Part 1: Forms of Poetry
1. Narrative
2. Lyric
3. Limerick
4. Concrete
5. Haiku
6. Free Verse
Part 2: Personal Collection of Poems
1) The Butterfly Jar
2) The Road Not Taken
3) I wandered lonely as a cloud
4) Books Fall Open
5) The Poet
6) Dad and Me
Part 3: Picture Books
The Rainbow Fish
Corduroy
Part 4: Lesson Plan: Holes
Standards
Bullies
Physical Health
Self-Confidence
Jeopardy
Reptiles and Amphibians
Fossils and Erosion
Holes: The Movie
Independent Practice
Works Cited
Part 5: Reflection
Sunday, November 29, 2009
Part 1: Forms of Poetry--Narrative
1. Narrative
Definition: A narrative poem has a plot and tells a story of some kind. They are of varying lengths from short narratives to book-length poems such as Homer’s Iliad. Consequently, the story the poem relates “may be simple or complex” (Meyer). Narrative poetry can include “ballads, epics, and lays” (Poetry).
Examples:
“The Walrus and the Carpenter” –Lewis Carroll
The sun was shining on the sea,
Shining with all his might:
He did his very best to make
The billows smooth and bright—
And this was off, because it was
The middle of the night.
The moon was shining sulkily,
Because she thought the sun
Had got no business to be there
After the day was done—
“It's very rude of him,” she said,
“To come and spoil the fun!”
The sea was wet as wet could be,
The sands were dry as dry.
You could not see a cloud, because
No cloud was in the sky;
No birds were flying overhead—
There were no birds to fly.
The Walrus and the Carpenter
Were walking close at hand;
They wept like anything to see
Such quantities of sand;
“If this were only cleared away,”
They said, “it would be grand!”
“If seven maids with seven mops
Swept it for half a year,
Do you suppose,” the Walrus said,
“That they could get it clear?”
“I doubt it,” said the Carpenter,
And shed a bitter tear.
“O Oysters, come and walk with us!”
The Walrus did beseech.
“A pleasant walk, a pleasant talk,
Along the briny beach;
We cannot do with more than four,
To give a hand to each.”
The eldest Oyster looked at him,
But never a word he said;
The eldest Oyster winked his eye,
And shook his heavy head—
Meaning to say he did not choose
To leave the oyster bed.
But four young Oysters hurried up,
All eager for the treat;
Their coats were brushed, their faces washed,
Their shoes were clean and neat—
And this was odd, because, you know,
They hadn't any feet.
Four other Oysters followed them,
And yet another four;
And thick and fast they came at last,
And more, and more, and more—
All hopping through the frothy waves,
And scrambling to the shore.
The Walrus and the Carpenter
Walked on a mile or so,
And then they rested on a rock
Conveniently low;
And all the little Oysters stood
And waited in a row.
“The time has come,” the Walrus said,
“To talk of many things:
Of shoes—and ships—and sealing-wax—
Of cabbages—and kings—
And why the sea is boiling hot—
And whether pigs have wings.”
“But wait a bit,” the Oysters cried,
“Before we have our chat;
For some of us are out of breath,
And all of us are fat!”
“No hurry!” said the Carpenter.
They thanked him much for that.
“A loaf of bread,” the Walrus said,
“Is what we chiefly need;
Pepper and vinegar besides
Are very good indeed—
Now if you're ready, Oysters dear,
We can begin to feed.”
“But not on us!” the Oysters cried,
Turning a little blue.
“After such kindness, that would be
A dismal thing to do!”
“The night is fine,” the Walrus said.
“Do you admire the view?
“It was so kind of you to come!
And you are very nice!”
The Carpenter said nothing but,
“Cut us another slice.
I wish you were not quite so deaf—
I've had to ask you twice!”
“It seems a shame,” the Walrus said,
“To play them such a trick.
After we've brought them out so far,
And made them trot so quick!”
The Carpenter said nothing but,
“The butter's spread too thick!”
“I weep for you,” the Walrus said,
“I deeply sympathize.”
With sobs and tears he sorted out
Those of the largest size,
Holding his pocket-handkerchief
Before his streaming eyes.
“O Oysters,” said the Carpenter,
“You've had a pleasant run!
Shall we be trotting home again?”
But answer came there none—
And this was scarcely odd, because
They'd eaten every one.
“The Demon Lover” –Unknown
“Oh, where have you been, my long, long love,
This long seven years and more?”
“Oh, I’ve come to seek my former vows
Ye granted me before.”
“Oh, do not speak of your former vows,
For they will breed sad strife;
Oh, do not speak of your former vows,
For I have become a wife.”
He turned him right and round about,
And the tear blinded his ee:
“I would never have trodden on this ground
If it had not been for thee.”
