Answer Key: Meanings of Figurative Language

Transcription

1 English 12A Unit 3 Answer Key: Meanings of Figurative Language Name Date Objectives In this lesson you will: rely on context to determine meanings of words and phrases such as figurative language expand vocabulary through wide reading, listening, and discussing Links Poetry Glossary Figures of Speech Poets.org Activities 1. Words can be used in either a literal way (conveying a straightforward, originally intended meaning) or a figurative way (conveying expressive or connotative meaning instead of a literal meaning through the use of figures of speech). For example, if you say, I have to go to the store today to buy some coffee, you mean literally what the words say. A figurative way of expressing the same basic meaning is I m running to the store today to grab some more Java. You most likely are neither running nor grabbing, and Java is an expressive way to refer to coffee. The figurative language, moreover, enhances the sentence s basic meaning by conveying the sense that you might be in a hurry. Figures of speech include schemes, an expressive way to arrange words, and tropes, an expressive way of deviating from the denotative (i.e., dictionary) meaning of a word. A commonly used scheme is parallelism (when words or phrases are presented in a similar structure: I am, what I am, what I am ), and a common trope is metaphor (a direct comparison of two unlike things: her cheeks are roses ). There are many types of figures of speech.. Visit Poets and/or Figures of Speech to view definitions and explanations of figures of speech terms. Recognizing figurative language will help you better understand the meaning of the literary work in which it appears, and you will be better skilled at using figurative language in your own writing and speaking, both for school and outside the classroom. After you have reviewed the 1

2 list of common figures of speech, their definitions, and examples, you can start to search for and analyze additional figures of speech from the Renaissance literature you will read in this lesson. Read the following Shakespeare sonnets, which you can locate at Poets : For you I have been absent in spring (Sonnet 98) When in disgrace with fortune and men s eyes (Sonnet 29) When to the sessions of sweet silent thought (Sonnet 30) As you are reading the poems, write down any words or phrases that are not used in a literal way. Focus on words or phrases that make you pause and reflect on their figurative meaning or use. Use the chart below to record your selections; refer to the examples by the words/lines the poet writes. Once you have located six examples, identify the figure of speech and provide a definition for each. Here are some figures that you should locate: parallelism, personification, metaphor, simile, metonymy, synecdoche, and hyperbole. In the last column, provide your own analysis of the meaning of the figure of speech as it is used in the poem. Two examples have been provided to get you started on this activity. Additionally, use the space below the chart to write down any words for which you do not know the literal meaning. You can look up those words in a dictionary and record their definitions. ( Examples are given.) Figurative Language from Poems Figure of Speech Used Definition Meaning in the Poem Example: Sonnet 98: When proud-pied April, dressed in all his trim, Personification (April portrayed as a young man.) Giving inanimate objects or abstract concepts human characteristics or qualities The personification of the letters helps to juxtapose the speaker s feelings of melancholy because of his absent letter and the playful onset of spring. Example: Sonnet 98: Repetition of Nor... nor Parallelism When words or phrases are presented in a similar structure This helps to build the fact that the speaker cannot participate and enjoy the joys of spring because of his absent love. 2

3 Figurative Figure of Speech Definition Meaning in the Language from Used Poem Poems Sonnet 30: The sad account of fore-bemoanèd moan Metonymy Referring to something or a person with one of its attributes or a word that is closely related The speaker s sorrows are summed up by the one aspect of a moan. Sonnet 29: Haply I think on thee Apostrophe Direct address to an inanimate object, abstract concepts, or a dead person or one who isn t present The speaker refers to his absent lover to bring him happiness in the thought of her. Sonnet 29: Like to the lark at break of day arising Simile A direct comparison between two unlike things using like or as This simile helps to illustrate how the speaker s mood awakens to a better state when he thinks of his lover in the midst of misfortune. Sonnet 29: They were but sweet, but figures of delight, / Drawn after you, you pattern of all those. Metaphor A direct and equal comparison between two things that seem to be unalike Birds and flowers are compared to figures and, hence, have no substance; the absent love, however, is the pattern of all beautiful things. 3

4 Figurative Figure of Speech Definition Meaning in the Language from Used Poem Poems Sonnet 29: men s eyes Synecdoche When just a part of something represents the whole Men s eyes stand in for men at large and their judgment. Sonnet 98: Drawn after you, you pattern of all those. Hyperbole Using exaggerated terms for emphasis Saying that the absent lover is the pattern of all things beautiful emphasizes the speaker s absent love and her ability to transform his thoughts just by thinking of her. Unknown Words: Definitions:

5 Now answer the question: Why is it important to be able to recognize figurative language and its meaning within the context of literature? Explain your answer. Answers will vary but should evidence student understanding of the way figures of speech can affect meaning and convey an emotional or connotative sense of language. 2. Select several works of literature that you are currently reading in class. Consider novels, short fiction, poems, essays, and plays. Choose one longer work or, if you are working on poetry, choose at least three poems. Write down your selection(s) for this activity: Now engage in a Figures of Speech Scavenger Hunt. Find the following figures of speech listed below from the works you have selected. You can locate definitions by visiting Poets and Figures of Speech. In the example column, list the name of the work and cite the passage by chapter number and page number (or, if poetry or drama, line number) and the passage itself. In the final column, explain the meaning of the figurative language as it is used in the passage. Consider the context in which you located the passage. 5

