Hello, everybody!
Let´s make use of the benefits of net-learning again. Read carefully and follow instructions closely.
As you may remember, we have not had the time to discuss the quotations that are related to the issues I posted on the blog on June 23. See below and you´ll find a list of issues. I´d like everybody to keep a record of all the quotations that we may deem interesting or relevant, therefore you have two choices here:
1. Re read the play and find the quotations for yourself, jot them down and keep a reader´s log. In this way, you´ll profit from knowing the play very well. (**NB the test will include all the quotations and issues, ok?)
2. Exchange quotes with your friends and make sure you have two or three quotations for each issue mentioned. Do NOT email these to me, just check that your friend´s findings make sense, and keep a copy of everything in your folder, for further use in classwork when we meet again.
As to the themes, which I also posted on June 23, here´s what we´ll do:
Read the play again, paying special attention to three of those themes, those that appeal to you the most. If you want to save time, you can read Act I, close the book, and jot down everything(characters, action, language used, ironic situations, setting) that may be related to the themes in question. Then read Act II, and do the same. (NB **the test will include all the themes, ok?)
Take three themes and think how these themes are relevant today, in Buenos Aires, in your family or friends. How is the situation similar or different? Which themes are outdated, no longer valid? Which are still to be seen in our society?
HW for Tuesday July 14: Write a paragraph stating your views on the relevance of the play to porteño readers in July 2009. Account for what you say with quotations from the text.
HW for Thursday July 16: To be done individually*(Am I clear enough?)
When re reading the play you MUST have realised that a phrase or a situation had a different meaning from the one you understood the first time you read the play. Write two paragraphs stating what you discovered during your second reading. Say what effect this had on you.
*Mind you, you are different people with different interests and different personalities. Do not email your answer to this piece of HW to anyone in any class, I want to read original ideas, is this clear? We have already discussed this issue, haven´t we?
Keep your answer a secret!!
Remember there will be a **test on ASFB in August 18/20(2nd D, both days). Use the suggested exercises to really really know the play.
EXTRA WORK: optional!! Alan Ayckbourn uses the aesthetics of computer programs for the design of the set. If you happen to be a computer wiz, you may design the set on the computer, i.e. the different houses and rooms will open by clicking on them, just as a powerpoint presentation....how about this idea?We shall then add the dialogue, and there we are...fantastic isn´t it?
Doing this will obviously be considered extra work, and rewarded accordingly.
Please e-mail your answers to gabymasson@gmail.com
martes, 7 de julio de 2009
LIT III-Poetry: MONOLOGUE Hone Tuwhare
Hi, everybody! Here we go again, this time I´ll ask you to follow my instructions closely. Bear with me, you´ll see how much you´ll learn.
To begin with, close the door of your bedroom, get paper and pen, ask not to be interrupted for 10 minutes, (turn off your celular phone, come on! Nothing much will be missed in only 10, ten, minutes!!) and write whatever comes to your head, no matter how crazy and incoherent your thoughts might be.Don´t apply self-censorship... Don´t worry, I shan´t ask you to hand THAT in. Try writing in English, but the purpose of the "game" will be served as well if you cannot do it in English, and you do it in your own mother tongue. So, there you are, STOP and do it. Don´t keep on reading until you´ve found the time to write your thoughts.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMTHOUGHTS THOUGHTS THOUGHTS.......
To begin with, close the door of your bedroom, get paper and pen, ask not to be interrupted for 10 minutes, (turn off your celular phone, come on! Nothing much will be missed in only 10, ten, minutes!!) and write whatever comes to your head, no matter how crazy and incoherent your thoughts might be.Don´t apply self-censorship... Don´t worry, I shan´t ask you to hand THAT in. Try writing in English, but the purpose of the "game" will be served as well if you cannot do it in English, and you do it in your own mother tongue. So, there you are, STOP and do it. Don´t keep on reading until you´ve found the time to write your thoughts.
MMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMMTHOUGHTS THOUGHTS THOUGHTS.......
NB the picture above is not related to the poem, I used it to prevent you from keeping on reading! It´s in Segovia, by the way...
READY? Are you sure you´ve done your 10´writing? Ok, re read it now. Can you trace your train of thought? Did you go philosophical at any time? Were you brave enough to write your fears? Your desires? Well done!! You can tear the paper now, if you don´t want anyone to read it! or you can WAIT till you finish working with Hone Tuwhare´s MONOLOGUE ( SoS page 124, poem number 81)
First get first hand knowledge of the poem i.e. read it! As usual, try and foresee what the poem will be about, by predicting from the title, by stopping a second and writing whatever comes to your mind when you read: MONOLOGUE
What´s implied? How many voices? Why is he delivering this monologue? Is there a listener? Why the word "monologue"? Do you associate it with drama? with the theatre? What would this add?
N.B. from now onwards, I might be using some ideas suggested by CIE to deal with the poem. I just want to acknowledge this. (No plagiarism!!)