“If I was to leave my husband dear,
And my two babes also,
Oh, what have you to take me to,
If with you I should go?”
“I have seven ships upon the sea—
The eighth brought me to land—
With four-and-twenty bold mariners,
And music on every hand.”
She has taken up her two little babes,
Kissed them of cheek and chin:
“Oh, fare ye well, my own two babes,
For I’ll never see you again.”
She set her foot upon the ship—
No mariners could she behold;
But the sails were of the taffeta,
And the masts of the beaten gold.
She had not sailed a league, a league,
A league but barely three,
When dismal grew his countenance,
And drumlie grew his ee.
They had not sailed a league, a league,
A league but barely three,
Until she espied his cloven foot,
And she wept right bitterly.
“Oh, hold your tongue of your weeping,” said he,
“Of your weeping now let me be;
I will show you how the lilies grow
On the banks of Italy.”
“Oh, what hills are yon, yon pleasant hills,
That the sun shines sweetly on?”
“Oh, yon are the hills of heaven,” he said,
“Where you will never win.”
“Oh, whaten a mountain in yon,” she said,
“So dreary with frost and snow?”
“Oh, yon is the mountain of hell,” he cried,
“Where you and I will go.”
He struck the top-mast with his hand,
The fore-mast with his knee;
And he broke that gallant ship in twain,
And sank her in the sea.
“I Sailed on Half a Ship” –Jack Prelutsky
I sailed on half a ship
on half the seven seas,
propelled by half a sail
that blew in half a breeze.
I climbed up half a mast
and sighted half a whale
that rose on half a mighty wave
and flourished half a tail.
Each day, with half a hook
and half a rod and reel,
I landed half a fish
that served as half a meal.
I ate off half a plate,
I drank from half a glass,
then mopped up half the starboard deck
and polished half the brass.
When half a year had passed,
as told by half a clock,
I entered half a port
and berthed at half a dock.
Since half my aunts were there
and half my uncles too,
I told them half this half-baked tale
that’s half entirely true.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Narrative Poem.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_l.htm
“Narrative Poetry.” Types of Poetry. 2 November 2009. http://www.types-of-poetry.org.uk/33-narrative-poetry.htm
Poems
Carroll, Lewis. “The Walrus and the Carpenter.” Alice’s Adventures in Wonderland and Through the Looking Glass. Great Neck, NY: Choice Publishing, Inc., 1989.
Prelutsky, Jack. “I Sailed on Half a Ship.” A Pizza the Size of the Sun. New York, NY: Greenwillow Books, 1996.
“The Demon Lover.” Rose, Where Did You Get That Red?: Teaching Great Poetry to Children. Kenneth Koch. New York: Vintage Books, 1990. 187.
Definition: A narrative poem has a plot and tells a story of some kind. They are of varying lengths from short narratives to book-length poems such as Homer’s Iliad. Consequently, the story the poem relates “may be simple or complex” (Meyer). Narrative poetry can include “ballads, epics, and lays” (Poetry).
Examples:
“The Walrus and the Carpenter” –Lewis Carroll
The sun was shining on the sea,
Shining with all his might:
He did his very best to make
The billows smooth and bright—
And this was off, because it was
The middle of the night.
The moon was shining sulkily,
Because she thought the sun
Had got no business to be there
After the day was done—
“It's very rude of him,” she said,
“To come and spoil the fun!”
The sea was wet as wet could be,
The sands were dry as dry.
You could not see a cloud, because
No cloud was in the sky;
No birds were flying overhead—
There were no birds to fly.
The Walrus and the Carpenter
Were walking close at hand;
They wept like anything to see
Such quantities of sand;
“If this were only cleared away,”
They said, “it would be grand!”
“If seven maids with seven mops
Swept it for half a year,
Do you suppose,” the Walrus said,
“That they could get it clear?”
“I doubt it,” said the Carpenter,
And shed a bitter tear.
“O Oysters, come and walk with us!”
The Walrus did beseech.
“A pleasant walk, a pleasant talk,
Along the briny beach;
We cannot do with more than four,
To give a hand to each.”
The eldest Oyster looked at him,
But never a word he said;
The eldest Oyster winked his eye,
And shook his heavy head—
Meaning to say he did not choose
To leave the oyster bed.
But four young Oysters hurried up,
All eager for the treat;
Their coats were brushed, their faces washed,
Their shoes were clean and neat—
And this was odd, because, you know,
They hadn't any feet.
Four other Oysters followed them,
And yet another four;
And thick and fast they came at last,
And more, and more, and more—
All hopping through the frothy waves,
And scrambling to the shore.
The Walrus and the Carpenter
Walked on a mile or so,
And then they rested on a rock
Conveniently low;
And all the little Oysters stood
And waited in a row.