6 Figures of Speech Scavenger Hunt Figure of Speech Example Explanation/Response Metaphor Parallelism Symbolism Simile Metonymy Synecdoche Apostrophe Personification Paradox Oxymoron Hyperbole 6

7 3. Now select one of the works of literature that you used for this activity and answer the question: What influence or effect does the author s use of figurative language have on the work as a whole? Write a two- or three-paragraph essay, citing examples from the literature. 7

8 English 12A Unit 3 Answer Key: The Nature of Poetry Name Date Part 1: Form Objectives In this part of the lesson you will: analyze ways in which poets use imagery, personification, figures of speech, and sounds to evoke readers emotions explain how meaning is enhanced through various features of poetry including sound (e.g., rhythm, repetition, alliteration, consonance, assonance), structure or prosody (e.g., meter, rhyme scheme), and graphic elements (e.g., line length, punctuation, word position) Links Poets.org, from the Academy of American Poets Poetry Glossary, from Poets.org (the Academy of American Poets) Poetry Definitions Renascence Editions Luminarium Activities 1. Many literature students enjoy reading poetry for the personal, emotional response a poem can bring about after one hears or reads it. Yet the interpretation of any poem is not necessarily up for grabs, so to speak. Instead, a poem s meaning is often rooted in both the poem s content and its form. Content refers to the plot-like elements of the poem: its speaker (who is narrating the poem); the person, event, or issue being addressed; the setting or context; and the poem s overall theme or argument. Form refers to the poem s figurative language (e.g., imagery, word choice, figures of speech) and its structure (i.e., its poetic form, such as sonnet or villanelle, rhyme, meter, line length, and sounds). In great poems the relationship between content and form is intricate in other words, the poem s form supports its meaning. An example of a poem that marries form and content is the Renaissance writer Thomas Nashe s A Litany in Time of Plague. Nashe uses each of the elements of poetry defined in the chart below. After accessing Poets to review the Poetry Glossary and/or Poetry Definitions, complete the chart below by citing examples of each element from A Litany in Time of Plague. Then explain how the poetic element supports the meaning of the related line(s). You can find this poem in an English literature anthology (e.g., Norton or Heath) or online at Poets. 1

9 Poetic Element Definition Example from Poem Imagery mental pictures that are Brightness falls drawn by words from the air Personification Metaphor Rhythm/Meter Alliteration Repetition/Refrain Consonance giving inanimate objects or abstract concepts human characteristics or qualities comparison between two different objects without using like or as (vs. a simile, which is a comparison using like or as) a pattern of accents, or beats, throughout a poem, and the number of beats in a line the repetition of sounds, usually at the beginning of words repeated use of words or phrases for some rhetorical effect repetition of consonant sounds, which can be within a word "Come, come!" the bells do cry Beauty is but a flower Iambic trimeter (three sets of an unstressed syllable followed by a stressed syllable in a line) Which wrinkles will... The poem s refrain ( I am sick, I must die/lord, have mercy on us! ) Line 26: fight / fate Explanation This image emphasizes the fleeting nature of beauty. The personification emphasizes the beckoning bells (that ring in death). This metaphor uses the convention of beauty as a flower, but the next line emphasizes how fleeting the flower and, hence, beauty and youth is. The meter creates the sound of a litany (a prayer). The awkward, repetitious beginning sounds in this line call attention to the lack of beauty in the line and, hence, beauty as a flower. This repetition emphasizes the litany, or prayer. The embedded t sounds mimic the sound of swords. 2

10 Poetic Element Definition Example from Explanation Poem Allusion a reference to something or someone outside the work Helen ; Hector In Greek mythology, it was Helen whose beautiful face launched a thousand ships to begin the Trojan war; Hector was a Trojan hero. Other Element: Other Element: 2. A poem s meter and punctuation can have a significant effect on how you read the poem and how the poem conveys its meaning. As you noticed, Nashe s poem is written in iambic trimeter, and almost every line ends with punctuation. Rewrite the poem in prose (paragraph) form without any line breaks and use only periods at the end of each sentence. The revision should read something like this: Adieu, farewell, earth's bliss. This world uncertain is. Fond are life's lustful joys. Death proves them all but toys. None from his darts can fly. I am sick, I must die. Lord, have mercy on us... 3

