What is a poet? “A poet is somebody who feels, and who expresses his feelings through word. This may sound easy. It isn’t. A lot of people think or believe or know they feel – but that’s thinking or believing or knowing; not feeling. And poetry is feeling -- not knowing or believing or thinking. Almost anybody can learn to think or believe or know, but not a single human being can be taught to feel. Why? Because whenever you think or you believe or you know, you’re a lot of other people; but the moment you feel, you’re NOBODY - BUT – YOURSELF.
e.e. cummings
Firstly, we are affected by literature – we love it, hate it, or are indifferent. This is the total effect.
“Meaning” is the total effect – the sum of all of the parts is what it “means” to you. A work may have made a didactic point or not, but you responded to it. The “meaning” of a work may change as you understand more about it or experience some of what the author has written. Therefore, “meaning” is how the poem acts on you – what it is that you feel.
As you understand more about a work, its meaning will change – it will have more effect, or there is also the possibility that you will realize that the work did not mean what you thought it did (you feel differently).
The movie Friday the 13th, Part 23 may be an inspiration for the beginning film maker, a triumph of wise investment for the producer, a boring waste of time for the person who has seen the previous 22, or a terrifying experience for the poor spectator who has seen none of the others. For each of them, the experience, the interpretation, and ultimately, the meaning, will be different.
Therefore when you analyze or look at a work of art, you are trying to decipher how it achieves its effect or how it produced meaning.
As we look at poetry, ask yourself some questions:
1. What aspects of the poem had the greatest impact on me?
2. What did they seem to be saying? How did they say it? What did they make me think about that I had not considered before? How did they make me think about this?
3. How did other aspects of the work support or contribute to my response?
4. How did these particular aspects help create the work’s total effect?
5. Did anything that I found out later about the work or its author change my feelings about it?
The study of literature is not an attempt to “pick apart” great works but rather the attempt to understand yourself and your feelings better and to gain skill in explaining what it is that impresses or disappoints you. It is an attempt to answer the great question, “Why did that work move me?” After all, literature is just a collection of words. The difference between dislike and appreciation is often just the matter of understanding yourself, the world around you, and art to a greater extent.
LYRIC
NARRATIVE
IMAGIST
BLANK VERSE
CONCRETE
FREE VERSE
BALLAD
TERMS
You are responsible for the following terms. Be certain that you can not only define them but that you understand them and can give examples when appropriate.
rhyme hyperbole stanza theme
rhythm meter scansion consonance
foot simile universality imagery
blank verse repetition onomatopoeia couplet
metaphor internal rhyme symbolism free verse
paraphrase assonance slant rhyme personification
figurative language poetic license alliteration
MEMORIZATION
By the end of this unit, you must memorize and be prepared to recite the following poem.
By: Robert Frost
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that, the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
Consider the following:
There are two examples of symbolism in this poem: the fork in the road and the road itself. What do these symbolize?
I AM …
I am a nutty guy who likes dolphins.
I wonder what I, and the world, will be like in the year 2000.
I hear silence pulsing in the middle of the night.
I see a dolphin flying up to the sky.
I want the adventure of life before it passes me by.
I am a nutty guy who likes dolphins.
I pretend that I’m the ruler of the world.
I feel the weight of the world on my shoulders.
I touch the sky, the stars, the moon, and all planets as representatives of mankind.
I worry about the devastation of a nuclear holocaust.
I cry for all the death and poverty in the world.
I am a nutty guy who likes dolphins.
I understand the frustration of not being able to do something easily.
I say that we are all equal.
I dream of traveling to other points on the earth.
I try to reach out to poor and starving children.
I hope that mankind will be at peace and not die out.
I am a nutty guy who likes dolphins.
--By Sandy Maas
You, too, can write an “I AM” poem…How? Begin by describing two things about yourself—special things about yourself. Avoid the obvious and the ordinary, such as “I am a 16-year-old boy with brown hair.” There are millions of 16-year-old boys with brown hair. Think of things about yourself that are distinctive.
“I am a girl who bruises easily and believes in astrology—when the stars are right.” That’s better because it gives a sense of the speaker. . . and how she is different from other people. Don’t be afraid to be different.
