engl 206 introduction to literature ii poetry and drama 206 ut.pdf · poetry and drama 11 workshop...

ENGL 206

INTRODUCTION TO LITERATURE II

POETRY AND DRAMA

Universidad del Este, Universidad Metropolitana, Universidad del Turabo © Sistema Universitario Ana G. Méndez, 2008 Derechos Reservados

Escuela de Estudios Profesionales Programa Ahora

Universidad del Turabo

ENGL 206 Introduction to Literature II Poetry and Drama

2

Revised with the collaboration of:

Prof. Tania Mediavilla Negrón, MA

2009




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Table of Contents

COURSE INFORMATION------------------------------------------------------------------------------------------------------ 4

WORKSHOP ONE -------------------------------------------------------------------------------------------------------------- 11

WORKSHOP TWO ------------------------------------------------------------------------------------------------------------- 14

WORKSHOP THREE ---------------------------------------------------------------------------------------------------------- 17

WORKSHOP FOUR ------------------------------------------------------------------------------------------------------------ 21

WORKSHOP FIVE -------------------------------------------------------------------------------------------------------------- 23

APPENDIXES -------------------------------------------------------------------------------------------------------------------- 25

APPENDIX A --------------------------------------------------------------------------------------------------------------------- 26

LITERATURE: WHAT CREATORS, CRITICS AND PARTICIPANTS KNOW OF IT -------------------------------------------- 26

APPENDIX B --------------------------------------------------------------------------------------------------------------------- 33

EXAMPLE FOR A PARAPHRASE ----------------------------------------------------------------------------------------------- 33

APPENDIX C --------------------------------------------------------------------------------------------------------------------- 34

RUBRIC FOR ORAL PRESENTATIONS---------------------------------------------------------------------------------------- 34

APPENDIX D --------------------------------------------------------------------------------------------------------------------- 35

DEFINITIONS FOR POETRY --------------------------------------------------------------------------------------------------- 35

APPENDIX E --------------------------------------------------------------------------------------------------------------------- 47

RUBRIC FOR WRITTEN WORKS ---------------------------------------------------------------------------------------------- 47




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Course Information

Course Title: English Literature II: Poetry and Drama

Course Number: Engl 206

Duration: 5 Weeks

Pre-requisites: English 152, 153, 205

Description:

In this course students will read and interpret poetry and drama. They will see how the

techniques and devices, to which they were introduced in their study of fiction, are used

in poetry and drama. Popular music and movies can be even more useful here to

illustrate certain concepts through the performing arts. The course will normally be

carried out through discussion rather than lectures, and the students will be encouraged

to express themselves and exchange understandings in the classroom discussions. All

of the readings will be available on the Internet; the links will be found in a Blog

maintained by the Professor.

General Objectives:

As outcomes of this course, students will have;

1. Acquired the necessary fundamentals to recognize and analyze the genres of

poetry and drama.

2. Explore poetry and drama as sources for personal literary development.

3. Reflect on literary works and thoughts and form an art connection to culture and

society.

4. Discuss critical theories included in the PCMA exam.

5. Develop awareness of the difference between blank and free verse

6. Identify metric patterns

Texts and References

Arp, T. & Johnson, G. (2002). Perrine’s Literature: Structure, Sound and Sense. (Eighth

Edition). Heinle and Heinle

Spanish/English Dictionary




5

English/ English Dictionary

Web Sites

University Libraries

Universidad Del Turabo

http://bibliotecavirtualut.suagm.edu/

Universidad Del Este

http://www.suagm.edu/suagm/une2/portal_de_biblioteca/

Universidad Metropolitana

http://www.suagm.edu/SUAGM/m1/html/webvoy.htm

Note: If for some reason you cannot access the offered electronic addresses in the

module, don’t limit yourself to them. There are other “Web sites” that you can use for

the search of the required information. Among them you can find:

www.google.com

www.Altavista.com

www.AskJeeves.com

www.Excite.com

www.alltheweb.com

www.Pregunta.com

www.Findarticles.com

www.yahoo.com

The facilitator can make changes to the electronic addresses and/or add some of being

necessary.

Note: If any facilitator or student needs to conduct a research or submit a questionnaire

and carry out any interview, must consult with SUAGM’s Compliance Office first to

study its policies and request the corresponding authorization.

To access the Compliance Office authorization forms, you can:

Access our webpage

http://www.suagm.edu/suagm/suagm/vpauxrecursos_vpare.aspx, select Oficina

de Cumplimiento and click Formularios, or

Access directly this link

http://www.suagm.edu/suagm/suagm/compliance_IRB_Forms.aspx.




http://www.google.com/

http://www.excite.com/

http://www.findarticles.com/

https://mailweb.suagm.edu/exchweb/bin/redir.asp?URL=http://www.suagm.edu/suagm/suagm/vpauxrecursos_vpare.aspx

https://mailweb.suagm.edu/exchweb/bin/redir.asp?URL=http://www.suagm.edu/suagm/suagm/compliance_IRB_Forms.aspx



ENGL206 Introduction to Literature II Poetry and Drama

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In addition to the forms, you can also access the instructions to make the online

certification for IRB Institucional Review Board, Health Information Portability

Accounting Act (HIPAA) and the Responsability Conduct for Research Act (RCR).

If you have any question, please contact with the Institutional Coordinators or with the

Compliance Office:

Evelyn Rivera Sobrado, Compliance Office Director Tel. (787) 751-0178 Ext. 7196 Carmen Crespo, Compliance Coordinator for UMET Tel. (787) 766-1717 Ext. 6366 Josefina Melgar, Compliance Coordinator for Turabo Tel. (787) 743-7979 Ext.4126 Dr. Rebecca C. Cherry, Compliance Coordinator for UNE Tel. (787) 257-7373 Ext. 3936

Evaluation:

Workshop One

1. Worksheet on short poems

2. Paraphrase exercise of the short poem

3. Metaphor writing

4. Oral presentation based on group discussion




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Workshop Two

1. Paragraph writing on definition of poetry

2. Oral reading of a poem and discussion of the worksheet

3. Written poem

Workshop Three

1. Group Project on sounds and imagery

2. Plot summary

3. Posters on Animal Farm

4. Oral participation in group discussions

5. Graphic Organizer

6. Character’s interaction diagram

Workshop Four

1. Student’s oral participation

2. Written summary of the literary terms for the workshop

3. Chart with the examples on figurative language usage

4. Examples of symbolism, allusion, and allegory in the reading

Workshop Five

1. Written reflection on literary performance

2. Written test

The following table shows the value of the letter grades given in the course.