11 Read your revision out loud. Now reread the poem as Nashe wrote it. Answer the following questions: What effect does the poem s rhythm and meter (that is, its use of iambic trimeter lines) have on the overall mood and meaning of the poem? _ Answers will vary, but students should notice how the meter helps to build the sound of a litany _ both in terms of formal repetition and recitation/response. What effects do the poem s punctuation and line length have on the overall mood and meaning of the poem? _ Answers will vary, but students should notice how the line length and more open punctuation _ via the semi-colon help to establish a flowing rhythm, as opposed to the fully end-stopped lines _ of prose that uses periods after each sentence. _ 3. As you can tell, a poem s meaning often is supported or even enhanced by its form, including the poet s use of figurative language and poetic devices. Using the examples to which you referred above (and other examples if need be) to support your explanations and arguments, write a short essay in which you answer the guiding question: How does Thomas Nashe s poem A Litany in Time of Plague illustrate that a poem s meaning (content) and its form are closely interconnected? _ Answers will vary, but students should be sure to make clear, concrete claims about the poem, _ giving examples to support their arguments and observations. 4

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13 Part 2: Function Objectives In this part of the lesson you will: analyze the melodies of literary language, including its use of evocative words and rhythms compare figurative language and literary techniques (e.g., hyperbole, allusions, irony, rhyme schemes, parody) among predominantly British short stories, drama, poetry, or essays and/or other nonfiction literature Links Poets.org, from the Academy of American Poets Luminarium Activities 1. Many Renaissance poems are known for their melodies and other song-like qualities. The popular Renaissance poem The Passionate Shepherd to His Love by Christopher Marlowe conveys a shepherd s song-like plea to a young lover to live with him in pastoral (country) bliss. Visit Poets, locate this poem, and read it out loud, paying attention to its rhythm. Answer the following questions in a two-paragraph response: How would you describe the poem s tone? How would you describe the rhythm? How does the poem s rhythm establish the tone you identify? Use specific references to the poem to support your answers. Answers will vary, but students should notice the song-like rhythm that supports and enhances the poet s sentimental and hopeful tone. 6

14 2. Now read the equally popular The Nymph s Reply to the Shepherd by Sir Walter Raleigh. You can visit the Luminarium website to locate this poem and an audio reading of it. Raleigh wrote this poem as a direct response to Marlowe s pastoral poem. Answer the following question: How would you describe Raleigh s tone? Compare his tone to Marlowe s. _ Students should notice Raleigh s mocking and realistic, cup half empty tone in contrast to _ Marlowe s hopeful tone. 3. As you noticed, Raleigh s poem is a parody of The Passionate Shepherd to His Love. A parody is a funny or sarcastic imitation of another work. One way that Raleigh mocks Marlowe s poem is to shed a more realistic light on Marlowe s many hyperboles. A hyperbole is an exaggeration. List three hyperboles in The Passionate Shepherd in the space below. 1. I will make thee beds of roses 2. And a thousand fragrant posies 3. Buckles of the purest gold How does The Nymph s Reply break down these hyperboles? Answers may vary, but students should point out the following lines: Thy gowns, thy shoes, thy beds of roses,/thy cap, thy kirtle, and thy posies/soon break, soon wither, soon forgotten--/in folly ripe, in reason rotten. Students should mention that Raleigh points out and understands the fleeting nature of these natural references, revealing that love and youth are fleeting. 7

15 4. Now pay attention to each poem s rhyme scheme. Write down only the end rhymes in the space below, using the first column for The Passionate Shepherd and the second column for The Nymphs Reply. After writing down the rhyming words, answer the questions that follow the rhyming chart. The Passionate Shepherd love prove fields yields rocks flocks falls madrigals roses posies kirtle myrtle wool pull cold gold buds studs move love _ The Nymph s Reply _ young _ tongue _ move _ love fold _ cold _ dumb _ come fields _ yields _ gall _ fall roses _ posies _ forgotten _ rotten buds studs move love 8

16 _ sing _ morning _ move _ love _ breed _ need _ move _ love Marlowe s poem opens with the rhyme love/prove, whereas Raleigh s poem starts with young/tongue. The rhymes are called slant-rhymes (also called half-rhymes or off-rhymes). A slant-rhyme is a partial rhyme based on either the sound device of consonance (i.e., similar consonant sounds) or assonance (i.e., similar vowel sounds) in only part of each word (e.g., dry and died, green and grown, lying and mine). Using your completed rhyme columns, circle additional slant-rhymes. Now answer the following questions: In which lines does Marlowe use slant-rhyme a second time? A third time? In which lines does Raleigh use slant-rhyme a second time? A third time? What effect does Raleigh s rhyme scheme have on his poem s tone and mood? _ Marlowe s second use of slant-rhyme appears in lines 9/10 (roses/posies), and his third use _ appears in lines 13/14 (wool/pull). Raleigh s appears immediately again in lines 3/4 _ (move/love) and lines 7/8 (dumb/come). Students should notice how Raleigh s less obvious _ rhyme scheme via the use of slant rhyme doesn t allow the poem to adopt a sing-song-y _ sound. Now review the rhyming words again. Next to each, write a P for positive word or an N for negative word. Then answer the following questions: How would you describe the words that Raleigh chooses to rhyme? What effect do they have on the poem s tone? _ Answers will vary but should include Raleigh s use of more negative sounding words, and their _ emphasis via rhyme, helps to establish his realistic, mocking tone. 5. As you noticed in the rhyming activity, a poet s word choice can affect the poem s tone and meaning. Evocative words are words that spark a feeling, emotion, image, thought, memory, or other impression. Poets also can evoke feelings and emotions through their syntax and sounds, including alliteration, consonance, and assonance. Syntax refers to sentence structure, including word order and the way a sentence is presented in a poem (e.g., its length, its line breaks, its subject/verb placement.). One way to analyze a poet s use of evocative words and syntax is to paraphrase the poem for its literal meaning, stripping all evocative words and phrases and writing the sentence in simple sentences (e.g., The shepherd loves the nymph ). After doing so, you then can compare the prose paraphrasing to the poem itself. 9

