Poetry Texts
1136 internals.qxd:91138 0199R0.qxd3/7/0812:34 PMPage 69Poetry TextsStructure and featuresof poetry textsPURPOSEPoetry captures the essence of an object,feeling or thought. Poetry for children shouldreflect the emotions of childhood, makingstudents feel sensory experiences to anintensified degree and satisfying their naturalresponse to rhythm.FORMSOF POETRYLyric poetryThis is poetry that was originally sung to the lyre.The word lyric tends to be used in conventionalliterary studies to refer to any shorter poem thatexpresses the poet’s feelings and thoughts.Most of the poetry written for students is lyrical.Lyrical poetry sings its way into the minds andmemories of its readers. It is usually personal ordescriptive poetry with no prescribed length orstructure other than its melody.Concrete poetryPoets have been writing concrete poetry sincethe 17th century. In concrete poetry the shapeand position of the letters and words reflectthe meaning. This allows the poet to combineverbal and visual skills and experiment withlanguage to heighten awareness of the meaningof individual words. Meaning must be thefocus and then the shaping of the words willgrow from the idea of the poem. In ElizabethHoney’s ‘Honey Sandwich’ she captures theimage of the small child making a sandwichtrying to control the runny honey.Humorous verseYoung students appear to prefer narrativerhyme and humorous verse over most otherforms of poetry. This stirs their imaginationand appeals to their sense of fun. The use ofimaginative symbols and vivid imagery andmetaphor mark the difference between realpoetry and verse.BalladsBallads satisfy a student’s innate love of story.Ballads are narrative poems that were sungduring the 15th century in Europe and forman important part of the oral storytellingtradition. Ballads were simple, dramatic andentertaining stories that told succeedinggenerations of important events.There are three types of ballads: traditionalsong ballads; popular or modern ballads; andpoems or literary ballads that are not meant tobe sung.Traditional ballads were passed on orally.Words were often changed because balladsingers forgot some of the details of theversion they first heard. At times the text waschanged to suit the storyteller. Balladstherefore changed as they were told by onegeneration to another till eventually they werewritten down.STRUCTUREOF POETRY TEXTSBy its structure and use of rhyme, metre andfigures of speech, poetry differs from other texttypes. Words are not casually connected but arelinked in the mind of the creator. The plan ofa poem has design and form. Well-writtenpoetry should leave the reader pondering,questioning, considering and investigating.69
1136 internals.qxd:91138 0199R0.qxd3/7/0812:34 PMPage 70A poet responds and is inspired by the stimuliaround him. Poets help us to see familiarobjects, people and experiences in differentways by engaging our senses of sight, sound,taste, touch and smell. Poets communicatethoughts and feelings, leading us to a betterunderstanding of human nature and the world.Students respond to stress patterns or speechrhythms that reinforce the sense of the wordand the rhyme. The students soon understandthat a change of rhythm is indicative of a newelement in a poem.The most common rhyme pattern is calledend rhyme. This means that the end words oftwo consecutive lines, alternate lines or evenlines further apart rhyme. Some poets may usean internal rhyme where two words rhymewithin the same line.Discussions of verse form with students canprovide opportunities for language play. Astudent who is mathematically inclined mayenjoy comparing a ballad, sensory poem ordescriptive to see how they differ structurally.Students who experience considerabledifficulties in writing prose can often expressthemselves quite fluently in verse. Poetrywriting enables students to gain anappreciation of patterning and other poetictechniques as well as a practical insight into thefunction of language.The structure of a ballad is similar to anarrative, with the addition of a refrain. Therefrain acts as a commentary on events andholds the poem together. It generally appearsafter each verse.Orientation Refrain (optional)Complication Refrain (optional)Series of events Refrain (optional)Resolution Refrain (optional)70LANGUAGEFEATURES OFPOETRY TEXTS The rhyme, rhythm and layout of poetrydiffers from that of prose. Poetry can have end rhyme or internalrhyme. Images are used to portray feelings andemotions. The essence of an idea or thought can becaptured. Experiences can be intensified. An everyday experience can be clarified in away that the reader has never seen before. Rhythm is used to establish the mood of apoem, e.g. slow and sad, fast and happy, calmand reflective.LANGUAGEFEATURES OF BALLADS Topics vary but many ballads tell of love,death, battle or the supernatural. Few details appear about the characters andsetting as the focus is on the events oractions. These are told through the dialogue. Part of the ballad, or the entire ballad, is toldin dialogue by a first person narrator (I) tothe audience (you). The story is generally told in four-linestanzas of regular length. The rhyme is oftenabcb. The ballad’s mood is established by a regularrhythm that helps memorisation. The ballad is held together by the repeatedrefrain appearing after each stanza. The word order can be changed to suit therhythm, e.g. ‘A soldier brave’. A semicolon is used instead of a full stop atthe end of the second line of a four-linestanza. Often ballads end abruptly.