Once you have an opening line, you’re ready to take off. Here is a line-by-line guide you can follow.
It may seem strange at first to write a poem this way. But give it a try. You may surprise yourself. Some students who have tried this approach have been amazed by the results.
From suzi Mee, Teachers & writers collaborative
I AM GUIDE:
1st Stanza
I am (two special characteristics you have)
I wonder (something you are actually curious about)
I hear (an imaginary sound)
I see (an imaginary sight)
I want (an actual desire)
I am (the first line of the poem repeated)
2nd Stanza
I pretend (something you actually pretend to do)
I feel (a feeling about something imaginary)
I touch (an imaginary touch)
I worry (something that really bothers you)
I cry (something that makes you very sad)
I am (the first line of the poem repeated)
3rd Stanza
I understand (something you know is true)
I say (something you believe in)
I dream (something you actually dream about)
I try (something you really make an effort to do)
I hope (something you actually hope for)
I am (the first line of the poem repeated)
CONCRETE POETRY
Concrete poetry uses the words and the form of the poem to convey the same meaning so that it is difficult to separate one from the other.
The following is a poem by e.e. cummings entitled “r-p-o-p-h-e-s-s-a-g-r” --
r-p-o-p-h-e-s-s-a-g-r
who
a)s w (e loo ) k
upnowgath
PPEGORHRASS
eringint (o-
aThe) :l
eA
!p:
S a
(r
rIvInG .gRrEaPsPhOs)
to
rea (be) rran (com) gi (e) ngly
,grasshopper;
Another example is as follows:
A
poem
can play
with the wind
and dart and dance
and fly about in the mind
like a kite in the cloudy white
sky at so dizzy a height it
seems out of reach but
is waiting to be
very gently
pulled
down
to
the
page
After reading the above examples, create your own concrete poem in your groups. Do not choose a simple object such as a circle, pencil, or a table. (Create…the operative word here.)
The narrative poem is a poem that tells a story. The epic is a long poem of heroic adventure. The ballad is a shorter narrative poem, often set to music.
“Sarah Cynthia Sylvia Stout Would Not Take The Garbage Out”
Sarah Cynthia Sylvia Stout Peanut butter, caked and dry,
Would not take the garbage out! Curdled milk and crusts of pie,
She’d scour the pots and scrape the pans, Moldy melons, dried-up mustard,
Candy the yams and spice the hams, Eggshells mixed with lemon custard,
And though her daddy would scream and shout, Cold french fries and rancid meat,
She simply would not take the garbage out. Yellow lumps of Cream of Wheat.
And so it piled up to the ceilings: At last the garbage reached so high
Coffee grounds, potato peelings, That finally it touched the sky.
Brown bananas, rotten peas, And all the neighbors moved away,
Chunks of sour cottage cheese. And none of her friends would come to play.
It filled the can, it covered the floor, And finally Sarah Cynthia Stout said,
It cracked the window and blocked the door “OK, I’ll take the garbage out!”
With bacon rinds and chicken bones, But then, of course, it was too late…
Drippy ends of ice cream cones, The garbage reached across the state,
Prune pits, peach pits, orange peel, From New York to the Golden Gate.
Gloppy glumps of cold oatmeal, And there, in the garbage she did hate,
Pizza crusts and withered greens, Poor Sarah met an awful fate,
Soggy beans and tangerines, That I cannot right now relate
Crusts of black burned buttered toast, Because the hour is much too late.
Gristly bits of beefy roasts… But children, remember Sarah Stout
The garbage rolled on down the hall, And always take the garbage out!
It raised the roof, it broke the wall…
Greasy napkins, cookie crumbs,
Globs of gooey bubble gum,
Cellophane from green baloney, Shel Silverstein
Rubbery blubbery macaroni,
Write your own narrative poem. Tell a story. Your poem does not need to be long, but it should be at least eight stanzas of four lines each. For fun, let’s make it rhyme!!!
The Imagist poet creates a single sharp image that evokes an emotional response in the reader. Invented by Ezra Pound and furthered by H.D., Imagism was in part a reaction to the “bad habits” of nineteenth-century poets who were too explicit in their commentary and too repetitious in their subjects, patterns, and meters. Ezra Pound’s “In a Station of the Metro” is considered by some literary critics to be the most famous example of Imagism.