17 Complete the following analysis chart for each poem. In column one, write the original line. In column two, write a paraphrase of each line in your own words to convey the line s meaning. In column three, highlight any evocative words or phrases and/or interesting syntax from the original lines. Use the final column to explain how and why the words and lines are evocative, being sure to mention what feelings, emotions, image, or other impressions the words or syntax bring to mind. (Answers will vary throughout.) Analysis Chart for The Passionate Shepherd to His Love Original Line Come live with me and be my love. And we will all the pleasures prove. Paraphrased Line I love you and want you to live with me. We will take advantage of everything that gives us pleasure. Evocative Words, Syntax, and/or Sounds The opening line is written as a command. consonance ( will / all ) and alliteration ( pleasures prove ) Explanation Writing the sentence as an imperative command gives power to the shepherd s voice. The sounds create a flowing, song-like rhythm. 10

18 Original Line Paraphrased Evocative Explanation Line Words, Syntax, and/or Sounds 11

19 Analysis Chart for The Nymph s Reply to the Shepherd Original Line If all the world and love were young, These pretty pleasures might me move Paraphrased Line If everyone and love itself were young These things might make me Evocative Words, Syntax, and/or Sounds The opening line is written as a conditional sentence. alliteration ( pretty / pleasures and might / me / move ) Explanation The opening line begins with conditions that reveal the poet s doubtful stance. The sounds create a smooth sounding line. 12

20 Original Line Paraphrased Evocative Words, Explanation Line Syntax, and/or Sounds 6. Write a three- to four-paragraph essay in which you compare and contrast Marlowe s and Raleigh s use of figurative and evocative language and poetic elements, such as meter and sound devices, in The Passionate Shepherd to His Love and The Nymph s Reply to the Shepherd. Use information from your analysis charts to support your arguments. In your last paragraph, answer the following question: In your opinion, which poem more effectively combines form and content to establish its theme and meaning? Be sure to explain how and why. _ Answers will vary, but students should be sure to make clear, concrete claims about the poem, _ giving examples to support their arguments and observations. 13

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22 English 12A Unit 3 Answer Key: Exploring Shakespeare Name Date Part 1: Dramatic Conventions Objectives In this part of the lesson you will: identify, analyze, and apply knowledge of the themes, structure, and elements of drama and provide evidence from the text to support understanding: Identify and analyze types of dramatic literature identify and analyze how dramatic conventions (e.g., monologue, soliloquy, chorus, aside, dramatic irony) support or enhance dramatic text Link The Plays of William Shakespeare Activities 1. Drama is a convention for entertainment that can be presented in various forms and is written to be performed. Dramatic operas, plays, television shows, movies, and musicals are just some of the examples of how drama is used for entertainment in society. For this lesson, you will explore drama through the study of William Shakespeare s plays. Shakespeare s plays range from comical to tragic, but they all have a dramatic element to them. A theme is a broad idea in a story, or a message conveyed by a work. This message is usually about life, society, or human nature and is generally implied rather than stated explicitly. There are innumerable themes that can be found within dramatic literature. Some examples include heroism, salvation, death and rebirth, the impulsiveness of youth, initiation, love and duty, feuding families, illusion and reality, and star-crossed lovers. Examples of these themes and their significance in Shakespeare s Romeo and Juliet are: Feuding families. The ongoing war between the Capulets and the Montagues is a significant theme because the family members have been fighting for a long time without real knowledge of what began the feud. It is, therefore, a pointless battle that ends with devastating losses on both sides. Star-crossed lovers. The play revolves around the theme of the ill-fated love between Romeo and Juliet. It is significant because these two young lovers are drawn together by fate in order to end the hate between their families by their deaths. 1

23 Love and duty. The conflict between the love for an enemy and the duty to family is one of the most important themes in the play because both Romeo and Juliet must choose between their love of their families and their love for one another. The idea of respect for family is present throughout the play. Illusion and reality. Juliet appears to be dead but is in fact alive. This theme is significant to the play because it is present in various forms throughout the play. For example, it brings about the demise of Romeo, who in his hastiness upon hearing about Juliet s death, decides to kill himself. The illusion then became a reality when Juliet takes her life. Death and rebirth. Juliet dies after taking the potion but is reborn when she awakes in the tomb. The death of the lovers also results in the rebirth of the relationship between the Capulets and the Montagues (i.e., the feuding ends). The theme of death and rebirth is significant to the play because it forms a balance between death and life within the world of the Capulets and Montagues. Salvation. Romeo and Juliet s desire to marry and run away for a loving life together, away from their feuding families and the hatred and violence, is representative of escaping from evil. Impulsiveness of youth. Romeo and Juliet s decision to marry after just meeting each other is significant to the play because the actions of Romeo and Juliet throughout the play have an impact on the lives of every character in the story. Choose another one of Shakespeare s plays. This can be one that you have already read, or one that you are going to read in class. Identify four to six themes that are present in the play, give an example of the theme by citing it in the text (act, scene, and lines), and then explain why the theme is significant to the play. Play s Title: Theme Example Explanation of Significance 2