1136 internals.qxd:91138 0199R0.qxd3/7/0812:34 PMPage 71Name ClassOutcomes ChecklistBLM 54Poetry TextsAt the end of the units on poetry texts, students will have worked towards achievingthe following National Level 3 (NSW Stage 2) outcomes.SPEAKING AND LISTENINGBLMNA 3.1 NSW 2.1Communicates and interacts for specific purposes with studentsin the classroom and in the school community using a smallrange of text types.62, 66, 68, 72,79, 82, 89NA 3.4 NSW 2.2Interacts effectively and reflects on own skills and how others usecommunicating skills and listening strategies.61, 66, 71, 76,78, 82NA 3.2 NSW 2.3Recognises that certain types of spoken texts are associated withparticular audiences and purposes.63, 67, 73, 74,77, 88DATE & COMMENTSREADING AND VIEWINGNA 3.5 NSW 2.5Reads a wide range of written and visual texts and interprets anddiscusses relationships between ideas, information and events.63, 67, 68, 73,78, 83, 88NA 3.6 NSW 2.7Identifies simple symbolic meaning and stereotypes in texts anddiscusses how writers create worlds through language whichachieves a wide range of purposes.67, 72, 76, 78,79, 88NA 3.7 NSW 2.8Identifies, discusses and uses the grammatical features and thestructures of a range of text types to create meaning.61, 87WritingNA 3.12a NSW 2.9Uses strategies to plan, review, proofread and publish ownwriting with awareness of audience and written languagefeatures.80, 84, 87, 90NA 3.11 NSW 2.10 2.14Able to produce a clear text using correct sentence structure,most grammatical features and punctuation conventions of thetext type.62, 80, 83, 84NA 3.12b NSW 2.11Consistently makes informed attempts at spelling.69, 76, 77, 79,80, 89NA 3.10 NSW 2.13Recognises and discusses how own texts are adjusted to relate todifferent readers, how they develop the subject matter forparticular purposes and audiences.77NA 3.9Experiments with interrelating ideas and information whenwriting about familiar topics within a small range of text types.62, 69, 71, 74,90NSW 2.12Writes using consistent shape, size, slope and formation.Demonstrates basic desktop skills on the computer.78, 80Blake Education Fully Reproducible71
1136 internals.qxd:91138 0199R0.qxd3/7/0812:34 PMPage 72BackgroundLessonsIf too much time is devoted to analysing asingle poem, students frequently become boredand restless. The way to overcome this is to askstudents to prepare for a performance.Children will read and reread poems in orderto prepare, while the rhythms impressthemselves and the meaning works on themind and spirit. Performance leads to thediscussion of the meaning of each line andhow it will be said. With the addition ofmovement and sound effects, the students willpresent a worthwhile and enjoyableperformance.Session 1Breaking the patternCut up a poem into single lines and challengepairs of students to try to work out the originalpoem. This will lead students to discuss thepoem’s structure and its intended sequence.Students will focus on the rhythm, rhyme andlayout and aspects of the language of the poem.They will become aware of the feeling drivingthe poem forward. A lyric poem is useful forthis as its verses may appear to standindependently but there are normally clues inthe text as to which verse should appear wherein the overall format of the poem.Session 2Cloze techniqueStudents can work independently or in pairs onthis task. To assist students and build theirconfidence when using a rhyming technique takea poem divided into verses that follows a regularrhyming pattern. Leave the first verse untouchedand then follow a cloze technique, erasing endwords on lines so that students can selectappropriate words for meaning and rhythm.Session 3Writing poetryFor students who have not written muchpoetry, one focus per line is a useful startingpoint from which they can later deviate. As thestudents become more advanced they canthink about a recurring motif, chains of imagesor sound effects creating a link.Line 1WhoRainLine 2WhatDripping strange outlinesLine 3WhereOn the broken toyLine 4WhenOn a quiet morningLine 5WhyTo cleanse the air on this daySession 4Sensory poetryPsychologists describe people’s earliestmemories as sensory as we are able to recallthe way things smell and taste. The followinglessons provide students with experience inwriting sensory poems.In the first poem students describe a goldensunset. They are to add their thoughts to eachof the lines.72
