To revise A Small Family Business, do the following: each group should investigate and get ready to discuss the following issues and find all the quotes in the text that exemplify the issues in question. We´ll discuss this in class.
Business
Euphemisms
Family
Humour
Colloquialisms
Violence
Cultural icons
Victim/victimizer
Crime? Is a crime always a crime?
Being clever
Party
hand
“Know thyself”
Having done the previous exercise will enable you to discuss the themes of the play very well:
Each group should sort out the following and as a group be able to discuss the following themes at length.
Money/Wealth
Business
Family
Drugs/Addictions
Power
Lies/ hiding/cheating/deceit
Capital sins
Love
Consumerism
Bribing/fraud/swindle/shoplifting/blackmail
Mafia
For Tuesday 30th
HW: Take one character, study him/her closely and prepare an oral presentation defending his/her point of view of the events in the play(10')
martes, 23 de junio de 2009
jueves, 18 de junio de 2009
Literature III. Song to the Men of England (29/06)
Hi, Everybody! Let´s keep on using this blog, to help you prepare you HW and guide you in the reading of poetry.
By the way, did you notice that the Shakespeare quotes change every day?
Going back to the poem of our concern today, let´s think of the title of the poem, first, as usual. It was written by a very passionate poet called Shelley. A Romantic poet, if you know what that means. Somebody who was crazy enough to elope with a very young girl ,though he was married! She became his wife and she is no other but Mary Shelley. Does her name ring a bell? Yes! She´s the writer of Frankenstein, one of the most famous spooky stories ever. Though I suggest reading that novel, you´ll be surprised to see that the themes she discusses have nothing to do with horror movies! Did you know that that novel was "born" in Switzerland out of a "writing competition" that Mary, her husband and two other writers engaged in, and that at the age of 19 Mary was able to think of overnight?
Let´s not digress and go back to Shelley. HE was a character, you should check him out. I´m sure you´ll find him modern enough in his thoughts.
Background info:
One of the great English Romantic poets, Shelley was born into an aristocratic family
in 1792 but later rebelled against the conservative values of his class. In 1819, when
this poem was written, much of his work had a radical political agenda. A note from
his wife Mary Shelley (the author of Frankenstein) sums up his viewpoint: ‘Shelley
loved the People; and respected them as often more virtuous, as always more
suffering, and therefore more deserving of sympathy, then the great. He believed
that a clash between the two classes of society was inevitable, and he eagerly
ranged himself on the people’s side. He had an idea of publishing a series of poems
adapted expressly to commemorate their circumstances and wrongs.’
Also check the info that I provided you with in the set of photocopies. Read that before reading the actual poem. And now, let´s give it a try. Poem number 79, page 121 of Songs of Ourselves.
Why "song"? why "to the men"? why to the men "of England"?
Teacher notes to assist a first reading
Line 1: wherefore..?: why..? (for what reason / for what purpose)
Line 2: ye: you (a usage that is archaic today; cf. ‘wherefore’)
Line 4: tyrants: suggests the people who are in authority are oppressive
Line 7: drones: idlers (literally non-working, male honey bees). This introduces the
metaphor developed in the next verse.
Line 10: scourge: a whip or lash
Line 24: this line should not be overlooked: it could be construed as a call to armed
action, although it does cite the cause as being ‘defence’.
Line 26: deck: decorate
Line 27: wrought: literally – worked (or forged)
Line 28: steel ye tempered: the steel you made hard by heating it (to the required
temperature).
glance: strike at an angle
Line 31: winding-sheet: shroud
Line 32: sepulchre: burial-place
Now read the first three stanzas out aloud. Why do you think the
poet repeats ‘Wherefore’? Is there any other way he manages to emphasise
this word? How else in these verses does he emphasise the drudgery and
toil of the Men of England? Look particularly at features of
the second stanza which help to do so.
• Consider the mounting anger in the poem – how is it
apparent? Consider the rhythm of the verse in answer to this
question.
•Consider what image of the “tyrants” the poet gives you in
the first verse. How does the metaphor of the drones reinforce this image?
Comment on the effect of the adjectives used to describe the
drones.
• Consider whether the questions of the first four stanzas are
direct questions or rhetorical questions. What effect does the repetition of
the questioning (and the rhythm) have on them here?
Try and imagine you are one of the Men of England. How would
you react to some of the things Shelley says in the first four stanzas? Would
you like the last word of the fourth stanzas (‘fear’) being applied to you?
Why do you think Shelley used it?
• Explore what makes stanza 5 so effective by thinking not only of what is said but how it is said. How does it mark a transition from the previous stanzas?
• Compare the patterns in stanzas 5 and 6, considering
changes in the tone of the verse. When exploring how it changes, consider the different arrangement of stresses within the line. How does this change and what is the effect of it for you? What is the effect of the use of the imperative in stanza 6?