Some samples:
The Red Wheelbarrow
By: William Carlos Williams
so much depends
upon
a red wheel L’Art, 1910
barrow By: Ezra Pound
Green arsenic smeared on an egg-white cloth,
glazed with rain Crushed strawberries! Come, let us feast our eyes.
water
beside the white
chickens.
In a Station of the Metro
By: Ezra Pound
The apparition of these faces in the crowd;
Petals on a wet bough.
By: Langston Hughes
In the morning the city
Spreads its wings
Making a song
In stone that sings.
In the evening the city
Goes to bed
Hanging lights
Above its head.
Both of the following poems were published in the anthology Reflections on a Gift of Watermelon Pickle, edited by Dunning, Lueders and Smith (1966).
The Toaster
By: William Jay Smith
A silver-scaled dragon with jaws flaming red
Sits at my elbow and toasts my bread.
I hand him fat slices, and then, one by one,
He hands them back when he sees they are done.
Apartment House
By: Gerald Raftery
A filing cabinet of human lives
Where people swarm like bees in tunnelled hives,
Each to his own cell in the covered comb,
Identical and cramped – we call it home.
Answer the following:
1. In the poem, L’Art, 1910, what colors does the poem mention? What invitation does it include?
2. What does the combination of colors suggest about the physical appearance of the painting? What does “smeared” suggest? Why is “feast” especially well chosen?
3. Is the painting traditional or modern? Explain your opinion with examples from the poem.
4. In the poem, “In a Station of the Metro,” what two images are juxtaposed, or placed next to each other, in the poem? Does the poet supply you with any information about how you should think or feel about the poem? What does the poem consist of? What makes it “poetic”?
5. In “The Red Wheelbarrow”, what three items are mentioned in the poem? What does the first line tell us about them? Why might the objects in the poem be very important/ Can we be sure? What is imagery in poetry?
6. In the poem, “This is Just to Say,” how important is the incident described in this poem? Why do you think Williams chose an incident of this sort for his poem? What do the last four lines suggest about the objects being saved and the reason that the speaker expects to be forgiven?
Tom’s Diner
words and music by Suzanne Vega
I am sitting And I’m turning
In the morning To the horoscope
At the diner And looking
On the corner For the funnies
I am waiting When I’m feeling
At the counter Someone watching me
For the man And so I raise my head
To pour the coffee
And he fills it There’s a woman
Only halfway On the outside
And before Looking inside
I even argue Does she see me?
He is looking No she does not
Out the window Really see me
At somebody Cause she sees
Coming in Her own reflection
“It is always And I’m trying
Nice to see you” Not to notice
Says the man That she’s hitching
Behind the counter Up her skirt
To the woman And while she’s
Who has come in Straightening her stockings
She is shaking Her hair has gotten wet
Her umbrella
And I look Oh this rain
The other way It will continue
As they are kissing Through the morning
Their hellos As I’m listening
I’m pretending To the bells
Not to see them Of the cathedral
Instead I am thinking
I pour the milk Of your voice…
I open And of the midnight picnic
Up the paper Once upon a time
There’s a story Before the rain began…
Of an actor
I finish up my coffee
Who had died It’s time to catch the train
While he was drinking
It was no one
I had heard of.
What is this poem really about?? THINK! What images from this poem stand out in your mind? Do you identify personally with any of these images—or do any of them make an impression on you? Why is this an imagist poem?
Ballad of Birmingham
By: Dudley Randall
“Mother dear, may I go downtown
Instead of out to play,
And march the streets of Birmingham
In a Freedom March today?”
“No, baby, no, you may not go,
For the dogs are fierce and wild,
And clubs and hoses, guns and jails
Aren’t good for a little child.”
“But, mother, I won’t be alone,
Other children will go with me,
And march the streets of Birmingham
To make our country free.”
“No, baby, no, you may not go,
For I fear those guns will fire.
But you may go to church instead
And sing in the children’s choir.”
She has combed and brushed her night-dark hair.
And bathed rose petal sweet,
And drawn white gloves on her small brown hands,
And white shoes on her feet.