Letter Grade %

A 100-90

B 89-80

C 79-70

D 69-60

F 59-0




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Workshop One

Worksheet on short poems Paraphrase exercise of the short poem Metaphor writing Oral presentation based on group discussion

50 pts 50 pts 50 pts 50 pts The scores will be added and divided into 200 pts to obtain the final score Student score = ____/ 200 =____ %

Workshop Two

Paragraph writing on definition of poetry Oral reading of a poem and discussion of the worksheet Written poem

50 pts. 50 pts 50 pts The scores will be added and divided into 150 pts to obtain the final score Student score = ____/ 150 =_____ %

Workshop Three

Group Project on sounds and imagery Plot summary Posters on Animal Farm Oral participation in group discussions Graphic Organizer Character’s interaction diagram

50 pts 25 pts 25 pts 50 pts 25 pts 25 pts All scores will be added and divided into 200 to obtain the final score Student score = ____/ 200 =_____ %

Workshop Four

Student’s oral participation Written summary of the literary terms for the workshop Chart with the examples on figurative language usage Examples of symbolism, allusion, and allegory in the reading

50 pts. 50 pts 50 pts 50 pts All scores will be added and divided into 200 pts to obtain the final score Student score = ____/ 200 =_____ %

Workshop Five

Written reflection on literary performance Written test

100 pts. 100 pts Both scores will be added and divided into 200 pts to obtain the final score Student score = ____/ 200 =_____ %




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Guidelines for the course:

1. Attendance is mandatory. In case of absence, students should contact facilitator

in order to be excused and means to hand in assigned work.

2. Facilitator reserves the right to accept the excuse and the assigned work.

Facilitator will use his/her criteria in evaluating the work. Oral presentations and

special activities cannot be made up. If the student presents a valid written

excuse, an appointment may be set up for a written text on the activity the

student missed.

3. Present and on time for class is mandatory. Absences will result in loss of the

points for that workshop. Also, students who come late or leave early will lose

attendance points.

4. Cooperative group activities cannot be made up.

5. Late assignments- Any late assignments will result in an automatic loss of five (5)

points for each week the assignment is late.

6. This is an accelerated program. Students should be prepared before each

workshop. An average of 10+ hours per week is required for each workshop.

7. Due to the nature of this writing course, the facilitator can request the participant

to rewrite any work.

8. All submitted written works should be word processed in Times New Roman font

size 12 and doubled spaced unless the facilitator requests the contrary.

9. Student’s work should be original. Plagiarism is not acceptable. Credits should

be given to the source of information.

10. Changes made by the facilitator will be discussed in the first workshop. A written

description of the changes will be given to the students as well as the Program.

11. The facilitator will establish the means of contact and communication for the

course. These agreements shall be in accordance with the established privacy

laws.

12. The use of cell phones is prohibited during workshops.

13. Children and other family members are not allowed to the classrooms.




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14. Students who need Vocational Rehabilitation must contact the professor at the

beginning of the course to plan reasonable placement and necessary equipment

according to the recommendations of the Development Vice Chancellor. Those

students with special needs who require some special assistance must notify the

facilitator. The student with special needs must consult with the facilitator in case

the evaluation requires differentiation due to particular cases.

15. All students must comply with the academic and administrative norms of the

institution which are available at the Student Affairs Vice Chancellor’s office,

including the Student Manual.




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Workshop One

Specific Objectives

At the end of the Workshop, the student:

1. Defines key literary terms: literature, prose, poetry, verse, drama, character,

characterization, voice, and person.

2. Participates with or experiences a literary work as he/she reads it.

3. Paraphrases a passage in a literary work.

4. Explains how sounds and metaphor help create meaning.

5. Analyzes title, setting, character, and plot.

6. Find plot summaries of Oedipus and Hamlet on the Internet

Websites








Literary Terms

http://www.tnellen.com/cybereng/lit_terms/terms/Literary.Terms.3.html

http://quizlet.com/173203/literary-prose-terms-flash-cards/

Prose

http://www.types-of-poetry.org.uk/91-prose.htm

Drama

http://www.unc.edu/depts/wcweb/handouts/drama.html

Background on Shakespeare

http://www.pathguy.com/hamlet.htm

Shakespeare’s Hamlet

http://shakespeare.mit.edu/hamlet/

http://absoluteshakespeare.com/guides/hamlet/summary/hamlet_summary.htm




http://www.tnellen.com/cybereng/lit_terms/terms/Literary.Terms.3.html

http://quizlet.com/173203/literary-prose-terms-flash-cards/

http://www.types-of-poetry.org.uk/91-prose.htm

http://www.unc.edu/depts/wcweb/handouts/drama.html

http://www.pathguy.com/hamlet.htm

http://shakespeare.mit.edu/hamlet/

http://absoluteshakespeare.com/guides/hamlet/summary/hamlet_summary.htm




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http://shakespeare.palomar.edu/lambtales/LTHAMLET.HTM

Assignments to be completed prior to Workshop One:

Instructions:

1. Browse the course module and the Web Sites

2. Clarify key terms and take notes on your findings.

3. Choose a short poem from the textbook or any available source. Prepare a

worksheet like the one in Appendix A.

4. Prepare to read the work aloud in class and explain the worksheet.

5. Write out a paraphrase of a short poem. See an example in Appendix B.

6. Find a definition and five examples of metaphor.

7. Write a metaphor about yourself or someone important or special in your life.

Activities

1. Facilitator will introduce him/herself and provide an overview of the course.

Particular emphasis should be placed on the objectives, evaluation criteria,

student participation, and group work. If any changes are made to the grading

evaluation criteria, these should be given in writing to the student and the office

program during the first workshop.

2. The Facilitator assigns one of the pre-class assignments to small groups in the

classroom. Students discuss their findings, the research and the process of

his/her preparation. Then, they report to the whole class using charts and visual

aids prepared in class. This activity will be evaluated following the guidelines in

Appendix C

3. Class members read aloud the poems that have chosen and discuss the

worksheets they prepared raising questions they would like the group to

consider.

4. Students compare the steps in their responses to the steps discussed in

worksheets provided in Appendix A.

5. Analysis of quantities of good literary work and ways to achieve them will be

carried out. Use Appendix A on what literature is and does. Valuable insight is

also available in Appendix D.

http://shakespeare.palomar.edu/lambtales/LTHAMLET.HTM




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6. Facilitator will collect the assignments and offers an overview for Workshop 2.

7. Facilitator will assign five poems to be studied for the next workshop.

Assessment

1. Worksheet on short poems (50 points)

2. Paraphrase exercise of the short poem (50 points)

3. Metaphor writing (50 points)

4. Oral presentation based on group discussion (50 points)




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Workshop Two

Specific Objectives

At the end of the workshop, the student will be able to:

1. Identify and demonstrate understanding of common poetic forms such as sonnet,

limerick, ode, and elegy among others.

2. Recognize the meter of verse and discuss its contribution to the development of

the literary work.

3. Distinguish the types of rhyme and rhythm in a literary work and their

accomplishments.

