Blackberry Eating

Poetry-­Imagery Sight The moon shining in the black sky Sunlight dancing across the ceiling Squinting in the darkness Sound The chirping of crickets Silent, no traffic Bacon sizzling The annoying trash truck Taste Cold, tangy lemonade Fresh, cool glass of chocolate milk Crunchy, dry granola bar Touch A nice warm breeze Nice, warm cotton pajamas Forced from my warm bed into the cold bed by my alarm Smell Freshly mowed grass Pancakes on the griddle My dog’s breath while she waits to be let out Blackberry Eating
I love to go out in late September
Imagery-­ A mental picture created among the fat, overripe, icy, black blackberries through figurative language and to eat blackberries for breakfast, sensory language. the stalks very prickly, a penalty 5 they earn for knowing the black art
Sensory Language-­ Words or of blackberry-­making;; and as I stand among them phrases that appeal to the five lifting the stalks to my mouth, the ripest berries senses. fall almost unbidden to my tongue, as words sometimes do, certain peculiar words
Paraphrase-­ 10 like strengths or squinched,
many-­lettered, one-­syllabled lumps, which I squeeze, squinch open, and splurge well in the silent, startled, icy, black language of blackberry -­-­ eating in late September. Galway Kinnell “Miracles” -­ List Poem Walt Whitman Why, who makes much of a miracle? As to me I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach just in the edge of the water,
5 Or stand under trees in the woods, Or talk by day with anyone I love, or sleep in the bed at night with anyone I love, Or sit at table at dinner with the rest, Or look at strangers opposite me riding in the car, Or watch honey-­bees busy around the hive of a summer forenoon,
10 Or animals feeding in the fields, Or birds, or the wonderfulness of insects in the air, Or the wonderfulness of the sundown, or of stars shining so quiet and bright, Or the exquisite delicate thin curve of the new moon in spring;; These with the rest, one and all, are to me miracles,
15 The whole referring, yet each distinct and in its place. To me every hour of the light and dark is a miracle, Every cubic inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every foot of the interior swarms with the same.
20 To me the sea is a continual miracle, The fishes that swim—the rocks—the motion of the waves—the ships with men in them, What stranger miracles are there? Sight Delicate, thin curve Sound Taste The sea Quiet The streets of Manhattan Insects in the air Busy bees Touch The motion of the waves Wade with naked feet My additional line: OR the gush of a warm, comforting shower. Smell Oranges Narrative Poems (Story) By: Gary Soto The first time I walked With a girl, I was twelve, Cold, and weighted down With two oranges in my jacket. December. Frost cracking Beneath my steps, my breath 5 Before me, then gone, As I walked toward Her house, the one whose Porch light burned yellow Night and day, in any weather. 10 A dog barked at me, until She came out pulling At her gloves, face bright With rouge. I smiled, Touched her shoulder, and led 15 Her down the street, across A used car lot and a line Of newly planted trees, Until we were breathing Before a drugstore. We 20 Entered, the tiny bell Bringing a saleslady Down a narrow aisle of goods. I turned to the candies Tiered like bleachers, 25 And asked what she wanted -­ Light in her eyes, a smile Starting at the corners Of her mouth. I fingered A nickel in my pocket, 30 And when she lifted a chocolate That cost a dime, I didn't say anything. I took the nickel from My pocket, then an orange, 35 And set them quietly on The counter. When I looked up, The lady's eyes met mine, And held them, knowing Very well what it was all 40 About. Outside, A few cars hissing past, Fog hanging like old Coats between the trees. 45 I took my girl's hand In mine for two blocks, Then released it to let Her unwrap the chocolate. I peeled my orange 50 That was so bright against The gray of December That, from some distance, Someone might have thought I was making a fire in my hands. 55 Sight Sound Taste Touch Smell Sound Device Notes: Summer Walter Dean Myers I like hot days, hot days Sweat is what you got days Bugs buzzin from cousin to cousin Juices dripping Running and ripping Catch the one you love days Birds peeping Old men sleeping Lazy days, daisies lay Beaming and dreaming Of hot days, hot days Sweat is what you got days “The Bells” by Edgar Allan Poe I. Hear the sledges with the bells-­-­ Silver bells! What a world of merriment their melody foretells! How they tinkle, tinkle, tinkle, In the icy air of night! While the stars that oversprinkle All the heavens, seem to twinkle With a crystalline delight;; Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells From the bells, bells, bells, bells, Bells, bells, bells-­-­ From the jingling and the tinkling of the bells. II. Hear the mellow wedding bells Golden bells! What