The mother smiled to know her child
Was in the sacred place,
But that smile was the last smile
To come upon her face.
For when she heard the explosion,
Her eyes grew wet and wild.
She raced through the streets of Birmingham
Calling for her child.
She clawed through bits of glass and brick,
Then lifted out a shoe.
“O, here’s the shoe my baby wore,
But, baby, where are you?”
This poem recalls a very repulsive event in American history. During the spring and summer of 1963, the ciry of Birmingham, Alabama, swarmed with civil rights activity. Marching for freedom, Dr. Maritn Luther King, Jr. and other black leaders were arrested and hauled off to jail. Other marchers—adults and children alike—were met with clubs, dogs, and fire hoses. Then, one Sunday in September, a bomb exploded in the Sixteenth Avenue Baptist Church. When the smoke cleared, four young black girls were found dead.
Answer the following:
1. (a) What did the mother expect to happen to her daughter that day? (b) What actually did happen?
2. Read the historical background. Which hypothesis (possible explanation) best explains the bombing? (a) The bomb was dropped from a police helicopter. (b) Racial prejudice resulted in the senseless slaughter of innocent people. (c) Churches that mix violence with religion get what they deserve.
3. The words dogs, clubs, hoses, guns, and jails have denotations that can be found in any dictionary. Yet taken together in the context of this particular poem, they take on special connotations. Explain why.
4. Look at the first line of the last stanza. What connotation does clawed have that a word like dug or poked would lack?
5. President John Kennedy, who was assassinated about a month later, said at the time of the bombing that events like the bombing actually advanced the cause of civil rights. What could he have possibly meant?
Edna St. Vincent Millay
THE PHILOSOPHER
And what are you that, wanting you,
I should be kept awake
As many nights as there are days
With weeping for you sake?
And what are you that, missing you,
As many days as crawl
I should be listening to the wind
And looking at the wall?
I know a man that’s a braver man
And twenty men as kind,
And what are you, that you should be
The one man in my mind?
Yet women’s ways are witless ways,
As any sage will tell, --
And what am I, that I should love
So wisely and so well?
1. The most original stanza is, of course, the last. Explain the meaning of this stanza. Is the speaker “witless,” ”wise,” or both at the same time?
2. The poem is not rich in figurative language, but there is a good example in the second stanza. What is it?
FIRST FIG
My candle burns at both ends;
It will not last the night;
But ah, my foes, and oh, my friends—
It gives a lovely light!
SECOND FIG
Safe upon the solid rock the ugly houses stand:
Come and see my shining palace built upon the sand!
MIDNIGHT OIL
Cut if you will, with Sleep’s dull knife,
Each day to half its length, my friend,--
The years that Time takes off my life,
He’ll take from off the other end!
1. “First Fig” and “Midnight Oil” contain allusions to familiar clichés. What are these familiar expressions?
2. The three poems are unusual in that they consist almost entirely of figurative language. Paraphrase the meaning of each poem in a clear, original sentence.
3. All three poems support a general philosophy of life: Live the most wonderful life you can, right now! In your opinion, what is good – and what is bad – about this advice?
4. Relate this fact to one of the poems: In her late fifties, Millay died of a heart attack after working nearly all night.
5. Which poem contains an excellent example of personification? Explain the comparison involved.
GROWN-UP
Was it for this I uttered prayers,
And sobbed and cursed and kicked the stairs,
That now, domestic as a plate,
I should retire at half-past eight?
TRAVEL
The railroad track is miles away,
And the day is loud with voice speaking,
Yet there isn’t a train goes by all day
But I hear its whistle shrieking.
All night there isn’t a train goes by,
Though the night is still for sleep and dreaming.
But I see its cinders red on the sky,
And hear its engine steaming.
My heart is warm with the friends I make,
And better friends I’ll not be knowing;
Yet there isn’t a train I wouldn’t take,
No matter where it’s going.
Find sample from Walt Whitmans poem: Song of Myself
This Dust Was Once the Man
By: Walt Whitman
This dust was once the man,
Gentle, plain, just and resolute, under whose cautious hand,
Against the foulest crime in history known in any land or age,
Was saved the Union of these States.
