ENGL 206
INTRODUCTION TO LITERATURE II
POETRY AND DRAMA
Universidad del Este, Universidad Metropolitana, Universidad del Turabo © Sistema Universitario Ana G. Méndez, 2008 Derechos Reservados
Escuela de Estudios Profesionales Programa Ahora
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ENGL 206 Introduction to Literature II Poetry and Drama
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Revised with the collaboration of:
Prof. Tania Mediavilla Negrón, MA
2009
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ENGL 206 Introduction to Literature II Poetry and Drama
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Table of Contents
COURSE INFORMATION------------------------------------------------------------------------------------------------------ 4
WORKSHOP ONE -------------------------------------------------------------------------------------------------------------- 11
WORKSHOP TWO ------------------------------------------------------------------------------------------------------------- 14
WORKSHOP THREE ---------------------------------------------------------------------------------------------------------- 17
WORKSHOP FOUR ------------------------------------------------------------------------------------------------------------ 21
WORKSHOP FIVE -------------------------------------------------------------------------------------------------------------- 23
APPENDIXES -------------------------------------------------------------------------------------------------------------------- 25
APPENDIX A --------------------------------------------------------------------------------------------------------------------- 26
LITERATURE: WHAT CREATORS, CRITICS AND PARTICIPANTS KNOW OF IT -------------------------------------------- 26
APPENDIX B --------------------------------------------------------------------------------------------------------------------- 33
EXAMPLE FOR A PARAPHRASE ----------------------------------------------------------------------------------------------- 33
APPENDIX C --------------------------------------------------------------------------------------------------------------------- 34
RUBRIC FOR ORAL PRESENTATIONS---------------------------------------------------------------------------------------- 34
APPENDIX D --------------------------------------------------------------------------------------------------------------------- 35
DEFINITIONS FOR POETRY --------------------------------------------------------------------------------------------------- 35
APPENDIX E --------------------------------------------------------------------------------------------------------------------- 47
RUBRIC FOR WRITTEN WORKS ---------------------------------------------------------------------------------------------- 47
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ENGL 206 Introduction to Literature II Poetry and Drama
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Course Information
Course Title: English Literature II: Poetry and Drama
Course Number: Engl 206
Duration: 5 Weeks
Pre-requisites: English 152, 153, 205
Description:
In this course students will read and interpret poetry and drama. They will see how the
techniques and devices, to which they were introduced in their study of fiction, are used
in poetry and drama. Popular music and movies can be even more useful here to
illustrate certain concepts through the performing arts. The course will normally be
carried out through discussion rather than lectures, and the students will be encouraged
to express themselves and exchange understandings in the classroom discussions. All
of the readings will be available on the Internet; the links will be found in a Blog
maintained by the Professor.
General Objectives:
As outcomes of this course, students will have;
1. Acquired the necessary fundamentals to recognize and analyze the genres of
poetry and drama.
2. Explore poetry and drama as sources for personal literary development.
3. Reflect on literary works and thoughts and form an art connection to culture and
society.
4. Discuss critical theories included in the PCMA exam.
5. Develop awareness of the difference between blank and free verse
6. Identify metric patterns
Texts and References
Arp, T. & Johnson, G. (2002). Perrine’s Literature: Structure, Sound and Sense. (Eighth
Edition). Heinle and Heinle
Spanish/English Dictionary
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ENGL 206 Introduction to Literature II Poetry and Drama
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English/ English Dictionary
Web Sites
University Libraries
Universidad Del Turabo
http://bibliotecavirtualut.suagm.edu/
Universidad Del Este
http://www.suagm.edu/suagm/une2/portal_de_biblioteca/
Universidad Metropolitana
http://www.suagm.edu/SUAGM/m1/html/webvoy.htm
Note: If for some reason you cannot access the offered electronic addresses in the
module, don’t limit yourself to them. There are other “Web sites” that you can use for
the search of the required information. Among them you can find:
www.google.com
www.Altavista.com
www.AskJeeves.com
www.Excite.com
www.alltheweb.com
www.Pregunta.com
www.Findarticles.com
www.yahoo.com
The facilitator can make changes to the electronic addresses and/or add some of being
necessary.
Note: If any facilitator or student needs to conduct a research or submit a questionnaire
and carry out any interview, must consult with SUAGM’s Compliance Office first to
study its policies and request the corresponding authorization.
To access the Compliance Office authorization forms, you can:
Access our webpage
http://www.suagm.edu/suagm/suagm/vpauxrecursos_vpare.aspx, select Oficina
de Cumplimiento and click Formularios, or
Access directly this link
http://www.suagm.edu/suagm/suagm/compliance_IRB_Forms.aspx.
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In addition to the forms, you can also access the instructions to make the online
certification for IRB Institucional Review Board, Health Information Portability
Accounting Act (HIPAA) and the Responsability Conduct for Research Act (RCR).
If you have any question, please contact with the Institutional Coordinators or with the
Compliance Office:
Evelyn Rivera Sobrado, Compliance Office Director Tel. (787) 751-0178 Ext. 7196 Carmen Crespo, Compliance Coordinator for UMET Tel. (787) 766-1717 Ext. 6366 Josefina Melgar, Compliance Coordinator for Turabo Tel. (787) 743-7979 Ext.4126 Dr. Rebecca C. Cherry, Compliance Coordinator for UNE Tel. (787) 257-7373 Ext. 3936
Evaluation:
Workshop One
1. Worksheet on short poems
2. Paraphrase exercise of the short poem
3. Metaphor writing
4. Oral presentation based on group discussion
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Workshop Two
1. Paragraph writing on definition of poetry
2. Oral reading of a poem and discussion of the worksheet
3. Written poem
Workshop Three
1. Group Project on sounds and imagery
2. Plot summary
3. Posters on Animal Farm
4. Oral participation in group discussions
5. Graphic Organizer
6. Character’s interaction diagram
Workshop Four
1. Student’s oral participation
2. Written summary of the literary terms for the workshop
3. Chart with the examples on figurative language usage
4. Examples of symbolism, allusion, and allegory in the reading
Workshop Five
1. Written reflection on literary performance
2. Written test
The following table shows the value of the letter grades given in the course.