24 Theme Example Explanation of Significance 2. When reading and analyzing dramatic literature, especially plays, a good way to understand the structure of the story is by using the diagram below. The diagram outlines the five key elements of a dramatic plot. Climax Rising Action Falling Action Exposition/Conflict Resolution The exposition is where the main problem or conflict is identified. (In Romeo and Juliet, this is where Romeo and Juliet s forbidden relationship is formed.) The rising action is the central part of the play s story where the main action takes place and problems arise. (In Romeo and Juliet, this is the wedding, the duel, Mercutio s death, Tybalt s death, and Romeo s banishment.) The climax is a critical scene where the play s hero faces a major obstacle or problem. (In Romeo and Juliet, this is Romeo and Juliet s death scene.) The falling action is what follows the climax and leads to the end of the play. (In Romeo and Juliet, this is when the Friar reveals the story of Romeo and Juliet s secret marriage and deaths to the Prince.) The resolution is what happens after the final conflict. (In Romeo and Juliet, this is when Lord Capulet and Lord Montague agree to end their long-standing feud.) You will find a structural diagram below. For this activity, you must fill out the diagram with details of the exposition, rising action, climax, falling action, and resolution of your chosen play. 3

25 After you have filled in the diagram, use the space provided to explain why each of the scenes you used for your diagram is significant to the play. Climax Rising Action Play: Falling Action Exposition/Conflict Resolution _ Answers will vary, but students should be sure to address each of the five elements of the structural _ diagram. _ 4

26 3. Dramatic text is both supported and enhanced by the use of dramatic conventions. Dramatic conventions are a set of rules with which both the actors and the audience are familiar, and which act as a useful way of quickly signifying the nature of the action or of a character. Dramatic conventions include monologue, soliloquy, chorus, aside, and dramatic irony. A monologue is a speech made by one person speaking his or her thoughts aloud or directly addressing a reader, audience, or character. A soliloquy is a type of monologue that is given in either a play or a film. Since the speaker is alone, one may assume that he or she is expressing sincere emotions, thoughts, and feelings. Note that this is not always the case in monologues. (An example of a soliloquy can be found in Romeo and Juliet, Act II, Scene ii, when Romeo speaks to himself below Juliet s window.) The chorus offers background and summary information to help the audience follow the performance. (An example of chorus in Romeo and Juliet can be found in the opening of the play when the audience is given a brief summary of what is about to unfold, with the background information about the long-lasting family feud.) An aside is used in dramatic performances and literature and occurs when a character says something to his or herself for the purposes of informing the audience about what the he or she is thinking. (An example of an aside can be found in Romeo and Juliet in Act II, Scene ii, when Romeo is listening to Juliet give a soliloquy. He says, shall I hear more, or shall I speak at this? line 37.) Dramatic irony is the contrast between what the character knows or understands and what the audience knows. (An example of dramatic irony in Romeo and Juliet is when the audience knows about Juliet s plot to fake her death, while Romeo believes she actually had died.) Think about the use of any dramatic conventions in your chosen Shakespearean play. Find examples of the conventions listed above in your play, being sure to note the Act, Scene, and lines. Then, explain how the dramatic conventions enhance and/or support the text. _ Play Title: _ Act: _ Scene: _ Lines: _ 5

27 Dramatic Convention Example from Text Soliloquy How Text Is Enhanced and/or Supported Chorus Aside Dramatic Irony 4. Think about your chosen Shakespearean play and select your favorite scene. Write a paragraph describing how Shakespeare s use of theme and conventions help you to understand the play. Does his use of theme and conventions make the play more enjoyable? Explain with examples from your chosen scene. _ 6

28 Part 2: Dramatic Performances Objectives In this part of the lesson you will: plan and present dramatic readings, recitations, and performances that demonstrate appropriate consideration of audience and purpose demonstrate understanding of the functions of playwright, director, technician, designer, and actor by writing, directing, designing, and/or acting in an original play Activities 1. Think about the play you chose in Part 1 of this lesson and then choose a dialogue or a soliloquy that is lines long. Read the lines carefully and answer the following questions: What message are the lines conveying? What is the significance of these lines to the play? How does the speaker feel? What is the tone of the lines? Who is the speaker s audience? Why is the character speaking to that audience? Is this speech appropriate, or does it defy expectations that other characters have of this character? (For example, is a subject speaking angrily to her king?) 7