Answer the following:
1. What four adjectives describe the man?
2. What did the man save?
3. To what major event does “the foulest crime in history” refer?
4. Who is the man referred to in the poem?
Birches By: Robert Frost
Across the lines of straighter darker trees,
I like to think some boy’s been swinging them.
As ice storms do. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-colored
As the stir cracks and crazes their enamel.
Soon the sun’s warmth makes them shed crystal shells
Shattering and avalanching on the snow crust—
Such heaps of broken glass to sweep away
You’d think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground
Like girls on hands and knees that throw their hair
But I was going to say when Truth broke in
With all her matter of fact about the ice storm,
I should prefer to have some boy bend them
As he went out and in to fetch the cows—
Some boy too far from town to learn baseball,
Whose only play was what he found himself,
Summer or winter, and could play alone.
By riding them down over and over again
Until he took the stiffness out of them,
And not one but hung limp, not one was left
For him to conquer. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.
So was I once myself a swinger of birches.
And so I dream of going back to be.
It’s when I’m weary of considerations,
And life is too much like a pathless wood
Where you face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig’s having lashed across it open.
I’d like to get away from earth awhile
And then come back to it and begin over.
May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth’s the right place for love:
I don’t know where it’s likely to go better.
I’d like to go by climbing a birch tree,
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.
Answer the following:
1. What sort of childhood does a boy who lives “too far from town to learn baseball” have? In describing the boy, whom is the speaker really describing?
2. Restate lines 43 – 48 in your own words, explaining why the speaker wants to get away from earth. According to lines 52-53, what is one reason he does NOT want to escape from earth?
3. What kinds of activities might swinging on birches represent? What might “could bear no more” signify?
4. What general statement, based on the poem, can you make about Frost’s relationship with nature? Frost himself once wrote:
There are two types of realist—the one who offers a good deal of dirt with his potato to show that it is a real one; and the one who is satisfied with the potato brushed clean. I’m inclined to be the second kind…To me, the thing that art does for life is to strip it to form.
1. Explain in your own words the two types of realist Frost describes. How would Frost’s poems be different if he were the first kind of realist?
2. Do you agree with Frost’s statement about what art does? Why or why not?
CONTEMPORARY
By: Garth Brooks
You know a dream is like a river, ever changing as it flows.
And a dreamer’s just a vessel that must follow where it goes.
Trying to learn from what’s behind you and never knowing what’s in store
makes each day a constant battle just to stay between the shores.
And I will sail my vessel ‘til the river runs dry.
Like a bird upon the wind, these waters are my sky.
I’ll never reach my destination if I never try,
So I will sail my vessel ‘til the river runs dry.
Too many times we stand aside an let the water slip away.
To what we put off ‘til tomorrow has now become today.
So don’t you sit upon the shore and say you’re satisfied.
Choose to chance the rapids and dare to dance the tides.
And I will sail my vessel ‘til the river runs dry.
Like a bird upon the wind, these waters are my sky.
I’ll never reach my destination if I never try,
So I will sail my vessel ‘til the river runs dry.
There’s bound to be rough waters, and I know I’ll take some falls.
With the good Lord as my captain, I can make it through them all.
And I will sail my vessel ‘til the river runs dry.
Like a bird upon the wind, these waters are my sky.
I’ll never reach my destination if I never try,
So I will sail my vessel ‘til the river runs dry.
Identify the following in the “The River”: simile, metaphor, alliteration, hyperbole, couplet, personification, (anything else?).
“Music of the Night”
By: Andrew Lloyd Webber
Nighttime sharpens, heightens each sensation.
Darkness wakes and stirs imagination.
Silently the senses abandon their defenses,
Helpless to resist the notes I write,
For I compose the Music of the Night.
Slowly, gently, night unfurls its splendor.
Grasp it, sense it, tremulous and tender.
Hearing is believing. Music is deceiving.
Hard as lightening. Soft as candlelight.
Dare you trust the Music of the Night?
Close your eyes, for your eyes will only tell the truth,
And the truth isn’t what you want to see.
In the dark it is easy to pretend…
That the truth is what it ought to be.
Softly, deftly, music shall caress you.
Hear it, fear it, secretly possess you.
Open up your mind; let your fantasies unwind.
