Thursday, October 31, 2013

Poe, The Raven, part 2

Click here for the Simpsons' Treehouse of Horror episode with "The Raven."

Poetic Meter:

A foot is a grouping of stressed (´ ) and/or unstressed ( ˘ ) syllables.
Iamb ˘ ´
Trochee ´ ˘
Anapest ˘ ˘ ´
Dactyl ´ ˘ ˘
Spondee ´ ´
Pyrrhic ˘ ˘
Number of feet per line
Mono = 1
Di = 2
Tri = 3
Tetra = 4
Penta = 5
Hexa = 6
Hepta = 7
Octa = 8
Nona = 9
Deca = 10
              /        ˘  /        ˘   /    ˘     /      ˘    /     ˘      /      ˘       /          ˘   /         ˘
         Ah, distinctly I remember it was in the bleak December,                   d

Mark the meter in the next two lines yourself.  What meter is Poe using in this poem?

         And each separate dying ember wrought its ghost upon the floor.     b

         Eagerly I wished the morrow; - vainly I had sought to borrow      

(Trochaic Octameter)

Find a link to a rap about Poe's biography and rhyme scheme here.





Wednesday, October 30, 2013

Edgar Allan Poe, The Raven


“The Raven”
Edgar Allan Poe

Alliteration – the repetition of consonant sounds, usually at the beginning of words. Alliteration is marked in blue.
Assonance – the repetition of vowel sounds, usually within words. Assonance is marked in purple.
Onomatopoeia – the use of a word whose sound imitates its meaning.  Onomatopoeia is marked in yellow.
Internal rhyme – the rhyming of words within a line of poetry, not just at the end of the lines. Internal rhymes are marked in red.
Rhyme scheme – the pattern of end rhymes (rhyming words at the end of a line) in a poem.  Rhyme scheme is commonly indicated with letters of the alphabet, each rhyming sound represented by a different letter of the alphabet.

Assignment:  Alliteration, assonance, internal rhyme, rhyme scheme, and onomatopoeia are marked in the first two stanzas of the poem. Find and mark these devices in the later verses. 


To hear the poem read by Christopher Walken, click here.


The Raven
[First published in 1845]
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Once upon a midnight dreary, while I pondered weak and weary,       a
Over many a quaint and curious volume of forgotten lore,                  b
While I nodded, nearly napping, suddenly there came a tapping,        c
As of some one gently rapping, rapping at my chamber door.           b
`'Tis some visitor,' I muttered, `tapping at my chamber door -           b
Only this, and nothing more.'                                                              b

Ah, distinctly I remember it was in the bleak December,                   d
And each separate dying ember wrought its ghost upon the floor.     b
Eagerly I wished the morrow; - vainly I had sought to borrow           e
From my books surcease of sorrow - sorrow for the lost Lenore -      b
For the rare and radiant maiden whom the angels named Lenore -     b
Nameless here for evermore.                                                                b

And the silken sad uncertain rustling of each purple curtain
Thrilled me - filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
`'Tis some visitor entreating entrance at my chamber door -
Some late visitor entreating entrance at my chamber door; -
This it is, and nothing more,'

Presently my soul grew stronger; hesitating then no longer,
`Sir,' said I, `or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you' - here I opened wide the door; -
Darkness there, and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before
But the silence was unbroken, and the darkness gave no token,
And the only word there spoken was the whispered word, `Lenore!'
This I whispered, and an echo murmured back the word, `Lenore!'
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
`Surely,' said I, `surely that is something at my window lattice;
Let me see then, what thereat is, and this mystery explore -
Let my heart be still a moment and this mystery explore; -
'Tis the wind and nothing more!'

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door -
Perched upon a bust of Pallas just above my chamber door -
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
`Though thy crest be shorn and shaven, thou,' I said, `art sure no craven.
Ghastly grim and ancient raven wandering from the nightly shore -
Tell me what thy lordly name is on the Night's Plutonian shore!'
Quoth the raven, `Nevermore.'

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning - little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door -
Bird or beast above the sculptured bust above his chamber door,
With such name as `Nevermore.'