29 After answering the above questions, read the lines again, but this time take into account the tone, meaning, and significance of the lines. Is your interpretation of the lines different now than during your initial reading of the text? Why or why not? _ Answers will vary, but students should be able to acknowledge how close reading and _ analyzing the text can change a reader s interpretation of the text. 2. Now that you have a greater understanding of any underlying meaning of your chosen lines, it is time to practice reading them aloud to yourself. Be sure to use your voice, facial expressions, and body language to convey the feelings behind what you are reading. The next step is to prepare to perform the lines to an audience. You may choose to either read or recite the lines, but in either case you must use the appropriate tone and body language that you have practiced. You may also work with a partner to perform a dialogue. For example, you and a partner could perform the balcony scene from Romeo and Juliet, or you and three partners could perform the opening scene between the Capulets and Montagues. 3. When putting on a play, such as Shakespeare s Romeo and Juliet, you need to consider the role of each person involved in the production. Actors are important, but so are the playwright, director, designer, and technical person. The playwright is the person who writes the play. The playwright is in charge of designing the plot (including the five elements of exposition/conflict, rising action, climax, falling action, and resolution) and creating a story that the rest of the team can perform. The director has the primary responsibility of making the playwright s dream become a reality on stage. This includes adding stage direction and guiding the actors. The actors are responsible for realistically interpreting and presenting the play in a way that will have the audience engaged in the story. This includes the appropriate use of tone, facial expressions, and body language. The designer is in charge of building a set for the play that best suits the plot. The designer is also responsible for costumes. The person in charge of the technical aspects of putting on a play is concerned with such elements as lighting and sound. 8

30 For this activity, you will need to form groups of five or six students. The groups will need one playwright, one director, one member to do both the technical aspects and the design, and two or three actors. Groups should be formed based on who would like to take on the specific tasks. The first step after forming the groups is to designate a playwright. The playwright is responsible for coming up with the plot and using the standard dramatic structure. The playwright may wish to ask for ideas and advice from the rest of the group, but ultimately it is the playwright s decision as to what the story will be about. After the play has been written, the director will try to visualize the story. The director will be in charge of assigning each of the actors a character to play and giving some direction on how to portray his or her character. Once the actors have been assigned their characters, they must go and practice their lines. The actors may or may not wish to memorize their lines, but they should be fairly comfortable with the dialogue. It is very important at this point for the actors to practice their lines, both on their own and with the other actors in their group. While the actors are practicing, the director and playwright will work with the person in charge of the technical and design aspects of the play. The technical aspects to consider will be lighting (which will be limited) and sound. Try to be creative about the use of sound in your play. Music in the background of a scene not only enhances the audience s interest but also makes the characters more realistic. The design of the set is a very important part of the play. It is important to decide which props to use, where to place furniture, and what the actors need to wear. All of these decisions will need to be agreed upon by the director and the playwright, but the creative aspect lies with the technical/design group member. Once you have assembled in your group and designated responsibilities, you need to get started. As you go along, fill out information about what each of your group members will be doing for this activity. Playwright: Director: 9

31 Technical/Design: Actor #1: Actor #2: Actor #3: The final step for the design of your play is to plan well and practice, practice, practice. Once you have completed all of the steps and ironed out the details, it is time to perform. 10

32 4. After you have finished producing and performing your play, write a two or three paragraph essay describing your experience. Was it easier or harder than you imagined? What were your main difficulties during the production? If you had to do the activity again, what would you do differently? Were you satisfied with the final outcome of your play? Why or why not? Answers will vary, but students should reflect upon their personal experiences with this exercise. 11

33 English 12A Unit 3 Answer Key: Poetry Extravaganza Name Date Objectives In this lesson you will: write poems using a range of poetic techniques, forms (e.g., sonnet, ballad), and figurative language use literary devices in poetry, narratives, and exposition, including figurative language and analogy recite poems or selections from speeches or dramatic soliloquies (e.g., Hamlet s soliloquy To Be or Not to Be ) with attention to performance details to achieve clarity, force, and aesthetic effect and to demonstrate an understanding of the meaning Links Academy of American Poets Favorite Poem Project Poetry Forms and Techniques How to Read a Poem Out Loud, from Poetry Poetry Out Loud Activities 1. Most poets writing today would agree that writing a poem is one part drafting and ten parts revising. A published poem most likely went through multiple versions before the poet crafted the final version. Novice poets can learn from the masters and, in turn, develop an appreciation for the various steps that facilitate the craft of writing any poem. Writing poetry is a highly personal and creative experience. As such, there are no set rules for the general process of writing poetry. Some general guidelines and tips from established poets, however, can jumpstart your writing process. Learning and practicing elements of form and craft can help you perfect your own craft and skills as a poet regardless of whether you are writing a poem in a conventional form or in free verse. Start by engaging in pre-writing techniques such as note-taking, brainstorming, and reading poetry to spark your own ideas and emotions. After finding a writing space that suits you 1