• Do you find stanzas 7 and 8 surprising? Do you find anything different
about the tone? Does Shelley really want what he is saying (“run away to
your slums and hovel”); if he doesn’t, why is he saying it? To what extent do
you find it effective? Discuss whether Shelley is really contemptuous of the Men of England.
• To what extent do you think the last stanza is a fitting end to the poem?
In exploring this, also remember features of the poem you have already explored.
• Who exactly are the Men of England? Does ‘men’ mean ‘men’ in the sense
we might use it today? Are they all the men of England? Or a segment of
the population? Why does Shelley call them by this title? How does he
achieve directness in addressing them?
By the way, did you notice that the Shakespeare quotes change every day?
Going back to the poem of our concern today, let´s think of the title of the poem, first, as usual. It was written by a very passionate poet called Shelley. A Romantic poet, if you know what that means. Somebody who was crazy enough to elope with a very young girl ,though he was married! She became his wife and she is no other but Mary Shelley. Does her name ring a bell? Yes! She´s the writer of Frankenstein, one of the most famous spooky stories ever. Though I suggest reading that novel, you´ll be surprised to see that the themes she discusses have nothing to do with horror movies! Did you know that that novel was "born" in Switzerland out of a "writing competition" that Mary, her husband and two other writers engaged in, and that at the age of 19 Mary was able to think of overnight?
Let´s not digress and go back to Shelley. HE was a character, you should check him out. I´m sure you´ll find him modern enough in his thoughts.
Background info:
One of the great English Romantic poets, Shelley was born into an aristocratic family
in 1792 but later rebelled against the conservative values of his class. In 1819, when
this poem was written, much of his work had a radical political agenda. A note from
his wife Mary Shelley (the author of Frankenstein) sums up his viewpoint: ‘Shelley
loved the People; and respected them as often more virtuous, as always more
suffering, and therefore more deserving of sympathy, then the great. He believed
that a clash between the two classes of society was inevitable, and he eagerly
ranged himself on the people’s side. He had an idea of publishing a series of poems
adapted expressly to commemorate their circumstances and wrongs.’
Also check the info that I provided you with in the set of photocopies. Read that before reading the actual poem. And now, let´s give it a try. Poem number 79, page 121 of Songs of Ourselves.
Why "song"? why "to the men"? why to the men "of England"?
Teacher notes to assist a first reading
Line 1: wherefore..?: why..? (for what reason / for what purpose)
Line 2: ye: you (a usage that is archaic today; cf. ‘wherefore’)
Line 4: tyrants: suggests the people who are in authority are oppressive
Line 7: drones: idlers (literally non-working, male honey bees). This introduces the
metaphor developed in the next verse.
Line 10: scourge: a whip or lash
Line 24: this line should not be overlooked: it could be construed as a call to armed
action, although it does cite the cause as being ‘defence’.
Line 26: deck: decorate
Line 27: wrought: literally – worked (or forged)
Line 28: steel ye tempered: the steel you made hard by heating it (to the required
temperature).
glance: strike at an angle
Line 31: winding-sheet: shroud
Line 32: sepulchre: burial-place
Now read the first three stanzas out aloud. Why do you think the
poet repeats ‘Wherefore’? Is there any other way he manages to emphasise
this word? How else in these verses does he emphasise the drudgery and
toil of the Men of England? Look particularly at features of
the second stanza which help to do so.
• Consider the mounting anger in the poem – how is it
apparent? Consider the rhythm of the verse in answer to this
question.
•Consider what image of the “tyrants” the poet gives you in
the first verse. How does the metaphor of the drones reinforce this image?
Comment on the effect of the adjectives used to describe the
drones.
• Consider whether the questions of the first four stanzas are
direct questions or rhetorical questions. What effect does the repetition of
the questioning (and the rhythm) have on them here?
Try and imagine you are one of the Men of England. How would
you react to some of the things Shelley says in the first four stanzas? Would
you like the last word of the fourth stanzas (‘fear’) being applied to you?
Why do you think Shelley used it?
• Explore what makes stanza 5 so effective by thinking not only of what is said but how it is said. How does it mark a transition from the previous stanzas?
• Compare the patterns in stanzas 5 and 6, considering
changes in the tone of the verse. When exploring how it changes, consider the different arrangement of stresses within the line. How does this change and what is the effect of it for you? What is the effect of the use of the imperative in stanza 6?
• Do you find stanzas 7 and 8 surprising? Do you find anything different
about the tone? Does Shelley really want what he is saying (“run away to
your slums and hovel”); if he doesn’t, why is he saying it? To what extent do
you find it effective? Discuss whether Shelley is really contemptuous of the Men of England.
• To what extent do you think the last stanza is a fitting end to the poem?
In exploring this, also remember features of the poem you have already explored.
• Who exactly are the Men of England? Does ‘men’ mean ‘men’ in the sense
we might use it today? Are they all the men of England? Or a segment of
the population? Why does Shelley call them by this title? How does he
achieve directness in addressing them?
jueves, 11 de junio de 2009
Literature III, (deadline:Tuesday, June 16)
Hi, Everybody!