a world of happiness their harmony foretells! Through the balmy air of night How they ring out their delight! From the molten-­golden notes, And all in tune, What a liquid ditty floats To the turtle-­dove that listens, while she gloats On the moon! Oh, from out the sounding cells, What a gush of euphony voluminously wells! How it swells! How it dwells On the Future! how it tells Of the rapture that impels To the swinging and the ringing Of the bells, bells, bells, Of the bells, bells, bells, bells, Bells, bells, bells-­-­ To the rhyming and the chiming of the bells! III. Hear the loud alarum bells-­-­ Brazen bells! What tale of terror, now, their turbulency tells! In the startled ear of night How they scream out their affright! Too much horrified to speak, They can only shriek, shriek, Out of tune, In a clamorous appealing to the mercy of the fire, In a mad expostulation with the deaf and frantic fire, Leaping higher, higher, higher, With a desperate desire, And a resolute endeavor Now-­-­now to sit or never, By the side of the pale-­faced moon. Oh, the bells, bells, bells! What a tale their terror tells Of Despair! How they clang, and clash, and roar! What a horror they outpour On the bosom of the palpitating air! Yet the ear, it fully knows, By the twanging, And the clanging, How the danger ebbs and flows ;; Yet, the ear distinctly tells, In the jangling, And the wrangling, How the danger sinks and swells, By the sinking or the swelling in the anger of the bells-­-­ Of the bells-­-­ Of the bells, bells, bells, bells, Bells, bells, bells-­-­ In the clamour and the clangour of the bells! IV. Hear the tolling of the bells-­-­ Iron bells! What a world of solemn thought their monody compels! In the silence of the night, How we shiver with affright At the melancholy meaning of their tone! For every sound that floats From the rust within their throats Is a groan. And the people-­-­ah, the people-­-­ They that dwell up in the steeple, All alone, And who, tolling, tolling, tolling, In that muffled monotone, Feel a glory in so rolling On the human heart a stone-­-­ They are neither man nor woman-­-­ They are neither brute nor human-­-­ They are Ghouls:-­-­ And their king it is who tolls ;; And he rolls, rolls, rolls, rolls, Rolls A pæan from the bells! And his merry bosom swells With the pæan of the bells! And he dances, and he yells ;; Keeping time, time, time, In a sort of Runic rhyme, To the pæan of the bells-­-­ Of the bells : Keeping time, time, time, In a sort of Runic rhyme, To the throbbing of the bells-­-­ Of the bells, bells, bells-­-­ To the sobbing of the bells ;; Keeping time, time, time, As he knells, knells, knells, In a happy Runic rhyme, To the rolling of the bells-­-­ Of the bells, bells, bells-­-­ To the tolling of the bells, Of the bells, bells, bells, bells-­-­ Bells, bells, bells-­-­ To the moaning and the groaning of the bells. Slam, Dunk, & Hook Yusef Komunyakaa Fast breaks, Lay up, With Mercury’s Insignia on our sneakers, We outmaneuvered the footwork Of bad angels. Nothing but a hot Swish of strings like silk Ten feet out. In the roundhouse Labyrinth our bodies Created, we could almost Last forever, poised in midair Like storybook sea monsters. A high note hung there A long second. Off The rim. We’d corkscrew Up & dunk balls that exploded The skullcap of hope & good Intention. Bug-­eyed, lanky, All hands & feet…sprung rhythm. We were metaphysical when girls Cheered on the sidelines. Tangled up in a falling. Muscles were a bright motor Double-­flashing to the metal hoop Nailed to our oak. When Sonny Boy’s mama died He played nonstop all day, so hard Our backboard splintered. Glistening with sweat, we jibed & rolled the ball off our fingertips. Trouble Was there slapping a blackjack Against an open palm. Dribble, drive to the inside, feint, & glide like a sparrow-­hawk. Lay ups. Fast breaks. We had moves we didn’t know We had. Our bodies spun On swivels of bone & faith, Through a lyric slipknot Of joy, & we knew we were Beautiful & dangerous... Jabberwocky 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. 'Beware the Jabberwock, my son! The jaws that bite, the claws that catch! Beware the Jubjub bird, and shun The frumious Bandersnatch!' He took his vorpal sword in hand: Long time the manxome foe he sought -­-­ So rested he by the Tumtum tree, And stood a while in thought. And, as in uffish thought he stood, The Jabberwock, with eyes of flame, Came whiffling through the tulgey wood, And burbled as it came! One two! One two! And through and through The vorpal blade went snicker-­snack! He left it dead, and with its head He went galumphing back. 'And hast thou slain the Jabberwock? Come to my arms, my beamish boy! Oh frabjous day! Callooh! Callay!' He chortled in his joy. 