But the raven, sitting lonely on the placid bust, spoke only,
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered - not a feather then he fluttered -
Till I scarcely more than muttered `Other friends have flown before -
On the morrow he will leave me, as my hopes have flown before.'
Then the bird said, `Nevermore.'

Startled at the stillness broken by reply so aptly spoken,
`Doubtless,' said I, `what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful disaster
Followed fast and followed faster till his songs one burden bore -
Till the dirges of his hope that melancholy burden bore
Of "Never-nevermore."'

But the raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore -
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking `Nevermore.'

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
`Wretch,' I cried, `thy God hath lent thee - by these angels he has sent thee
Respite - respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil! -
Whether tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted -
On this home by horror haunted - tell me truly, I implore -
Is there - is there balm in Gilead? - tell me - tell me, I implore!'
Quoth the raven, `Nevermore.'

`Prophet!' said I, `thing of evil! - prophet still, if bird or devil!
By that Heaven that bends above us - by that God we both adore -
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels named Lenore -
Clasp a rare and radiant maiden, whom the angels named Lenore?'
Quoth the raven, `Nevermore.'

`Be that word our sign of parting, bird or fiend!' I shrieked upstarting -
`Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! - quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!'
Quoth the raven, `Nevermore.'

And the raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted - nevermore!
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Tuesday, October 29, 2013

Jon Krakauer, part 3


Timeline Scavenger Hunt

Create a timeline for the events in the article. Begin in June 1990 with Chris McCandless’ college graduation, end with Sept. 6, 1992. Include at least fifteen events between.

Put your timeline on poster paper, including the text of postcards, quotations from books or McCandless’ journal, names of people met, and illustrations of the various timeline events encountered along the way.


Finish this poster, begun on Friday.


Monday, October 28, 2013

Persuasive Speeches

Finish Outline (begun last Monday in class).

Today's Goal:
Upload completed outline to turnitin.com.

Friday, October 25, 2013

Jon Krakauer, cont.

"Death of an Innocent: How Christopher McCandless Lost His Way in the Wilds"

Jon Krakauer



Vocabulary

From context clues in sentences nearby, determine meaning of the following words (page numbers in parentheses):

1.      Surfeit (2)
2.      Asceticism (2)
3.      Renunciation (2)
4.      Derelict (2)
5.      Decrepit (4)
6.      Malevolent (6)
7.      Havoc (6)
8.      Convergence (7)
9.      Vagrant (8)
10.  Gaunt (8)
11.  Demise (10)
12.  Paucity (10)
13.  Ambivalent (11)
14.  Recriminated (12)
15.  Paraphrase this sentence from the article: “Such bereavement, witnessed at close range, makes even the most eloquent apologia for high-risk activities ring fatuous and hollow” (9).
a.      Bereavement—a period of mourning after the loss of a loved one
b.      Apologia—a defense or justification of a belief
c.       Fatuous—foolish, especially in an unconscious manner

Timeline Scavenger Hunt

Create a timeline for the events in the article. Begin in June 1990 with Chris McCandless’ college graduation, end with Sept. 6, 1992. Include at least fifteen events between.

Put your timeline on poster paper, including the text of postcards, quotations from books or McCandless’ journal, names of people met, and illustrations of the various timeline events encountered along the way.


Following the scavenger hunt, read Krakauer's September 12, 2013 follow-up "How Chris McCandless Died" from the New Yorker.

Thursday, October 24, 2013

Jon Krakauer

American Romanticism (Transcendentalism)

Contemporary tie-in:

"In April 1992 a young man from a well-to-do family hitchhiked to Alaska and walked alone into the
wilderness north of Mt. McKinley. His name was Christopher Johnson McCandless. He had given $25,000 in savings to charity, abandoned his car and most of his possessions, burned all the cash in his wallet, and invented a new life for himself. Four months later, his decomposed body was found by a moose hunter..."
from Into the Wild, Jon Krakauer

Read Krakauer's original article for Outside magazine, "Death of an Innocent: How Christopher McCandless Lost His Way in the Wilds" here.