It´s been a pleasure confirming your commitment. I really enjoyed your powerpoints, as a general rule.
That´s why I´ve decided to ask you to work on another poem. I guess it´ll prove easier than the one on Morocco carpet weavers. Before you read it, I´d like you to do some research on a fairy tale that you may have read when kids: Jack and the Beanstalk. You can read a quick version in the next link. There are several versions but this´ll do.
http://pbjclibrary.state.ar.us/mural.htm
If you want to have fun, you can read Roald Dahl´s version:
http://www.funny-poems.biz/roald_dahl/Jack-and-the-Beanstalk-by-Roald-Dahl-revolting-rymes.html
OK. Now A, as usual, I´d like you to predict from the title of poem nº 77, (Songs of Ourselves page 119): Little Boy Crying
Jot down about 5 ideas in a spidergraph.
Then B, read the poem through once, and more slowly for a second time. Allow it to create pictures in your mind. Here is some help with vocabulary:
Line 1: contorting: twisting violently
Line 2: metamorphosed: changed or transformed
Line 3: frame: body. ( Consider – or act out – how a small boy might
hold himself when his body is made rigid in a severe tantrum.)
Line 4: bright either because of the effect of the tears or because he is young and
lively.
Line 6: angling: the use of the word is metaphorical, based on fishing. The boy is
trying to use his cunning to achieve some sign of regret from the adult for his action.
Lines 8-13: The second stanza is based on the familiar fairy-tale of ‘Jack and the
Beanstalk’. (This is why I asked you to re read it. If you give it second thoughts you´ll become aware that such fairy-tales are often a projection of childhood fears and dreams.)
Line 9: a colossal cruel: the word ‘cruel’ appears here unexpectedly as a noun.
Line 15: can scald him with: tears are often described as ‘scalding’ but only in the
sense that they are hot and the product of ‘hot’ feelings – but here the poet gives an
extra twist by changing the familiar grammatical function to suggest that they injure
the man rather than the boy himself.
Line 16: The mask belongs to the man.
Line 20: If you are baffled by this line, rest assured that it might take a
few readings, private thoughts and class discussion to gain confidence in interpreting
it.
C. After reading again lines 1-7 describing the small boy, try to
assess how far his grief is genuine. Look very closely at
the words to support your case. (Remember that emotions do not
have to be straightforward, even in a three-year-old.)
• Secondly, look at how the boy and the incident are described.
(This might give a clue as to the feelings of the poet as we are seeing the
whole thing from his perspective.) Think of:
(a) the use of the second person (‘Your… you..’)
(b) the sounds of line 2
(c) the hyperbole in line 3
(d) the effect of the monosyllables at the end of line 7
(e) anything else which is interesting about the way the boy is described.
From all of this, can you make any preliminary, tentative conclusions about
how the adult feels about the boy and the punishment?
D.The first glimpse of the adult is as a third person, through the child’s eyes.
Consider how the poet thinks the child will be looking at the
adult. Consider
(a) the way the fairy-tale has been used
(b) the sounds of the words
(c) the way he presents the child’s plans for revenge.
E. Remember throughout that this is how the poet perceives the
child’s viewpoint and that this will be affected by his feelings for the child and
the child’s grief and anger after the punishment. Is there any suggestion of
humour in the way he has presented the child’s response? Is there any
unhappiness about the loss of rapport between them, however short-lived it
might be? Why doesn't he call himself I or me at any time in the poem?
There are no simple right and wrong answers to such questions – but
be prepared to back up your answers with close reference to
the words of the poem reinforced by your own knowledge of adults and
children.
• Think over the way some key words are used in the final
stanza in order to understand more deeply what the poet’s feelings are.
Consider the force of the feelings behind ‘hurt’, ‘easy’, ‘fierce’,
‘longs’, ‘anything’, ‘dare’.
• Morris has said that his poems were often asking questions about some
aspect of his life.
Mervyn Morris was born in Kingston, Jamaica in 1937, and gained fame as Professor
of Creative Writing and Literature at the University of the West Indies. As a
schoolboy, he wrote poetry for fun and for satirical reasons. Later, he said, he used
poetry more seriously to ask questions about aspects of his life. He is known for theeconomy with which he uses words.
Do you think this is true of this poem…..or do you think you have the answers? Do you think it is sometimes necessary to be cruel to be kind?
F. This brings us to the very last line, standing by itself. (Consider what the effect of that standing alone is.) What does it mean in its very simplest, literal sense? Given its position at the end and the way it is expressed, we have a clue that it might mean more than this, however. (‘You’ has so far referred to the child; it can also be used impersonally and generally
to refer to anyone). We have (in line 5) had a comparison of tears to rain.
What metaphorical meanings can you see in the words and how does
this help you to gain a perspective on the whole poem?