“The time has come,” the Walrus said,
“To talk of many things:
Of shoes—and ships—and sealing-wax—
Of cabbages—and kings—
And why the sea is boiling hot—
And whether pigs have wings.”
“But wait a bit,” the Oysters cried,
“Before we have our chat;
For some of us are out of breath,
And all of us are fat!”
“No hurry!” said the Carpenter.
They thanked him much for that.
“A loaf of bread,” the Walrus said,
“Is what we chiefly need;
Pepper and vinegar besides
Are very good indeed—
Now if you're ready, Oysters dear,
We can begin to feed.”
“But not on us!” the Oysters cried,
Turning a little blue.
“After such kindness, that would be
A dismal thing to do!”
“The night is fine,” the Walrus said.
“Do you admire the view?
“It was so kind of you to come!
And you are very nice!”
The Carpenter said nothing but,
“Cut us another slice.
I wish you were not quite so deaf—
I've had to ask you twice!”
“It seems a shame,” the Walrus said,
“To play them such a trick.
After we've brought them out so far,
And made them trot so quick!”
The Carpenter said nothing but,
“The butter's spread too thick!”
“I weep for you,” the Walrus said,
“I deeply sympathize.”
With sobs and tears he sorted out
Those of the largest size,
Holding his pocket-handkerchief
Before his streaming eyes.
“O Oysters,” said the Carpenter,
“You've had a pleasant run!
Shall we be trotting home again?”
But answer came there none—
And this was scarcely odd, because
They'd eaten every one.
“The Demon Lover” –Unknown
“Oh, where have you been, my long, long love,
This long seven years and more?”
“Oh, I’ve come to seek my former vows
Ye granted me before.”
“Oh, do not speak of your former vows,
For they will breed sad strife;
Oh, do not speak of your former vows,
For I have become a wife.”
He turned him right and round about,
And the tear blinded his ee:
“I would never have trodden on this ground
If it had not been for thee.”
“If I was to leave my husband dear,
And my two babes also,
Oh, what have you to take me to,
If with you I should go?”
“I have seven ships upon the sea—
The eighth brought me to land—
With four-and-twenty bold mariners,
And music on every hand.”
She has taken up her two little babes,
Kissed them of cheek and chin:
“Oh, fare ye well, my own two babes,
For I’ll never see you again.”
She set her foot upon the ship—
No mariners could she behold;
But the sails were of the taffeta,
And the masts of the beaten gold.
She had not sailed a league, a league,
A league but barely three,
When dismal grew his countenance,
And drumlie grew his ee.
They had not sailed a league, a league,
A league but barely three,
Until she espied his cloven foot,
And she wept right bitterly.
“Oh, hold your tongue of your weeping,” said he,
“Of your weeping now let me be;
I will show you how the lilies grow
On the banks of Italy.”
“Oh, what hills are yon, yon pleasant hills,
That the sun shines sweetly on?”
“Oh, yon are the hills of heaven,” he said,
“Where you will never win.”
“Oh, whaten a mountain in yon,” she said,
“So dreary with frost and snow?”
“Oh, yon is the mountain of hell,” he cried,
“Where you and I will go.”
He struck the top-mast with his hand,
The fore-mast with his knee;
And he broke that gallant ship in twain,
And sank her in the sea.
“I Sailed on Half a Ship” –Jack Prelutsky
I sailed on half a ship
on half the seven seas,
propelled by half a sail
that blew in half a breeze.
I climbed up half a mast
and sighted half a whale
that rose on half a mighty wave
and flourished half a tail.
Each day, with half a hook
and half a rod and reel,
I landed half a fish
that served as half a meal.
I ate off half a plate,
I drank from half a glass,
then mopped up half the starboard deck
and polished half the brass.
When half a year had passed,
as told by half a clock,
I entered half a port
and berthed at half a dock.
Since half my aunts were there
and half my uncles too,
I told them half this half-baked tale
that’s half entirely true.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Narrative Poem.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_l.htm
“Narrative Poetry.” Types of Poetry. 2 November 2009. http://www.types-of-poetry.org.uk/33-narrative-poetry.htm
Poems
Carroll, Lewis. “The Walrus and the Carpenter.” Alice’s Adventures in Wonderland and Through the Looking Glass. Great Neck, NY: Choice Publishing, Inc., 1989.
Prelutsky, Jack. “I Sailed on Half a Ship.” A Pizza the Size of the Sun. New York, NY: Greenwillow Books, 1996.
“The Demon Lover.” Rose, Where Did You Get That Red?: Teaching Great Poetry to Children. Kenneth Koch. New York: Vintage Books, 1990. 187.