Letter Grade %
A 100-90
B 89-80
C 79-70
D 69-60
F 59-0
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ENGL206 Introduction to Literature II Poetry and Drama
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Workshop One
Worksheet on short poems Paraphrase exercise of the short poem Metaphor writing Oral presentation based on group discussion
50 pts 50 pts 50 pts 50 pts The scores will be added and divided into 200 pts to obtain the final score Student score = ____/ 200 =____ %
Workshop Two
Paragraph writing on definition of poetry Oral reading of a poem and discussion of the worksheet Written poem
50 pts. 50 pts 50 pts The scores will be added and divided into 150 pts to obtain the final score Student score = ____/ 150 =_____ %
Workshop Three
Group Project on sounds and imagery Plot summary Posters on Animal Farm Oral participation in group discussions Graphic Organizer Character’s interaction diagram
50 pts 25 pts 25 pts 50 pts 25 pts 25 pts All scores will be added and divided into 200 to obtain the final score Student score = ____/ 200 =_____ %
Workshop Four
Student’s oral participation Written summary of the literary terms for the workshop Chart with the examples on figurative language usage Examples of symbolism, allusion, and allegory in the reading
50 pts. 50 pts 50 pts 50 pts All scores will be added and divided into 200 pts to obtain the final score Student score = ____/ 200 =_____ %
Workshop Five
Written reflection on literary performance Written test
100 pts. 100 pts Both scores will be added and divided into 200 pts to obtain the final score Student score = ____/ 200 =_____ %
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Guidelines for the course:
1. Attendance is mandatory. In case of absence, students should contact facilitator
in order to be excused and means to hand in assigned work.
2. Facilitator reserves the right to accept the excuse and the assigned work.
Facilitator will use his/her criteria in evaluating the work. Oral presentations and
special activities cannot be made up. If the student presents a valid written
excuse, an appointment may be set up for a written text on the activity the
student missed.
3. Present and on time for class is mandatory. Absences will result in loss of the
points for that workshop. Also, students who come late or leave early will lose
attendance points.
4. Cooperative group activities cannot be made up.
5. Late assignments- Any late assignments will result in an automatic loss of five (5)
points for each week the assignment is late.
6. This is an accelerated program. Students should be prepared before each
workshop. An average of 10+ hours per week is required for each workshop.
7. Due to the nature of this writing course, the facilitator can request the participant
to rewrite any work.
8. All submitted written works should be word processed in Times New Roman font
size 12 and doubled spaced unless the facilitator requests the contrary.
9. Student’s work should be original. Plagiarism is not acceptable. Credits should
be given to the source of information.
10. Changes made by the facilitator will be discussed in the first workshop. A written
description of the changes will be given to the students as well as the Program.
11. The facilitator will establish the means of contact and communication for the
course. These agreements shall be in accordance with the established privacy
laws.
12. The use of cell phones is prohibited during workshops.
13. Children and other family members are not allowed to the classrooms.
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14. Students who need Vocational Rehabilitation must contact the professor at the
beginning of the course to plan reasonable placement and necessary equipment
according to the recommendations of the Development Vice Chancellor. Those
students with special needs who require some special assistance must notify the
facilitator. The student with special needs must consult with the facilitator in case
the evaluation requires differentiation due to particular cases.
15. All students must comply with the academic and administrative norms of the
institution which are available at the Student Affairs Vice Chancellor’s office,
including the Student Manual.
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Workshop One
Specific Objectives
At the end of the Workshop, the student:
1. Defines key literary terms: literature, prose, poetry, verse, drama, character,
characterization, voice, and person.
2. Participates with or experiences a literary work as he/she reads it.
3. Paraphrases a passage in a literary work.
4. Explains how sounds and metaphor help create meaning.
5. Analyzes title, setting, character, and plot.
6. Find plot summaries of Oedipus and Hamlet on the Internet
Websites
University Libraries
Universidad Del Turabo
http://bibliotecavirtualut.suagm.edu/
Universidad Del Este
http://www.suagm.edu/suagm/une2/portal_de_biblioteca/
Universidad Metropolitana
http://www.suagm.edu/SUAGM/m1/html/webvoy.htm
Literary Terms
http://www.tnellen.com/cybereng/lit_terms/terms/Literary.Terms.3.html
http://quizlet.com/173203/literary-prose-terms-flash-cards/
Prose
http://www.types-of-poetry.org.uk/91-prose.htm
Drama
http://www.unc.edu/depts/wcweb/handouts/drama.html
Background on Shakespeare
http://www.pathguy.com/hamlet.htm
Shakespeare’s Hamlet
http://shakespeare.mit.edu/hamlet/
http://absoluteshakespeare.com/guides/hamlet/summary/hamlet_summary.htm
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http://shakespeare.palomar.edu/lambtales/LTHAMLET.HTM
Assignments to be completed prior to Workshop One:
Instructions:
1. Browse the course module and the Web Sites
2. Clarify key terms and take notes on your findings.
3. Choose a short poem from the textbook or any available source. Prepare a
worksheet like the one in Appendix A.
4. Prepare to read the work aloud in class and explain the worksheet.
5. Write out a paraphrase of a short poem. See an example in Appendix B.
6. Find a definition and five examples of metaphor.
7. Write a metaphor about yourself or someone important or special in your life.
Activities
1. Facilitator will introduce him/herself and provide an overview of the course.
Particular emphasis should be placed on the objectives, evaluation criteria,
student participation, and group work. If any changes are made to the grading
evaluation criteria, these should be given in writing to the student and the office
program during the first workshop.
2. The Facilitator assigns one of the pre-class assignments to small groups in the
classroom. Students discuss their findings, the research and the process of
his/her preparation. Then, they report to the whole class using charts and visual
aids prepared in class. This activity will be evaluated following the guidelines in
Appendix C
3. Class members read aloud the poems that have chosen and discuss the
worksheets they prepared raising questions they would like the group to
consider.
4. Students compare the steps in their responses to the steps discussed in
worksheets provided in Appendix A.
5. Analysis of quantities of good literary work and ways to achieve them will be
carried out. Use Appendix A on what literature is and does. Valuable insight is
also available in Appendix D.
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6. Facilitator will collect the assignments and offers an overview for Workshop 2.
7. Facilitator will assign five poems to be studied for the next workshop.
Assessment
1. Worksheet on short poems (50 points)
2. Paraphrase exercise of the short poem (50 points)
3. Metaphor writing (50 points)
4. Oral presentation based on group discussion (50 points)
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Workshop Two
Specific Objectives
At the end of the workshop, the student will be able to:
1. Identify and demonstrate understanding of common poetic forms such as sonnet,
limerick, ode, and elegy among others.
2. Recognize the meter of verse and discuss its contribution to the development of
the literary work.
3. Distinguish the types of rhyme and rhythm in a literary work and their
accomplishments.