G. After all the search for meanings and significance in the poem, you should still appreciate that this is a very human poem. If you like to read literature as an expression of human emotion, not just as an intellectual exercise, you can be encouraged to go back and enjoy the adult’s love
overflowing in the poem. If you have detected this, you have appreciated something important – but you need to bring to any discussion how you have seen that is there.
Thematic links with set poems
Relationships between adults and children: Plenty;
Portrayal of children: Rising Five; Plenty; Carpet-weavers; Morocco; Before the Sun
Fairy tales: Storyteller
Homework: Write the boy´s thoughts. Email the homework to gabymasson@gmail.com
Make sure you can read the poem meaningfully out loud next Tuesday.
See you soon, God permitting!!
Optional work: Maybe you can watch this video featuring Morris reading his poem
http://merrick.library.miami.edu/cdm4/item_viewer.php?CISOROOT=/cwsi&CISOPTR=1319&CISOBOX=1&REC=20
It´s been a pleasure confirming your commitment. I really enjoyed your powerpoints, as a general rule.
That´s why I´ve decided to ask you to work on another poem. I guess it´ll prove easier than the one on Morocco carpet weavers. Before you read it, I´d like you to do some research on a fairy tale that you may have read when kids: Jack and the Beanstalk. You can read a quick version in the next link. There are several versions but this´ll do.
http://pbjclibrary.state.ar.us/mural.htm
If you want to have fun, you can read Roald Dahl´s version:
http://www.funny-poems.biz/roald_dahl/Jack-and-the-Beanstalk-by-Roald-Dahl-revolting-rymes.html
OK. Now A, as usual, I´d like you to predict from the title of poem nº 77, (Songs of Ourselves page 119): Little Boy Crying
Jot down about 5 ideas in a spidergraph.
Then B, read the poem through once, and more slowly for a second time. Allow it to create pictures in your mind. Here is some help with vocabulary:
Line 1: contorting: twisting violently
Line 2: metamorphosed: changed or transformed
Line 3: frame: body. ( Consider – or act out – how a small boy might
hold himself when his body is made rigid in a severe tantrum.)
Line 4: bright either because of the effect of the tears or because he is young and
lively.
Line 6: angling: the use of the word is metaphorical, based on fishing. The boy is
trying to use his cunning to achieve some sign of regret from the adult for his action.
Lines 8-13: The second stanza is based on the familiar fairy-tale of ‘Jack and the
Beanstalk’. (This is why I asked you to re read it. If you give it second thoughts you´ll become aware that such fairy-tales are often a projection of childhood fears and dreams.)
Line 9: a colossal cruel: the word ‘cruel’ appears here unexpectedly as a noun.
Line 15: can scald him with: tears are often described as ‘scalding’ but only in the
sense that they are hot and the product of ‘hot’ feelings – but here the poet gives an
extra twist by changing the familiar grammatical function to suggest that they injure
the man rather than the boy himself.
Line 16: The mask belongs to the man.
Line 20: If you are baffled by this line, rest assured that it might take a
few readings, private thoughts and class discussion to gain confidence in interpreting
it.
C. After reading again lines 1-7 describing the small boy, try to
assess how far his grief is genuine. Look very closely at
the words to support your case. (Remember that emotions do not
have to be straightforward, even in a three-year-old.)
• Secondly, look at how the boy and the incident are described.
(This might give a clue as to the feelings of the poet as we are seeing the
whole thing from his perspective.) Think of:
(a) the use of the second person (‘Your… you..’)
(b) the sounds of line 2
(c) the hyperbole in line 3
(d) the effect of the monosyllables at the end of line 7
(e) anything else which is interesting about the way the boy is described.
From all of this, can you make any preliminary, tentative conclusions about
how the adult feels about the boy and the punishment?
D.The first glimpse of the adult is as a third person, through the child’s eyes.
Consider how the poet thinks the child will be looking at the
adult. Consider
(a) the way the fairy-tale has been used
(b) the sounds of the words
(c) the way he presents the child’s plans for revenge.
E. Remember throughout that this is how the poet perceives the
child’s viewpoint and that this will be affected by his feelings for the child and
the child’s grief and anger after the punishment. Is there any suggestion of
humour in the way he has presented the child’s response? Is there any
unhappiness about the loss of rapport between them, however short-lived it
might be? Why doesn't he call himself I or me at any time in the poem?
There are no simple right and wrong answers to such questions – but
be prepared to back up your answers with close reference to
the words of the poem reinforced by your own knowledge of adults and
children.
• Think over the way some key words are used in the final
stanza in order to understand more deeply what the poet’s feelings are.
Consider the force of the feelings behind ‘hurt’, ‘easy’, ‘fierce’,
‘longs’, ‘anything’, ‘dare’.
• Morris has said that his poems were often asking questions about some
aspect of his life.