4. Explain with examples the contribution sound makes to meaning.

5. Discuss how imagery contributes to metaphor and meaning.

Websites








Types of poetry

http://www.types-of-poetry.org.uk/

http://www.dowlingcentral.com/MrsD/area/literature/Poetry/poetry.html

Sonnet

http://www.writing.upenn.edu/~afilreis/88/sonnet.html

http://www.sonnets.org/

http://www.uni.edu/~gotera/CraftOfPoetry/sonnet.html

Limerick

http://www.poemhunter.com/poems/limerick/

http://www.poetry-online.org/limericks.htm

http://volweb.utk.edu/school/bedford/harrisms/limerick.htm





http://www.dowlingcentral.com/MrsD/area/literature/Poetry/poetry.html

http://www.writing.upenn.edu/~afilreis/88/sonnet.html

http://www.sonnets.org/

http://www.uni.edu/~gotera/CraftOfPoetry/sonnet.html

http://www.poemhunter.com/poems/limerick/

http://www.poetry-online.org/limericks.htm

http://volweb.utk.edu/school/bedford/harrisms/limerick.htm




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Ode

http://www.answers.com/topic/ode

http://www.webexhibits.org/poetry/explore_classic_ode_examples.html

Elegy

http://www.types-of-poetry.org.uk/18-elegy.htm


Epic

http://members.optushome.com.au/kazoom/poetry/epic.html

http://ancienthistory.about.com/od/literat3/qt/EpicPoetry.htm

Meter of Verse

http://www.cummingsstudyguides.net/xmeter.html

http://andromeda.rutgers.edu/~jlynch/Terms/meter.html

http://www.amittai.com/prose/meter.php

http://www.tnellen.com/cybereng/forms.html

Rhyme and rhythm

http://edhelper.com/ReadingComprehension_27_77.html

http://www.tnellen.com/cybereng/lit_terms/rhyme.html

Assignments prior to Workshop Two

Instructions:

1. Visit the Websites listed above to become familiar with the topics to be discussed

in this workshop.

2. Study the definitions of poetry in Appendix D. Select the one that strikes you as

most influential and write a paragraph to explain to the class why.

3. Brainstorm different ways of teaching young children about sound, metaphor,

and the development of meaning in a short literary work. Consider using dance

and drums, guitar, and flute.

4. Make a chart or other form of graphic organizer to help clarify three important

terms critics have developed to explain poetry.

5. Read ten poems, five previously assigned by facilitator and five of your own

choosing.

http://www.answers.com/topic/ode

http://www.webexhibits.org/poetry/explore_classic_ode_examples.html

http://www.types-of-poetry.org.uk/18-elegy.htm


http://members.optushome.com.au/kazoom/poetry/epic.html

http://ancienthistory.about.com/od/literat3/qt/EpicPoetry.htm

http://www.cummingsstudyguides.net/xmeter.html

http://andromeda.rutgers.edu/~jlynch/Terms/meter.html

http://www.amittai.com/prose/meter.php

http://www.tnellen.com/cybereng/forms.html

http://edhelper.com/ReadingComprehension_27_77.html

http://www.tnellen.com/cybereng/lit_terms/rhyme.html




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6. Develop a worksheet on one of the poems. Aim it at awakening insight in others

who may have read more superficially and prepare to present your findings to the

class.

7. Explore websites for ways to write a poem and write one to share with the class.

Activities

1. In groups of four, discuss what is poetry and types, and prepare and present a

short oral report on it.

2. As a class, analyze several poems. Create a list of three to five questions that

might be helpful in discussing most poems. Distinguish the rhyme and rhythm in

each of the poems.

3. Group members report on an independent analysis of one of the poems chosen

in the assignments prior to the workshop.

4. Facilitator will read a poem aloud. Class discusses the contributions of the

reading and how it affects the listener. Does reading it yourself, silently or aloud

differ any from hearing it read by the poet or an actor?

5. Class describes Internet resources they have discovered on writing an original

poem. Within groups write an original group poem and share the results with

classmates. Alternatives: set a lyric to a familiar tune and perform or teach it to the

class or dramatize the situation in a poem and present it as an imaginary dialogue

6. Discuss sound, imagery, and meaning in poems. In groups, design a project to

teach children how sound and meaning or imagery interacts in poems. Present this

project in Workshop Three.

7. Students read aloud the poems they have written and identify the meter of verse

and discuss the contribution to the way the literary work develops.

Assessment

1. Paragraph writing on definition of poetry 50 points

2. Oral reading of a poem and discussion of the worksheet 50 points

3. Written poem 50 points




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Workshop Three

Specific Objetives

At the end of Workshop Three, the student will be able to:

1. Explains the ways drama differs from fiction and poetry.

2. Summarizes the plot of a play. Discusses exposition, rising action, climax, falling

action, and resolution.

3. Discusses the importance of conflict in a play. Identifies subplots and discusses

how they affect the main plot.

4. Reports on figurative language. Shows how in a specific passage figures of

speech contribute to the overall work’s meaning.

5. Explains how symbolic, allusive, or allegorical references affect meaning.

6. Describes the effect of tone or mood, humor, irony, philosophical reflection,

didacticism, and satire.

Websites








Fiction and Poetry

http://classiclit.about.com/od/faqs/f/aa_faqfiction.htm

http://highered.mcgraw-

hill.com/sites/0072405228/student_view0/poetic_glossary.html

Plot

http://www.learner.org/interactives/literature/read/plot1.html

Rising Action

http://changingminds.org/disciplines/storytelling/plots/five_stage/rising_action.ht

m




http://classiclit.about.com/od/faqs/f/aa_faqfiction.htm

http://highered.mcgraw-hill.com/sites/0072405228/student_view0/poetic_glossary.html

http://highered.mcgraw-hill.com/sites/0072405228/student_view0/poetic_glossary.html

http://www.learner.org/interactives/literature/read/plot1.html

http://changingminds.org/disciplines/storytelling/plots/five_stage/rising_action.htm

http://changingminds.org/disciplines/storytelling/plots/five_stage/rising_action.htm