Saturday, November 28, 2009
Part 1: Forms of Poetry--Lyric
2. Lyric
Definition: A lyric poem is a short poem that was originally sung and set to music (such as a lyre). Often sounding “melodic or song-like,” these poems are unrestricted by meter and are usually written in first person (CL 119). This allows for the expression of “the personal emotion and thoughts of a single speaker” (Meyer). Lyric poems also often address the reader and are generally “descriptive, focusing on personal moments, feelings, or image-laden scenes” (CL 119). Lyric poetry can include “the elegy, the dramatic monologue, and the ode” (Literary).
Examples:
“How Do I Love Thee?” –Elizabeth Barrett Browning
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace
I love thee to the level of everyday's
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's faith
I love thee with a love I seem to love
With my lost saints, - I love thee with the breath,
Smiles, tears, of all my life! - and, if God choose,
I shall but love thee better after death.
“The Fiddler of Dooney” –William Butler Yeats
When I play on my fiddle in Dooney,
Folk dance like a wave of the sea;
My cousin is priest in Kilvarnet,
My brother in Moharabuiee.
I passed my brother and cousin:
They read in their books of prayer;
I read in my book of songs
I bought at the Sligo fair.
When we come at the end of time,
To Peter sitting in state,
He will smile on the three old spirits,
But call me first through the gate;
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance:
And when the folk there spy me,
They will all come up to me,
With ‘Here is the fiddler of Dooney!'
And dance like a wave of the sea.
“On Top of Old Smokey” –Unknown
On top of Old Smokey,
All covered with snow,
I lost my true lover,
For courting too slow.
For courting's a pleasure,
But parting is grief,
And a false-hearted lover,
Is worse than a thief.
A thief will just rob you,
And take what you have,
But a false-hearted lover,
Will lead you to your grave.
The grave will decay you,
And turn you to dust,
Not one boy in a hundred
A poor girl can trust.
They'll hug you and kiss you,
And tell you more lies,
Than crossties on a railroad,
Or stars in the sky.
So come ye young maidens,
And listen to me,
Never place your affection
In a green willow tree.
For the leaves they will wither,
The roots they will die,
And you'll be forsaken,
And never know why.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Literary Terminology: Lyric.” The Norton Anthology of English Literature. Ed. Stephen Greenblatt. New York: W.W. Norton, 2006.
“Lyric.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_l.htm
“Lyric.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
“Lyric Poetry.” Literary Terms. 2 November 2009. http://academic.brooklyn.cuny.edu/english/melani/lit_term.html
Poems
Browning, Elizabeth Barrett. “How do I love thee?” The Norton Anthology of English Literature: The Victorian Age. Ed. Stephen Greenblatt. New York, NY: W.W. Norton & Company, Inc., 2006. 1085.
“On Top of Old Smokey.” KIDiddles—Song Page. 5 November 2009. http://www.kididdles.com/lyrics/o036.html
Yeats, William Butler. “The Fiddler of Dooney.” Bartleby.com. 5 November 2009. http://www.bartleby.com/146/11.html
Definition: A lyric poem is a short poem that was originally sung and set to music (such as a lyre). Often sounding “melodic or song-like,” these poems are unrestricted by meter and are usually written in first person (CL 119). This allows for the expression of “the personal emotion and thoughts of a single speaker” (Meyer). Lyric poems also often address the reader and are generally “descriptive, focusing on personal moments, feelings, or image-laden scenes” (CL 119). Lyric poetry can include “the elegy, the dramatic monologue, and the ode” (Literary).
Examples:
“How Do I Love Thee?” –Elizabeth Barrett Browning
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace
I love thee to the level of everyday's
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood's faith
I love thee with a love I seem to love
With my lost saints, - I love thee with the breath,
Smiles, tears, of all my life! - and, if God choose,
I shall but love thee better after death.
“The Fiddler of Dooney” –William Butler Yeats
When I play on my fiddle in Dooney,
Folk dance like a wave of the sea;
My cousin is priest in Kilvarnet,
My brother in Moharabuiee.
I passed my brother and cousin:
They read in their books of prayer;
I read in my book of songs
I bought at the Sligo fair.
When we come at the end of time,
To Peter sitting in state,
He will smile on the three old spirits,
But call me first through the gate;
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance:
And when the folk there spy me,
They will all come up to me,
With ‘Here is the fiddler of Dooney!'
And dance like a wave of the sea.
“On Top of Old Smokey” –Unknown
On top of Old Smokey,
All covered with snow,
I lost my true lover,
For courting too slow.
For courting's a pleasure,
But parting is grief,
And a false-hearted lover,
Is worse than a thief.
A thief will just rob you,
And take what you have,
But a false-hearted lover,
Will lead you to your grave.
The grave will decay you,
And turn you to dust,
Not one boy in a hundred
A poor girl can trust.