Mervyn Morris was born in Kingston, Jamaica in 1937, and gained fame as Professor
of Creative Writing and Literature at the University of the West Indies. As a
schoolboy, he wrote poetry for fun and for satirical reasons. Later, he said, he used
poetry more seriously to ask questions about aspects of his life. He is known for theeconomy with which he uses words.
Do you think this is true of this poem…..or do you think you have the answers? Do you think it is sometimes necessary to be cruel to be kind?
F. This brings us to the very last line, standing by itself. (Consider what the effect of that standing alone is.) What does it mean in its very simplest, literal sense? Given its position at the end and the way it is expressed, we have a clue that it might mean more than this, however. (‘You’ has so far referred to the child; it can also be used impersonally and generally
to refer to anyone). We have (in line 5) had a comparison of tears to rain.
What metaphorical meanings can you see in the words and how does
this help you to gain a perspective on the whole poem?
G. After all the search for meanings and significance in the poem, you should still appreciate that this is a very human poem. If you like to read literature as an expression of human emotion, not just as an intellectual exercise, you can be encouraged to go back and enjoy the adult’s love
overflowing in the poem. If you have detected this, you have appreciated something important – but you need to bring to any discussion how you have seen that is there.
Thematic links with set poems
Relationships between adults and children: Plenty;
Portrayal of children: Rising Five; Plenty; Carpet-weavers; Morocco; Before the Sun
Fairy tales: Storyteller
Homework: Write the boy´s thoughts. Email the homework to gabymasson@gmail.com
Make sure you can read the poem meaningfully out loud next Tuesday.
See you soon, God permitting!!
Optional work: Maybe you can watch this video featuring Morris reading his poem
http://merrick.library.miami.edu/cdm4/item_viewer.php?CISOROOT=/cwsi&CISOPTR=1319&CISOBOX=1&REC=20
miércoles, 10 de junio de 2009
Literature II-Poetry( Deadline June 16)
2. To begin with, try predicting. Take one or two minutes to think of the title. Then read each stanza slowly, trying to conjure up the picture the poet is creating in your imagination. Notice the details. Do not look up words yet, leave that for another stage. (But eventually make sure you understand the meaning of all the words in the ballad)
3. Visit these sites to understand a bit more. The ones marked with an asterisk * are optional.
Click on biography and gallery (to see some pictures of Causley) http://www.charlescausleysociety.org/index.htm
For you to understand the connection with Holy Innocents´day (December 28)http://www.msgr.ca/msgr-2/innocents_Innocent
*A very interesting essay on Charles Causley, if you are curious about his life and work: http://www.danagioia.net/essays/ecausley.htm
*This is a useful site for poetry: http://www.poetryarchive.org/poetryarchive/getTheBest.do
4. Write a short essay including answers to these questions: (email them to gabymasson@gmail.com)
a. Who is the speaker, in your opinion?
b. Take four sensorial images and discuss them
c. What characteristics of ballads can you find in this literary ballad?
d. What do you think is the difference with a traditional one?
Remember, I do not want 4 answers, just two paragraphs. I want to see what you understand, ok? We´ll discuss it together in class. Think, think, think!!!
Before doing this, make sure you comply with the previous task!! Some of you have not contacted me yet!!
2. To begin with, try predicting. Take one or two minutes to think of the title. Then read each stanza slowly, trying to conjure up the picture the poet is creating in your imagination. Notice the details. Do not look up words yet, leave that for another stage. (But eventually make sure you understand the meaning of all the words in the ballad)
3. Visit these sites to understand a bit more. The ones marked with an asterisk * are optional.
Click on biography and gallery (to see some pictures of Causley) http://www.charlescausleysociety.org/index.htm
For you to understand the connection with Holy Innocents´day (December 28)http://www.msgr.ca/msgr-2/innocents_Innocent
*A very interesting essay on Charles Causley, if you are curious about his life and work: http://www.danagioia.net/essays/ecausley.htm
*This is a useful site for poetry: http://www.poetryarchive.org/poetryarchive/getTheBest.do
4. Write a short essay including answers to these questions: (email them to gabymasson@gmail.com)
a. Who is the speaker, in your opinion?
b. Take four sensorial images and discuss them
c. What characteristics of ballads can you find in this literary ballad?
d. What do you think is the difference with a traditional one?
Remember, I do not want 4 answers, just two paragraphs. I want to see what you understand, ok? We´ll discuss it together in class. Think, think, think!!!
jueves, 4 de junio de 2009
Literature III-poetry (deadline: 11/06)
Poem to be studied: Carpet Weavers, Morocco, by Carol Rumens- Songs of Ourselves (SOS)- poem 78, page 120
a. As usual, I shall first invite you to predict. Take one or two minutes to read the title again and think what this poem may be about, and draw a spidergraph with your associations.
b. I´ll ask you to read the poem once or twice and jot down whatever may call your attention, an image, a special combination of words, do not use the dictionary yet. Allow the message of the poem to sink in your heart.
c Read this background info. Also feel free to google anything about Morocco that might arouse your interest. It does help to see what the country or city or the inhabitants of this country might look like.