4. Explain with examples the contribution sound makes to meaning.
5. Discuss how imagery contributes to metaphor and meaning.
Websites
University Libraries
Universidad Del Turabo
http://bibliotecavirtualut.suagm.edu/
Universidad Del Este
http://www.suagm.edu/suagm/une2/portal_de_biblioteca/
Universidad Metropolitana
http://www.suagm.edu/SUAGM/m1/html/webvoy.htm
Types of poetry
http://www.types-of-poetry.org.uk/
http://www.dowlingcentral.com/MrsD/area/literature/Poetry/poetry.html
Sonnet
http://www.writing.upenn.edu/~afilreis/88/sonnet.html
http://www.sonnets.org/
http://www.uni.edu/~gotera/CraftOfPoetry/sonnet.html
Limerick
http://www.poemhunter.com/poems/limerick/
http://www.poetry-online.org/limericks.htm
http://volweb.utk.edu/school/bedford/harrisms/limerick.htm
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Ode
http://www.answers.com/topic/ode
http://www.webexhibits.org/poetry/explore_classic_ode_examples.html
Elegy
http://www.types-of-poetry.org.uk/18-elegy.htm
http://www.types-of-poetry.org.uk/
Epic
http://members.optushome.com.au/kazoom/poetry/epic.html
http://ancienthistory.about.com/od/literat3/qt/EpicPoetry.htm
Meter of Verse
http://www.cummingsstudyguides.net/xmeter.html
http://andromeda.rutgers.edu/~jlynch/Terms/meter.html
http://www.amittai.com/prose/meter.php
http://www.tnellen.com/cybereng/forms.html
Rhyme and rhythm
http://edhelper.com/ReadingComprehension_27_77.html
http://www.tnellen.com/cybereng/lit_terms/rhyme.html
Assignments prior to Workshop Two
Instructions:
1. Visit the Websites listed above to become familiar with the topics to be discussed
in this workshop.
2. Study the definitions of poetry in Appendix D. Select the one that strikes you as
most influential and write a paragraph to explain to the class why.
3. Brainstorm different ways of teaching young children about sound, metaphor,
and the development of meaning in a short literary work. Consider using dance
and drums, guitar, and flute.
4. Make a chart or other form of graphic organizer to help clarify three important
terms critics have developed to explain poetry.
5. Read ten poems, five previously assigned by facilitator and five of your own
choosing.
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6. Develop a worksheet on one of the poems. Aim it at awakening insight in others
who may have read more superficially and prepare to present your findings to the
class.
7. Explore websites for ways to write a poem and write one to share with the class.
Activities
1. In groups of four, discuss what is poetry and types, and prepare and present a
short oral report on it.
2. As a class, analyze several poems. Create a list of three to five questions that
might be helpful in discussing most poems. Distinguish the rhyme and rhythm in
each of the poems.
3. Group members report on an independent analysis of one of the poems chosen
in the assignments prior to the workshop.
4. Facilitator will read a poem aloud. Class discusses the contributions of the
reading and how it affects the listener. Does reading it yourself, silently or aloud
differ any from hearing it read by the poet or an actor?
5. Class describes Internet resources they have discovered on writing an original
poem. Within groups write an original group poem and share the results with
classmates. Alternatives: set a lyric to a familiar tune and perform or teach it to the
class or dramatize the situation in a poem and present it as an imaginary dialogue
6. Discuss sound, imagery, and meaning in poems. In groups, design a project to
teach children how sound and meaning or imagery interacts in poems. Present this
project in Workshop Three.
7. Students read aloud the poems they have written and identify the meter of verse
and discuss the contribution to the way the literary work develops.
Assessment
1. Paragraph writing on definition of poetry 50 points
2. Oral reading of a poem and discussion of the worksheet 50 points
3. Written poem 50 points
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Workshop Three
Specific Objetives
At the end of Workshop Three, the student will be able to:
1. Explains the ways drama differs from fiction and poetry.
2. Summarizes the plot of a play. Discusses exposition, rising action, climax, falling
action, and resolution.
3. Discusses the importance of conflict in a play. Identifies subplots and discusses
how they affect the main plot.
4. Reports on figurative language. Shows how in a specific passage figures of
speech contribute to the overall work’s meaning.
5. Explains how symbolic, allusive, or allegorical references affect meaning.
6. Describes the effect of tone or mood, humor, irony, philosophical reflection,
didacticism, and satire.
Websites
University Libraries
Universidad del Turabo
http://bibliotecavirtualut.suagm.edu/
Universidad Del Este
http://www.suagm.edu/suagm/une2/portal_de_biblioteca/
Universidad Metropolitana
http://www.suagm.edu/SUAGM/m1/html/webvoy.htm
Fiction and Poetry
http://classiclit.about.com/od/faqs/f/aa_faqfiction.htm
http://highered.mcgraw-
hill.com/sites/0072405228/student_view0/poetic_glossary.html
Plot
http://www.learner.org/interactives/literature/read/plot1.html
Rising Action
http://changingminds.org/disciplines/storytelling/plots/five_stage/rising_action.ht
m
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Climax
http://contemporarylit.about.com/cs/literaryterms/g/climax.htm
http://web.cn.edu/kwheeler/lit_terms_C.html
http://www.orangeusd.k12.ca.us/yorba/literary_elements.htm
Falling Action
http://contemporarylit.about.com/cs/literaryterms/g/fallingAction.htm
http://viswiki.com/en/Falling_action
Resolution or Denouement
http://www.thefreedictionary.com/denouement
Conflict
http://www.dowlingcentral.com/MrsD/area/literature/Terms/conflict.html
http://contemporarylit.about.com/cs/literaryterms/g/conflict.htm
http://hpms.hpisd.org/Portals/1/Teachers/Weitman/Conflict.ppt
Figurative language
http://www.frostfriends.org/figurative.html
http://www.sturgeon.k12.mo.us/elementary/numphrey/subjectpages/languagearts/
figuresofspeech.html
http://www.westga.edu/~scarter/Figurative_Language1.htm
Symbolism
http://www.worsleyschool.net/socialarts/symbolism/page.html
http://www.artlex.com/ArtLex/s/Symbolism.html
Allusion
http://www.tnellen.com/cybereng/lit_terms/allusion.html
http://www.worsleyschool.net/socialarts/allusion/page
Allegory
http://www.tnellen.com/cybereng/lit_terms/allegory.html
http://www.ehow.com/how_2066419_spot-allegory-literature.html
Irony
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http://books.google.com/books?hl=es&lr=&id=SENoaUb7CooC&oi=fnd&pg=PA1&
dq=humor+,+tone,+mood,+irony+in+literature&ots=q3Z4gcr5ZD&sig=XhXMYcrHp
2bwZDsXh5kErXRLtj4
Humor
http://library.thinkquest.org/J002267F/types_of_humor.htm
Animal Farm
http://books.google.com/books?id=SGAZdjNfruYC&printsec=frontcover&dq=ani
mal+farm&lr=&hl=es#PPP1,M1
Assignments prior to Workshop Three
Instructions:
1. Read the novelette Animal Farm
2. Prepare a plot summary to share with the class.
3. Prepare elements of the novel for the assigned novelette.
4. Create a graphic organizer for an important scene in the novelette.
5. Diagram interactions between two important characters in Animal Farm.
6. Relate your personal experience to the events presented in the novelette.
7. Design a poster on details that students should remember on the plot of the
novelette.