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Climax

http://contemporarylit.about.com/cs/literaryterms/g/climax.htm

http://web.cn.edu/kwheeler/lit_terms_C.html

http://www.orangeusd.k12.ca.us/yorba/literary_elements.htm

Falling Action

http://contemporarylit.about.com/cs/literaryterms/g/fallingAction.htm

http://viswiki.com/en/Falling_action

Resolution or Denouement

http://www.thefreedictionary.com/denouement

Conflict

http://www.dowlingcentral.com/MrsD/area/literature/Terms/conflict.html

http://contemporarylit.about.com/cs/literaryterms/g/conflict.htm

http://hpms.hpisd.org/Portals/1/Teachers/Weitman/Conflict.ppt

Figurative language

http://www.frostfriends.org/figurative.html

http://www.sturgeon.k12.mo.us/elementary/numphrey/subjectpages/languagearts/

figuresofspeech.html

http://www.westga.edu/~scarter/Figurative_Language1.htm

Symbolism

http://www.worsleyschool.net/socialarts/symbolism/page.html

http://www.artlex.com/ArtLex/s/Symbolism.html

Allusion

http://www.tnellen.com/cybereng/lit_terms/allusion.html

http://www.worsleyschool.net/socialarts/allusion/page

Allegory

http://www.tnellen.com/cybereng/lit_terms/allegory.html

http://www.ehow.com/how_2066419_spot-allegory-literature.html

Irony

http://contemporarylit.about.com/cs/literaryterms/g/climax.htm

http://web.cn.edu/kwheeler/lit_terms_C.html

http://www.orangeusd.k12.ca.us/yorba/literary_elements.htm

http://contemporarylit.about.com/cs/literaryterms/g/fallingAction.htm

http://viswiki.com/en/Falling_action

http://www.thefreedictionary.com/denouement

http://www.dowlingcentral.com/MrsD/area/literature/Terms/conflict.html

http://contemporarylit.about.com/cs/literaryterms/g/conflict.htm

http://hpms.hpisd.org/Portals/1/Teachers/Weitman/Conflict.ppt

http://www.frostfriends.org/figurative.html

http://www.sturgeon.k12.mo.us/elementary/numphrey/subjectpages/languagearts/figuresofspeech.html

http://www.sturgeon.k12.mo.us/elementary/numphrey/subjectpages/languagearts/figuresofspeech.html


http://www.worsleyschool.net/socialarts/symbolism/page.html

http://www.artlex.com/ArtLex/s/Symbolism.html

http://www.tnellen.com/cybereng/lit_terms/allusion.html

http://www.worsleyschool.net/socialarts/allusion/page

http://www.tnellen.com/cybereng/lit_terms/allegory.html

http://www.ehow.com/how_2066419_spot-allegory-literature.html




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http://books.google.com/books?hl=es&lr=&id=SENoaUb7CooC&oi=fnd&pg=PA1&

dq=humor+,+tone,+mood,+irony+in+literature&ots=q3Z4gcr5ZD&sig=XhXMYcrHp

2bwZDsXh5kErXRLtj4

Humor

http://library.thinkquest.org/J002267F/types_of_humor.htm

Animal Farm

http://books.google.com/books?id=SGAZdjNfruYC&printsec=frontcover&dq=ani

mal+farm&lr=&hl=es#PPP1,M1

Assignments prior to Workshop Three

Instructions:

1. Read the novelette Animal Farm

2. Prepare a plot summary to share with the class.

3. Prepare elements of the novel for the assigned novelette.

4. Create a graphic organizer for an important scene in the novelette.

5. Diagram interactions between two important characters in Animal Farm.

6. Relate your personal experience to the events presented in the novelette.

7. Design a poster on details that students should remember on the plot of the

novelette.

Activities

1. Facilitator conducts a guided discussion on the differences between drama and

poetry.

2. In groups, present the special project from the previous workshop on sound and

imagery in poetry.

3. Students present the plot summaries.

4. Students present the posters based on the details from Animal Farm and explain

them.

5. Students discuss the elements of the novelette, Animal Farm.

6. Students report about the use of figurative language and symbolism, allusion and

allegory used in the novelette.

7. Students create a group graphic organizer for an assigned chapter in the book.

http://books.google.com/books?hl=es&lr=&id=SENoaUb7CooC&oi=fnd&pg=PA1&dq=humor+,+tone,+mood,+irony+in+literature&ots=q3Z4gcr5ZD&sig=XhXMYcrHp2bwZDsXh5kErXRLtj4



http://library.thinkquest.org/J002267F/types_of_humor.htm

http://books.google.com/books?id=SGAZdjNfruYC&printsec=frontcover&dq=animal+farm&lr=&hl=es#PPP1,M1

http://books.google.com/books?id=SGAZdjNfruYC&printsec=frontcover&dq=animal+farm&lr=&hl=es#PPP1,M1




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8. Students diagram and illustrate interactions between two important characters in

Animal Farm.

9. Students discuss the effect of additional literary categories in writing.

Assessment

1. Group Project on sounds and imagery 50 pts

2. Plot summary 25 pts

3. Posters on Animal Farm 25 pts

4. Oral participation in group discussions 50 pts

5. Graphic Organizer 25 pts

6. Character’s interaction diagram 25 pts




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Workshop Four

Specific Objectives


1. Reports on figurative language. Demonstrates how in a specific passage

figures of speech contribute to the work’s meaning.

2. Explains how symbolic, allusive, or allegorical references affect meaning.

3. Describes the effect of tone or mood, humor, irony, philosophical

reflection, didacticism and satire.

4. Explains differences between narrative, lyric, and dramatic; and give

examples.

Websites








Figurative Language

http://42explore.com/figlang.htm

http://www.frostfriends.org/figurative.html#metaphor

http://www.orangeusd.k12.ca.us/yorba/figurative_language.htm


Assignments prior to Workshop Four

Instructions:

1. Visit the Websites listed above and prepare a summary of all the terms. Study

them and come to class prepared to discuss your findings.

2. Prepare a chart with examples on the use of figurative language in the novelette

Animal Farm.

3. Choose a passage and indicate the figure of speech used.




http://42explore.com/figlang.htm

http://www.frostfriends.org/figurative.html#metaphor

http://www.orangeusd.k12.ca.us/yorba/figurative_language.htm





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4. Find examples of symbolism, allusion, and allegory in the reading.

Activities

1. Facilitator will conduct an open dialogue on the literary terms assigned for this

workshop.

2. Students will show the charts with the figurative language use in the Animal

Farm.

3. Choose a passage from the novelette and discuss how the use of figurative

language contributes to the overall of the theme.

4. Discuss examples of symbolism, allusion and allegory used in the reading.

Assessment

1. Student’s oral participation 50pts

2. Written summary of the literary terms for the workshop 50pts

3. Chart with the examples on figurative language usage 50pts

4. Examples of symbolism, allusion, and allegory in the reading 50pts




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Workshop Five

Specific Objectives


1. Demonstrate mastery of literary conventions in poetry and drama

2. Describe in a journal form a chosen local literary performance or reading.

3. Develop a personal plan for pursuing interest in literature and culture and ways of

finding information on them.

Websites








Finding Inspiration in Literature and Movies

http://www.youthfilmproject.org/programs.htm

http://www.designastudy.com/products/1891975099.html

Assignments prior to Workshop Five

Instructions:

1. Prepare a written reflection on the literary performance or reading that you have

chosen or attended. Include a plan for pursuing, develop or improve your

personal interest in literature. This work will be evaluated following the guidelines

in Appendix D.

2. Study the literary terms for a written test and include your skills to identify the

terms in given passages.

Activities

1. Students perform the written test on literary terms and identify them in selected

passages.

2. Facilitator comments briefly on key course concepts.




http://www.youthfilmproject.org/programs.htm

http://www.designastudy.com/products/1891975099.html




24

3. Students turn in their written reflection

4. Facilitator encourages students to share information gathered on ways to

continue individual interest in literature and culture.