They'll hug you and kiss you,
And tell you more lies,
Than crossties on a railroad,
Or stars in the sky.
So come ye young maidens,
And listen to me,
Never place your affection
In a green willow tree.
For the leaves they will wither,
The roots they will die,
And you'll be forsaken,
And never know why.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Literary Terminology: Lyric.” The Norton Anthology of English Literature. Ed. Stephen Greenblatt. New York: W.W. Norton, 2006.
“Lyric.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_l.htm
“Lyric.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
“Lyric Poetry.” Literary Terms. 2 November 2009. http://academic.brooklyn.cuny.edu/english/melani/lit_term.html
Poems
Browning, Elizabeth Barrett. “How do I love thee?” The Norton Anthology of English Literature: The Victorian Age. Ed. Stephen Greenblatt. New York, NY: W.W. Norton & Company, Inc., 2006. 1085.
“On Top of Old Smokey.” KIDiddles—Song Page. 5 November 2009. http://www.kididdles.com/lyrics/o036.html
Yeats, William Butler. “The Fiddler of Dooney.” Bartleby.com. 5 November 2009. http://www.bartleby.com/146/11.html
Friday, November 27, 2009
Part 1: Forms of Poetry--Limerick
3. Limerick
Definition: A limerick is a light and humorous poem that first became popular with “Edward Lear’s Book of Nonsense” in 1846 (CL 120). There are five lines in a limerick and the rhyme scheme is aabba where “the first, second, and fifth lines rhyme” (CL 120). The first and last lines also used to end with the same word, but the “practice [was] dropped in the 20th century” (RPO). The subject matter in limericks can range from the “silly to the obscene” (Meyer).
Examples:
Ogden Nash
A flea and a fly in a flue
Were caught, so what could they do?
Said the fly, “Let us flee.”
“Let us fly,” said the flea.
So they flew through a flaw in the flue.
Edward Lear
There was an Old Man in a tree,
Who was horribly bored by a Bee;
When they said, “Does it buzz?”
He replied, “Yes, it does!”
“It’s a regular brute of a Bee!”
“Dinosaur Named Fred” –Rebecca Read
There once was a dinosaur named Fred
Who liked to eat nothing but bread.
But it had not been invented
So he grew thin and dented
And soon he was lying there dead.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Limerick.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_l.htm
“Limerick.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
Poems
Lear, Edward. “Old Man in a tree.” Limerick Poems. 5 November 2009. http://www.limerick-poems.com/Famous-Limerick-Poems/Limerick-Poems-There-was-an-Old-Man-in-a-tree-Edward-Lear.htm
Nash, Ogden. “A flea and a fly in a flue.” Favorite Limericks. 5 November 2009. http://home.earthlink.net/~kristenaa/faves.html
Read, Rebecca. “Dinosaur Named Fred.” Limerick Poems. 5 November 2009. http://www.limerick-poems.com/Famous-Limerick-Poems/Funny-Limerick-Poems-There-once-was-a-dinosaur-named-Fred-Rebecca-Read.htm
Definition: A limerick is a light and humorous poem that first became popular with “Edward Lear’s Book of Nonsense” in 1846 (CL 120). There are five lines in a limerick and the rhyme scheme is aabba where “the first, second, and fifth lines rhyme” (CL 120). The first and last lines also used to end with the same word, but the “practice [was] dropped in the 20th century” (RPO). The subject matter in limericks can range from the “silly to the obscene” (Meyer).
Examples:
Ogden Nash
A flea and a fly in a flue
Were caught, so what could they do?
Said the fly, “Let us flee.”
“Let us fly,” said the flea.
So they flew through a flaw in the flue.
Edward Lear
There was an Old Man in a tree,
Who was horribly bored by a Bee;
When they said, “Does it buzz?”
He replied, “Yes, it does!”
“It’s a regular brute of a Bee!”
“Dinosaur Named Fred” –Rebecca Read
There once was a dinosaur named Fred
Who liked to eat nothing but bread.