34 (private and quiet or public with background noise) and setting up your writing materials, try the following pre-writing techniques: Note-taking: Even though you may have a preferred writing space, you never know when ideas will come to you. Push yourself to start paying attention to details: the way the sun sets over the same space each dusk, sounds you may have tuned out in the past, simple details along your walk to the school building or each class, a compelling personal story that you have never told. Write any ideas and details as they come to you, perhaps in a small notebook or PDA that you always have with you. You can return to these ideas and details when you sit down to write a poem. Brainstorming: Alternatively, if you sit down to write a poem with a fresh mind, you can brainstorm ideas by simply writing your thoughts as they come to you or writing impressions about an event or idea. Use the following questions to help spark your creativity; you can write your brainstorming notes in the space provided below. o Is there a recent event that has struck you emotionally? What emotions did you have? Why do you think you have felt this way? o Is there an idea or image that has been popping up in your head in recent days? o What feelings or emotions have you experienced lately? What is the basis of these feelings or emotions? o Is there a meaningful person or place you would like to write about? o Did you see, hear, or otherwise notice any interesting details over the past few days? 2

35 Brainstorming Notes: 3

36 Reading Poetry: Perhaps the best way to spark your own creativity and imagination is to spend minutes reading published poetry before you start writing your own poem. Doing so will inspire the right mindset, and the poems may generate an emotion or idea that you can write about in your own way and in your own poetic voice. Your poetic voice consists of those formal and thematic elements that make your writing stand out as yours alone. For example, a poetic voice can be described as sentimental, urban, or confessional. Even though you should create your own voice, reading published poetry is still an effective way to get you in the right frame of mind to write. Read from an introduction to poetry or introduction to English literature anthology or a volume of your favorite poet, or browse the poetry resources in the first few websites in the links section. To enhance your mindset on a specific topic, you can glance at poems organized by common occasions by visiting Poets, or you can view others readings of and connections to their favorite poems by visiting Favorite Poem Project. As you are reading (both silently and aloud), write down any emotions, ideas, or details that emerge in your mind. Spend this time free-associating; that is, let the words, ideas, and images come to you naturally and freely. Free Association Words/Ideas/Emotions:

37 2. Think generally about the type of poem you aspire to write. Though poems come in many forms (e.g., sonnet, ballad, villanelle), there are two general types of poems you can write: a narrative poem (a poem that tells a story) or a lyrical poem (a meditative poem that attempts to convey the poet s emotions or feelings instead of a story). Christopher Marlowe s The Passionate Shepherd to His Love is an example of a narrative poem, while Shakespeare s Sonnet 29, When, in disgrace with Fortune and men s eyes, is an example of a lyrical poem. Review your brainstorming and free association ideas. Do they start to tell a story? Or are you better prepared to write a lyrical poem in which you reflect upon an emotion or feeling without the need to tell a story? Write down the type of poem you will write: 3. Freely write the first draft. Without actively paying attention to spelling, word choices, poetic devices (e.g., metaphors), line breaks, or poetic form (e.g., sonnet, ballad), create the first draft of your poem. Try to lose yourself into the poem and see where the words take you. Remember that you will go back to revise your poem, so do not worry at this point about the mechanics of writing. For example, you don t have to make sure you have the most effective line breaks at this point; instead, just write on a blank piece of paper, in your poetry notebook, or in an electronic document any words as they come to you. 4. Review your first draft and read it out loud. Perhaps the best way to critique your draft is to read it out loud. As you read and re-read your poem, don t be afraid to mark it up. Revision is the way to perfect your craft as a poet. Use the following checklist to revise your poem: Poetry Revision Checklist Listen to whether there are any words, phrases, or lines that sound clunky or off kilter. If so, underline or highlight those lines. Circle or highlight any words that may be replaced by more vivid words or phrases. Keep in mind, though, that your word choice should reflect your own voice. Stick to words that sound natural to you. Cross out any words or phrases that sound too wordy or unnecessary, especially as you read the poem out loud. Give up even great lines. You may have some great lines in any draft, but they may not be appropriate to the poem at hand. Don t be afraid to strike those lines, but save them either in a notebook or on your computer for a later poem. 5

38 Poetry Revision Checklist Pay attention to each line break. Read line by line, asking yourself if the line break occurs in an appropriate place that either sounds like a natural pause, thereby creating good rhythm or word flow, or emphasizes words for greater effect or meaning. Think about the stanzas. A stanza is a unit of lines within a larger poem, indicated by space between lines. Pay attention to the way the poem sounds and flows. Does the poem convey a particular rhythm? Did you notice a rhyme scheme, even a loose rhyme scheme? Make sure your words either support the rhyme scheme and rhythm or break the rhyme or rhythm to enhance meaning. 5. Experiment with poetic forms. By this point in the writing process, you can start to experiment with poetic forms. You can review types of poetry forms and techniques by visiting Poetic Forms and Techniques. Some poets start the writing process with a form in mind; the form actually inspires ideas and creativity. For others, several drafts of a poem eventually work their way into a distinct form. You will have to determine your own approach to writing in conventional forms. For this activity and at this stage of the writing process, however, you will practice writing in specific conventional poetic forms. Writing in conventional forms is a great way for novice poets to start to pay closer attention to sounds, meter (rhythm), and rhyme. You can also find definitions of poetic forms by visiting Poetic Forms and Techniques. Ballad: A narrative, or plot-driven, poem that describes important moments as an event emotionally unfolds. Ballads often are written in four-line (quatrain) stanzas, with each line containing as few as three or four stresses and rhyming either the second and fourth lines or all alternating lines. One famous ballad is the English poet Samuel Taylor Coleridge s The Rime of the Ancient Mariner. Sonnet: o An Italian sonnet comprises two stanzas: one eight-line stanza (octave) followed by a six-line stanza (sestet) that answers the octave. The rhyme scheme is abba, abba, cdecde or cdcdcd. An English-language example is John Donne s Death, be not proud (Holy Sonnet 10). o A Shakespearean sonnet consists of three 4-line stanzas (quatrains) and a final couplet (a 2-line stanza). The rhyme scheme is abab, cdcd, efef, gg, and the couplet presents a turning point or epiphany at the end of the poem. A famous example of this form is Shakespeare s Sonnet 130, My mistress eyes are nothing like the sun. Review your brainstorming and pre-writing notes. If you want your poem to tell a story, you will write a ballad in this activity. If you want your poem to be a lyrical poem, you will write a sonnet. Complete one of the exercises below depending on which type of poem you choose. 6