Activities
1. Facilitator conducts a guided discussion on the differences between drama and
poetry.
2. In groups, present the special project from the previous workshop on sound and
imagery in poetry.
3. Students present the plot summaries.
4. Students present the posters based on the details from Animal Farm and explain
them.
5. Students discuss the elements of the novelette, Animal Farm.
6. Students report about the use of figurative language and symbolism, allusion and
allegory used in the novelette.
7. Students create a group graphic organizer for an assigned chapter in the book.
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8. Students diagram and illustrate interactions between two important characters in
Animal Farm.
9. Students discuss the effect of additional literary categories in writing.
Assessment
1. Group Project on sounds and imagery 50 pts
2. Plot summary 25 pts
3. Posters on Animal Farm 25 pts
4. Oral participation in group discussions 50 pts
5. Graphic Organizer 25 pts
6. Character’s interaction diagram 25 pts
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Workshop Four
Specific Objectives
At the end of the workshop, the student will be able to:
1. Reports on figurative language. Demonstrates how in a specific passage
figures of speech contribute to the work’s meaning.
2. Explains how symbolic, allusive, or allegorical references affect meaning.
3. Describes the effect of tone or mood, humor, irony, philosophical
reflection, didacticism and satire.
4. Explains differences between narrative, lyric, and dramatic; and give
examples.
Websites
University Libraries
Universidad Del Turabo
http://bibliotecavirtualut.suagm.edu/
Universidad Del Este
http://www.suagm.edu/suagm/une2/portal_de_biblioteca/
Universidad Metropolitana
http://www.suagm.edu/SUAGM/m1/html/webvoy.htm
Figurative Language
http://42explore.com/figlang.htm
http://www.frostfriends.org/figurative.html#metaphor
http://www.orangeusd.k12.ca.us/yorba/figurative_language.htm
http://www.westga.edu/~scarter/Figurative_Language1.htm
Assignments prior to Workshop Four
Instructions:
1. Visit the Websites listed above and prepare a summary of all the terms. Study
them and come to class prepared to discuss your findings.
2. Prepare a chart with examples on the use of figurative language in the novelette
Animal Farm.
3. Choose a passage and indicate the figure of speech used.
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4. Find examples of symbolism, allusion, and allegory in the reading.
Activities
1. Facilitator will conduct an open dialogue on the literary terms assigned for this
workshop.
2. Students will show the charts with the figurative language use in the Animal
Farm.
3. Choose a passage from the novelette and discuss how the use of figurative
language contributes to the overall of the theme.
4. Discuss examples of symbolism, allusion and allegory used in the reading.
Assessment
1. Student’s oral participation 50pts
2. Written summary of the literary terms for the workshop 50pts
3. Chart with the examples on figurative language usage 50pts
4. Examples of symbolism, allusion, and allegory in the reading 50pts
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Workshop Five
Specific Objectives
At the end of the workshop, the student will be able to:
1. Demonstrate mastery of literary conventions in poetry and drama
2. Describe in a journal form a chosen local literary performance or reading.
3. Develop a personal plan for pursuing interest in literature and culture and ways of
finding information on them.
Websites
University Libraries
Universidad Del Turabo
http://bibliotecavirtualut.suagm.edu/
Universidad Del Este
http://www.suagm.edu/suagm/une2/portal_de_biblioteca/
Universidad Metropolitana
http://www.suagm.edu/SUAGM/m1/html/webvoy.htm
Finding Inspiration in Literature and Movies
http://www.youthfilmproject.org/programs.htm
http://www.designastudy.com/products/1891975099.html
Assignments prior to Workshop Five
Instructions:
1. Prepare a written reflection on the literary performance or reading that you have
chosen or attended. Include a plan for pursuing, develop or improve your
personal interest in literature. This work will be evaluated following the guidelines
in Appendix D.
2. Study the literary terms for a written test and include your skills to identify the
terms in given passages.
Activities
1. Students perform the written test on literary terms and identify them in selected
passages.
2. Facilitator comments briefly on key course concepts.
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3. Students turn in their written reflection
4. Facilitator encourages students to share information gathered on ways to
continue individual interest in literature and culture.
Assessment
1. Written reflection on literary performance 100 pts.
2. Written test 100 pts.
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Appendixes
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Appendix A
Literature: What creators, critics and participants know of it
Section 1.
DEMONSTRATION.
How do you participate in literature?
DAYS
Ralph Waldo Emerson
Daughters of Time, the hypocritical days,
Muffled and dumb, like barefoot dervishes
And marching singly in an endless file
Bring diadems and faggots in their hands.
To each they offer gifts after his will bring
Bread, kingdom, stars and sky that holds them all.
I in my pleached garden watched the pomp,
Forgot my morning wishes, hastily
Took a few herbs and apples, and the Day
Turned her solemn fillet saw the scorn.
Emerson's "Days." WORKSHEET.
1. Identify.
. What's the biggest chance you've ever missed? Has it ever happened that you
understood the value of an opportunity only after it was too late to do anything about it?
Do you trust your fate? Your time? Your situation? Could you do so, even more?
How? What difference would that make? What's the difference between what you do
when you trust and what you do when you don't?
2. Visualize.
. Can you visualize the days marching one by one in an endless procession? See how
they're muffled? Feel the silence as they pass? Gaze at them in the same way you
would barefoot dervishes?
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. See the crowns and sticks they bring? Imagine yourself choosing the gift you want
from them? Visualize the bread they bring you? The kingdoms? The stars? The sky
that contains all such things?
. See the poet in a cultured garden? Watch him watch what's going on? Remember
what he forgot (what he wanted that morning?) See him take a few herbs and apples?
See the day turn away and leave silently? See the scorn he sees on her face?
1. Grasp the Structure.
DAUGHTERS . . . hypocritic days . . . muffled and dumb
marching
bring
offer GIFTS AFTER HIS WILL
I . . . WATCHED
forgot
took . . . too late A FEW APPLES AND HERBS
saw
2. Perceive.
Why are the days described as hypocritic? As dervishes? As barefoot? As daughters?
