Lesson: We began the class period with a brief discussion of the students' experiences writing literary analyses about The Giver. After collecting their essays, we launched into our next unit of study, poetry.
Poetry differs from prose in several ways, including:
rich use of literary devices --- figures of speech such as similes and metaphors
reliance on sound devices --- rhythm, rhyme, assonance, alliteration, onomatopoeia, etc.
economy of expression --- worlds of thought and emotion packed in few words of carefully structured language
Poetry uses language not just for its obvious literal meaning, but also for its sound and shape, for the visual and auditory imagery it evokes, and for the tone and mood it creates.
We discussed poetry terms from a list I distributed.
We also learned how to determine and mark rhyme scheme (if any --- not all poetry rhymes, though most will). Mark the end of the first line and all lines that rhyme with it as a. The next non-a line and all lines that rhyme with it will be b, then the next new end rhyme will be c, and so on.
English (or Shakespearean) sonnets, for example, have a rhyme scheme of ababcdcdefefgg.
Finally, we discussed the process of scansion used to identify the rhythm and meter of a poem. We first "pound out" the meter (clap 'strong' or 'weak' while reciting the poem) to find the rhythm of stressed and unstressed syllables which allows us to identify the metrical foot used.
Metrical feet include:
Iamb */ The most common metrical foot in English, iamb consists of two syllable sounds, unstressed followed by stressed, as in "reTURN"
Trochee /* Often used in children's verse as it creates a 'rocking horse' rhythm, trochee consists of two syllable sounds, stressed followed by unstressed, as in "TOPsy".
Anapest **/ Anapest consists of three syllable sounds with the accented stress on the third syllable, as in "interVENE".
Dactyl /** Dactl consists of three syllable sounds with the accented stress on the first syllable, as in "MERrily".
These are the primary feet in which entire lines or entire poems might be written. However, it is common for a poet to include an occasional exception, whether for deliberate effect or just because it turns out to be unavoidable.
Such occasional feet include:
Spondee //: two stressed syllables, as in "FOOT BALL"
Pyrrhic **: two unstressed syllables, as in "in the"
Other metric feet exist, but these are the primary patterns.
Having noted the type of metrical foot, we then count the number of feet per line to determine line length.
1 foot per line: monometer
2 feet per line: dimeter
3 feet per line: trimeter
4 feet per line: tetrameter
5 feet per line: pentameter
6 feet per line: hexameter
7 feet per line: heptameter
Type of foot + line length = meter.
Thus, iambic pentameter (the most common in English poetry) consist of five iambs (*/) per line of poetry: */ */ */ */ */
Nevertheless, poetry is art, not science. Even the best poets do not adhere perfectly to rhyme or meter, and some do not even try. The essence of poetry is richness of expression and emotion, not meter.
Assignment:
Each student was given a packet of poems to be read and marked with notes. Students are to read each poem through multiple times, including at least one or two readings aloud, since poetry is meant to be heard as well as seen. (In fact, someone has described poetry as a composed and compact wave of energy which moves from eye to ear to inner ear to inner eye.)
Read each poem at least once or twice for meaning. What is the poem saying? What is its mood and tone? Note observations, ideas and questions.
Then read though for rhyme scheme and mark that.
Then scan for meter. Pound out and/or mark to determine the type of metric foot (iamb, trochee, etc.) and number of feet per line. What meter is that?
Continue to reread and make notes for individual poetic elements such as simile, metaphor, alliteration, etc. Work through the list of terms; observe all you can.
Bring the notated poems back to class on March 20. We will discuss how to write poetry explication from there.
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