But it had not been invented
So he grew thin and dented
And soon he was lying there dead.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Limerick.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_l.htm
“Limerick.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
Poems
Lear, Edward. “Old Man in a tree.” Limerick Poems. 5 November 2009. http://www.limerick-poems.com/Famous-Limerick-Poems/Limerick-Poems-There-was-an-Old-Man-in-a-tree-Edward-Lear.htm
Nash, Ogden. “A flea and a fly in a flue.” Favorite Limericks. 5 November 2009. http://home.earthlink.net/~kristenaa/faves.html
Read, Rebecca. “Dinosaur Named Fred.” Limerick Poems. 5 November 2009. http://www.limerick-poems.com/Famous-Limerick-Poems/Funny-Limerick-Poems-There-once-was-a-dinosaur-named-Fred-Rebecca-Read.htm
Thursday, November 26, 2009
Part 1: Forms of Poetry--Concrete
4. Concrete
Definition: Concrete poetry is a “form of visual poetry where type-face is laid out to present a pictorial representation of the subject of the poem” (Examples). This “visual presentation of a poem…[becomes] a major part of the poem’s meaning” (Connections). Because of this, concrete poems are “meant to be seen…more than heard” (CL 120). Shapes are made by arranging the poem’s letters, words, and symbols, and they often lack a rhyme scheme or a particular rhythm. Concrete poetry is often visual, but it can also include poems where “an arrangement of words or syllables that signals the poem must be said rather than read (ear poetry), and the division of the poem by different speakers, showing that it is intended for performance (action poetry)” (RPO). Concrete poetry “is a development of the pattern poetry which dates back to Greek classical times” (Examples).
Examples:
“The Mouse’s Tale” –Lewis Carroll
Works Cited
“Concrete Poetry.” Connections: A Hypertext Resource for Literature. 2 November 2009. http://www.cs.grinnell.edu/~simpsone/Connections/Poetry/Forms/concret1.html
“Concrete Poetry.” Examples-Help.org.uk. 2 November 2009. http://www.examples-help.org.uk/concrete-poetry.htm
“Concrete Poetry.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
Poems
Carroll, Lewis. “The Mouse’s Tale.” Alice’s Adventures in Wonderland and Through the Looking Glass. Great Neck, NY: Choice Publishing, Inc., 1989.
“How to Write a Concrete Poem.” eHow. 6 November 2009. http://www.ehow.com/how_4750927_write-concrete-poem.html
“Poetry in the Classroom: Concrete Poems.” Open Wide, Look Inside. 6 November 2009. http://blog.richmond.edu/openwidelookinside/archives/932
Definition: Concrete poetry is a “form of visual poetry where type-face is laid out to present a pictorial representation of the subject of the poem” (Examples). This “visual presentation of a poem…[becomes] a major part of the poem’s meaning” (Connections). Because of this, concrete poems are “meant to be seen…more than heard” (CL 120). Shapes are made by arranging the poem’s letters, words, and symbols, and they often lack a rhyme scheme or a particular rhythm. Concrete poetry is often visual, but it can also include poems where “an arrangement of words or syllables that signals the poem must be said rather than read (ear poetry), and the division of the poem by different speakers, showing that it is intended for performance (action poetry)” (RPO). Concrete poetry “is a development of the pattern poetry which dates back to Greek classical times” (Examples).
Examples:
“The Mouse’s Tale” –Lewis Carroll
Trees have roots
that keep them in the
ground. They keep them stable
if they are strong enough. I am no tree. I
have no roots. I have no inner strength to
keep me alive. I have reasons to not be a tree.
I was raised be a tree. Then I broke free. Born a
leaf. Meant to get lost in the wind. Alone and
fragile but still making my way. Sometimes
I may fall to the ground. Sometimes I
may feel like I can never
get up again.
I will always
be a leaf.
Because I
feel the need
to be free. Able
to blow in the wind.
Works Cited
“Concrete Poetry.” Connections: A Hypertext Resource for Literature. 2 November 2009. http://www.cs.grinnell.edu/~simpsone/Connections/Poetry/Forms/concret1.html
“Concrete Poetry.” Examples-Help.org.uk. 2 November 2009. http://www.examples-help.org.uk/concrete-poetry.htm
“Concrete Poetry.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
Poems
Carroll, Lewis. “The Mouse’s Tale.” Alice’s Adventures in Wonderland and Through the Looking Glass. Great Neck, NY: Choice Publishing, Inc., 1989.
“How to Write a Concrete Poem.” eHow. 6 November 2009. http://www.ehow.com/how_4750927_write-concrete-poem.html
“Poetry in the Classroom: Concrete Poems.” Open Wide, Look Inside. 6 November 2009. http://blog.richmond.edu/openwidelookinside/archives/932
Wednesday, November 25, 2009
Part 1: Forms of Poetry--Haiku
5. Haiku
Definition: A haiku is a brief poem that is “traditionally made up of seventeen syllables” (CL 120). It consists of three “unrhyming lines” where the first line is made up five syllables, the second has seven syllables, and the third line has another five syllables (RPO). However, today “many poets vary the syllabic count in their haiku” (Meyer). The subject matter of these poems are usually “an intense emotion or vivid image of nature, which, traditionally, is designed to lead to a spiritual insight” (Meyer). Haiku originated in Japan and were “developed in the mid-16th century…originally of jesting character” (OED).
