor of Philosophy 1989 G\ ~~\-\/ Advisory Committee: Professor Jackson Bryer, Chairman/Advisor Associate Professor Maurice Bennett Associate Professor Joyce Joyce 1, . l. Professor John Howard Professor David Grimsted L 7) ~,I .- I --·) I/··/ .. /{), _j i ,' I;.. ..,·.//} . ; ' ,, ' / ___ ;, '-/ , Vu/ / I-:) l .=" J> C Copyright by Barbara Jackson Griffin 1989 Abstract The Fragmented Vision of Claude McKay: A study of His works Barbara Jackson Griffin, Doctor of Philosophy, 1989 Dissertation directed by: Professor Jackson Bryer, Department of English Claude McKay, born in Jamaica in 1890, played a significant role in the development of Black American literature. His search for a Black aesthetic and his poems of defiance gave inspiration to young Black artists hungry to explore new ideas. Their creative spirit flowered into the Harlem Renaissance. But, McKay, whose themes helped to stimulate this movement, was plagued by the very concepts that helped to define it. Throughout his life, he was ambivalent about three things: his Afrocentric universe, his role as rebel spokesman, and his relationship to Jamaica. Already a poet of some consequence in Jamaica, McKay thought of America as a grander arena for his voice, but when he arrived in Charleston, South Carolina in 1912, he was shaken by the intense racism of America. His upbringing in rural Clarendon Hills had not prepared him for what he witnessed. By nature, a proud man, McKay turned his lyrical expression into an instrument that would change the arrogance of the Whites.
    [Show full text]
  • If We Must Die
    Get hundreds more LitCharts at www.litcharts.com If We Must Die the only viable option for this oppressed group—the only way POEM TEXT they can reclaim their dignity and freedom. The people that the speaker of “If We Must Die” addresses are 1 If we must die, let it not be like hogs oppressed, so much so that they are in danger of losing not only 2 Hunted and penned in an inglorious spot, their lives, but also their humanity. The speaker describes these 3 While round us bark the mad and hungry dogs, people as surrounded by “monsters” and “mad and hungry dogs” who will inflict a “thousand blows” upon them. They are 4 Making their mock at our accursèd lot. “far outnumbered” by these monsters. These metaphors 5 If we must die, O let us nobly die, indicate that the group of people the poem addresses are a 6 So that our precious blood may not be shed minority community threatened by violence from a larger and 7 In vain; then even the monsters we defy more powerful group. 8 Shall be constrained to honor us though dead! The oppression that the group suffers threatens to turn them 9 O kinsmen! we must meet the common foe! into animals, figuratively speaking—to deprive them of their 10 Though far outnumbered let us show us brave, humanity. As the speaker notes in line 1, they are in danger of 11 And for their thousand blows deal one death-blow! dying “like hogs.” But the people who oppress them have also 12 What though before us lies the open grave? lost their humanity.
    [Show full text]