Background:
Carol Rumens was born in 1944 in London, England. Much of her poetry has been
inspired by the places she has visited, about which she has said: 'Whatever I wrap
my imagination around that’s my home.' What did she see in Morocco? Tourists can
see carpet-weavers working in the crowded maze of alleyways, probably occupying
the same space as countless generations of their forebears did. This is the attractive
surface of the trade. But in some parts of the world, there is much poverty and single
mothers are often forced to send their children from the age of five to be apprentices
to carpet-weavers, where they know that at least they will be fed.
d. These notes might help you in your first reading:
Line 1: loom most obviously refers to the machine by which the carpet is woven.
However, though used as a noun, it has the secondary meaning of the verb, loom,
referring to another world coming into view.
another world: there are several possible meanings here and students may
have to be counselled to keep an open mind on them until they have explored the
poem further. Does the phrase refer to a world of the future? Or to another world
before them on the loom, the idyllic garden of Islam?
Line 3: the image is of a chime of bells of different sizes for different pitches.
Line 5: garden of Islam: i.e. the carpet’s abstract pattern. One of the familiar motifs
of Islamic carpets was the garden, representative of paradise with its fragrant flowers
and flowing fountains.
As the carpet nears completion, the bench they are sitting on has to be raised to
allow the small children to reach the top of the design.
Line 9: give: one meaning is that the carpet will yield to the pressure of the weight of
the worshippers; another may be that the prayers of the worshippers will give
generously to the welfare of the children.
Line 10: the school of days: the phrase sadly echoes or parodies the familiar word,
"schooldays".
Lines 11 and 12 should be the subject of much discussion on subsequent readings.
On a first reading, the literal meaning might be clarified – i.e. that the wool making up
the patterns of the carpet is quickly put into place in the long-established frame.
Reference might also be usefully made to the contrast between the alliterative words,
fly and freeze.
e. Re-read the first stanza to yourselves, and note down what
the poet sees. (If you are artists, you might attempt to sketch or paint the
scene.)
• Think of the possible meanings of the first line. What is the
children’s own world like at the present? What is the other world (‘another
world’)? There may be more than one answer to this question. Consider the word ‘loom’ – does it have any connotations beyond its literal meaning?
Re-read the second stanza.
• What thoughts does the simile of the television provoke? Why might it seem
strange or unexpected? Try to register your reactions – it might work at different levels. Jot down any thoughts that you have.
• What thoughts does the image in lines 5 and 6 inspire in you?
• Look at what happens to the carpet in the third stanza after
the children in the poem have completed their work. As with all the lines so
far, they are end-stopped; the sentence, in each case, is equivalent to the
line of verse. What is the effect of this when it is read it out loud? Why is the
merchant’s truck mentioned? Does it contribute to the way you feel
about the children and their work?
• Rumens does not say ‘worshippers’; she says ‘prayer’. Do you think that
is significant?
• The final stanza picks out themes from the rest of the poem and places a new
emphasis on them. You should think about the meaning of line 10: "The
children are hard at work in the school of days." How is this different from
the school you are attending? What are the implications of this difference?
• You should spend some time considering the two phrases all-that-will be
and all-that-was; and the contrasting words: fly and freeze. How do they
relate to the rest of the poem? The letters that begin the word, fly, are the
same as those beginning the word, flickering: do you think this is
intentional, and what is its effect? What features of the world of all-that-was
are implied in the rest of the poem? What other references in the poem can
be found to colours, the future, and speed of movement?
• You should try not to look for too simplistic or moralistic a
response. You should be prepared to accept a partial, but growing,
understanding of what the poet communicates to you.
Thematic links with set poems(though we have not read them yet, you should bear in mind that the poems in this section can be related thematically:
Social injustice/poverty: Caged Bird; Song to the Men of England; Spectator ab
Extra; Muliebrity; Monologue
Childhood: Rising Five; Little Boy Crying; Plenty; Before the Sun
Work: Monologue; Muliebrity
I acknowledge that many of the previous questions and commentaries have been suggested by CIE, in their Notes for Teachers.
I hope the previous has helped you understand and appreciate this poem. I´d like you to create a power point presentation of 4 lines of the poem, showing me that you´ve understood the message and that you want to highlight 4 lines. Use photographs or drawings or paintings to illustrate those lines from the poem and add if possible either music or recitation to the presentation. I´m looking forward to enjoying this experience!! E-mail the presentation to: gabymasson@gmail.com by next Thursday June 11.(midday)
N.B. Hopefully, you will NOT choose the same lines as your friends!!!
a. As usual, I shall first invite you to predict. Take one or two minutes to read the title again and think what this poem may be about, and draw a spidergraph with your associations.
b. I´ll ask you to read the poem once or twice and jot down whatever may call your attention, an image, a special combination of words, do not use the dictionary yet. Allow the message of the poem to sink in your heart.
c Read this background info. Also feel free to google anything about Morocco that might arouse your interest. It does help to see what the country or city or the inhabitants of this country might look like.