1136 internals.qxd:91138 0199R0.qxd3/7/0812:35 PMPage 73Session 5DescriptionsA walk in the Australian bushI seeI hearI feelI smellI tasteStudents will soon develop confidence andwant to attempt a number of poems whenthey write these simple but effectivedescriptions.Encourage students to attempt to use theirsenses to describe other experiences they have,for example the sound of screeching brakes ora window pane shattering.Students write four line poems which describea scene. The three lines follow one anotheradding details to the description but the fourthline of each one has a twist or changes thecontext. (See BLM 55.)Before the second poem, cut up slices of apple,pieces of celery and sticks of carrot sufficientin number for each student to have one piece.Each student chooses a piece that will be thesubject described in a sensory poem.Ask students to attempt other words followingthe outline and format below.Ask the students to follow this sequence:ExampleAppleSay the word for your slice or stick.Rosy redWrite words you associate with it as you say it.Write a describing word or adjective for it.Delicious tastingRoundly reflecting lightDescribe how it looks.So smooth and firmDescribe how it feels.Ask the students to bite into the stick or piece.Crunchy and fleshyWrite a sound word.Describe how it feels in your mouth.as sweet as honeyDescribe the taste.Describe how it feels as you swallow.Describe the aftertaste.but firm with a tasteSmall pieces dissolvingLonging for another biteWhat does the apple/celery stick or carrot Could this be the witch’sremind you of?apple from my fairy story?Blake Education Fully Reproducible73
1136 internals.qxd:91138 0199R0.qxd3/7/0812:35 PMPage 74Session 6WordlesSession 7Descriptive poetryEncourage students to have fun writing‘wordles’. These are single words written in avisual way so that their meaning is clearlyexpressed, for example small, fat.Students should work independently or with awriting buddy. They should decide on acharacter to be the focus of their writing. Thischaracter is completing a task at a specific timeof the day. He or she could be waking andstruggling out of bed; rushing to catch the busto school; lying around on a hot afternoon;baking a cake; eating an ice-cream; learning toride a bicycle.The next step could be writing descriptivewords for an object and using these to createthe shape of the object they are describing, forexample a bed spring, a plant, a horse, ahaunted house.G,NIOKHCDYING.CLINGING,STICKING,,GNIBCLIM74
1136 internals.qxd:91138 0199R0.qxd3/7/0812:35 PMPage 75Ask students to close their eyes so that theycan picture the experience more fully then askthem independently to write down the wordsrelating to the action. The emphasis is onspontaneous thoughts, opinions and a free flowof ideas. At this stage students can talk to theirwriting buddy or work independently drawinga picture of their thoughts. It is important thatwhen students illustrate the poem, they try tovisualise a humorous possibility that is part ofthe verbal description.The poem could be written in the first orthird person, but students need to concentrateon creating a picture in the reader’s mind ofthe action and feelings. Meaning must be thefocus and then the shape of the poem shouldbe created in the image of the action. Laterstudents can work in inventive ways playingwith words, phrases, sound patterns and imagesto clarify the meaning. Ask students to sharethese verbal and visual picture/concrete poemswith other students.A second type of descriptive poetry involvesstudents writing descriptive colour poetrywhere a different colour appears in each line.Students should try to vary the places andimages where they describe the colours.Red is the colour of my toe rubbed so raw inmy new shoes.Yellow is the colour of flowing custardspreading over my bananas.BlueSession 8Become an object!Ask students to imagine that they are aninanimate object. They then write a poem as ifthey were that object, for example a can ofbeans or a fork used to eat dinner. What wouldthey think about, feel and say? What dialoguewould they write if they were a desk chairspeaking to a computer or breakfast cerealspeaking to a bar of soap? Ask students tosuggest other ideas for inanimate objects.Session 9Wish poetryEncourage students to write wish poems wherethey begin each line with ‘I wish . . .’ Theyshould continue the rhyming pattern that hasbeen established and try ending the poemhumorously or with a twist. (See BLM 56.)Session 10BalladEncourage students to attempt a class ballad. Itis important at the pre-writing stage that as aclass the tale is worked out from beginning toend. One of the benefits of the ballad form isthat groups can take on the task of writing oneor two verses of the overall tale. Students needto be reminded of the structure, features andlanguage of the ballad. Suggest that it can bewritten in a simpler form of aabb as a startingpoint, for example:Sweet Susie is her nameRobbery is her game;I was in the town when she came outThey shut the doors when she was about.Blake Education Fully Reproducible75
1136 internals.qxd:91138 0199R0.qxdBLM 553/7/0812:35 PMPage 76Name DatePoems With a TwistWrite some poems with a twist. These are simple, four-line poems which describe ascene. The three lines follow one another and then a twist appears in the fourth line.Illustrate your poems.Colourful umbrellasYellow raincoatsBlack gumbootsNo rain.76Blake Education Fully Reproducible