Assessment

1. Written reflection on literary performance 100 pts.

2. Written test 100 pts.




25

Appendixes




26

Appendix A

Literature: What creators, critics and participants know of it

Section 1.

DEMONSTRATION.

How do you participate in literature?

DAYS

Ralph Waldo Emerson

Daughters of Time, the hypocritical days,

Muffled and dumb, like barefoot dervishes

And marching singly in an endless file

Bring diadems and faggots in their hands.

To each they offer gifts after his will bring

Bread, kingdom, stars and sky that holds them all.

I in my pleached garden watched the pomp,

Forgot my morning wishes, hastily

Took a few herbs and apples, and the Day

Turned her solemn fillet saw the scorn.

Emerson's "Days." WORKSHEET.

1. Identify.

. What's the biggest chance you've ever missed? Has it ever happened that you

understood the value of an opportunity only after it was too late to do anything about it?

Do you trust your fate? Your time? Your situation? Could you do so, even more?

How? What difference would that make? What's the difference between what you do

when you trust and what you do when you don't?

2. Visualize.

. Can you visualize the days marching one by one in an endless procession? See how

they're muffled? Feel the silence as they pass? Gaze at them in the same way you

would barefoot dervishes?




27

. See the crowns and sticks they bring? Imagine yourself choosing the gift you want

from them? Visualize the bread they bring you? The kingdoms? The stars? The sky

that contains all such things?

. See the poet in a cultured garden? Watch him watch what's going on? Remember

what he forgot (what he wanted that morning?) See him take a few herbs and apples?

See the day turn away and leave silently? See the scorn he sees on her face?

1. Grasp the Structure.

DAUGHTERS . . . hypocritic days . . . muffled and dumb

marching

bring

offer GIFTS AFTER HIS WILL

I . . . WATCHED

forgot

took . . . too late A FEW APPLES AND HERBS

saw

2. Perceive.

Why are the days described as hypocritic? As dervishes? As barefoot? As daughters?

Why do they march singly in an endless file?

Bring diadems and faggots? Offer gifts each person chooses?

What do "bread, kingdoms, stars, sky" stand for?

Why is the poet in a "pleached garden"?

Why would he forget his morning wishes?

Why does the poet describe what is going on as "pomp"?

What do the "herbs and apples" stand for? Why would he take those?

Why would the day depart without saying anything?

Why was she scornful?

In what way can you put yourself in the poet's place?




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Section 2.

DEMONSTRATION.

How do you recognize literature?

THE RHODORA. On being asked, whence is the flower?

Ralph Waldo Emerson.

In May, when sea-winds pierced our solitudes,

I found the fresh Rhodora in the woods,

Spreading its leafless blooms in a damp nook,

To please the desert and the sluggish brook.

The purple petals, fallen in the pool,

Made the black water with their beauty gray;

Here might the red-bird come his plumes to cool,

And court the flower that cheapens his array.

Rhodora! If the sages ask thee why

This charm is wasted on the earth and sky,

Tell them, dear, that if eyes were made for seeing,

Beauty is its own excuse for being:

Why thou wert there, O rival of the rose!

I never thought to ask, I never knew;

But, in my simple ignorance, suppose

The self-same Power that brought me there brought you

SAMPLE. Aesthetic Quality, Exploitation of Language, and Imaginary World In

Emerson's "The Rhodora."

By the three tests of literary theory Emerson’s poem "The Rhodora" is literature. It

creates a fictional world in which a man goes for a walk in the woods and finds a small

flower that teaches him to trust the universe. It exploits language to elicit feeling, and it

achieves a total effect of aesthetic value.

The man who goes for a walk in the woods is not Emerson himself, but a persona, or a

fictional mash through which he speaks. This person never lived; he's a creation of the

author's imagination. Likewise, the walk, the encounter with the flower, and the result of




29

it is fictional, although something very much like it could easily have happened. It is

presented in a poem. It might never have happened, and what is important, it need not

have. Yet, even if it did, that in itself does not make the poem more beautiful. Emerson

may have seen that kind of flower only in a book, although we think otherwise, and he

may have completely imagined the bird. He may never have talked to a flower in his

life. What is important is that what happens in a literary work and what actually

happened to the poet can be completely different. Everything in the poem is designed

to create an effect of beauty: it does not even have to be possible. The man walking in

the woods talks to the flower, feels for it, learns from it. All this enhances the qualities of

the imaginary world.

The poem exploits language in various ways. For example, the narrator says, "Tell

them, dear, that if eyes were made for seeing, / Then, Beauty is its own excuse for

being." The direct address to the flower is highly effective. The endearment added to

the personification suggests intimacy and trust founded on love. The simple diction fits

the simple feeling. The rhymed sounds, seeing" and "being" stress the idea and

suggest joy.

Everything about the way language is handled in the poem is aimed at creating beauty.

We easily recreate the sights, sounds, appeal to smells and touch of the first two lines:

"May," "sea-winds," "solitudes." The next lines concentrate on visual appeal: "fresh

Rhodora," "spreading its leafless blooms," "made the black water with the beauty gay."

Then the scene is heightened with a hyperbole that in context is perfectly acceptable:

the redbird, whose feathers are so bright he comes to cool them off at the damp spot

and to court the flower, looks chap beside it. All of this contributes to a special aesthetic

world we enter by resigning ourselves to imagination.

The beauty of the world he has found works so strongly on the narrator that he gets an

insight into the nature of beauty: it exists purely for itself. He understands that he too

must trust the power beyond existence for his purpose. Emerson exploits language to

make us respond to an imaginary walk in the woods and experience the beauty of a

flower in a forgotten spot.




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Section 3.

DEMONSTRATION.

What does literature provide?

Knowledge, Truth, Persuasion and Emotional Release in "The Rhodora."

Literary theorists who analyze what literature does say it provides knowledge, truth,

persuasion, and emotional release. We can demonstrations these contentions with

Emerson's poem "The Rhodora."

The poem provides two special kinds of knowledge, what Aristotle called knowledge of

the general and probable and what we can call psychological knowledge. Studying the

poem we come to know the narrator. He's a particular person--though he has no name

in the poem--and yet he represents man. We can see much in him that we call

universal, the response to beauty, for example, and his capacity for trust. Man in

general is that way; that is the probable attainment for any particular man. We come to

know much more about the narrator than just what he does; we get an insight into his

interior life. We do not follow the process of introspection in this 19th century poem as

we are able to in a 20th century psychological novel, but we are given some materials

and can piece them together. We are also given enough information to guess at a

previously unresolved, perhaps not even conscious problem: the problem of trust in an

ultimate purpose. There is likewise evidence for guessing motivation. Why does the

poet address the question of the flower's purpose? Is that his real interest? Is he not

using this to suggest the narrator's restlessness? Why does the narrator say "our

solitudes"? Is he referring to the rest of his neighbors isolated at the end of the winter,

or is he speaking of the flower's solitude also? Whatever way the phrase is interpreted,

it suggests concern about ultimate purpose preceding the experience of trust, and it at

least raises the question about motivation for walking in the woods.