Before reading the following notes, please read the poem once or twice. Jot down ideas. Do not worry at this stage if you don´t understand every word, ok?
Here´s some help with vocabulary:
Line 11: kneading: a word usually used to describe the action of working flour to
make bread. Here it is the same action but in an engineering setting.
Lines 18-19: the casual recognition shows his awareness of a sort of brotherhood of
workers, crossing all barriers.
Line 31: notice that the word is dying not death, which would have been very ironic.
Dying, however, is not a permanent state. It suggests, perhaps, that the industry is
dying.
Line 42: the words, you know at the end might be interpreted or spoken in a variety
of ways. It could be seen as just emphasising the conversational style, to seek to
engage the reader, as a plea for understanding, or it could be seen as an aggressive
challenge to anyone who would dare contradict the speaker. You should be
encouraged to explore these (and other) possibilities.
Now, you should try reading the poem out loud one or two times first. Try to vary tone of voice as you read, perhaps changing it at each new section, as different aspects of thoughts and feelings emerge. Try to imagine he is just talking in ordinary conversation in a work-break with you. This exercise will help you build up impressions of the character in the poem by close attention both to what he says and how he says it.
At this point, write down your first impressions of this man. Why do you think he wants to be near the door in reality?
Consider the place of work and his feelings towards it. What is the atmosphere in the workshop that the persona is trying to recreate? Do you think he likes it, tolerates it, hates it, or has mixed feelings? Look at the language used in this part and your previous observations to support your viewpoint.
Read the last sentence of the third stanza and the description of those who are in authority: his supervisors/fireman perhaps. How does the way this is phrased add to your impressions of his personality and his reasons for wanting to be near the door? Do you find any humour in this? Add your observations to your first impressions already noted down.
4th stanza: • What do the words ‘drift’ and ‘looking' show about the prospective workers
and their hopes? The way the persona interacts with them also needs some
attention. Thins about this and add observations to the notes that you are compiling, remembering to consider not only what is said but also how it is said.
How does Tuwhare communicate the impact of seeing the look of hopelessness in their eyes on the speaker in the poem? Look very closely at the structure of the sentence (the order of the words) beginning 'The look on the faces of the unlucky…'
Spend time thinking about what the attitude of this man is to his work. What does it mean to him in his life? It would be wonderful to exchange views on this, maybe you can email each other your impressions? Remember to read the notes I handed out as photocopies. There is some info on the effects of unemployment on a person´s psychology. Talk to your parents or related grownups about unemployment, it might help you enrich your outlook on this serious issue.
Does the next stanza (the first to be conventionally laid out in lines) say something about the nature of industry or the personality of the narrator or both? What is the effect of the word dying, and the sentence that leads up to it, and the three dots after it? Does this part in any way resemble your own "monologue", or thoughts? I mean the one you wrote before reading the poem... In what way? Share this experience please, either via mail or in class when we meet. Jot down your ideas, you might forget them by the time we next meet.
What evidence is there in the way he continues to narrate his story that he has a need to block out these thoughts from his mind?
The last stanza gives yet another reason for working near the main door. Is this a convincing reason? What does it show about his state of mind? Is he insecure? Does he need an escape? What is the tone of voice that should be used to read this out? How should the final question (you know?) be read? What is the effect of this final question?
• Explore and discuss some of the ways (e.g. layout and length of lines) in which Monologue might seem different from a ‘conventional’ poem. What do you think of these and how does this affect the way you read (and read out) the poem?
Background
Hone Tuwhare was born in Kaikhoe, New Zealand in 1922. As well as poetry he has written plays and fiction. He has been the scourge of injustices everywhere; he is particularly well known for his support of Maori land claims and for his committed socialism. It is important, however, not to leap to conclusions on the basis of his Maori background. Those who have been at his poetry readings have observed that when he has read this poem, Monologue, he has adopted the voice of an elderly Scotsman. This is the character it is based on, a man with whom he once worked in a railway workshop when he was a boilermaker.
HW: I would like you to write a monologue, pretending to be an Argentinian blue-collar worker made redundant in the last ten years. For this, you may have to do some research on our country´s 2001/2002 economic crisis. Learn about a particular situation, any industry will do, and write a similar monologue to this one. Do not tell me everything, let me read between the lines. It needn´t be very long, just make sure I guess what the man is going through.Deadline: July 15 . E-mail your monologue to gabymasson@gmail.com
Thematic links with set poems: you will be asked to notice links like these in the exam, as you have already read some of the following poems, you might start jotting down ideas or lines that suggest these thematic links, for further use in the course of the year...
Work: Carpet-weavers; Morocco; Song to the Men of England;
Muliebrity; Farmhand
Portrait of a character: Muliebrity; Plenty; Farmhand; She dwelt among the
untrodden ways
First person narration: Little Boy Crying; Spectator ab Extra; Plenty
martes, 23 de junio de 2009
LITERATURE II- A SMALL FAMILY BUSINESS
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')
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')
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!!!
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