Examples:
Basho
Furu ike ya
Kawazu tobikomu
Mizu no oto
The old pond
A frog jumps in
The sound of water
Scott Alexander (early 20th century)
By an ancient pond
A bullfrog sits on a rock:
Waiting for Basho
Paul Brown
Yellow autumn leaves
Rustle as I briskly walk
Through deserted lanes.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Haiku.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_f.htm
“Haiku.” Oxford English Dictionary (OED). 2nd edition. 1989.
“Haiku, or Hokku.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
Poems
Alexander, Scott. “By an ancient pond.” “Western Poets Using Haiku.” .Docstoc. 5 November 2009. http://www.docstoc.com/docs/4292362/haiku-examples
Basho. “Furu ike ya.” “Famous Haikus.” Haiku Society. 5 November 2009. http://www.haikusociety.com/famoushaikus/
Brown, Paul. “Yellow autumn leaves.” “Haiku Writing: A Lesson for Beginners.” Haiku for Beginners. 5 November 2009. http://www.arttech.ab.ca/pbrown/haiku/lesson1.html
Definition: A haiku is a brief poem that is “traditionally made up of seventeen syllables” (CL 120). It consists of three “unrhyming lines” where the first line is made up five syllables, the second has seven syllables, and the third line has another five syllables (RPO). However, today “many poets vary the syllabic count in their haiku” (Meyer). The subject matter of these poems are usually “an intense emotion or vivid image of nature, which, traditionally, is designed to lead to a spiritual insight” (Meyer). Haiku originated in Japan and were “developed in the mid-16th century…originally of jesting character” (OED).
Examples:
Basho
Furu ike ya
Kawazu tobikomu
Mizu no oto
The old pond
A frog jumps in
The sound of water
Scott Alexander (early 20th century)
By an ancient pond
A bullfrog sits on a rock:
Waiting for Basho
Paul Brown
Yellow autumn leaves
Rustle as I briskly walk
Through deserted lanes.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Haiku.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_f.htm
“Haiku.” Oxford English Dictionary (OED). 2nd edition. 1989.
“Haiku, or Hokku.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
Poems
Alexander, Scott. “By an ancient pond.” “Western Poets Using Haiku.” .Docstoc. 5 November 2009. http://www.docstoc.com/docs/4292362/haiku-examples
Basho. “Furu ike ya.” “Famous Haikus.” Haiku Society. 5 November 2009. http://www.haikusociety.com/famoushaikus/
Brown, Paul. “Yellow autumn leaves.” “Haiku Writing: A Lesson for Beginners.” Haiku for Beginners. 5 November 2009. http://www.arttech.ab.ca/pbrown/haiku/lesson1.html
Tuesday, November 24, 2009
Part 1: Forms of Poetry--Free Verse
6. Free Verse
Definition: Free verse refers to poems that are “characterized by their nonconformity to established patterns of meter, rhyme, and stanza” (Meyer). Despite this lack of conformity, they still rely on “rhythm and cadence for [the] poetic form” (CL 121). However, they “seem to disappoint the reader’s expectation for a formal meter” (RPO). “Speech patterns, grammar, emphasis, and breath pauses” also help decide line breaks (Meyer). Free verse topics “are typically quite philosophical or abstract—but intriguing” (CL 121). Poets in the early 20th century “were the first to write what they called ‘free verse’ which allowed them to break from the formula and rigidity of traditional poetry” (Poetry).
Examples:
“The Hollow Men” –T.S. Eliot (1925)
Mistah Kurtz—he dead.
A penny for the Old Guy.
I
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats’ feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us—if at all—not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death’s dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind’s singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death’s dream kingdom
Let me also wear
Such deliberate disguises
Rat’s coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer—
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.
Is it like this
In death’s other kingdom
Walking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death’s twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o’clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
From Falling in Love is Like Owning a Dog: An Epithalamion –Taylor Mali
First of all, it’s a big responsibility,
especially in a city like New York.
So think long and hard before deciding on love.
On the other hand, love gives you a sense of security:
when you’re walking down the street late at night
and you have a leash on love
ain’t no one going to mess with you.
Love doesn’t like being left alone for long.
But come home and love is always happy to see you.
It may break a few things accidentally in its passion for life,
but you can never be mad at love for long.
Is love good all the time? No! No!
Love can be bad. Bad, love, bad! Very bad love.
Sometimes love just wants to go for a nice long walk.
It runs you around the block and leaves you panting.
It pulls you in several different directions at once,
or winds around and around you
until you’re all wound up and can’t move.
But love makes you meet people wherever you go.
People who have nothing in common but love
stop and talk to each other on the street.
Throw things away and love will bring them back,
again, and again, and again.
But most of all, love needs love, lots of it.
And in return, love loves you and never stops.
“Harlem Night Song” –Langston Hughes
Come,
Let us roam the night together
Singing.
I love you.
Across
The Harlem roof-tops
Moon is shining.