The poem also provides an experience of what we can call truth. It's not a systematic

truth that embraces all experience, but a selected, personal one. It cannot be publicly

verified. I happened inside a particular man when he found a beautiful flower in the

woods under special conditions. It happens inside the sensitive informed reader who




31

responds to the poem. This truth is a truth of feeling. It is no great news that man can

trust in the midst of chaos. This is a concept we know. To re-experience an organized

illumination of that concept can be a deep, moving thing, an experience we want to call

truth because it comes from so deep within us. It has to be true, we think; it is human.

Is this a creation or a revelation? The question is controversial. What is important in it--

and perhaps ultimately elusive--is the aesthetic dimension. The experience itself

recreates truth. Perhaps it is not logical, but we feel that if it is beautiful, it has to be

true. It is idealistic, and it is controversial, but in art, all that is beautiful is true. "The

Rhodora" presents, or recreates, something we recognize or discover to be true. It

gives us an insight or an awareness of a psychic and perceptual dimension we accept.

Does "The Rhodora" persuade us to accept Emerson's way of looking at things?

Certainly Emerson organizes things in a certain, focuses our vision on the problem of

why life is the way it is. Does he propagandize? He gives us something to think about;

but does he force our response? He respects beauty for being beautiful. He writes a

poem saying "Beauty is its own excuse for being>„ Must we accept that because he

managed to get our emotions involved in the question? Perhaps the answer depends

on what value we give the emotions.

Aristotle claimed great tragedy could produce a catharsis of harmful emotions, pity and

terror. Others broaden the effect and claim literature can produce emotional release. In

"The Rhodora" we see a release of this kind in the narrator, and perhaps we experience

a release ourselves in identifying with him. The narrator is roused from his solitude by

the approaching spring and he finds a simple flower in the woods that resolves deep

seated uncertainties about universal problems. He accepts beauty and exalts in it. And

then he transfers the effect of that experience to a wider sphere, his own existence in

time and eternity. We too puzzle sometimes over what seems the meaninglessness of

our own existence. Reading "The Rhodora" we are attracted by the beauty and clarity

with which the smaller problem is presented. We know the love he knows. We too find

emotional release if we identify with his experience.




32

"The Rhodora" gives us knowledge, lets us experience truth, presents a selected view

with persuasive skill, and provides emotional release if we identify with it. In all these

areas, the poem resembles life: it depends as much on us, as it does on itself.




33

Appendix B

Example for a Paraphrase

Emerson’s “Days”

You’re the daughters of time. You’re the days; you’re hypocrites.

You’re covered up and don’t speak. You whirl around like women in a trance.

You march one by one in a line that goes on forever

And you bring crowns and sticks in your hands.

You offer to each person whatever he or she wants;

You bring what we eat, rule, yearn for, and also everything else.

I was in my garden and watched this ceremony

I forgot what I first wanted and quickly

Took a few things to help me and a few things to enjoy.

I saw the scorn in your eyes as you passed me by.




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APPENDIX C

Rubric for Oral Presentations

Name: __________________________ Date: ___________________

Presentation: _______________________________________________

Score 5= Excellent 4=Good 3= Moderate 2= Regular 1= Deficient 0= Not observed

__________________ _____________________

Student’s Signature Facilitator’s Signature

Criteria Score Content

Key elements of the assignment were covered

Topic was relevant and addresses the assignment specifications Content is comprehensible, accurate, and believable Key points are noted Topic was researched adequately

Organization and structure

Presentation is well organized, clear and effectively structured

As a team presentation, it is integrated rather than being a disjointed

series of individual presentations

There is an introduction to gain the audience’s attention and explain the

purpose of the presentation

Use of visual Aids

Visual aids are used where appropriate

Visual aids are appropriately professional given the presentation’s

context

Visual aids are easy to see/read Media is used correctly Visual aids contribute to the overall effectiveness of the presentation

Audience Participation

The presenters involved the audience and solicited feedback

Questions from the audience are effectively addressed and

answered correctly

Time Limit

The presenters stayed within the allotted time limit

Time was used well/ not rushed




35

Appendix D

Definitions for Poetry

Poets, philosophers, and critics on the nature of poetry

Poetry is the heaven of the working reason. Poetry is a divination of the spiritual in the

things of sense—which expresses itself in the things of sense, and in a delight of sense.

Metaphysics also pursues a spiritual prey, but metaphysics is engaged in abstract

knowledge, while poetry quickens art. Metaphysics snatches at the spiritual in an idea,

by the most abstract intellection; poetry reaches it in the flesh, by the very point of the

sense sharpened through intelligence. Metaphysics enjoys its possession only in the

retreats of the eternal regions, while poetry finds its own at every crossroad in the

wanderings of the contingent and the singular. The more real the reality, the super-real

(I would not give up this word to the Surrealists), the super-real which both seek,

metaphysics must attain in the nature of things, while it suffices to poetry to touch it in

any sign whatsoever. Metaphysics gives chase to essences and definitions, poetry to

any flash of existence glittering by the way, and any reflection of an invisible order.

Jacques Maritain (1882–1973), French philosopher.

Poetry is the most direct and simple means of expressing oneself in words: the most

primitive nations have poetry, but only quite well developed civilizations can produce

good prose. So don’t think of poetry as a perverse and unnatural way of distorting

ordinary prose statements: prose is a much less natural way of speaking than poetry is.

If you listen to small children, and to the amount of chanting and singsong in their

speech, you’ll see what I mean.

Northrop Frye (1912–1991), Canadian critic




36

Poetry is feeling confessing itself to itself, in moments of solitude, and embodying itself

in symbols which are the nearest representations of the feeling in the exact shape in

which it exists in the poet’s mind.

John Stuart Mill (1806–1873), British philosopher

Poetry is creative expression; prose is constructive expression. That, in a sentence, is

the real distinction.... In poetry the words are born or re-born in the act of thinking. The

words are, in Bergsonian phraseology, a becoming; they develop in the mind pari passu

with the development of the thought. There is no time interval between the words and

the thought. The thought is the word and the word is the thought, and both the thought

and the word are Poetry. “Constructive” implies ready-made materials; words stacked

round the builder, ready for use. Prose is a structure of ready-made words. Its “creative”

function is confined to plan and elevation—functions these, too, of Poetry, but in Poetry

subsidiary to the creative function

Sir Herbert Read (1893–1968), British critic, poet

Poetry is the universal language which the heart holds with nature and itself. He, who

has contempt for poetry, cannot have much respect for himself, or for anything else.

William Hazlitt (1778–1830), British essayist

Poetry is essentially the antithesis of Metaphysics: Metaphysics purge the mind of the

senses and cultivate the disembodiment of the spiritual; Poetry is all passionate and

feeling and animates the inanimate; Metaphysics are most perfect when concerned with

universals; Poetry, when most concerned with particulars.