How does McCandless demonstrate the ideas of the Transcendentalists at the end of the 20th century? What specifics from Emerson or Thoreau do you also see in Krakauer's work?

Wednesday, October 23, 2013

Ralph Waldo Emerson


American Romanticism (Transcendentalism)

from Nature, by Ralph Waldo Emerson (205)
1.  Imagery is the use of language to evoke a picture or concrete sensation of a person, thing, place, or an experience.  Often these words will be a description of how things taste, look, sound, smell, or feel.  Copy at least three examples of imagery from the excerpt.


2.  “To speak truly,” Emerson says, “few adult persons can see nature.”  Emerson sees children as having the advantage over adults when it comes to having a direct experience of nature.  Do you agree with Emerson?  What do people seem to lose as they grow older?


3.  How have the ideas of the Transcendentalists (shown in Nature) carried over into contemporary American culture?  Why has nature been such an important theme of American Literature? 


from “Self Reliance” (209)
4.  In the first paragraph, what does Emerson mean by “that divine idea which each of us represents”?  How does this philosophical assumption influence the entire essay?


5.  Emerson’s work is full of aphorisms (short statements that make wise or clever observations about life) such as “Trust thyself:  Every heart vibrates to that iron string.”  Pick an aphorism from one of Emerson’s writings and, on construction paper, make a greeting card.  Emerson’s aphorism should be on the front (along with some sort of visual) and a related aphorism of your own should be on the inside.

Tuesday, October 22, 2013

Henry David Thoreau



American Romanticism:  Transcendentalists

Excerpt from Walden, Henry David Thoreau.  (Elements of Literature, pp. 217-228):

“Economy”
  1. What questions do Thoreau’s friends and neighbors ask him about his decision to spend two years living on his own at Walden Pond?

  1. Where does Thoreau get the lumber and frame for his cabin?

  1. How much did Thoreau estimate his cabin cost?  Why do you think he pays so much attention to the cost of his supplies and materials?


“Where I Lived and What I Lived For”
  1. Why does Thoreau say he went to live in the woods?

  1. What do you think is Thoreau’s complaint about the railroads?  What form of modern technology might some people complain about today for the same reasons Thoreau complained about the effect of modern technology on people during his time?


“Brute Neighbors”
  1. Define the word brute.

  1. Describe the ant war.  To what human action does Thoreau compare the ant war?

  1. List two interesting observations Thoreau makes about the loons on Walden Pond.


Romanticism:  According to the introduction, transcendentalists looked to nature to find truth and the doorway to spirituality and believed in the perfectibility of human nature.  Their American Dream included the values of individualism and nature/environmentalism.  Is Thoreau a transcendentalist?  Why or why not?  Find at least three specific passages from Walden to back up your opinion.

Monday, October 21, 2013

Persuasive Speeches

In the Elements of Language book, read the section "Writing and Delivering a Persuasive Speech" (pp.318-322).

Answer the following questions:

1.  What is the first step in planning a speech?

2. Why are you more likely to deliver a convincing speech if you are speaking on a controversial or arguable topic?

3. What is occasion?

4. What is the purpose of the speech you are delivering to the class?

5. Define thesis statement.

6. Define audience.
a.  How would you address an audience that you think will react favorably to your ideas?

b. How would you address an audience that you think will react negatively to what you have to say?
  
c. How would you address an audience that you think will be apathetic about your topic?

7. Explain the conventions of oral language. 

a.  What is the difference between informal, formal, and technical language?

b. Which will you most likely use for this speech? 

8. Three types of appeals can be used to support your claim. List the three types and explain each one.
            1.


            2.


            3.

9. What is effective language?

10. Write an original example, using your speech topic (your organization),  for each of the following:
            a. Repetition
            b. Restatement
            c. Parallelism
            d. Announcement or sign posting.