Night sky is blue.
Stars are great drops
Of golden dew.
Down the street
A band is playing.
I love you.
Come,
Let us roam the night together
Singing.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Free verse.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_f.htm
“Free verse.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
“Free verse.” Types of Poetry. 2 November 2009. http://www.types-of-poetry.org.uk/24-free-verse.htm
Poems
Eliot, T.S. “The Hollow Men.” The Norton Anthology of English Literature: The Twentieth Century and After. Ed. Stephen Greenblatt. New York, NY: W.W. Norton & Company, Inc., 2006. 2309.
Hughes, Langston. “Harlem Night Song.” A Family of Poems: My Favorite Poetry for Children. Caroline Kennedy. New York, NY: Hyperion Books for Children, 2005. 123.
Mali, Taylor. “From Falling in Love is Like Owning a Dog: An Epithalamion.” A Family of Poems: My Favorite Poetry for Children. Caroline Kennedy. New York, NY: Hyperion Books for Children, 2005. 33.
Definition: Free verse refers to poems that are “characterized by their nonconformity to established patterns of meter, rhyme, and stanza” (Meyer). Despite this lack of conformity, they still rely on “rhythm and cadence for [the] poetic form” (CL 121). However, they “seem to disappoint the reader’s expectation for a formal meter” (RPO). “Speech patterns, grammar, emphasis, and breath pauses” also help decide line breaks (Meyer). Free verse topics “are typically quite philosophical or abstract—but intriguing” (CL 121). Poets in the early 20th century “were the first to write what they called ‘free verse’ which allowed them to break from the formula and rigidity of traditional poetry” (Poetry).
Examples:
“The Hollow Men” –T.S. Eliot (1925)
Mistah Kurtz—he dead.
A penny for the Old Guy.
I
We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats’ feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death’s other Kingdom
Remember us—if at all—not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death’s dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind’s singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death’s dream kingdom
Let me also wear
Such deliberate disguises
Rat’s coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer—
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man’s hand
Under the twinkle of a fading star.
Is it like this
In death’s other kingdom
Walking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death’s twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o’clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
From Falling in Love is Like Owning a Dog: An Epithalamion –Taylor Mali
First of all, it’s a big responsibility,
especially in a city like New York.
So think long and hard before deciding on love.
On the other hand, love gives you a sense of security:
when you’re walking down the street late at night
and you have a leash on love
ain’t no one going to mess with you.
Love doesn’t like being left alone for long.
But come home and love is always happy to see you.
It may break a few things accidentally in its passion for life,
but you can never be mad at love for long.
Is love good all the time? No! No!
Love can be bad. Bad, love, bad! Very bad love.
Sometimes love just wants to go for a nice long walk.
It runs you around the block and leaves you panting.
It pulls you in several different directions at once,
or winds around and around you
until you’re all wound up and can’t move.
But love makes you meet people wherever you go.
People who have nothing in common but love
stop and talk to each other on the street.
Throw things away and love will bring them back,
again, and again, and again.
But most of all, love needs love, lots of it.
And in return, love loves you and never stops.
“Harlem Night Song” –Langston Hughes
Come,
Let us roam the night together
Singing.
I love you.
Across
The Harlem roof-tops
Moon is shining.
Night sky is blue.
Stars are great drops
Of golden dew.
Down the street
A band is playing.
I love you.
Come,
Let us roam the night together
Singing.
Works Cited
Darigan, Daniel L., Michael O. Tunnell, and James S. Jacobs. Children’s Literature: Engaging Teachers and Children in Good Books. Upper Saddle River, New Jersey: Pearson Education, 2002.
“Free verse.” Meyer Literature: Glossary of Literary Terms. 2 November 2009. http://www.bedfordstmartins.com/literature/bedlit/glossary_f.htm
“Free verse.” Representative Poetry Online (RPO). 2 November 2009. http://rpo.library.utoronto.ca/display_rpo/terminology.cfm#lyric
“Free verse.” Types of Poetry. 2 November 2009. http://www.types-of-poetry.org.uk/24-free-verse.htm
Poems
Eliot, T.S. “The Hollow Men.” The Norton Anthology of English Literature: The Twentieth Century and After. Ed. Stephen Greenblatt. New York, NY: W.W. Norton & Company, Inc., 2006. 2309.
Hughes, Langston. “Harlem Night Song.” A Family of Poems: My Favorite Poetry for Children. Caroline Kennedy. New York, NY: Hyperion Books for Children, 2005. 123.
Mali, Taylor. “From Falling in Love is Like Owning a Dog: An Epithalamion.” A Family of Poems: My Favorite Poetry for Children. Caroline Kennedy. New York, NY: Hyperion Books for Children, 2005. 33.
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