Samuel Beckett (1906–1989), Irish dramatist, novelist.

Poetry can be criticized only through poetry. A critique which itself is not a work of art,

either in content as representation of the necessary impression in the process of

creation, or through its beautiful form and in its liberal tone in the spirit of the old Roman

satire, has no right of citizenship in the realm of art




37

Friedrich Von Schlegel (1772–1829), German philosopher

Poetry presents indivisible wholes of human consciousness, modified and ordered by

the stringent requirements of form. Prose, aiming at a definite and concrete goal,

generally suppresses everything inessential to its purpose; poetry, existing only to

exhibit itself as an aesthetic object, aims only at completeness and perfection of form.

Richard Harter Fogle, U.S. critic, educator

Poetry is the record of the best and happiest moments of the happiest and best minds

Percy Bysshe Shelley (1792–1822), British poet.

Poetry is, above all, an approach to the truth of feeling.... A fine poem will seize your

imagination intellectually—that is, when you reach it, you will reach it intellectually too—

but the way is through emotion, through what we call feeling.

Muriel Rukeyser (1913–1980), U.S. poet

Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the

foundations for a future of change, a bridge across our fears of what has never been

before.

Audre Lorde (1934–1992), African American poet

Poetry is important. No less than science, it seeks a hold upon reality, and the

closeness of its approach is the test of its success.

Babette Deutsch (1895–1982), U.S. poet

Poetry and philosophy are, according to how you take them, different spheres, different

forms, or factors of religion. Try to really combine both, and you will have nothing but

religion.

Friedrich Von Schlegel (1772–1829), German philosopher




38

Poetry, and Picture, are arts of a like nature; and both are busier about imitation. It was

excellently said of Plutarch, Poetry was a speaking Picture, and Picture a mute Poesie.

For they both invent, faine, and devise many things, and accommodate all they invent to

the use, and service of nature. Yet of the two, the Pen is more noble, than the Pencill.

For that can speak to the Understanding; the other, but to the Sense.

Ben Jonson (1573–1637), British playwright, poet

Poetry... is... a speaking picture, with this end: to teach and delight.

Sir Philip Sidney (1554–1586), British poet, diplomat, soldier

Poetry is not a turning loose of emotion, but an escape from emotion; it is not the

expression of personality, but an escape from personality.

T S Eliot

[Poetry] may make us from time to time a little more aware of the deeper, unnamed

feelings which form the substratum of our being, to which we rarely penetrate; for our

lives are mostly a constant evasion of ourselves.

T S Eliot

Poetry, it is often said and loudly so, is life’s true mirror. But a monkey looking into a

work of literature looks in vain for Socrates

Franz Grillparzer (1791–1872), Austrian author

Poetry is the language in which man explores his own amazement... says heaven and

earth in one word ... speaks of himself and his predicament as though for the first time.

It has the virtue of being able to say twice as much as prose in half the time, and the

drawback, if you do not give it your full attention, of seeming to say half as much in

twice the time

Christopher Fry (b. 1907), British playwright




39

Poetry is one of the destinies of speech.... One would say that the poetic image, in its

newness, opens a future to language

Gaston Bachelard (1884–1962), French scientist, philosopher, literary theorist

Poetry, that is to say the poetic, is a primal necessity.

Marianne Moore (1887–1972), U.S. poet

Poetry is above all a concentration of the power of language, which is the power of our

ultimate relationship to everything in the universe.

Adrienne Rich (b. 1929), U.S. poet, essayist, and feminist.

Poetry is what Milton saw when he went blind.

Don Marquis (1878–1937), U.S. humorist, journalist.

Poetry should surprise by a fine excess and not by singularity—it should strike the

reader as a wording of his own highest thoughts, and appear almost a remembrance

John Keats (1795–1821), British poet

Poetry is the supreme fiction, Madame.

Take the moral law and make a nave of it

And from the nave build haunted heaven. Thus,

The conscience is converted into palms,

Like windy citherns hankering for hymns

Wallace Stevens (1879–1955), U.S. poet

Poetry has no goal other than itself; it can have no other, and no poem will be so great,

so noble, so truly worthy of the name of poem, than one written uniquely for the

pleasure of writing a poem.

Charles Baudelaire (1821–1867), French poet, critic




40

Poetry, at all times, exercises two distinct functions: it may reveal, it may unveil to every

eye, the ideal aspects of common things... or it may actually add to the number of

motives poetic and uncommon in themselves, by the imaginative creation of things that

are ideal from their very birth.

Walter Pater (1839–1894), British writer, editor

Poetry is a very complex art.... It is an art of pure sound bound in through an art of

arbitrary and conventional symbols

Ezra Pound (1885–1972), U.S. poet, critic

Poetry, even when apparently most fantastic, is always a revolt against artifice, a revolt,

in a sense, against actuality.

James Joyce (1882–1941), Irish author

Poetry is a search for ways of communication; it must be conducted with openness,

flexibility, and a constant readiness to listen.

Fleur Adcock (b. 1934), New Zealand poet

Poetry is at least an elegance and at most a revelation.

Robert Fitzgerald (1910–1985), U.S. scholar, translator

Poetry should be great and unobtrusive, a thing which enters into one’s soul, and does

not startle it or amaze it with itself, but with its subject.

John Keats (1795–1821), British poet.

Poetry a riprap on the slick rock of metaphysics.

Gary Snyder (b. 1930), U.S. poet

Poetry is the mysticism of mankind.




41

Henry David Thoreau (1817–1862), U.S. philosopher, author, naturalist

For women... poetry is not a luxury. It is a vital necessity of our existence. It forms the

quality of light within which we can predicate our hopes and dreams toward survival and

change, first made into language, then into idea, then into more tangible action. Poetry

is the way we help give name to the nameless so it can be thought. The farthest

horizons of our hopes and fears are cobbled by our poems, carved from the rock

experiences of our daily lives.


Poetry operates by raising our curiosity, engaging the mind by degrees to take an

interest in the event, keeping that event suspended, and surprising at last with an

unexpected catastrophe. The painter’s art is more confirmed, and has nothing that

corresponds with, or perhaps is equivalent to, this power and advantage of leading the

mind on, till attention is totally engaged. What is done by painting must be done at one

blow; curiosity has received at once all the satisfaction it can ever have. There are,

however, other intellectual qualities and dispositions which the painter can satisfy and

affect as powerfully as the poet; among those we may reckon our love of novelty,

variety, and contrast. Sir Joshua Reynolds (1723–1792), British artist, critic

Poetry has done enough when it charms, but prose must also convince

H.L. (Henry Lewis) Mencken (1880–1956), U.S. journalist, essayist

Poetry reproduces an indefinable mood that is more amorous than love itself. Venus is

not so beautiful all naked, alive, and panting, as she is here in

Michel de Montaigne (1533–1592), French essayist

Only poetry inspires poetry.