'Twas brillig, and the slithy toves Did gyre and gimble in the wabe: All mimsy were the borogoves, And the mome raths outgrabe. Lewis Carroll Poetry-­Rhyme and Rhythm I. Rhyme-­ A. Types of Rhymes 1.Exact rhyme-­ a. 2. Slant rhyme-­ b. 3. End rhyme-­ c. 4. Internal rhyme-­ d. B. Rhyme Scheme-­ 1. Ring out, wild bells, to the wild sky, The flying cloud, the frosty light: The year is dying in the night;; Ring out, wild bells, and let him die. II. Rhythm-­ A. Meter-­ 1. The flying cloud, the frosty light Half a league, half a league, Half a league onward Paraphrase-­summarize in YOUR OWN WORDS with about the same amount of text We never know how high we are Till we are called to rise;; And then, if we are true to plan, Our statures touch the skies— The Heroism we recite Would be a daily thing, Did not ourselves the Cubits* warp For fear to be a King— by Emily Dickinson *Cubit=unit of measurement My paraphrase: The Road Not Taken
Two roads diverged in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth;; Then took the other, as just as fair, And having perhaps the better claim Because it was grassy and wanted wear, Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden black. Oh, I kept the first for another day! Yet knowing how way leads on to way I doubted if I should ever come back. I shall be telling this with a sigh Somewhere ages and ages hence: Two roads diverged in a wood, and I, I took the one less traveled by, And that has made all the difference. Robert Frost The Seven Ages of Man William Shakespeare All the world’s a stage, And all the men and women merely players;; They have their exits and their entrances, And one man in his time plays many parts, 5 His acts being seven ages. At first the infant, Mewling and puking in the nurse’s arms;; And then the whining schoolboy, with his satchel And shining morning face, creeping like snail Unwillingly to school. And then the lover, 10 Sighing like furnace, with a woeful ballad Made to his mistress’ eyebrow. Then a soldier, Full of strange oaths, and bearded like the pard1, Jealous in honor, sudden and quick in quarrel, Seeking the bubble reputation 15 Even in the cannon’s mouth. And then the justice, In fair round belly with good capon2 lined, With eyes severe and beard of formal cut, Full of wise saws and modern instances3;; And so he plays his part. The sixth age shifts 20 Into the lean and slippered pantaloon4, With spectacles on nose and pouch on side;; His youthful hose5, well saved, a world too wide For his shrunk shank6;; and his big manly voice, Turning again toward childish treble, pipes 25 And whistles in his sound. Last scene of all, That ends this strange eventful history, Is second childishness and mere oblivion, Sans7 teeth, sans eyes, sans taste, sans everything. 1. pard-­leopard or panther 2. capon-­roasted chicken 3. wise saws and modern instances-­ saying and examples that show the truth of the sayings 4. pantaloon-­thin, foolish old man who was a character in old comedies 5. hose-­stockings 6. shank-­leg 7. sans-­without;; lacking paradox-­a statement that contradicts itself but expresses a truth assonance-­ words with the same vowel sounds but different endings consonance-­ words that end with the same consonant sound speaker-­ narrator of the poem metaphor-­ a comparison by saying one thing is another thing Cinquain A five line poem that doesn't usually rhyme. Each line has a specific point to make. Line 1: A one word title. The main focus of the poem (A Noun) Line 2: Two words that describe your title (Adjectives) Line 3: A 3 word phrase that describes an action relating to your title (Verbs) Line 4: a 4 word phrase that describes a feeling relating to your topic Line 5: One word that refers back to your title Examples: Caterpillar Relentless, Ravenous Constructing, Evolving, Emerging Wondrous gift of nature Butterfly Dog Loyal, Brave Loving, Playing, Guarding Best friend of man Pet Teacher Smart, Caring Annoy, Help, Educate Best friend or enemy Betsy Pandas Black, White Climbing, Chewing, Mauling Uncomfortably cute and cuddly Bear Haiku Of Japanese origin, usually about nature. A three line poem that doesn’t usually rhyme. Each line has a specific amount of syllables. Line 1: 5 syllables. Line 2: 7 syllables. Line 3: 5 syllables. 5: A beautiful breeze, 7: Blows the scent of fresh cut grass. 5: Sun comes out, birds fly Free Verse Poetry Poetry that does not follow any rules. It has no rhyme or rhythm, but still has some sort of artistic expression and a natural flow. The artist is “free” to write however they want! After the Sea-­Ship by Walt Whitman After the Sea-­Ship—after the whistling winds;; After the white-­gray sails, taut to their spars and ropes, Below, a myriad, myriad waves, hastening, lifting up their necks, Tending in ceaseless flow toward the track of the ship: Waves of the ocean, bubbling and gurgling, blithely prying, Waves, undulating waves—liquid, uneven, emulous waves, Toward that whirling current, laughing and buoyant, with curves, Where the great Vessel, sailing and tacking, displaced the surface;; I Heard a Fly Buzz