39 Ballad: Write down the main events of your narrative and identify the emotion you wish to convey. Do not worry about the epiphany (sudden insight) at this point; let that come to you naturally as you write and revise your poem Use the first three stanzas to unfold the events you identified above; save the last stanza for your emotional epiphany. Start to shape your poem into a ballad by first considering the form s rhyme scheme, as outlined below. For this exercise, you will rhyme just the second and fourth lines of each stanza, and you will write four quatrains. For your rhyming lines, you can use traditional rhyme or you can use slant-rhyme (also called half-rhyme or off-rhyme) to write a more contemporary sounding ballad. A slant-rhyme is a partial rhyme based on either the sound device of consonance (similar consonant sounds) or assonance (similar vowel sounds) in only part of each word (e.g., dry and died, green and grown, or lying and mine). As you are working with form, be sure to read each line regularly until you settle into a pleasing meter. For this exercise, write three or four iambs (an unstressed syllable followed by a stressed syllable) in each line. Use iambic trimeter (three iambs composed of six syllables) or iambic tetrameter (four iambs composed of eight syllables). Just be sure to choose trimeter or tetrameter and stick to it. Line 1 Rhyme A Line 3 Rhyme A Line 5 Rhyme B Line 7 Rhyme B Line 9 Rhyme C Line 11 Rhyme C 7

40 Line 13 Rhyme D Line 15 Rhyme D Sonnet: Shape your lyrical poem into a Shakespearean sonnet by using the rhyme guide below. Each line should be in iambic pentameter (five sets of unstressed syllables followed by stressed syllables). You can write a contemporary sonnet by writing lines that loosely follow an iambic rhythm. As such, not every line will be precisely 10 syllables. Using an iambic pentameter line as a guide, however, will help you closely analyze your word choices and the sound and rhythm of each line. For your rhyming lines you can use traditional rhyme, or you can use slant-rhyme (also called half-rhyme or off-rhyme) to write a more contemporary sounding ballad. A slant-rhyme is a partial rhyme based on either the sound device of consonance (similar consonant sounds) or assonance (similar vowel sounds) in only part of each word (e.g., dry and died, green and grown, or lying and mine). Make sure to stick to the abab, cdcd, efef, gg rhyme scheme. Rhyme A Rhyme B Rhyme A Rhyme B Rhyme C Rhyme D Rhyme C Rhyme D Rhyme E Rhyme F Rhyme E Rhyme F Rhyme G Rhyme G 8

41 6. Continue to re-read aloud and revise by integrating poetic devices. Sometimes a poem can begin to lose its energy and appeal to a reader. If this happens, you can revise by integrating poetic devices, such as the examples below from Shakespeare s Sonnet 18, Shall I compare thee to a summer s day. Poetic Device Definition Example Imagery mental pictures that are drawn by words Rough winds do shake the darling buds of May Personification Analogy Rhythm/Meter Line Break Alliteration Repetition giving inanimate objects or abstract concepts human characteristics or qualities comparison between two similar things a pattern of accents, or beats, throughout a poem, and the number of beats in a line. often the place in the poem where a pause in rhythm is assumed the repetition of sounds at the beginning of words repeated use of words or phrases for some rhetorical effect heaven has an eye and gold complexion This whole poem is an analogy between the speaker s lover and a summer day. iambic pentameter lines (five iambs, or feet, with alternating unstressed and stressed syllables) This sonnet s line breaks are emphasized by punctuation and lines that, individually, are coherent in meaning. Line 7: Chance...changing (compared to change in c sound at course ) So long /So long Consonance repetition of consonant sounds, which can be within a word Repetition of m sounds throughout the whole sonnet present a humming, stable sound and carry the sense of temperance throughout the sonnet. Compare: summer s temperate sometime complexion dimmed sometimes... untrimmed summer Assonance repetition of vowel sounds Line 11: the lighter, short a sounds in shall, brag, wander st (compared to long a in shade). 9