Background:
Carol Rumens was born in 1944 in London, England. Much of her poetry has been
inspired by the places she has visited, about which she has said: 'Whatever I wrap
my imagination around that’s my home.' What did she see in Morocco? Tourists can
see carpet-weavers working in the crowded maze of alleyways, probably occupying
the same space as countless generations of their forebears did. This is the attractive
surface of the trade. But in some parts of the world, there is much poverty and single
mothers are often forced to send their children from the age of five to be apprentices
to carpet-weavers, where they know that at least they will be fed.
d. These notes might help you in your first reading:
Line 1: loom most obviously refers to the machine by which the carpet is woven.
However, though used as a noun, it has the secondary meaning of the verb, loom,
referring to another world coming into view.
another world: there are several possible meanings here and students may
have to be counselled to keep an open mind on them until they have explored the
poem further. Does the phrase refer to a world of the future? Or to another world
before them on the loom, the idyllic garden of Islam?
Line 3: the image is of a chime of bells of different sizes for different pitches.
Line 5: garden of Islam: i.e. the carpet’s abstract pattern. One of the familiar motifs
of Islamic carpets was the garden, representative of paradise with its fragrant flowers
and flowing fountains.
As the carpet nears completion, the bench they are sitting on has to be raised to
allow the small children to reach the top of the design.
Line 9: give: one meaning is that the carpet will yield to the pressure of the weight of
the worshippers; another may be that the prayers of the worshippers will give
generously to the welfare of the children.
Line 10: the school of days: the phrase sadly echoes or parodies the familiar word,
"schooldays".
Lines 11 and 12 should be the subject of much discussion on subsequent readings.
On a first reading, the literal meaning might be clarified – i.e. that the wool making up
the patterns of the carpet is quickly put into place in the long-established frame.
Reference might also be usefully made to the contrast between the alliterative words,
fly and freeze.
e. Re-read the first stanza to yourselves, and note down what
the poet sees. (If you are artists, you might attempt to sketch or paint the
scene.)
• Think of the possible meanings of the first line. What is the
children’s own world like at the present? What is the other world (‘another
world’)? There may be more than one answer to this question. Consider the word ‘loom’ – does it have any connotations beyond its literal meaning?
Re-read the second stanza.
• What thoughts does the simile of the television provoke? Why might it seem
strange or unexpected? Try to register your reactions – it might work at different levels. Jot down any thoughts that you have.
• What thoughts does the image in lines 5 and 6 inspire in you?
• Look at what happens to the carpet in the third stanza after
the children in the poem have completed their work. As with all the lines so
far, they are end-stopped; the sentence, in each case, is equivalent to the
line of verse. What is the effect of this when it is read it out loud? Why is the
merchant’s truck mentioned? Does it contribute to the way you feel
about the children and their work?
• Rumens does not say ‘worshippers’; she says ‘prayer’. Do you think that
is significant?
• The final stanza picks out themes from the rest of the poem and places a new
emphasis on them. You should think about the meaning of line 10: "The
children are hard at work in the school of days." How is this different from
the school you are attending? What are the implications of this difference?
• You should spend some time considering the two phrases all-that-will be
and all-that-was; and the contrasting words: fly and freeze. How do they
relate to the rest of the poem? The letters that begin the word, fly, are the
same as those beginning the word, flickering: do you think this is
intentional, and what is its effect? What features of the world of all-that-was
are implied in the rest of the poem? What other references in the poem can
be found to colours, the future, and speed of movement?
• You should try not to look for too simplistic or moralistic a
response. You should be prepared to accept a partial, but growing,
understanding of what the poet communicates to you.
Thematic links with set poems(though we have not read them yet, you should bear in mind that the poems in this section can be related thematically:
Social injustice/poverty: Caged Bird; Song to the Men of England; Spectator ab
Extra; Muliebrity; Monologue
Childhood: Rising Five; Little Boy Crying; Plenty; Before the Sun
Work: Monologue; Muliebrity
I acknowledge that many of the previous questions and commentaries have been suggested by CIE, in their Notes for Teachers.
I hope the previous has helped you understand and appreciate this poem. I´d like you to create a power point presentation of 4 lines of the poem, showing me that you´ve understood the message and that you want to highlight 4 lines. Use photographs or drawings or paintings to illustrate those lines from the poem and add if possible either music or recitation to the presentation. I´m looking forward to enjoying this experience!! E-mail the presentation to: gabymasson@gmail.com by next Thursday June 11.(midday)
N.B. Hopefully, you will NOT choose the same lines as your friends!!!