Why do they march singly in an endless file?
Bring diadems and faggots? Offer gifts each person chooses?
What do "bread, kingdoms, stars, sky" stand for?
Why is the poet in a "pleached garden"?
Why would he forget his morning wishes?
Why does the poet describe what is going on as "pomp"?
What do the "herbs and apples" stand for? Why would he take those?
Why would the day depart without saying anything?
Why was she scornful?
In what way can you put yourself in the poet's place?
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Section 2.
DEMONSTRATION.
How do you recognize literature?
THE RHODORA. On being asked, whence is the flower?
Ralph Waldo Emerson.
In May, when sea-winds pierced our solitudes,
I found the fresh Rhodora in the woods,
Spreading its leafless blooms in a damp nook,
To please the desert and the sluggish brook.
The purple petals, fallen in the pool,
Made the black water with their beauty gray;
Here might the red-bird come his plumes to cool,
And court the flower that cheapens his array.
Rhodora! If the sages ask thee why
This charm is wasted on the earth and sky,
Tell them, dear, that if eyes were made for seeing,
Beauty is its own excuse for being:
Why thou wert there, O rival of the rose!
I never thought to ask, I never knew;
But, in my simple ignorance, suppose
The self-same Power that brought me there brought you
SAMPLE. Aesthetic Quality, Exploitation of Language, and Imaginary World In
Emerson's "The Rhodora."
By the three tests of literary theory Emerson’s poem "The Rhodora" is literature. It
creates a fictional world in which a man goes for a walk in the woods and finds a small
flower that teaches him to trust the universe. It exploits language to elicit feeling, and it
achieves a total effect of aesthetic value.
The man who goes for a walk in the woods is not Emerson himself, but a persona, or a
fictional mash through which he speaks. This person never lived; he's a creation of the
author's imagination. Likewise, the walk, the encounter with the flower, and the result of
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it is fictional, although something very much like it could easily have happened. It is
presented in a poem. It might never have happened, and what is important, it need not
have. Yet, even if it did, that in itself does not make the poem more beautiful. Emerson
may have seen that kind of flower only in a book, although we think otherwise, and he
may have completely imagined the bird. He may never have talked to a flower in his
life. What is important is that what happens in a literary work and what actually
happened to the poet can be completely different. Everything in the poem is designed
to create an effect of beauty: it does not even have to be possible. The man walking in
the woods talks to the flower, feels for it, learns from it. All this enhances the qualities of
the imaginary world.
The poem exploits language in various ways. For example, the narrator says, "Tell
them, dear, that if eyes were made for seeing, / Then, Beauty is its own excuse for
being." The direct address to the flower is highly effective. The endearment added to
the personification suggests intimacy and trust founded on love. The simple diction fits
the simple feeling. The rhymed sounds, seeing" and "being" stress the idea and
suggest joy.
Everything about the way language is handled in the poem is aimed at creating beauty.
We easily recreate the sights, sounds, appeal to smells and touch of the first two lines:
"May," "sea-winds," "solitudes." The next lines concentrate on visual appeal: "fresh
Rhodora," "spreading its leafless blooms," "made the black water with the beauty gay."
Then the scene is heightened with a hyperbole that in context is perfectly acceptable:
the redbird, whose feathers are so bright he comes to cool them off at the damp spot
and to court the flower, looks chap beside it. All of this contributes to a special aesthetic
world we enter by resigning ourselves to imagination.
The beauty of the world he has found works so strongly on the narrator that he gets an
insight into the nature of beauty: it exists purely for itself. He understands that he too
must trust the power beyond existence for his purpose. Emerson exploits language to
make us respond to an imaginary walk in the woods and experience the beauty of a
flower in a forgotten spot.
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Section 3.
DEMONSTRATION.
What does literature provide?
Knowledge, Truth, Persuasion and Emotional Release in "The Rhodora."
Literary theorists who analyze what literature does say it provides knowledge, truth,
persuasion, and emotional release. We can demonstrations these contentions with
Emerson's poem "The Rhodora."
The poem provides two special kinds of knowledge, what Aristotle called knowledge of
the general and probable and what we can call psychological knowledge. Studying the
poem we come to know the narrator. He's a particular person--though he has no name
in the poem--and yet he represents man. We can see much in him that we call
universal, the response to beauty, for example, and his capacity for trust. Man in
general is that way; that is the probable attainment for any particular man. We come to
know much more about the narrator than just what he does; we get an insight into his
interior life. We do not follow the process of introspection in this 19th century poem as
we are able to in a 20th century psychological novel, but we are given some materials
and can piece them together. We are also given enough information to guess at a
previously unresolved, perhaps not even conscious problem: the problem of trust in an
ultimate purpose. There is likewise evidence for guessing motivation. Why does the
poet address the question of the flower's purpose? Is that his real interest? Is he not
using this to suggest the narrator's restlessness? Why does the narrator say "our
solitudes"? Is he referring to the rest of his neighbors isolated at the end of the winter,
or is he speaking of the flower's solitude also? Whatever way the phrase is interpreted,
it suggests concern about ultimate purpose preceding the experience of trust, and it at
least raises the question about motivation for walking in the woods.
The poem also provides an experience of what we can call truth. It's not a systematic
truth that embraces all experience, but a selected, personal one. It cannot be publicly
verified. I happened inside a particular man when he found a beautiful flower in the
woods under special conditions. It happens inside the sensitive informed reader who
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responds to the poem. This truth is a truth of feeling. It is no great news that man can
trust in the midst of chaos. This is a concept we know. To re-experience an organized
illumination of that concept can be a deep, moving thing, an experience we want to call
truth because it comes from so deep within us. It has to be true, we think; it is human.
Is this a creation or a revelation? The question is controversial. What is important in it--
and perhaps ultimately elusive--is the aesthetic dimension. The experience itself
recreates truth. Perhaps it is not logical, but we feel that if it is beautiful, it has to be
true. It is idealistic, and it is controversial, but in art, all that is beautiful is true. "The
Rhodora" presents, or recreates, something we recognize or discover to be true. It
gives us an insight or an awareness of a psychic and perceptual dimension we accept.
Does "The Rhodora" persuade us to accept Emerson's way of looking at things?
Certainly Emerson organizes things in a certain, focuses our vision on the problem of
why life is the way it is. Does he propagandize? He gives us something to think about;
but does he force our response? He respects beauty for being beautiful. He writes a
poem saying "Beauty is its own excuse for being>„ Must we accept that because he
managed to get our emotions involved in the question? Perhaps the answer depends
on what value we give the emotions.
