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Learning Intention: To understand how the poetic form developed.
Learning Intention: To understand how the poetic form developed.
Success criteria:
I can demonstrate my understanding of how poetry has evolved over time.
I can describe different poetic forms.
I can reflect on how metaphysic poetry
Consider:
Consider:
Activity 1: write the answers to the questions below.
Activity 1: write the answers to the questions below.
What makes a poem, a poem?
What is the purpose of poetry?
Why do you think poetry has power?
Activity 1: Reflection
Activity 1: Reflection
View the two clips on the left.
What makes a poem? Poets have struggled with this definition across time-
Is a poem
A little machine?
A firework?
An echo?
A dream?
If you could craft your own metaphor for what a poem is, what would it be and why?
Activity 2: Research
Activity 2: Research
View the clip to the left.
2. Using the information from the clip and additional research, respond to the following questions in your workbooks. Use full sentence answers.
What were the earliest poems that were written down and which society did this?
What the three classifications of ancient poetry as defined by Aristotle?
Define memetic poetry.
What are the features of the Ballad.
Describe the sonnet form and how it was revolutionised by Shakespeare.
How does the sonnet develop an idea?
When did the Metaphysical poets emerge and what movement was happening at this time?
What were their main concerns?
When was the Romantic period and what were the main concerns and type of poetry?
Who is the father of free verse and what are the features of this form?
When is the Modernism period?
What were the main two categories of Modernists?
From your understanding, why is it important to have an understanding of the evolution of poetry?
Activity 3: Define the following poetic techniques. These are a focus for our unit. Sort these into the categories of aural, visual and form technique.
Activity 3: Define the following poetic techniques. These are a focus for our unit. Sort these into the categories of aural, visual and form technique.
Conceit
Irony
Imagery- visual, auditory, gustatory, olfactory, tactile
Line Placement and punctuation
Quatrain
Tone
cacophony
Fricative
Plosive
Apostrophe
Anaphora
Satire
Rhyme
Rhyme scheme
Figurative language
Rhyming Couplet
Alliteration
Assonance
Onomatopoeia
Sibilance
Before we begin the metaphysic poetry of John Dunne, Consider the pre-cursor to the metaphysics, Shakespeare. William Shakespeare often reflected the same themes yet in a different manner.
Activity 4:
Activity 4:
1.Read the Seven Ages of Man
2.Note each of the Stages and write down some of the characteristics.
3. Consider:
What do you notice about how Shakespeare represents life?
How does he represent the individual and collective experience? Who's perspective is missing?
Does it still resonate with today's audiences?
4. Identify your favourite stage- select one Language TEE and one form TEE to complete.
5. How does Shakespeare's jacobean language compare with our current Post Modern literary movement?
Writing Activity: Emulating Shakespeare
Writing Activity: Emulating Shakespeare
Formative Activity:
Formative Activity:
Use the opening metaphor, change it or craft your own.
Craft 7 new stages of human experience- These can be new experiences, new "stages"/ chapters, new perspectives- Could you craft a piece from a feminist perspective? A different cultural perspective? Think of your own perspectives/ experiences to help you and plan your piece to help you. Alternatively, you can work through Shakespeares and change it line by line.
Work through crafting the poem line by line- ensure it fits the same meter as Shakespeare's original.
Think about your language techniques- you will need to justify 6 TEE at the end of construction.
Type up your piece- one "published piece" and one "annotated" and complete the following paragraph response- How have you manipulated Shakespeare's original poem to suit a more contemporary audience?
In your response discuss the following:
Does it still explore the same ideas? Why/ why not
How would have Shakespeare's audiences felt about his soliloquy versus how people today?
Use 2TEEs identified in Shakespeare and 2 TEEs from your own to support your point.
Culminate with a statement about achieving a purpose with the poem- as the poet, what did you want the audience to consider? What feelings did you want to evoke?
Submit via the TEAMS portal
Writing Activity: Shortest Poems in History
Writing Activity: Shortest Poems in History
Activity:
Activity:
Find an object in your bag.