by Emily Dickinson I heard a Fly buzz – when I died – The Stillness in the Room Was like the Stillness in the Air– Between the Heaves of Storm – The Eyes around – had wrung them dry – And Breaths were gathering firm For that last Onset – when the King Be witnessed – in the Room – I willed my Keepsakes – Signed away What portions of me be Assignable – and then it was There interposed a Fly – With Blue – uncertain stumbling Buzz – Between the light – and me – And then the Windows failed – and then I could not see to see – Lyric Poetry Poetry that expresses personal feelings that focus on one subject or main idea. They are typically spoken in present tense. Sonnet 18 by William Shakespeare Shall I compare thee to a summer's day? Thou art more lovely and more temperate. Rough winds do shake the darling buds of May, And summer's lease hath all too short a date. Sometime too hot the eye of heaven shines, And often is his gold complexion dimm'd;; And every fair from fair sometime declines, By chance or nature's changing course untrimm'd;; But thy eternal summer shall not fade Nor lose possession of that fair thou ow'st;; Nor shall Death brag thou wander'st in his shade, When in eternal lines to time thou grow'st: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee. Sonnet 43 by 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 every day'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 seemed to lose 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. Sonnets There are many different kinds of sonnets, but we are going to focus on the SHAKESPEAREAN Sonnet. The Shakespearean Sonnet has 14 lines, each line has 10 syllables and it follows a specific rhyme scheme. Each line of a sonnet should be written in iambic pentameter. That means that each line should consist of ten syllables and the syllables alternate between stressed and non-­stressed syllables. Here is a famous example of iambic pentameter from Shakespeare's Romeo and Juliet: "He jests at scars that never felt a wound.” My mistress' eyes are nothing like the sun;; A Coral is far more red than her lips' red;; B If snow be white, why then her breasts are dun;; A If hairs be wires, black wires grow on her head. B I have seen roses damasked, red and white, C But no such roses see I in her cheeks;; D And in some perfumes is there more delight C Than in the breath that from my mistress reeks. D I love to hear her speak, yet well I know E That music hath a far more pleasing sound;; F I grant I never saw a goddess go;; E My mistress when she walks treads on the ground. F And yet, by heaven, I think my love as rare G As any she belied with false compare. G To Fanny John Keats (1795-­1821) I cry your mercy–pity–love!–aye, love! Merciful love that tantalizes not, One-­thoughted, never-­wandering, guileless love, Unmasked, and being seen–without a blot! O! let me have thee whole,–all–all–be mine! That shape, that fairness, that sweet minor zest Of love, your kiss,–those hands, those eyes divine, That warm, white, lucent, million-­pleasured breast,– Yourself–your soul–in pity give me all. Withhold no atom’s atom or I die, Or living on perhaps, your wretched thrall, Forget, in the mist of idle misery, Life’s purposes,–the palate of my mind Losing its gist, and my ambition blind! Poetry Project For the past two weeks, we have been taking a close look at poetry and different poetry elements. We have analyzed, paraphrased, and closely examined poems to help further your understanding of poetry and different poetry tools. Next Monday, you will have a chance to show off your own poetry skills and what you have learned throughout our time with poetry. The last two weeks have been about poetry elements like figurative language, sound devices, imagery, rhyme, and meter. This next week we will take a closer look at different types of poems. Your poetry project must include the following: Part One: 5 Different Poems that YOU have written. They must be 5 of the following format: You cannot repeat a format! So only one of each type you choose to write. Found Concrete Cinquain Haiku Free Lyric Sonnet Part Two: Pick a poet that you would like to study. After finding a poet, you must choose THREE poems by this author. Once you have found three poems, you must go through and analyze those poems, annotating them like we did in class. Find examples of: Simile Metaphor Personification Paradox Alliteration Consonance Assonance Onomatopoeia Exact Rhyme Slant Rhyme End Rhyme Internal Rhyme Rhyme Scheme Imagery Sensory Language Meter Lastly, paraphrase these poems into your own words! Name: Poetry Project Rubric PART ONE One Poem Type: / 10 Points Two Poem Type: / 10 Points Three Poem Type: / 10 Points Four Poem Type: / 10 Points Five Poem Type: / 10 Points PART TWO Poet: One Poem: / 5 Points Two Poem: / 5 Points Three Poem: / 5 Points ANNOTATIONS Paraphrasing Sound Devices Figurative Language Imagery /20 Points Total: /85 Points