Aristotle claimed great tragedy could produce a catharsis of harmful emotions, pity and
terror. Others broaden the effect and claim literature can produce emotional release. In
"The Rhodora" we see a release of this kind in the narrator, and perhaps we experience
a release ourselves in identifying with him. The narrator is roused from his solitude by
the approaching spring and he finds a simple flower in the woods that resolves deep
seated uncertainties about universal problems. He accepts beauty and exalts in it. And
then he transfers the effect of that experience to a wider sphere, his own existence in
time and eternity. We too puzzle sometimes over what seems the meaninglessness of
our own existence. Reading "The Rhodora" we are attracted by the beauty and clarity
with which the smaller problem is presented. We know the love he knows. We too find
emotional release if we identify with his experience.
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"The Rhodora" gives us knowledge, lets us experience truth, presents a selected view
with persuasive skill, and provides emotional release if we identify with it. In all these
areas, the poem resembles life: it depends as much on us, as it does on itself.
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Appendix B
Example for a Paraphrase
Emerson’s “Days”
You’re the daughters of time. You’re the days; you’re hypocrites.
You’re covered up and don’t speak. You whirl around like women in a trance.
You march one by one in a line that goes on forever
And you bring crowns and sticks in your hands.
You offer to each person whatever he or she wants;
You bring what we eat, rule, yearn for, and also everything else.
I was in my garden and watched this ceremony
I forgot what I first wanted and quickly
Took a few things to help me and a few things to enjoy.
I saw the scorn in your eyes as you passed me by.
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APPENDIX C
Rubric for Oral Presentations
Name: __________________________ Date: ___________________
Presentation: _______________________________________________
Score 5= Excellent 4=Good 3= Moderate 2= Regular 1= Deficient 0= Not observed
__________________ _____________________
Student’s Signature Facilitator’s Signature
Criteria Score Content
Key elements of the assignment were covered
Topic was relevant and addresses the assignment specifications Content is comprehensible, accurate, and believable Key points are noted Topic was researched adequately
Organization and structure
Presentation is well organized, clear and effectively structured
As a team presentation, it is integrated rather than being a disjointed
series of individual presentations
There is an introduction to gain the audience’s attention and explain the
purpose of the presentation
Use of visual Aids
Visual aids are used where appropriate
Visual aids are appropriately professional given the presentation’s
context
Visual aids are easy to see/read Media is used correctly Visual aids contribute to the overall effectiveness of the presentation
Audience Participation
The presenters involved the audience and solicited feedback
Questions from the audience are effectively addressed and
answered correctly
Time Limit
The presenters stayed within the allotted time limit
Time was used well/ not rushed
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Appendix D
Definitions for Poetry
Poets, philosophers, and critics on the nature of poetry
Poetry is the heaven of the working reason. Poetry is a divination of the spiritual in the
things of sense—which expresses itself in the things of sense, and in a delight of sense.
Metaphysics also pursues a spiritual prey, but metaphysics is engaged in abstract
knowledge, while poetry quickens art. Metaphysics snatches at the spiritual in an idea,
by the most abstract intellection; poetry reaches it in the flesh, by the very point of the
sense sharpened through intelligence. Metaphysics enjoys its possession only in the
retreats of the eternal regions, while poetry finds its own at every crossroad in the
wanderings of the contingent and the singular. The more real the reality, the super-real
(I would not give up this word to the Surrealists), the super-real which both seek,
metaphysics must attain in the nature of things, while it suffices to poetry to touch it in
any sign whatsoever. Metaphysics gives chase to essences and definitions, poetry to
any flash of existence glittering by the way, and any reflection of an invisible order.
Jacques Maritain (1882–1973), French philosopher.
Poetry is the most direct and simple means of expressing oneself in words: the most
primitive nations have poetry, but only quite well developed civilizations can produce
good prose. So don’t think of poetry as a perverse and unnatural way of distorting
ordinary prose statements: prose is a much less natural way of speaking than poetry is.
If you listen to small children, and to the amount of chanting and singsong in their
speech, you’ll see what I mean.
Northrop Frye (1912–1991), Canadian critic
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Poetry is feeling confessing itself to itself, in moments of solitude, and embodying itself
in symbols which are the nearest representations of the feeling in the exact shape in
which it exists in the poet’s mind.
John Stuart Mill (1806–1873), British philosopher
Poetry is creative expression; prose is constructive expression. That, in a sentence, is
the real distinction.... In poetry the words are born or re-born in the act of thinking. The
words are, in Bergsonian phraseology, a becoming; they develop in the mind pari passu
with the development of the thought. There is no time interval between the words and
the thought. The thought is the word and the word is the thought, and both the thought
and the word are Poetry. “Constructive” implies ready-made materials; words stacked
round the builder, ready for use. Prose is a structure of ready-made words. Its “creative”
function is confined to plan and elevation—functions these, too, of Poetry, but in Poetry
subsidiary to the creative function
Sir Herbert Read (1893–1968), British critic, poet
Poetry is the universal language which the heart holds with nature and itself. He, who
has contempt for poetry, cannot have much respect for himself, or for anything else.
William Hazlitt (1778–1830), British essayist
Poetry is essentially the antithesis of Metaphysics: Metaphysics purge the mind of the
senses and cultivate the disembodiment of the spiritual; Poetry is all passionate and
feeling and animates the inanimate; Metaphysics are most perfect when concerned with
universals; Poetry, when most concerned with particulars.
Samuel Beckett (1906–1989), Irish dramatist, novelist.
Poetry can be criticized only through poetry. A critique which itself is not a work of art,
either in content as representation of the necessary impression in the process of
creation, or through its beautiful form and in its liberal tone in the spirit of the old Roman
satire, has no right of citizenship in the realm of art
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Friedrich Von Schlegel (1772–1829), German philosopher
Poetry presents indivisible wholes of human consciousness, modified and ordered by
the stringent requirements of form. Prose, aiming at a definite and concrete goal,
generally suppresses everything inessential to its purpose; poetry, existing only to
exhibit itself as an aesthetic object, aims only at completeness and perfection of form.
Richard Harter Fogle, U.S. critic, educator
Poetry is the record of the best and happiest moments of the happiest and best minds
Percy Bysshe Shelley (1792–1822), British poet.
Poetry is, above all, an approach to the truth of feeling.... A fine poem will seize your
imagination intellectually—that is, when you reach it, you will reach it intellectually too—
but the way is through emotion, through what we call feeling.
Muriel Rukeyser (1913–1980), U.S. poet
Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the
foundations for a future of change, a bridge across our fears of what has never been
before.