Ralph Waldo Emerson (1803–1882), U.S. essayist, poet, philosopher

Poetry is adolescence fermented, and thus preserved




42

José Ortega Y Gasset (1883–1955), Spanish essayist, philo

Poetry is the only life got, the only work done, the only pure product and free labor of

man, performed only when he has put all the world under his feet, and conquered the

last of his foes.

Henry David Thoreau (1817–1862), U.S. philosopher, author, naturalist

Poetry is ordinary language raised to the Nth power. Poetry is boned with ideas, nerved

and blooded with emotions, all held together by the delicate, tough skin of words

Paul Engle

Writing poetry is the hard manual labor of the imagination.

Ishmael Reed (b. 1938), U.S. novelist, poet, ess

All poetry, as discriminated from the various paradigms of prosody, is prayer

Samuel Beckett (1906–1989), Irish dramatist, novelist

I write poetry in order to live more fully.

Judith Rodriguez (b. 1936), Australian poet

The poetry of earth is never dead.

John Keats (1795–1821), British poet

Yet poetry, though the last and finest result, is a natural fruit. As naturally as the oak

bears an acorn, and the vine a gourd, man bears a poem, either spoken or done. It is

the chief and most memorable success, for history is but a prose narrative of poetic

deeds.

Henry David Thoreau




43

For true poetry, complete poetry, consists in the harmony of contraries. Hence, it is time

to say aloud—and it is here above all that exceptions prove the rule—that everything

that exists in nature exists in art.

Victor Hugo (1802–1885), French poet, novelist, playwright, essayist

Good poetry could not have been otherwise written than it is. The first time you hear it, it

sounds rather as if copied out of some invisible tablet in the Eternal mind than as if

arbitrarily composed by the poet.

Ralph Waldo Emerson

No good poetry is ever written in a manner twenty years old, for to write in such a

manner shows conclusively that the writer thinks from books, convention and cliché, not

from real life.

Ezra Pound

We read poetry because the poets, like ourselves, have been haunted by the

inescapable tyranny of time and death; have suffered the pain of loss, and the more

wearing, continuous pain of frustration and failure; and have had moods of unlooked-for

release and peace. They have known and watched in themselves and others.

Elizabeth Drew Anglo-American author, critic.

Poetry is the impish attempt to paint the color of the wind.

Maxwell Bodenheim

Poetry is the deification of reality.

Edith Sitwell, British poet

Poetry is the revelation of a feeling that the poet believes to be interior and personal

[but] which the reader recognizes as his own

Salvatore Quasimodo




44

[Poetry] has the virtue of being able to say twice as much as prose in half the time, and

the drawback, if you do not give it your full attention, of seeming to say half as much in

twice the time.

Christopher Fry

Poetry proceeds from the totality of man, sense, imagination, intellect, love, desire,

instinct, blood and spirit together.

Jacques Maritain

it is through poetry that we give name to those ideas which are—until the poem—

nameless and formless, about to be birthed, but already felt. That distillation of

experience from which true poetry springs births thought as dreams birth concept, as

feeling births idea, as knowledge births (precedes) understanding.


And of poetry, the success is not attained when it lulls and satisfies, but when it

astonishes and fires us with new endeavours after the unattainable.

RWE

Perhaps basketball and poetry have just a few things in common, but the most

important is the possibility of transcendence. The opposite is labor. In writing, every

writer knows when he or she is laboring to achieve an effect. You want to get from here

to there, but find yourself willing it, forcing it. The equivalent in basketball is aiming your

shot, a kind of strained and usually ineffective purposefulness. What you want is to be in

some kind of flow, each next moment a discovery

Stephen Dunn (b. 1939), U.S. poet, essayist

I cannot say what poetry is; I know that our sufferings and our concentrated joy, our

states of plunging far and dark and turning to come back to the world—so that the




45

moment of intense turning seems still and universal—all are here, in a music like the

music of our time, like the hero and like the anonymous forgotten; and there is an

exchange here in which our lives are met, and created.


The sources of poetry are in the spirit seeking completeness


Great poetry is always written by somebody straining to go beyond what he can do

Stephen Spender

Poetry is man’s rebellion against being what he is.

James Branch Cabell

The manifestation of poetry in external life is formal perfection. True sentiment grows

within, and art must represent internal phenomena externally

Franz Grillparzer (1791–1872), Austrian author

I do not think [poetry] is more, or less, necessary than food, shelter, health, education,

decent working conditions. It is as necessary. Adrienne Rich, U.S. poet

Prose talks and poetry sings.

Franz Grillparzer

The spirit of poetry combines the profundity of the philosopher and the child’s delight in

bright pictures.

Franz Grillparzer

Painting gives the object itself; poetry what it implies. Painting embodies what a thing

contains in itself; poetry suggests what exists out of it, in any manner connected with it

William Hazlitt




46

The drama is complete poetry. The ode and the epic contain it only in germ; it contains

both of them in a state of high development, and epitomizes both.

Victor Hugo

At certain times, men regard poetry merely as a bright flame, but to women it was, and

always will be, a warm fire.

Franz Grillparzer

Breathe-in experience, breathe-out poetry.


Before people complain of the obscurity of modern poetry, they should first examine

their consciences and ask themselves with how many people and on how many

occasions they have genuinely and profoundly shared some experience with another

W. H. Auden

It is the essence of poetry to spring, like the rainbow daughter of Wonder, from the

invisible, to abolish the past, and refuse all history.

Ralph Waldo Emerson

When power leads man toward arrogance, poetry reminds him of his limitations. When

power narrows the area of man’s concern, poetry reminds him of the richness and

diversity of existence. When power corrupts, poetry cleanses.

John Fitzgerald Kennedy

A passion for survival is the great theme of women’s poetry.

Adrienne Rich




47

APPENDIX E

Rubric for Written Works

Name:_______________________ Engl 206

1 Poor

2 Regula

r

3 Moderate

4 Good

5

excellent

Subject Key elements of the assignment were covered

Content is comprehensible and accurate

Major points are supported by specific details and or examples

Higher-order thinking The writer compares/ contrasts/integrates the subject

with experience

At an appropriate level, the writer analyzes and

synthesizes the theory to develop new ideas and ways of conceptualizing and performing

Organization

The introduction provides a background

on the topic

The central theme is clear

The structure is clear, logical and easy

to follow

The sections support the central theme

The conclusion follow the body of the

paper

Style/ Mechanics

Paper is laid out effectively

Paper is neat

Rules of grammar and punctuation are

followed

Spelling is correct

Readability/style

Sentences are complete, clear and

concise

Sentences are well constructed with

varied structure

Transitions between sentences and

paragraphs help maintain the flow of

thought




48

Words are precise and unambiguous

The tone is appropriate to the audience,

content and topic

Punctuality

Paper was turned in on the time allotted

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