11. What is one negative thing that could happen if you were to memorize your speech?

12. What is dynamism?

13. List five ways to improve your non-verbal strategies. Circle the one that will be the hardest for you.

14. List five ways to improve your verbal strategies. Circle the one that will be the hardest for you.

15. List three rehearsal strategies. Put a star next to the one you plan to use.

16. What does it mean to take advantage of a speaker’s non-verbal skills?

Persuasive Speech goal: 
Write a full sentence OUTLINE of your speech. Include
  • logical appeals
  • emotional appeals
  • ethical appeals
  • address foreseeable objections
  • rhetorical strategies (repetition, restatement, parallelism, sign-posting)
Due Monday, October 28 at the end of class.



Tuesday, October 15, 2013

Henry Wadsworth Longfellow

Read the Henry Wadsworth Longfellow poem "The Tide Rises, the Tide Falls." (textbook p. 196, or follow the link here.)


  • Look closely at each stanza. What does each stanza tell you about the passage of time?
  • "Footsteps on the sands of time" is a common expression referring to our mortality and to the passage of time. In the second stanza a similar image appears. What does this image suggest has happened to the traveler?
  • At the end of the poem, the tide continues to rise and fall, although the human traveler does not return. How does this contrast reveal the poem's theme--its central insight into the relationship between human life and nature?
  • How does this poem reflect the Romantics' view of nature and death?

Review also Longfellow's poem "The Cross of Snow" (textbook p. 198, or follow the link here.)

Creative Writing activity:
Use an image from nature to write a poem in the style of Henry Wadsworth Longfellow.
  • It should be at least 14 lines (though it may be longer).
  • Use the nature imagery to convey a strong emotional connection or universal idea about life.
  • It does not need to rhyme, but it may.

On construction paper, create a visual to go along with your poem. Write the final version of your poem on that page.

Monday, October 14, 2013

Persuasive Speeches

Work time in the IMC.

Today's goal: Hand in a correct, MLA format Annotated Bibliography for 3-5 sources that will be used in the persuasive speech.

Friday, October 11, 2013

Nathaniel Hawthorne

Nathaniel Hawthorne (background pp. 249-250)


"Dr. Heidegger's Experiment" (252, or follow the link here.)

Read on p. 251 the section titled Literary Focus:  Allegory.  As you read “Dr. Heidegger’s Experiment,” keep an eye out for Hawthorne’s descriptions of his characters and what particular aspect of human nature he means them to represent.  Fill out the chart below as you read.

An allegory is a story or a poem in which characters, settings, and events
stand for abstract ideas or moral qualities.


Characters

Key Descriptions

Actions and Words

What Character Represents


Mr. Medbourne





Colonel Killigrew





Mr. Gascoigne





Widow Wycherly




(Once you think you've figured out what each character stands for, check your work here.)



1.       The setting of this story is important. What details describing the doctor’s study suggest the supernatural?


2.       During the experiment, what does the mirror reflect? What do you think this mirror symbolizes in the story?


3.       An archetype is an original or fundamental imaginative pattern—it could be a character, a story plot, a setting, or an object. Archetypes appear across cultures and have been repeated through the ages. The Fountain of Youth is an archetype that has been used in many stories over the years. (See “The Search for Eternal Youth” on p. 260) How does Hawthorne’s use of this archetype reveal his views of human nature?


4.       What Dr. Heidegger kisses the withered rose, he says, “I love it as well thus.” What does he mean? How does this statement connect with the moral lesson of the allegory?



5.       In the very limited space left on this page, draw Dr. Heidegger’s study. Include the most important symbolic elements from the description. 

Thursday, October 10, 2013

Washington Irving, continued



"The Devil and Tom Walker”
Washington Irving  (177-185)
Review the characteristics of Dark Romanticism from your notes. Below, describe the characteristics of the story that make it a good example of Dark Romanticism.


This story was first published in 1824, long before people’s consciousness had been raised about the cruelty of viewing other people as stereotypes. It was a time, for example, when women characters were housewives, when African Americans were looked down on, and when American Indians were feared as “savages.” The views are reflected in Irving’s story. Find examples of the stereotypes he uses within his story and list them below.


How do you feel about reading literature with these types of stereotypes today?