Audre Lorde (1934–1992), African American poet
Poetry is important. No less than science, it seeks a hold upon reality, and the
closeness of its approach is the test of its success.
Babette Deutsch (1895–1982), U.S. poet
Poetry and philosophy are, according to how you take them, different spheres, different
forms, or factors of religion. Try to really combine both, and you will have nothing but
religion.
Friedrich Von Schlegel (1772–1829), German philosopher
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Poetry, and Picture, are arts of a like nature; and both are busier about imitation. It was
excellently said of Plutarch, Poetry was a speaking Picture, and Picture a mute Poesie.
For they both invent, faine, and devise many things, and accommodate all they invent to
the use, and service of nature. Yet of the two, the Pen is more noble, than the Pencill.
For that can speak to the Understanding; the other, but to the Sense.
Ben Jonson (1573–1637), British playwright, poet
Poetry... is... a speaking picture, with this end: to teach and delight.
Sir Philip Sidney (1554–1586), British poet, diplomat, soldier
Poetry is not a turning loose of emotion, but an escape from emotion; it is not the
expression of personality, but an escape from personality.
T S Eliot
[Poetry] may make us from time to time a little more aware of the deeper, unnamed
feelings which form the substratum of our being, to which we rarely penetrate; for our
lives are mostly a constant evasion of ourselves.
T S Eliot
Poetry, it is often said and loudly so, is life’s true mirror. But a monkey looking into a
work of literature looks in vain for Socrates
Franz Grillparzer (1791–1872), Austrian author
Poetry is the language in which man explores his own amazement... says heaven and
earth in one word ... speaks of himself and his predicament as though for the first time.
It has the virtue of being able to say twice as much as prose in half the time, and the
drawback, if you do not give it your full attention, of seeming to say half as much in
twice the time
Christopher Fry (b. 1907), British playwright
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Poetry is one of the destinies of speech.... One would say that the poetic image, in its
newness, opens a future to language
Gaston Bachelard (1884–1962), French scientist, philosopher, literary theorist
Poetry, that is to say the poetic, is a primal necessity.
Marianne Moore (1887–1972), U.S. poet
Poetry is above all a concentration of the power of language, which is the power of our
ultimate relationship to everything in the universe.
Adrienne Rich (b. 1929), U.S. poet, essayist, and feminist.
Poetry is what Milton saw when he went blind.
Don Marquis (1878–1937), U.S. humorist, journalist.
Poetry should surprise by a fine excess and not by singularity—it should strike the
reader as a wording of his own highest thoughts, and appear almost a remembrance
John Keats (1795–1821), British poet
Poetry is the supreme fiction, Madame.
Take the moral law and make a nave of it
And from the nave build haunted heaven. Thus,
The conscience is converted into palms,
Like windy citherns hankering for hymns
Wallace Stevens (1879–1955), U.S. poet
Poetry has no goal other than itself; it can have no other, and no poem will be so great,
so noble, so truly worthy of the name of poem, than one written uniquely for the
pleasure of writing a poem.
Charles Baudelaire (1821–1867), French poet, critic
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Poetry, at all times, exercises two distinct functions: it may reveal, it may unveil to every
eye, the ideal aspects of common things... or it may actually add to the number of
motives poetic and uncommon in themselves, by the imaginative creation of things that
are ideal from their very birth.
Walter Pater (1839–1894), British writer, editor
Poetry is a very complex art.... It is an art of pure sound bound in through an art of
arbitrary and conventional symbols
Ezra Pound (1885–1972), U.S. poet, critic
Poetry, even when apparently most fantastic, is always a revolt against artifice, a revolt,
in a sense, against actuality.
James Joyce (1882–1941), Irish author
Poetry is a search for ways of communication; it must be conducted with openness,
flexibility, and a constant readiness to listen.
Fleur Adcock (b. 1934), New Zealand poet
Poetry is at least an elegance and at most a revelation.
Robert Fitzgerald (1910–1985), U.S. scholar, translator
Poetry should be great and unobtrusive, a thing which enters into one’s soul, and does
not startle it or amaze it with itself, but with its subject.
John Keats (1795–1821), British poet.
Poetry a riprap on the slick rock of metaphysics.
Gary Snyder (b. 1930), U.S. poet
Poetry is the mysticism of mankind.
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Henry David Thoreau (1817–1862), U.S. philosopher, author, naturalist
For women... poetry is not a luxury. It is a vital necessity of our existence. It forms the
quality of light within which we can predicate our hopes and dreams toward survival and
change, first made into language, then into idea, then into more tangible action. Poetry
is the way we help give name to the nameless so it can be thought. The farthest
horizons of our hopes and fears are cobbled by our poems, carved from the rock
experiences of our daily lives.
Audre Lorde (1934–1992), African American poet
Poetry operates by raising our curiosity, engaging the mind by degrees to take an
interest in the event, keeping that event suspended, and surprising at last with an
unexpected catastrophe. The painter’s art is more confirmed, and has nothing that
corresponds with, or perhaps is equivalent to, this power and advantage of leading the
mind on, till attention is totally engaged. What is done by painting must be done at one
blow; curiosity has received at once all the satisfaction it can ever have. There are,
however, other intellectual qualities and dispositions which the painter can satisfy and
affect as powerfully as the poet; among those we may reckon our love of novelty,
variety, and contrast. Sir Joshua Reynolds (1723–1792), British artist, critic
Poetry has done enough when it charms, but prose must also convince
H.L. (Henry Lewis) Mencken (1880–1956), U.S. journalist, essayist
Poetry reproduces an indefinable mood that is more amorous than love itself. Venus is
not so beautiful all naked, alive, and panting, as she is here in
Michel de Montaigne (1533–1592), French essayist
Only poetry inspires poetry.
Ralph Waldo Emerson (1803–1882), U.S. essayist, poet, philosopher
Poetry is adolescence fermented, and thus preserved
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José Ortega Y Gasset (1883–1955), Spanish essayist, philo
Poetry is the only life got, the only work done, the only pure product and free labor of
man, performed only when he has put all the world under his feet, and conquered the
last of his foes.
Henry David Thoreau (1817–1862), U.S. philosopher, author, naturalist
Poetry is ordinary language raised to the Nth power. Poetry is boned with ideas, nerved
and blooded with emotions, all held together by the delicate, tough skin of words
Paul Engle
Writing poetry is the hard manual labor of the imagination.
Ishmael Reed (b. 1938), U.S. novelist, poet, ess
All poetry, as discriminated from the various paradigms of prosody, is prayer
Samuel Beckett (1906–1989), Irish dramatist, novelist
I write poetry in order to live more fully.