1136 internals.qxd:91138 0199R0.qxd3/7/0812:35 PMPage 77Name DateBLM 56Wish PoemsComplete the wish poem. Then create an illustration that would add some humour tothe poem.I wish . . .I wish I could climb that gnarled old treeI wish it was not so difficult for me.I wish I could sing all the hits on that chartI wish I could hit the bull’s eye with my dart.I wishI wishI wishI wishI wishI wishI wishI wishBlake Education Fully Reproducible77
1136 internals.qxd:91138 0199R0.qxdBLM 573/7/0812:35 PMPage 78Name DateBallad ScaffoldOrientation:Repeated refrain:Complication:(Repeated refrain)Series of events:(Repeated refrain)Resolution:(Repeated refrain)78Blake Education Fully Reproducible
1136 internals.qxd:91138 0199R0.qxd3/7/0812:35 PMPage 79BLM 58Poetry Writing InterviewName:Class:Date:Self-assessment e.g. What type of poetry do you enjoy writing or reading? Is there anypoetry that you would particularly like to write that you haven’t yet tried? Is thereanything you don’t like writing about or find difficult about writing poetry? How doyou rate yourself as a poet?Range and preferences e.g. What do you like writing poetry about and for what typeof audiences? What strategies do you use to make your poetry clear and interesting?Skills e.g. How do you plan your poems? How do you edit your work? Are your ideasmore important, or accurate spelling and correct sentence structure? How do you checkspelling if you are unsure of a word?Current projects e.g. What poems are you writing now? What would you like to write?Blake Education Fully Reproducible79
1136 internals.qxd:91138 0199R0.qxd3/7/0812:35 PMPage 80BLM 59Poetry Writing AssessmentName:Class:Date:Task e.g. Rhyming, sensory, humourous, descriptive poetryContext e.g. Individual, pairs, group, teacher directedANALYSISContent e.g. Purpose, organisation of verses or format, awareness of audienceSkills e.g. Planning, drafting, editing, redrafting, spelling, punctuation, handwritingLanguage study e.g. Selection of appropriate sensory and descriptive languageTeaching needs e.g. Attitude to task, teaching needed for further development80Blake Education Fully Reproducible
Poetry Texts Structure and features of poetry texts PURPOSE Poetry captures the essence of an object, feeling or thought. Poetry for children should reflect the emotions of childhood, making students feel sensory experiences to an intensified degree and satisfying their natural response to rhythm. FORMS OF POETRY Lyric poetry
Laila Ragab Marlena Rasmussen Prathamesh Sabarinath Lia Schwalje Molly Van Wyk POETRY 3 STORIES 27 BURSTS 31 OF CREATIVITY Inside this issue: GRANT SCHOOL LITERARY MAGAZINE . POETRY Page 3 By: Laila Ragab. POETRY Page 4 . POETRY Page 5 . POETRY Page 6 . POETRY Page 7 . Page 8 . POETRY Page 9 . POETRY Page 10 . POETRY Page 11 . POETRY Page 12 .
affirmed that poetry should be shared every day—meshing with every area of the curriculum. To spark a love of poetry, to bring poetry into children’s lives in a meaningful, unforced way is one of the best gifts we can give. Reading, writing, collecting, and sharing poetry is my passion. The power of poetry forever mystifies me, for so much .
2.6.1 The Characteristics of English Poetry 19 2.6.2 The Importance of Poetry in the Classroom 21 2.6.3 Considerations and Principles of choosing an Educational Poetry 26 2.6.4 Strategies for Teaching Poetry in the Classroom 27 2.7 The Impact of Using Poetry on Devel
Poetryclass Fresh ideas for learning from The Poetry Society 1 Nature and wellbeing in poetry by Clare Mulley Introduction This resource provides the basis for an understanding of nature and wellbeing in poetry. It is designed as an accompaniment to a poetry challenge by the T
ESSENTIALS IN LITERATURE LEVEL 9: SAMPLE POETRY POETRY: LECTURE Day 1 - Elements of Poetry, Poetry Structure Day 2 - Sound Devices, Other Elements of Poetry Day 3 - Figurative Language DREAMS Day 1 - Meet the Author, Making Life's Connections Day 2 - Access the Backdrop, Analyzing Figurative Language: Metaphor, Elements of Poetry: Mood and Tone, Analyzing Figurative Language:
HSC English Prescriptions 2019-2023 6 Across Stage 6 the selection of texts must give students experience of the following: a range of types of texts inclusive of prose fiction, drama, poetry, nonfiction, film, media and digital texts. texts which are widely regarded as quality literature, including a range of literary texts written about intercultural experiences and the peoples and .
154 Chapter 2: Informational Texts When you compare and contrast across texts, you look at the similarities and differences in the texts . Comparisons focus on the things that the texts share . Contrasts focus on differences . Comparing and contrasting across texts will help you better understand each text .
Scrum for Video Game Development Mike Cohn - background Mountain Goat Software, LLC 1 2 Wednesday, January 23, 2008