In this darkness which you know you cannot find.
The darkness of the Music of the Night. (continued)
Close your eyes, start a journey to a strange new world.
Leave all thoughts of the world you knew before.
Close your eyes and let music set you free…
Only then can you belong to me.
Floating, falling, sweet intoxication.
Touch me, trust me, savor each sensation.
Let the dream begin; let your darker side give in
To the power of the music that I write,
The power of Music of the Night.
You alone can make my song take flight.
Help me make the Music of the Night.
Identify the following: personification, imagery, alliteration, metaphor, simile, etc.
WRITING PROJECT #FIVE
1. Copy down the words to at least 2 songs.
2. Label the examples of poetic devices found in each song.
3. Write a paragraph (50 words) explaining the theme and/or purpose of the song.
4. Make/decorate cover and back cover to create a booklet.
Note: You must have at least 2 songs.
You must find at least 3 different poetic devices in each song.
Songs may not contain profanity or inappropriate content.
Poetic devices to consider: alliteration, ballad, elegy, irony, paradox, allusion, hyperbole, metaphor, personification, assonance, couplet, imagery, onomatopoeia, simile, and many, many MORE!!
Below there are samples of a variety of different types of poetry. Read these and then write one poem of each type.
The Cinquain: A “syllable count poem” about anything and does not have to rhyme.
(option one)
First line 2 syllables
Second line 4 syllables
Third line 6 syllables
Fourth line 8 syllables
Fifth line 2 syllables
Man
Strong, masculine
Working, walking, talking
Ruler of the weaker sex
Man Report card
Rectangular, white
Disappoints, encourages, grounds
No Honda or pool
Life Report card
Fun, dangerous
Being, living, dying
Everyone does it once
Life!
Exercise:
(option two – you may use option one for this exercise)
1. First line -- write down a noun—the name of a person, place, thing, or idea.
2. Second line -- write two adjectives, or words that describe the noun. Separate the two words by a comma. (continued)
3. Third line – write three verbs or action words which tell what the noun in the first line does. Again, use separation comma.
4. Fourth line – write a thought about your noun. The though may be a sentence, but a phrase of three to five words is fine.
5. Fifth line – you may repeat the noun for the fifth line, or you may use another word which the noun suggests to you.
6. Check to see that the first word of each line is capitalized and that there are no end punctuation marks.
Haiku: Haiku is a type of Japanese poetry that has seventeen syllables and just three lines. It is a short poem that captures a moment in nature.
Line 1 Five syllables
Line 2 Seven syllables
Line 3 Five syllables
Write a Haiku
Number poem:
For this poem, you will use a number (telephone, social security, birthday, etc.) of at least 7 digits that has some meaning for you. This will determine the number of syllables per line. You must have at least six lines, and zeros count as ten.
Example:
254-5672
Line 1: 2 syllables
Line 2: 5 syllables
Line 3: 4 syllables
Line 4: 5 syllables
Line 5: 6 syllables
Line 6: 7 syllables
Line 7: 2 syllables
Write a number poem.
Pantoums: A pantoum is a poem where you write eight lines of a sixteen line poem with a preset rhyme scheme. Don’t let all the lines confuse you. This is really fairly simple if you follow the directions.
Step 1: Write the first four lines with a rhyme scheme of abab.
Step 2: Copy lines 2 and 4 to lines 5 and 7.
Step 3: Write lines 6 and 8 (rhyme = c)
Step 4: Copy lines 6 and 8 to lines 9 and 11.
Step 5: Write lines 10 and 12 (rhyme = d)
Step 6: Copy lines 10 and 12 to lines 13 and 15.
Step 7: Copy lines 3 and 1 to lines 14 and 16 (in that order)
PANTOUM ORDER
Line # Rhyme Scheme
1 a
2 b
3 a
4 b
2 5 b
6 c
4 7 b
8 c
6 9 c
10 d
8 11 c
12 d
10 13 d
3 14 a
12 15 d
1 16 a
EVALUATION
Write a few paragraphs of evaluation that discusses your favorite type of poetry and why. This is a personal evaluation of this unit. Include your observations on the different types of poetry we discussed and why you did or did not appreciate each type.