Judith Rodriguez (b. 1936), Australian poet
The poetry of earth is never dead.
John Keats (1795–1821), British poet
Yet poetry, though the last and finest result, is a natural fruit. As naturally as the oak
bears an acorn, and the vine a gourd, man bears a poem, either spoken or done. It is
the chief and most memorable success, for history is but a prose narrative of poetic
deeds.
Henry David Thoreau
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For true poetry, complete poetry, consists in the harmony of contraries. Hence, it is time
to say aloud—and it is here above all that exceptions prove the rule—that everything
that exists in nature exists in art.
Victor Hugo (1802–1885), French poet, novelist, playwright, essayist
Good poetry could not have been otherwise written than it is. The first time you hear it, it
sounds rather as if copied out of some invisible tablet in the Eternal mind than as if
arbitrarily composed by the poet.
Ralph Waldo Emerson
No good poetry is ever written in a manner twenty years old, for to write in such a
manner shows conclusively that the writer thinks from books, convention and cliché, not
from real life.
Ezra Pound
We read poetry because the poets, like ourselves, have been haunted by the
inescapable tyranny of time and death; have suffered the pain of loss, and the more
wearing, continuous pain of frustration and failure; and have had moods of unlooked-for
release and peace. They have known and watched in themselves and others.
Elizabeth Drew Anglo-American author, critic.
Poetry is the impish attempt to paint the color of the wind.
Maxwell Bodenheim
Poetry is the deification of reality.
Edith Sitwell, British poet
Poetry is the revelation of a feeling that the poet believes to be interior and personal
[but] which the reader recognizes as his own
Salvatore Quasimodo
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[Poetry] has the virtue of being able to say twice as much as prose in half the time, and
the drawback, if you do not give it your full attention, of seeming to say half as much in
twice the time.
Christopher Fry
Poetry proceeds from the totality of man, sense, imagination, intellect, love, desire,
instinct, blood and spirit together.
Jacques Maritain
it is through poetry that we give name to those ideas which are—until the poem—
nameless and formless, about to be birthed, but already felt. That distillation of
experience from which true poetry springs births thought as dreams birth concept, as
feeling births idea, as knowledge births (precedes) understanding.
Audre Lorde (1934–1992), African American poet
And of poetry, the success is not attained when it lulls and satisfies, but when it
astonishes and fires us with new endeavours after the unattainable.
RWE
Perhaps basketball and poetry have just a few things in common, but the most
important is the possibility of transcendence. The opposite is labor. In writing, every
writer knows when he or she is laboring to achieve an effect. You want to get from here
to there, but find yourself willing it, forcing it. The equivalent in basketball is aiming your
shot, a kind of strained and usually ineffective purposefulness. What you want is to be in
some kind of flow, each next moment a discovery
Stephen Dunn (b. 1939), U.S. poet, essayist
I cannot say what poetry is; I know that our sufferings and our concentrated joy, our
states of plunging far and dark and turning to come back to the world—so that the
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moment of intense turning seems still and universal—all are here, in a music like the
music of our time, like the hero and like the anonymous forgotten; and there is an
exchange here in which our lives are met, and created.
Muriel Rukeyser (1913–1980), U.S. poet
The sources of poetry are in the spirit seeking completeness
Muriel Rukeyser (1913–1980), U.S. poet
Great poetry is always written by somebody straining to go beyond what he can do
Stephen Spender
Poetry is man’s rebellion against being what he is.
James Branch Cabell
The manifestation of poetry in external life is formal perfection. True sentiment grows
within, and art must represent internal phenomena externally
Franz Grillparzer (1791–1872), Austrian author
I do not think [poetry] is more, or less, necessary than food, shelter, health, education,
decent working conditions. It is as necessary. Adrienne Rich, U.S. poet
Prose talks and poetry sings.
Franz Grillparzer
The spirit of poetry combines the profundity of the philosopher and the child’s delight in
bright pictures.
Franz Grillparzer
Painting gives the object itself; poetry what it implies. Painting embodies what a thing
contains in itself; poetry suggests what exists out of it, in any manner connected with it
William Hazlitt
Escuela de Estudios Profesionales Programa Ahora
Universidad del Turabo
ENGL206 Introduction to Literature II Poetry and Drama
46
The drama is complete poetry. The ode and the epic contain it only in germ; it contains
both of them in a state of high development, and epitomizes both.
Victor Hugo
At certain times, men regard poetry merely as a bright flame, but to women it was, and
always will be, a warm fire.
Franz Grillparzer
Breathe-in experience, breathe-out poetry.
Muriel Rukeyser (1913–1980), U.S. poet
Before people complain of the obscurity of modern poetry, they should first examine
their consciences and ask themselves with how many people and on how many
occasions they have genuinely and profoundly shared some experience with another
W. H. Auden
It is the essence of poetry to spring, like the rainbow daughter of Wonder, from the
invisible, to abolish the past, and refuse all history.
Ralph Waldo Emerson
When power leads man toward arrogance, poetry reminds him of his limitations. When
power narrows the area of man’s concern, poetry reminds him of the richness and
diversity of existence. When power corrupts, poetry cleanses.
John Fitzgerald Kennedy
A passion for survival is the great theme of women’s poetry.
Adrienne Rich
Escuela de Estudios Profesionales Programa Ahora
Universidad del Turabo
ENGL206 Introduction to Literature II Poetry and Drama
47
APPENDIX E
Rubric for Written Works
Name:_______________________ Engl 206
1 Poor
2 Regula
r
3 Moderate
4 Good
5
excellent
Subject Key elements of the assignment were covered
Content is comprehensible and accurate
Major points are supported by specific details and or examples
Higher-order thinking The writer compares/ contrasts/integrates the subject
with experience
At an appropriate level, the writer analyzes and
synthesizes the theory to develop new ideas and ways of conceptualizing and performing
Organization
The introduction provides a background
on the topic
The central theme is clear
The structure is clear, logical and easy
to follow
The sections support the central theme
The conclusion follow the body of the
paper
Style/ Mechanics
Paper is laid out effectively
Paper is neat
Rules of grammar and punctuation are
followed
Spelling is correct
Readability/style
Sentences are complete, clear and
concise
Sentences are well constructed with
varied structure
Transitions between sentences and
paragraphs help maintain the flow of
thought
Escuela de Estudios Profesionales Programa Ahora
Universidad del Turabo
ENGL206 Introduction to Literature II Poetry and Drama
48
Words are precise and unambiguous
The tone is appropriate to the audience,
content and topic
Punctuality
Paper was turned in on the time allotted