Craft a short poem using your knowledge of language and line placement.
Ensure it has a title- the most important aspects of a poem are its title, first and last lines.
Write it on a post it. Post it to the wall.
See Examples below:
In a Station of the Metro Ezra Pound 1913 Imagist poet
The apparition of these faces in the crowd:
Petals on a wet, black bough.
Lines on the Antiquity of Microbes (Fleas) Strickland Gillilan 1927
Adam
Had ’em
William C. Wilkinsen
Tears.
I Cry.
We Real Cool - Gwendoline Brooks 1960
The Pool Players.
Seven at the Golden Shovel.
We real cool. We
Left school. We
Lurk late. We
Strike straight. We
Sing sin. We
Thin gin. We
Jazz June. We
Die soon.
Additional Reading
Additional Reading
Activity: The Subject Object Poem
Activity: The Subject Object Poem
Reading: Carlos Williams
Reading: Carlos Williams
William Carlos Williams was committed to the creation of a distinct American style of poetry, and over the course of his career his work became increasingly focused on an innovative approach to structure and measure. These two elements are the focus of his essay “The Poem as a Field of Action,” which was presented as a lecture at the University of Washington in 1948.
Williams refers to the subject matter of a poem as its materials, and borrows from Freud to call the poem, like the dream, a space for wish fulfillment. Subject matter is seen as fantasy, while the reality of the poem is its measure. Williams sees “a wish for aristocratic attainment” as the preferred subject of poetry until the Industrial Revolution, under whose spirit “it began to be noticed that there could be a new subject matter and that that was not in fact the poem at all.” Even though poets opened the imagery of their work to include the industrial landscapes and other new subjects, Williams argues, the poet’s use of measure has not undergone the same revolutionary change.
Applying Einstein’s theory of relativity to the “relativity of measurements,” Williams argues that “our poems are not subtly enough made, the structure, the staid manner of the poem cannot let our feelings through.” Citing “the rigidity of the poetic foot” as a significant obstacle to contemporary poetry, Williams proposes that his American peers instead turn to speech as a new form of measure, and particularly contemporary, shifting American dialects, in order to “listen to the language for the discoveries we hope to make.”
Williams discusses the work of Eliot and Auden as falling outside of this proposed structural revolution in poetry. Williams sees Proust, on the other hand, as being the first to successfully bridge the innovations of literary style and natural science.
Spring and All (1923), composed more than twenty years before this lecture, has been seen by critics as the first collection of Williams to illustrate his notion of the poem as a field of action. In 1948, when Williams gave his speech at the University of Washington, he was immersed in his long project, the Paterson series, and was developing his conception of the “variable foot,” one of the main innovations of Williams’ to be adopted by younger poets. Williams’ theory was later developed by poet Charles Olson as “composition by field,” which focuses on the motion between elements in a poem, or between multiple poetic texts.
-Poetry Foundation
Visualising Activity:
Visualising Activity:
Look closely at this photograph
Listening Activity:
Listening Activity:
Listen to the song "We're going to be friends"
The White Stripes. What words or phrases from the song stand out to you? Why?
What feeling does the song evoke? Why?
Reading Activity:
Reading Activity:
Read the poem silently.
What do you notice about the poem?
Note any words or phrases that stand out to you or any questions you might have.
Read the poem aloud- What phrases stand out now?
Why might the street be described as lonely?
The Lonely Street
William Carlos Williams 1883 –1963
School is over. It is too hot
to walk at ease. At ease
in light frocks they walk the streets
to while the time away.
They have grown tall. They hold
pink flames in their right hands.
In white from head to foot,
with sidelong, idle look—
in yellow, floating stuff,
black sash and stockings—
touching their avid mouths
with pink sugar on a stick—
like a carnation each holds in her hand—
they mount the lonely street.
Whole Class Discussion:
Whole Class Discussion:
What do you think about the imagery in the poem?
What do the colours in the poem make you think about?
What visual imagery comes to mind when you read the poem?
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