Literature II -poetry (Deadline: 10/06)
Ballads:
1. Read Sir Patrick Spens (p.178, Forms of Poetry, FP). Before looking up words, check the following websites:
http://www.youtube.com/watch?v=Nt0PwHKllmc
http://www.youtube.com/watch?v=qs7nWKYyUFU&feature=related
http://www.youtube.com/watch?v=DAxDaHe3V0U&NR=1
Notice the different ways of pronunciation, and some changes in the lyrics.
2. Read the following background info:
Motherwell was the first to suggest a historical foundation for the ballad. Margaret, the daughter of Alexander III, was married to Eric, King of Norway, in 1281. That August several knights and nobles drowned in the return voyage. When Alexander died in 1286, Margaret's infant daughter, (also named Margaret) called "The Maid of Norway," was heir to the Scottish throne. Edward I of England proposed a match between his son and the Maid of Norway. Princess Margaret died on the voyage. The ballad takes elements from both events.
Another connection between Scotland and Norway is the fact that James III married the daughter of the King of Norway in 1469, but Child believes this has less material for a ballad that either of the above cases.
In the ballad Sir Patrick objects to sailing. This may have been due to the time of the year, but according to Percy there was also a law in the reign of James III which forbid ships to travel with goods out of the realm from the feast of Simon and Jude and Candlemas (October 28-February 2).
The name of Spens occurs in five charters during David II's reign (between 1329 and 1370). A Patrick Spens was a shipmaster who was lost off Aberdour in the late 16th century. Sir Andrew Wood was an admiral, though he was born two centuries after the events related above. Given the lack of historical record, Child does not consider the ballad historical.
Alternate titles and variants include: Sir Patrick Spense, Sir Andrew Wood, Young Patrick, Skipper Patrick, Earl Patricke Spensse, Sir Patrick and Earl Patrick Graham. There is also a Scandinavian ballad Sir Peter's Voyage.
For a complete list of Child Ballads at this site see Francis J. Child Ballads
http://www.contemplator.com/child/spens.html
3. After following instructions on 1 and 2 above, re read Sir Patrick Spens and notice the characteristics of the traditional ballad in it: use of dialogue, leaping and lingering technique, telling details, use of repetition or incremental repetition.
4. Write an essay of at least two paragraphs and email it to the following: gabymasson@gmail.com
One paragraph should deal with the characteristics of the traditional ballad as seen in Sir Patrick Spens (quote the necessary line/s to explain them)
The other paragraph should include a comparison of the different youtube videos that you watched in 1 above.
5 Enjoy it!!!
1. Read Sir Patrick Spens (p.178, Forms of Poetry, FP). Before looking up words, check the following websites:
http://www.youtube.com/watch?v=Nt0PwHKllmc
http://www.youtube.com/watch?v=qs7nWKYyUFU&feature=related
http://www.youtube.com/watch?v=DAxDaHe3V0U&NR=1
Notice the different ways of pronunciation, and some changes in the lyrics.
2. Read the following background info:
Motherwell was the first to suggest a historical foundation for the ballad. Margaret, the daughter of Alexander III, was married to Eric, King of Norway, in 1281. That August several knights and nobles drowned in the return voyage. When Alexander died in 1286, Margaret's infant daughter, (also named Margaret) called "The Maid of Norway," was heir to the Scottish throne. Edward I of England proposed a match between his son and the Maid of Norway. Princess Margaret died on the voyage. The ballad takes elements from both events.
Another connection between Scotland and Norway is the fact that James III married the daughter of the King of Norway in 1469, but Child believes this has less material for a ballad that either of the above cases.
In the ballad Sir Patrick objects to sailing. This may have been due to the time of the year, but according to Percy there was also a law in the reign of James III which forbid ships to travel with goods out of the realm from the feast of Simon and Jude and Candlemas (October 28-February 2).
The name of Spens occurs in five charters during David II's reign (between 1329 and 1370). A Patrick Spens was a shipmaster who was lost off Aberdour in the late 16th century. Sir Andrew Wood was an admiral, though he was born two centuries after the events related above. Given the lack of historical record, Child does not consider the ballad historical.
Alternate titles and variants include: Sir Patrick Spense, Sir Andrew Wood, Young Patrick, Skipper Patrick, Earl Patricke Spensse, Sir Patrick and Earl Patrick Graham. There is also a Scandinavian ballad Sir Peter's Voyage.
For a complete list of Child Ballads at this site see Francis J. Child Ballads
http://www.contemplator.com/child/spens.html
3. After following instructions on 1 and 2 above, re read Sir Patrick Spens and notice the characteristics of the traditional ballad in it: use of dialogue, leaping and lingering technique, telling details, use of repetition or incremental repetition.
4. Write an essay of at least two paragraphs and email it to the following: gabymasson@gmail.com
One paragraph should deal with the characteristics of the traditional ballad as seen in Sir Patrick Spens (quote the necessary line/s to explain them)
The other paragraph should include a comparison of the different youtube videos that you watched in 1 above.
5 Enjoy it!!!
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