How would a contemporary American writer be likely to handle the same plot—say, Stephen King? Would the story’s tone change? Choose one major event from the story and rewrite it as a contemporary author might.

Create a visual to go along with the major event you just rewrote.



Preview: Romantic Poetry

Read "The Cross of Snow" on p. 198.

  • Identify how Petrarchan Sonnet structure is reflected in the ideas of this poem.
  • Why might Longfellow have chosen not to publish this poem during his lifetime?
  • What characteristics of Romanticism are reflected in this poem?


Wednesday, October 9, 2013

Washington Irving

Read "The Devil and Tom Walker" (177-185).

Answer the following questions:

  • Fill out a chart to show the elements of the plot. Add as many key events as you think are necessary. Include at least the basic situation (conflict), complications, climax, and resolution.
  • Irving's characters in this story are one-dimensional people who represent one or two character traits. In fact, Mrs. Tom Walker is a stereotype of the nagging wife, still a source of comedy today. What character traits are represented by Tom Walker? Why do you think Mrs. Walker met with such a nasty end?
  • This story opens in Puritan New England in 1727. The Salem witch trials had taken place in 1692, only thirty-five years earlier. Identify five details describing the setting that suggest something sinister and supernatural.
  • How does the physical setting of the story reflect the moral decay of the characters and, indeed, of the whole society presented in this story?
  • How would you describe the mood or atmosphere created in the story? What details help to create the mood?
  • As the narrator tells the story--which certainly has its gruesome and fearful aspects--what tone prevails? Is it comic, frightening, bitter, romantic, or something else? Find details from the story that support your response.

Tuesday, October 8, 2013

Romanticism Introduction

Read the introduction on American Romanticism in the textbook (pp. 162-173).

Add the characteristics of Romanticism/Dark Romanticism/Transcendentalism to your notes. See the bullet points on pp. 167, 168, 171, and 172.

Using the information from the introduction, answer the following questions:

  • What were the values of the Romantics, and how did these values affect the American imagination?
  • Who were the Transcendentalists, and how do their beliefs still influence American life?
  • What darker side of human life was recognized by some major American Romantics?



Monday, October 7, 2013

Persuasive Speeches

Work day in the IMC.

Goal: find and read at least 3-5 sources on your topic. One or two of  your sources can be published by your organization, but at least one or two should be outside sources about your group or organization.

Method for online notetaking: Evernote.com.

Next week: Turn in Annotated Bibliography for sources.

Friday, October 4, 2013

Puritanism and Rationalism QUIZ

Final quiz on Puritans and Rationalists.


Be able to identify the Puritan or Rationalist features in various works of literature.

Other terms covered:

  • plain style
  • parallelism
  • logos/pathos/ethos

Thursday, October 3, 2013

REVIEW: Puritanism and Rationalism

With your partner, match the correct traits, authors, and titles to the correct ideology. You'll be able to use the review sheet you create on the quiz tomorrow.

Puritan and Rationalist QUIZ, Friday, Oct 4

Wednesday, October 2, 2013

Patrick Henry, Persuasive Review

Read Patrick Henry's "Speech to the Virginia Convention" (82).

Persuasion is a form of speaking or writing that aims to convince an audience to take a specific action. A good persuasive speaker or writer appeals to both head and heart--or logic and emotion--to win over an audience. To be persuasive, a writer or speaker must provide reasons to support a particular opinion or course of action. In the final analysis, audiences are often won over by the speaker's ability to address their concerns as much as by forceful arguments and a powerful personality.

For each of the following speeches, answer the questions below.
Jonathan Edwards,
“Sinners in the Hands of an Angry God” (46)
Thomas Jefferson,
“The Declaration of Independence” (100)
Patrick Henry,
“Speech to the Virginia Convention” (82)
What is the speaker’s purpose and who is the intended audience?



What is the main idea of each of these works?




Identify one example of a logical appeal




Identify one example of an emotional appeal




Identify one example of metaphor




Identify one example of parallelism




What is the overall effectiveness of the persuasion?